Hablando de misterios de la humanidad, olvidate de tecnología o manufactura alien en los siglos anteriores al hierro o el bronce. El mayor misterio eterno y lo digo por que nunca se resolverá es el comportamiento del consumidor. Como “business case”, como dicen, pues esta el case de Lidl.
Lanzaron una despretenciosa linea de ropa con su marca y digo despretenciosa porque no creo que el supermercado o los ejecutivos que tuvieron la idea sabían de antemano que se iba a convertir en una fiebre. Esa es la belleza del mercado, destruye o construye marcas en segundos.
This past May, the AIGA New York board met via Zoom to discuss potential board members recommended through our Call for Nominations.
“How do you get through the rest of the nomination application if their portfolio is bad?” one board member quipped as we discussed the merits of candidates.
“Yeah and also, how do we know if someone is cool?” another added. I was speechless. In a previous meeting, we’d agreed that bringing on non-designers and non-visual creatives was of a high priority. Why would a person’s “coolness” and portfolio (or lack of one) be a factor for inviting them to a team of community volunteers?
“I didn’t join the board to be best friends with people or to discuss the finer points of their craft. I joined to serve the broader design community and I hope that’s why we’re all here,” I countered, finally finding my words.
As a Black designer, I’m no stranger to my work quality being questioned. But it’s especially jarring to exist as a Black person who can see what’s going on behind closed doors. Unfortunately, my experience is not unique and this is especially true when surveying the shared experience of Black designers who have left “America’s professional organization for design” known as AIGA. During my tenure within AIGA, I’ve come to realize that it’s impossible to create sufficient change inside an organization that actively perpetuates racism towards people who look like me. It’s time for me to walk away, but before I do, I want to share what I’ve learned about AIGA’s history and pattern of not supporting Black designers.
A continuing issue in industrial design education is when to allow students to move from sketch work to 3D CAD modelling during studio practice—or whether to let them use CAD at all! I’ve heard of first year undergraduate modules where students are ‘banned’ from the use of CAD in an attempt to encourage sketchbook work and more explorative conceptual design practice. In my view this approach is somewhat draconian and does little to deal with the underlying reasons that attract less experienced designers to the comparative certainty of 3D CAD.
In this new era, Design also needs to “redesign” itself, from long and heavy University Courses to fast, innovative and practical design courses, delivered by a global network of “Design Factories” from top universities.