Here is an interesting case of design with limited view. In the picture you can see the »doorplate« of the German Development Institute that is located in Bonn, the former German capital.

»The German Development Institute / Deutsches Institut für Entwicklungspolitik (DIE) sees itself as the think tank for German development policy.«

Unfortunately the initials of the institute in German language result in the letters »die«. That did not stop the inventors of the name to baptise the child with the brand »die«. And it did not stop the designers to take this initals as the basic component for the logo. Now there could be three ways how such a Stupid Design forms:

1: In the year 1964, when the institute was opened, english language was not that important as it is nowadays and the Germans just would not realise what »die« means (But even in the 60s development aid must have taken place in countries where German is not the first language.)

2: »die« is a courageous indicator to what happens if there would not be development aid or what development aid is fighting against.

3: It’s just a good example of »officialese« (Beamtensprache) and what happens if public authorities think about communications.

Is there a relationship between the conceptual thinking behind Marcel Duchamp’s 1917 urinal and contemporary design practice? Design writer and Design Observer contributer Nick Currie believe’s there is. In an AIGA feature of 1995, Currie presents some interesting thoughts on the evolution of Conceptual Art and its impact on designing for social impact. Currie’s feature, Conceptual Design: Building a Social Conscience begins by exploring if there has ‘ever been “Conceptual Design?”’ and moves on to discuss how the conceptual arts of the early 1900s has led young designers to think more about social issues than consumer goods.

“There’s a generation of young designers who, almost a century after Duchamp, seem to share something of his spirit… Rather than products, these people are designing situations, intervening in existing arrangements, framing everyday activities in ways that make us think of them, unexpectedly, as “design.” And although they’re often satirical in tone, these designers share a concern with ethics and responsibility; one of the reasons the design they make is so often immaterial is their sense that the last thing the world needs is more objects, more consumer goods. The widening ripples of Duchamp’s gesture blend, in their work, with the repercussions of a gathering concern around issues like sustainability, community and responsibility: to be conceptual is, after all, to be thoughtful. “

Although, I do see the connection between Conceptual Artists influencing the IDEO-esq thinking and design practice of today, I find it difficult to trust Conceptual Art Continue Reading »

Design Professor at the University of the Arts in Philadelphia, Kerry Polite (2004) published his thoughts on what are today’s [2004] ‘most important questions in design education’. He offers a personal observation to the nature of contemporary design education, in comparison to its historical origins:

‘In the past, students and educators dealt mainly with four or five principles: composition, typography, form, colour and drawing… Today, students are expected to be skilled technicians, be knowledgeable in a range of software programs and work with sound, motion, and interactivity’.

Polite explains how design students need to ‘slow down and think’, to be working for ‘content-driven, not style-driven’ design solutions. The problem, he pitches is how today, ‘Students want to rush in and make finished projects…’ and ‘…because they have been bombarded with very slick visual stimuli their entire lives, the work tends to look derivative.’

This observational discussion offers an interesting [if, concerning] perspective on how important it remains to embed and praise design thinking, research, experimentation and relevance. Thinking About Design Education was published by the AIGA in 2004.

Whilst undertaking some extensive research into The Future of Design Education, I came across a beautiful piece of creative writing, from Lap Le, a Graphic Design Student at Oregon State University.

“To me, there was once a time when designers were warriors—trained and battle-hardened. They honored their craft, and practiced their bodies and minds to perfect it. The weak died, the strong lived and everyone in between knew that line…

I read and research everything I can and will continue to do so, but I question whether this will be enough to survive against a rising force. Deep down I know that the core principals I learn will provide sustenance and sustainability, but for every one of them that fails, a hundred will replace them. Will they overwhelm us? And if so, how will design, and our roles, be affected when everyone becomes a ‘designer’?”

Ref:
Le, L. (2006). The New Battlefield. New York: AIGA.

The above is the title of the picture you see to the left – it is an artwork that participates in the »NanoArt 2007«. It is an exhibition that takes place online.

»This site was founded by the artist and scientist Cris Orfescu to promote worldwide the NanoArt as a reflection of the technological movement. NanoArt is a more appealing and effective way to communicate with the general public and to inform people about the new technologies of the 21st Century and should raise the public’s awareness of Nanotechnology and its impact on our lives.«

Using religious or romantic symbolics to communicate what impact nanotechnology will have in our future is probably the wrong approach. Or did those artworks make you think about the critical aspects of new technologies? Design offers better possibilities to experience future technologies or products. On the Interaction Design Department of the Royal College of Art (lead by Anthony Dunne) so called »What If« scenarios are used to display what could happen if certain technologies get applied to the objects that surround us.

What better invention than a car that is driven by air could be made in times of climate change where the price for the barrel oil climbs over $100? Since years Guy Nègre is assuring the motor industry that he has got the key to this new technology. And already in 2002 the media (e. g. in the German business magazine »brandeins«)reported about the serial production of the new wonder-cars to be started that year.

What’s behind the idea? Nègre developed an engine that runs with compressed air instead of fuel: air is compressed in vaults and by expanding again in the engine it produces power that is used to run the engine. As a tankful of air only lasts for 80 kilometers (50 miles) and the car then would have been connected to a power plug to produce compressed air, the car will also be built in a version that Continue Reading »

A global campaign to raise awareness of the 60th anniversary of the Universal Declaration of Human Rights launched this week, with an identity and design strategy by Start Creative. The campaign, entitled Every Human Has Rights, aims to pull together the efforts of a number of partner organisations including Amnesty International, Unicef, Action Aid and Save the Children.

Design Week reported:
Start creative director Jonathan Cummings explains that one of the key aims of the campaign, which will run for a year, is to gather a billion signatures, as a show of support for human rights, particularly in areas of the world where governments have a poor track record on human rights issues. Appointed to the project two months ago without a pitch, Start worked closely with Robert Campbell, creative director of supporting charity Virgin Unite. Start created the branding for the campaign, a website TheElders.org, and a brand tool kit that can be used by partner organisations in the campaign. Continue Reading »

Born in 1945, designer-artist Barbara Kruger looks to be inspirational, in my search for revolutionary AND socially conscious Visual Communication. Reminded of her talent today, when I opened UK Newspaper The Guardian, to find a “free artist wrapping paper” by the aforementioned artist, which screams Frantz Fanon’s statement “Blind Idealism is Reactionary”.

After attending Syracuse University and Parson’s School of Design in New York, Kruger obtained a design job at Condé Nast Publications. Working for Mademoiselle Magazine, she was quickly promoted to head designer. Later, she worked as a graphic designer, art director, and picture editor in the art departments at House and Garden, Aperture, and other publications. Continue Reading »

In the »Design Probes« project Philips is exploring future applications for technology that are not just an enhancement of the status quo but rather tries to incorporate completely new ways of thinking. Philips understands the programme as a »far-future« research that analyzes possible changes in the social and economic situations and gives design proposals that should stimulate a debate. »Deliverables range from scenarios and narratives to the creation of experience prototypes and IP fortressing«, says Philips. One question always behind is if we want or need a certain thing  (invention, technology etc.) or not.

One of the »Design Probes projects is »VIBE«, a sensor that tracks emotions from its wearer and is able to convert it into colours Continue Reading »

I just came across a magnificent (and stylish) interdisciplinary sustainable design practice, by the name of More Associates. Using “design and research process to address social and environmental challenges” in practical ways. More “bring together sustainable design with emerging technologies and social innovation.” Continue Reading »