Adaptive capacity, Design Activisim by Fuad-Luke, A

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  • According to Fuad-Luke, design is mostly understood, self-absorbed in its own culture and the main motivation for design was commercial interests. It has assured of its ubiquitous presence in consumers’ life and the prime role of it was to making material forms of these
  • According to Fuad-Luke, design is mostly understood, self-absorbed in its own culture and the main motivation for design was commercial interests. It has assured of its ubiquitous presence in consumers’ life and the prime role of it was to making material forms of these
  • According to Fuad-Luke, design is mostly understood, self-absorbed in its own culture and the main motivation for design was commercial interests. It has assured of its ubiquitous presence in consumers’ life and the prime role of it was to making material forms of these
  • “The ancients perceived the world as eternally existing self-renewing, whereas we perceive it as created and existing within temporal limits; that is, world is determined toward a specific purpose.” (pp. 30)Giedion states that rationalism, view that dominated the progress, closely bounded with this belief. Advance of science with the social progress and the perfectibility of man was the doctorine …
  • “The ancients perceived the world as eternally existing self-renewing, whereas we perceive it as created and existing within temporal limits; that is, world is determined toward a specific purpose.” (pp. 30)Giedion states that rationalism, view that dominated the progress, closely bounded with this belief. Advance of science with the social progress and the perfectibility of man was the doctorine …
  • “The ancients perceived the world as eternally existing self-renewing, whereas we perceive it as created and existing within temporal limits; that is, world is determined toward a specific purpose.” (pp. 30)Giedion states that rationalism, view that dominated the progress, closely bounded with this belief. Advance of science with the social progress and the perfectibility of man was the doctorine …
  • “The ancients perceived the world as eternally existing self-renewing, whereas we perceive it as created and existing within temporal limits; that is, world is determined toward a specific purpose.” (pp. 30)Giedion states that rationalism, view that dominated the progress, closely bounded with this belief. Advance of science with the social progress and the perfectibility of man was the doctorine …
  • Designners roles in detail. Solo, iconic designer
  • Where would those mootspaces be? Wherever they needed. He says, it does not matter the form of these spaces, they can be a chalk circle in the city square, or a mark in the sand beach.,they can occupy an existing building.
  • According to Fuad-Luke, design is mostly understood, self-absorbed in its own culture and the main motivation for design was commercial interests. It has assured of its ubiquitous presence in consumers’ life and the prime role of it was to making material forms of these
  • Adaptive capacity, Design Activisim by Fuad-Luke, A

    1. 1. Adaptive Capacity: Design as a Societal Strategy for Designing ‘Now’ and ‘Co-futuring’ Design Activism Luke Where Goes The Daily ID 501 Advanced Project Development in Industrial Design Middle East Technical University, Department of Industrial Design Alastair Fuad- Mert Kulaksız 4.03.2014
    2. 2. Maverick, solo designer or co-designer? ‘Heads are round so that thoughts can change direction.’ Francis Picabia “…design‟s supreme role has been, and continues to be, about giving form to the concurrent industrial, consumer and information economies, all connected within a greater globalized economy. Design makes the material forms of these economies culturally acceptable.”(pp. 187) information economy industrial economy consumer economy globalized economy currently design to form these economies
    3. 3. INTRODUCTION “This is not to say that design has been devoid of altruism for broader societal concerns. Nor has design totally ignored the effect of its materialized outcomes on nature. Yet, as we look at man-made artefacts, the built environment, and the manufacturing and public infrastructures, we are gazing on an aesthetic that represents collectively endorsed visions of „beauty‟ verified as economically viable.”(pp. 187) Many other visions of beauty simply do not make it to reality because they do not meet with the current culture of economics. “We need a new vision of beauty – we could call this beauty, „beautiful strangeness‟”(pp. 188)
    4. 4. INTRODUCTION is A Beauty that - - unusual intrigue with full of newness appeals to innate sense of curiosity more than skin deep envisioned, planned by society, not just by big business and governments serving and healing society‟s divides( around wealth, health, education, access to digital and other technologies) adaptable to future not „de-futuring‟ slowing down the economy and putting our energies into other societal values and measurables That is why design needs to take on a more activist role on behalf of society/ societies and the environment.
    5. 5. HPI is a measure of ecological efficiency delivering human well-being. Happy Planet Index (HPI) = Life Expectancy X Life Satisfaction Ecological Foot Print New Economic Foundation
    6. 6. Anticipating Democracy and “Countries at the top of the list may surprise: first is Vanuatu, the pacific island state, second is Colombia and third is Costa Rica, all blessed with good ecological capacity and populated with contented, long-lived peoples” “Clearly material development and wealth do not necessarily equate with subjective notions of a good or better life. Significantly, the NEF reports also indicate that higher social capital tends to exist where life satisfaction is highest.” “Building social capital and improving human well-being are therefore two mutual ambitions for design activism”
    7. 7. THE CREED OF PROGRESS Climate change will drive a dramatic reevaluation of local and regional biotic(living) assets because existing patterns of agriculture, water use, human habitation and biodiversity will change with rising global temperatures.
    8. 8. THE CREED OF PROGRESS” “Most countries will have to deeply consider their food, energy and water security in a more uncertain world” Plans for urban rooftop farming by William McDonough for China. . www.mcdonoughpartners.com
    9. 9. THE CREED OF PROGRESS” Cuba experienced radical shifts in land ownership, societal organization and application of . permaculture design thinking to reduce dependence on external synthetic inputs and by regenerating using nature‟s own ability to maintain levels of fertility. www.conspiracywiki.com
    10. 10. THE CREED OF PROGRESS” . www.en.Wikipedia.org BedZED, Beddington Zero Emission Development, new expressions in visions of productive urban Landscapes.
    11. 11. CONCLUSION are perceived by the public as possessing „natural‟ creativity Designers, like artists, and the boundary between these two creative agencies is pretty blurred. The vagueness with which the public perceive designers may be an advantage to the maverick, solo designer who wishes to gain the attention of the public by an act of design activism, since such an activity would be expected of artists. Each designer may find some projects are more easily pursued solo, whereas others are better suited to more participatory, co-design modes of work. For designers that already hold an „iconic‟ status in the profession, and with a wider public, they may bring effective leverage to solo maverick and participatory design projects.
    12. 12. Suzi Gablik, in her book The Re-enchantment of Art, „calls for an end to the alienation of artists and aesthetics from social values in a new interrelational, audience-oriented art‟.25 In the same way, design needs to enjoin with active citizens to co-create and co-design the new „now‟, the counter-narrative that points to a new directionality, towards sustaining that which genuinely sustains. We need a participatory democracy and proper spaces for it.
    13. 13. CONCLUSION Taking these living and past traditions suggests the notion of a new democratic space for design. Let‟s give it the designation „MootSpace‟ where every citizen (and citizen designer) knows their voice will be heard.(pp. 200) “Whatever form the „MootSpace‟ takes it should be a space that the group or community „owns‟, one where they can comfortably discourse and co-design their „now‟ and their future. Perhaps this is one arena where design activism will gather momentum to deliver participatory democracy, human flourishing and ecosystem renewal.”(pp. 200)
    14. 14. INTRODUCTION Could „accessibility to digital and other technologies‟ be a good concern for our project. How can the socially responsible design and its benefits can be made visible, to make them preferable. Can a digital platform provide a proper space like „Mootspace‟ can do. „…towards sustaining that which genuinely sustains.‟ What types of tools can be provided to society to evaluate the genuineness of Governments and big businesses.

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