Scandinavians have it all. Universal public healthcare and education that is the envy of the world. Reasonable working hours with plenty of paid vacation. They have some of the highest levels of happiness on the planet, and top virtually every ranking of human development.Continue reading
Overview ‘The Future Is Now’ is an exhibition that comprises of multiple artefacts and scenarios that speculated on what humanitarian operations could look like in 2030. The IFRC Solferino Academy and Open Lab at Newcastle University collaborated with an array of design agencies and curators to bring this exhibition to life. This exhibition is the result of extensive horizon […]Designing the First Humanitarian Futures Exhibition — Carlos Alvarez
Design languages began with the industrial revolution as a response to the emergence of machine culture and mass production as it encountered traditional artisan aesthetics. These base languages evolved into a set of aesthetics that are expressed today among various design languages.
a design language can be compared to an iceberg: there is its above-water, visible forms–its aesthetic, and a submerged, imperceptible body–that deeper cultural content upon which the aesthetic is based and only thanks to which that aesthetic can even be perceived as meaningful
The book begins with the origins of aesthetic movements in the 1850s to 1950s and moves on to the articulation of the early languages into threads which exist in contemporary culture. The final section of the book discusses contemporary design culture from the perspective of the threads of environmental sustainability and our daily immersion in digital technology.
“Degrowth is about redistribution by design, not by collapse”
The architecture profession tends to assume that there is always more to build. We need more infrastructure, more houses and more office space to accommodate economies and societies that are forever expanding. Greedy though it may be, this mindset is supported by the pervasive belief that a society’s success is best measured not in terms of humane measures such as the capacity for care and play but in economic terms such as market expansion. The result for the built environment is constant reconfiguration and extension into new territory to a degree that our planet can barely sustain.
This growth obsession is a central premise of the Oslo Architecture Triennale 2019, Exploring how the endless pursuit of growth has caused planetary weariness and social division, the Triennale invites visitors to imagine what a society of Degrowth could be like and how architecture could serve it.
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DESIGNA 2018 – International Conference on Design Research
November 29-30 . FAL-UBI . Covilhã . Portugal
DESIGN + TERRITORY
DESIGNA celebrates its 7th edition in 2018, choosing to promote the debate and provide visibility to the ongoing research regarding the connection between Design and Territory, as well as its multiple and complex dimensions.
Design not only interacts with Territory, but it can also be one of the latter’s crucial transformation agents, due to the sizable and significant part it plays in the appreciation of local resources and contribution to identify and reveal the history, culture and predicates of communities where several of the products and services it projects are, in fact, generated.
Regardless, Design’s role understandably pivots around the conceptual innovation and renovation of products, production procedures, communication strategies and overall services associated with general goods. Thus, its focus could actually be quite efficient when altering the perception which distinct agents from a certain value chain may nurture about the potential of very diverse territories, particularly through its ability to integrate different scopes of human activity, from agriculture to tourism, craftsmanship to science, gastronomy to the industry.
Contemporary Design and the myriad of knowledge and values it encompasses may easily facilitate the dialogue, as well as integrate and explore multiple dimensions from historically underestimated individuals and communities, both locally and within more cosmopolitan spheres.
Design changes people’s lives, alters routines, shifts expectations, opens markets and, most of all, has the ability to – through the thought and projectual action that defines its practices – connect production’s several dimensions with the ones from distribution and fruition, as much in a local as in a global scale, bestowing them with a cultural purport.
Also, it is in concrete territories that transformation opportunities are created, through the development of actions and projects that are able to answer, from bottom up and in a participated manner, to the complex issues and restraints emerging from the operative social-economical models with an increasingly hegemonic propensity.
Design can undoubtedly contribute to build alternatives there. On the other hand, the duo Design / Territory summons the topics from DESIGNA’s previous editions, particularly the ones concerned with Projectual Hope, un/Sustainability and Identity, although multimedia interfaces and the overall components from desire and lapse can also be easily reflected and detected in it.
Questioning the role of design in times of global transformations
Swiss Design Network Summit
March 8–10, 2018
FHNW Academy of Art and Design Basel
With keynotes by Benjamin Bratton, Cheryl Buckley, Beatriz Colomina, Kenny Cupers, Kjetil Fallan und Ramia Mazé and Mia Charlene White, among many other speakers, and debating platforms by Decolonising Design Group, Depatriarchise Design, and Precarity Pilot.
Current discourse in design research, art, cultural studies, media studies, philosophy, and the social sciences is dominated by the much-debated concept of the “Anthropocene,” which claims that we are entering a new geological age determined primarily by the effects of human activity on the planet. It has been used to increase awareness of the negative influence of our actions on climate and the environment, and thus on the terms and conditions of our long-term survival. Against the backdrop of ongoing catastrophe and normalised crisis, the image of designers as problem-solvers and shapers of material-visual culture is constantly evoked. Designers are expected to come to the rescue and to draft speculative scenarios, construct artificial worlds, and develop smart solutions. In short: design is wielded as a catalyst for global change.
But isn’t this image of the designer as an omnipotent problem-solver itself problematic?
What if design is not the solution, but very much complicit in the problems it wants to solve?
At this point, we feel compelled to ask: How can design truly contribute to a more just society and sustainable forms of living without compromising bottom-up initiatives and marginalising the voices of those who are most directly affected?
Design cannot change anything before it changes itself. The conference “Beyond Change: Questioning the role of design in times of global transformation” is a critical response to the tendency of seeing global crisis first and foremost as a worldwide design competition.
How can we reimagine design as an unbounded, queer, and unfinished practice that approaches the world from within instead of claiming an elevated position?
How, for once, can we see design as a situated practice instead of turning it into the Global North’s escape and problem-solving strategy?
How can we think about one world without falling into planetary-scale thinking and the idea that resilience is our only hope?
Full Program: http://www.beyondchange.ch
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FIND THIS POST AT MY LINKEDIN (Designer Marcio Dupont)