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  2. 2. ForewordHas Design reached its sell by date? Let’s face it; design is now a major source of pollution, as process and a phenomenon, design has degeneratedHave we not fulfilled Design’s 20th Century’s mission to into a state of aesthetic proliferation that has reachedmarket, style, brand, and added value, to innovate and accumulative and destructive levels, in terms of loss ofto experiment through design? meaning, value, and identity.Is it not time to pause and rethink, and question why,before we react the same way in the 21st Century? The result is a vacancy of purpose, a world full of ‘de- signer jetsam and flotsam’ that is swilling around orWe are increasingly dwelling in a created world, and for embedded into or above our planet; poorly designedover half the world’s population this is the environment products, unwanted solutions, unfriendly materials, andof the designed metropolis. Do we need any more, can a mutli-choice of artefacts that are discarded as fast aswe desire much less? they were adopted. Advertising signs in Mong Kok Do we need any more, can we desire much less?
  3. 3. Has Designreached itssell by date? Swedish milk kitchens Display at Boffi bottle
  4. 4. From cars, mobiles, computers, lighting, chairs to clothing,packaging, food and toys, driven by our daily addictionfor the new, there is a lack of respect for the well tried,trusted, and workable.Landfill compactor in work Is this design fit for purpose, one asks?The iPhone may be the zenith of iconic user design, butwhy is it encased in glossy shell when we are requiredto purchase add-on protection to resist daily wear andtear. Is this design fit for purpose, one asks? The iPhone
  5. 5. Why can’t products be allowed to collect memories like come from the expense of surplus, and for the majoritygood leather chair, why don’t we accept the patina of who remain in a state of abundant denial. We have tousage like a loved skateboard, when will we accept aging face the fact, that as with climate change, we are at aas life’s rich story, like a prized broach our grandmother tipping point when the equilibrium is lost, and like ourleft us, or the lines of our grand father’s face, of a life current economic crisis, the currency of good design iswell lived! devalued by a tsunami of rapid change when everythingWhilst our perceived redemption has been our recent good or bad is submerged and becomes equally conta-passion for sustainability and energy efficiency, this has minated and loses its relevance. Face of a life well lived.consuming what wereally need, ratherthan what we believewe want
  6. 6. Design ContaminationWe have reached a contamination point, a crisis for Ideas are evidence of imagination and expression ofDesign – depicted by the white plague of ‘white’ goods human ingenuity, but do all ideas have to be made,and white/silver products, a design pandemic of gib- and masqueraded as design solutions? Why are we soberish and solutions for the one, and not the many. complacent, should we not be calling for a guerrilla war against ‘designerism’, antiviral campaigns againstDesign contamination, how has this happened? Can the design establishment, or do we need a revolutionwe reverse the levels of pollution, the state of impu- to cut the ties with the hero’s of 20th Century De-rity, and nature of corruption? sign?Part of the issue is the success story of Design itself.Design has come a long way in a short time, a profes-sion that is barely a hundred years old. The practice a designof conceiving, planning, shaping, and fashioning so-lutions to our natural environment, has made for ahighly designed world of the purely man-made. Wehave become so successful in our ardour to impro-ve and refine, that the act of designing has become pandemicpart of the problem and not the means to respond toauthentic human need.Why are we not more perturbed or disturbed as pro- offessional community, why are we so tolerant of thesurplus, and indulgence of pure creative experimen-tation? gibberish and solutions for the one, and not theJunk inthe Tiber,Rome. many
  7. 7. Zaha Hadid’s Design for theIf we are indeed facing a pandemic of ‘designed stuff’, Art Center inwhat is the diagnosis? DubaiFact: Design has become a visual and quantifiable pol-lutant, in being responsible for the proliferation of un-necessary artefacts that respond to no real brief, ratherthey appear as variations on a theme – visual configu-rations (conceptual design) material exploration (newarticulations of the same) stylistically driven outcomes(design signatures) or the preoccupation to focus on theminutiae of detail (design as art).Fact: Design has been over active, we need to stop andthink and to return to considering what can design con-tribute, and find genuine ways to enhance the quality Do all ideas have to beof everyday life and add to the human experience. Timeout is required to rethink, profoundly. This is about re-examining our values and identity, and disregarding ourpreoccupation with the Brand, brand newness, and our made, andblind consumption for the ready, easy, cheap and deal-making. It is about reconnecting with emotional valueand relevance of well being in our everyday existence. masqueradedFact: Responsible design is not about doing nothing, butit’s about doing the right things.To create long term acquired value, instead of short-termgain and profit. To build a future on generosity instead as designof greed, about care and attention, about making a dif-ference rather than making more things!Fact: Design’s gloss and smoothness newness is a passing solutions?moment of gratification; the rest of the life of design isabout use and ageing, and being buffeted by life’s pro-gress. Buy new, toss the old and buy even more, should Tablebe about buying selectively, nurturing awareness and Gun bythinking do I need to buy again? Buying for self-ima- Philippege, driving the global economy is no longer sustainable Starckwhen markets are saturated, materials are depleted andhumanity is exploited.Fact: The Designer Lifestyle for a lot of people is nolonger acceptable buying afresh, the trendy and the un-necessary products of design, when people are starvingand without the basics of food shelter and resources,and we are overheating, blown by high winds and tidesand bloated by obesity and indulgence. Is it economi-cally, ecologically and socially justifiable? We are in factlonging for simplicity, time, and good karma. We needmodest, sound ideas, responsible producers, intelligentproducts, and consuming what we really need, ratherthan what we believe we want.The diagnosis is not making Design better, but makingDesign matter. Dyson vacuum cleaner
  8. 8. reconnecting with emotional value, and relevance of our well being in our everydayNingbo HistoricMuseumCulturally connected design existenceMaking Design matter should be about ‘mind over mat-ter’. Using our creative minds, our collective imagina-tion and ability to evolve human construction. The actof design is a truly powerful human intervention, but wemust do it lightly and we must think more coherentlybefore we act. All design should support or strengthenlife in one way or another. Design is no longer about the lifestyle, but the lifecycle. Everything that is man made is designed, so we can-Does design have a value if it does not favour the human not blame nature for overreacting or the current designcontext? Design remains an isolated foreign object when aware generation for poor quality. We must orientateit has no sense of belonging; it employs no reward and our endeavours towards understanding ambiguity andprocesses no genus loci. The best design has so often contradiction, embracing diversity over uniformity andmanaged to transfer social trends and lifestyle changes identifying inclusiveness, over exclusiveness.into successful responsive products and services. It doesso by holding onto a holistic perspective, which respects Designer Naoto Fukasawa speaks about this kind of de-humanistic values and cultural identity. sign ethic, in a recent interview: “I understand that my role is about enhancing our living…. I’ve become moreDesigns’ DNA needs to be reconfigured. Rather than attached to the current life, and have started conside-continue to focus its attention upon invention, innova- ring the betterment of our lives in a reality where we alltion, and enterprise, it should be reconciling the human belong, rather than predicting what could happen”. Thisstate and contributing humility, compassion, empathy interview displays Naoto’s interest in the act of livingand beauty. To transcend the norm, and to leave the the now. He puts his ear to the ground and listens. Heworld a better place than we found it. brings sensuality and ritual back into our lives.
  9. 9. We need new narratives to revalue our spiritual needs over and above our physical wants. The affective and our relationship to one another our space and habitat has to be re-learnt and shared. Whilst narratives allow for the past to be retold in the present, their presence is felt not in their completeness, but in their innate ability to re-contextualise and have relevance like a fairy tale that is lived through its telling over and over. To rethink design we need to enter our own ‘dreamtime’, like theto rethink Aborigines of Australia who revisit the land of their an- cestors, our collective cultural memory needs to listen to new narratives, take time to ponder and revalue our lives.design we “Aboriginals believe in two forms of time: two parallel streams of activity. One is the daily objective activity, the other is an infinite spiritual cycle, called dreamtime,need to more real than reality itself…”. Fred Alan Wolf The Drea- ming Universe 1994enterour own‘dreamtime‘ Aboriginal cave paintings
  10. 10. Design Care Kid incentive toysWhat meaning lies in recycling, durable materials, en-vironmentally friendly production and use, if the con-sumer does not discover, understand or care about theproduct, i.e. products are discarded and disregardedwhen still functioning? What makes us want to retainand keep certain objects (however worn and battered)while we throw away others without thinking twiceabout it? Is there a lesson to be learnt, and is there auseable formula for making Design matter more?Much of present design has become unresponsive in be-ing irresponsible and wasteful, disregarding traditionsand accumulative knowledge of the community. It hasinstead become a global language of the objectifiedadhoc, juxtaposition of hybridization, random customi-sation that has been still born, rendered obsolete as itsnewness is replaced by more newness. One is left withquestions without answers. Who understands this lang-uage? Is there a purpose? Do we need this Esperanto ofdesign? Can we afford this incoherency? What legacydoes this leave our children?Successful design thinking often manages to transforma problem into a solution, and permits confusion to be-come clarity, obstacles to be overcome. The better de-sign processes create order and effectiveness withoutaffecting the creativity and wit of the designer. It isabout cross pollination, and non-linear diversificationand converging given attributes into a transformativeresolution. These kinds of methods could create designthat unites the past with the present, balancing thesimple with the sophisticated and the discreet with thebold. Quite simply creating a new generation of designoutcomes that are founded on a holistic, sustainable,meaningful view. We need new storytellers.This is important factor, as timeless aesthetically appea-ling high quality products are rarely disguarded or endup in landfill. Is it not true that products or design thatretains integrity, an intuitive identity, and that speaksits story and moves us culturally, is prized over thou-sands of artefacts that pass through the journey of ourlives? Don’t most of us appreciate sensorial productsthat respond to our senses simultaneously. WhereasMcDonalds ’Happy Meals’ toys are the perfect exampleof simply products that lack a story to tell, have no sen-sorial reward and are unnecessary and soon to becomeunwanted.What legacy does thisleave our children?
  11. 11. Thousands of new chairs are launched annually at fur- niture fairs in Italy, Spain, Germany and Scandinavia, that are pure essays on a well-known themes and meetthousands of neither a real need nor distinguish themselves in an al- ready saturated market, which finds it hard to discern one design from another. Or furniture in general that does appear to enhance the home environment, butartefacts that expresses a designed anonymity that imitates design rather than contributes it. This is not about attacking the designers for their individual efforts, but it begs the question – do we really need another chair? One canpass through only conclude that this is about short term profits and novelty over substance. Of course, it is accepted that there must be fresh de-the journey velopment, and true innovation often occurs through a process of trail and error and experimentation, but must we release every version, variation, or accident, on a production process that makes for future health ha-of our lives zards, a surplus of products, or ill fitting outcomes that cause discomfort, fall apart at the seams and are not aesthetically rewarding? We need radical processes and to encourage genuine creative stimuli like art, theatre, cinema, new media, music and dance, that does not avoid asking awkward questions, that challenges our views on the world, that encourages new stories to be be enjoyed.
  12. 12. design is no longer about lifestyle, but lifecycle Composting bottleDesign IngenuityThe question is how to change old habits and not to per- resources in developing novel concepts and designs.”petuate the sales argument that the main role of designis added value. Design has a collective role to encounter The product philosophy Cradle to Cradle by architectand mediate change, to develop new communities and William McDonough and Prof. Braungart is another in-in the sense of philanthropic to give back to society, as teresting and plausible solution. It is based on designingan act of social entrepreneurism. The Danish producer with the help of nature products with the least possibleMater has been grappling with some of these questions. environmental affect that are degradable and after lifeThey have a deep desire to meet their social responsibi- use will become part of the ecosystem. Airplane ma-lities in combination with genuine design deep in their nufacturer Airbus has worked with applying this philo-genes. American designer Todd Bacher works with Mater sophy and has made seats that are completely degrada-and describes their collaboration like this; ble and hence cheaper because there is no end garbage“Working with Mater is a chance for a designer to con- to dispose of. We see a new area of ‘Bio-plastics’ thatnect with local artisans to exchange ideas. With globa- uses starch celluloses or lactic acid to replicate the na-lisation the world is losing indigenous crafts and skills, tural cycle. The products break back down into minerals,which is why an awareness of preserving such crafts is biomass, water and carbon dioxide. They are consideredincreasingly important. They are not only important ex- carbon neutral as they absorb as much as they relea-pressions of our cultural diversity; they also represent a se, and they have a growing applications in gardening,wealth of experiences and knowledge that are essential medical, packaging, consumer goods and catering.
  13. 13. Similarly, Tom Dixon’s china cups made out of pressed grass, Unilever’s plant derived icicle wrappers that melt at room temperature, the mono-use disposable plate UFO (Unidentified Feeding Object) designed by Andrea Ruggiero, Peepoo single-use toilet that is hygienic and biodegradable by Peepoople will afford basic sanitary revolution to billions of homeless, ill housed or disaster relief scenarios are other thought provoking examples. to transcend the norm, and to leave theMono-use disposableplate UFO world a better place than we found it Peepoo toilet
  14. 14. Kuntiqi a surfboard manufacturer in Ecuador, that goes back to the roots of surf board and rather than using polystyrene or polyurethane (which are made from mi- neral oil and intensive energy and are not biodegrada- ble) uses core balsa wood (Ocroma Pyramidale) that is fast growing and when laminated with 98% linseed oil is renewable and ecofriendly in production. Kuntiqi surfboards to be alchemists withcreativity and reduce the tide of contamination sowe can tell a new story to our children
  15. 15. Transformative DesignIn considering the ill patient, diagnosis, and possible say it is not of our doing, but to give and receive, to bemedicines designing for the 21st Century, the holistic open and accept, that the endeavour of design is notprocess provides a new field of applied design that of ‘what I did for you’, but ‘what we did for us’; it is thesuccessful innovation in a social context, where the em- humanitarian in us that speaks quietly from the heart,phasis is on ‘transformation’ utilizing the ingenuity of and not the that shouts from head, on the podium oftransdisciplinary design approaches to integrate creative design celebrity.thinking with dealing with the complexity and uncerta- But in adopting this stance we have to have time to de-inty of the near future, as far as we can know it. With sign holistically, to be proactive and not reactive, we embracing diversity over uniformity and identifying inclusiveness over exclusiveness Paper bags by Saskia Diezthe technique of Transdisciplinary Design, we can con- have to generate new communities of collaborators whoverge, share, and focus our collective and combine hu- use the power and influence of the new culture of in-man energies and knowledge in a fundamentally new dividuals to knowledge share, be intelligence, smart, tomanner, reconfiguring old elements in new ways and impact on models of consumption and to recalibrate theenlightening new problems with acquired wisdom and role and value of Design to a greater effect to tell nar-insight. ratives, to be clever with materials, to be alchemists with creativity and reduce the tide of contamination so we“It’s not where you take things from – its where you take can tell a new story to our children.them to“ Jean-Luc Goddad. “Now you have a duty to invent a new story, invent aIt is time for Design to take on the mantle of responsibi- new poetry!” Philippe Starck TED Dec 2007lity, not to ignore what is happening around us, not to
  16. 16. Building for Dutch power company Essent in Enschede,Holland. Architecture by de Architekten Cie Amsterdam,clad in blue and white Delft ceramic tiles with images bylegendary stencil graffitti artist Hugo Kaagman. invent a new poetry
  17. 17. OP-1 synthesizerto be alchemistswith creativity OP-1 is an all-in-one portable Synthesizer, Sampler and Controller. developed by Teenage Engineering. You can easily drag and drop audio files between your computer and the OP-1. The built-in Tape feature let you record anything you do on the OP-1. Everything is co- lour coded for a super intuitive and fast work flow. It has additional features like the FM Radio and a built-in motion sensor for pitch and bend effects.
  18. 18. the humanitarianin us that speaksquietly from theheart, not thatshouts from head,on the podium ofdesign celebrity Purifying white charcoal by Sort of Coal.
  19. 19. Our wind-up’The diagnosis is not making Design better, but makingDesign matter!’David Report about: of Design, Academy of the Arts Reykjavik Iceland, and isThis issue a regular speaker on UK Creativity , Innovation, Sensory, in Europe, Japan and Scandinavia.This issue of David Report is created by David Carlsonand Brent Richards. ServicesAbout David Report You can experience David Report live! We offer inspiring lectures, engaging workshops and interesting experienceThe David Report covers the intersection of design, cul- travels on certain themes. You and your team will beture and business life with a creative and humanistic able to experience our acclaimed and creative thinkingapproach. By challenging conventional thinking we are and interact around themes like ’Key design trends’, ’Fu-always trying to make a difference. ture Luxury’, ’Sustainable design’ and ’Rethinking design’ to mention a few. Our client list include companies likeAbout David Carlson Absolut vodka, Sony Ericsson, Audi, E.ON, Level vodka, Iittala and IKEA.Having worked with design as a competitive advantagefor more than twenty years David Carlson is renowned Sponsorfor his knowledge of strategies in design, communicationand brand development. David Carlson is a real design Sponsor David Report and you bring your message to anentrepreneur. Except for David Report he is the foun- influential audience in a global creative community in-der of the furniture and fashion brand David Design, the cluding designers, marketers, opinion-makers, industryknowledge company Designboost and the lifestyle store executives and creative entrepreneurs.Carlson Ahnell (recently crowned as one of the ten bestboutiques in the world by The Observer). David Report is an arena where the sponsor contribu- tes with sophisticated and highly relevant material. OurAbout Brent Richards readers are smart and proficient.Brent is multi award winning Chartered Architect and For more information about sponsorship opportunities,Designer , ex Dean of Design at Saint Martins, he has please send an e-mail at info@davidreport.com.Design Masters (Distinction) Saint Martins College Uni-versity of the Arts London. Brent has over twenty years Addressexperience a International Creative consultant and De-sign Mentor to major Corporations, SME ‘s and Academic David Report, Strandbadsvägen 2, SE-239 42 Falsterbo,Institutions. He is currently advisor to Barcelona Centre Sweden, info@davidreport.com, www.davidreport.com
  20. 20. the endeavourof design is not‘what I did foryou’, but ‘what we did for us’ Brent Richards