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Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
Stefano mirti   design for lowcost
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Stefano mirti design for lowcost

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  • 1. Design for a low cost world Stefano Mirti Bocconi lecture # 1 (19th February 2010)
  • 2. Imagine tonight we go out for dinner...
  • 3. The question is easy: If Ryanair or Easyjet can fly us at 1/20 of the normal cost, why can’t we develop product (or exhibition) design with the same principles? If we can have 1$ songs on sale on iTune, why can’t we have 1$ design? Could we envision a new museum where we spend 10k $ rather than 10ml $?
  • 4. First of all, a couple of disclaimers. #1 Design is not art, design is not poetry.   Design has to function, it needs a purpose, a brief, a client, someone willing to pay.   We love art, we love poetry, but design it is different. 
  • 5. #2 Design gets interesting when it invents new languages, when it open to our eyes new worlds.
  • 6. The most interesting design is the one making us thinking.   The best design does reflects the world around, it works on the invisible (and visible) tensions, it questions what we do and the way we are.
  • 7. Another important thing not to be forgotten is this simple truth: “Form follows Fiction”.  People don’t need and don’t want new chairs, new house, new things.  People want new stories.  The Pyramids, the Brooklyn Bridge, an iPhone or a Walkman: their main feature is not being a physical object: the main feature is being a fascinating story. Maya Lin, Vietnam Memorial, 1982
  • 8. If we can fly low-cost, can we have a low-cost museum?   And a low-cost university? What about low-cost housing? A low-cost life: is there anything beyond the nightmare?
  • 9. Before to start with some case-studies, here two references: Bauman, Zygmunt.   Liquid Modernity. Malden, Mass.: Polity Press, 2000,   pp. 1-15 (Foreword: On Being Light and Liquid)
  • 10. Sennett, Richard.   The Craftsman.Yale University Press, 2008,   pp. 241-267 (Part 3, Chapter 9 "Quality Driven Work"),   pp. 286-296 (Conclusion: The Philosophical Workshop).
  • 11. Here some further interesting links (related to Bauman and Sennett):  Richard Sennett, interview:  http://abitare.it/highlights/how-do-you-link-traditional-crafts-to-contemporary-design/ Zygmunt Bauman, interview:http://  Zygmunt Bauman, interview:  www.thecommentfactory.com/interview-zygmunt-
  • 12. Reading those two books, various topics come to our mind: - Uselessness of traditional cultural, social, political categories - Lady Diana and Michael Jackson paradigm - Relation between analog and digital media - Relation (unexisting) between “being good” and “being famous” - The “Chinese” craftsman
  • 13. Case study #6: Holocaust Museum in Rome (proposal)
  • 14. i some many all Ferdinand Cheval, Eugenio Marinella, Harry Beck, Maya Thomas A. Edison, i Collyer Brothers, bricoleur design for auctions Isamu Noguchi Linn, Enzo Ferrari, Bruce Mc Laren G. Marconi, Erno Rubick Arduino, tradional design some funeral ceremony monks software language (Braun, Olivetti) archistar Bauhaus, avant-garde, many 1984, Brazil Aldous Huxley Arup, Ideo Dabbawall micro-credit all pyramids Angkor-Wat, Olimpia museum Woodstock, football game

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