2020 ISSUE 01
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ART & DESIGN ZINE
open space
contributors ALEX MACDONALD DAN HERRMANN-ZOLL HELENA TAYLOR JACK DEMPSTER JONATHAN PILOSOF LAURA HEBDON
LYNDE NGUYEN ROSS COCHRANE SIENNA GIRALDI STEPH WORBOYS TANYA HALDIPUR
Copyright Š 2020 by Design Re-Viewed. All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher and author(s).
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LETTER FROM THE EDITORS. Thank you for picking up our pilot of Design Re-viewed magazine! This project was born out of the economic impacts of COVID-19, which resulted in large numbers of creative individuals being forced out of work. We are committed to producing a long running dialogue of globally-relevant conversations between people working in creative backgrounds. We are delighted to say that this issue features eleven voices from four countries and a range of disciplines. The tumultuous circumstances caused by this pandemic are felt across the globe, and it is the aim of this issue to describe and interpret these new environments. We hope Design Re-Viewed kick-starts thought-provoking conversations and shifted perspectives. This is the first issue to investigate 4
disruption, and ask how open space has been affected. We hope you find this collection of ideas as exciting and inspiring as we have. We are delighted with the outcome and can’t wait for our next issue of Design Re-Viewed.
THE EDITORS Jonathan Pilosof Laura Hebdon Alex Macdonald Callum Campbell Tanya Haldipur
2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
ISSUE 001 open space From the great Grecian agoras to Chicago’s Millennium Park, the public space has been bestowed with cultural significance through generations of performative activity and engagement1. Whether evident in USA civil rights marches, Tienanmen Square political demonstrations or Trafalgar Square art installations, each space has empowered citizens with a collective heritage, acknowledged through shared memory and identity2.
exchange. In 2020, the public realm is dominated by a new set of codes; maintaining a physical distance from each other. With our utilisation of the agora changed overnight, how is space reinterpreted as a result of the behavioural upheaval that SARS-COV-2 has caused? If - in the future- public space presents a threat to livelihood, can space be adapted to facilitate safety; or must we change our behaviour to inject life back into our cities?
Open space is therefore understood as the communally owned outlet of social
1 Cosgrove, Denis. “Heritage and History: A Venetian Geography Lesson.” London, 2003 2 Garcia-Fuentes, Michael A. Di Giovine & Josep-Maria. “Sites of Pilgrimage, Sites of Heritage.” 2016 3 Disinfectant is sprayed to prevent the spread of COVID-19, South Korea, Feb. 27, 2020 (Lee Moo-ryul/Newsis via AP)
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CONTRIBUTORS
at a glance
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Alex Macdonald
74 Conclusions
14 Dan Herrmann-Zoll
76 Get Involved
FENCED IN.
THE NEW DIGITAL ORDER.
20 Helena Taylor
A PUBLIC DISPLAY OF INFECTION.
26 Jack Dempster
SOCIAL SOCIAL DISTANCING.
32 Jonathan Pilosof
DANGER IN PROXIMITY.
38 Laura Hebdon NOLLI + CROSSES.
44 Lynde Nguyen URBAN SNEEZE.
50 Ross Cochrane
RECYCLING REFILLING REDESIGNING.
56 Sienna Giraldi
UNPRECEDENTED TOGETHER (IN) ALONE TIMES.
62 Steph Worboys THRESHOLD SPACE.
68 Tanya Haldipur
WHEN LIFE GIVES YOU LEMONS.
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
FENCED IN.
ALEX MACDONALD, MELBOURNE / AUSTRALIA
COVID has swallowed our old, presumably ‘normal’ lives and spat out a new, congealed way of relating to the world around us. Our once public spaces; our squares, our parks, our streets and our trains have become zones of danger and uncertainty. As we refuge in our homes, retreating from the world around us, how have we adapted them to allow people back in? From zoom cocktails hours transforming our living rooms into virtual bars, to front porches becoming our safely-distanced zones of speaking to neighbours, our home has had to be reborn to function as so much more.
THE AUTHOR Alex is an Architectural Graduate, living, breathing, making and working in Melbourne, Australia. She is interested in the power of generous public space.
image by the author
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FENCED IN The fence is a form that dictates ownership, a boundary between us and them, public and private. In COVID-19, when the public realm feels so brutal, it provides a sense of security and a clear measure of ‘the social’ distance. It allows neighbors to share drinks, family members to meet and drop off care packages. When everyone has retreated to their homes, it becomes the fine threshold of where you can interact with the outside world.
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
PARK INTERACTIVES Dunne and Raby’s ‘Park Interactives’ plays with the domestic scale in public space. It blurs the boundary between public and private and questions what is appropriate within it. The gardens are treated like rooms, with household products placed in a new context to and suggest how these once neutral spaces could be used. Their works unearth how ordinary objects, such as tissues boxes, coat hooks and tables can hint at illicit activities. This disruption of what was once a ‘safe’ space provokes the viewer to reframe how they relate to the public space around them.
Park Interactives by Dunne And Raby. Image reference: http://dunneandraby.co.uk/content/ projects/277/0
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
THE NEW DIGITAL ORDER.
DAN HERRMANN-ZOLL , MELBOURNE / AUSTRALIA
In a time of pandemic and panic, our experience of open spaces and personal freedom has changed rapidly. As a shift occurs from traditional physical interactions in open spaces, to online interaction with people in closed spaces. Are our personal spaces becoming our ‘open spaces’? With a divided public on the changes to our new way of living, how will we adapt to the restricted movements? Will there be a swap to digital currencies over traditional systems?
THE AUTHOR Daniel Herrmann-Zoll is a Melbourne based commercial still life photographer. His work is largely studio based and consists of artificial, constructed set builds.
image by the author
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
V FOR VENDETTA In the film V for Vendetta people live in a carefully controlled society. Totalitarianism leads to anarchy creating communities and democratic decision making. Today the Guy Fawkes mask is synonymous with revolution and challenging authority. In particular it is associated with online hacktivist group ‘Anonymous’ known for cyber attacks against governments and religious groups. Bitcoin is a decentralised digital currency some people argue we no longer need physical currency or banks with payment chips built into smart phones and watches.
V for Vendetta still (2005): https://m.media-amazon.com/images/M/MV5BMzA5NTcwNjUxNl5BMl5BanBnXkFtZTcwMDc2ODEyMw@@._V1_SY1000_CR0,0,1493,1000_AL_.jpg
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Original PhotographRobert Doisneau The Kiss in Front of City Hall 1950
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Based in the Zurich, Switz is an Archite Entrepreneu Managemen working in m for a Swiss lu manufacture
2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
A PUBLIC DISPLAY OF INFECTION. HELENA TAYLOR, ZURICH / SWITZERLAND
Socially connected, physically distanced how may the world of new love look, as we begin to return to life as abnormal?
THE AUTHOR Based in the countryside near Zurich in Switzerland, Helena is an Architectural designer turned entrepreneur and business Management graduate, currently working in merchandising for a Swiss luxury skincare manufacturer. Original Photograph- Robert Doisneau: The Kiss in Front of City Hall 1950
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Unsure how her first physical distancing date would rendition of helicoptering was equally as thrilli parlo
d go, Mary was impressed to find that Michael’s new ing and even socially acceptable at the milkshake lour.
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
EMPEROR SHENZONG (1048–1085) Physical distancing head-ware is no novel idea - the headpiece shown in this image was the official head-ware of the Song Dynasty. These stiff, thin flaps reaching almost a metre each, were designed by Emperor Taizu, in order maintain distance between officials, and prevent them from whispering to one-another. The helicopter inspired headpiece follows the same basic principle of the Song Dynasty head-ware, but uses the existing technology of a rotating blade, to ensure 360 degree cover.
Anonymous court painter - Emperor Shenzong of Song. National Palace Museum, Taipei: https://upload.wikimedia.org/wikipedia/commons/3/31/Shenzong_of_Song.jpg
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
SOCIAL SOCIAL DISTANCING.
JACK DEMPSTER, LONDON / UK
Stay at home and stay safe, the establishment of distance for many is a stem of loneliness leading to anxiety, despair, and depression. Mental health once again shows its fragility and the ease by which it can be ignored due to its abstract nature. How can people communicate in a natural analogue manner? There is a need to reinstate personal relationships in our newly undesirable and uninhabitable public space providing the happiness that correlates so deeply with human connection.
THE AUTHOR Jack is a Part II Architectural Assistant working on master planning and social housing projects in London following a master’s degree in Architecture with Urban Planning at the University of Dundee. image by the author
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Fulfilment, purpose, satisfaction. Do we take pleasure in life because of achievements or activities? Ignoring the potential for existential crisis, underneath all we do what is the point? An Unrhetorical genuine question on why as a population we bother. After all it is possible to find delight in lives of the poorest in society, in the handicapped and even the sick but to be unloved and friendless is seen as the ultimate signifier of human self worth1. Solitary isolation and social distancing, the former may be a punishment but only the conspiracy theorists can deny the latter is for the benefit of our society. For the lucky amongst us it has meant an indeterminate amount of time pretending to work from our kitchens amongst family while the Corona Virus is an event which occurs in the ignorable outside world. For some though trapped alone in flats, the pub stops, coffee shop chats and societies were an outlet to real human connection. Prosthetic interaction via the internet is an emaciated source of contact. Body language, the meeting of the eyes, a sense of proximity are all as much a part of our relationships as listening to a voice. We may be able to see one another but we are not connecting and when it is patently important to stay apart how can this be achieved?
Theorised is an installation for public spaces whereby friends, families or even lonely strangers can visit and talk to one other. From a distance analogue mirrors and lenses carry the image much as a weak telescope or projection microscope would. Sound is transferred through tubes as you may find at a childrens park. The desired conclusion is a device which mimics face to face contact without the need for digitisation. Public space is again returned to its status as a meeting place and the ritual of leaving the house and gathering can be safely retrieved. 1. [Internet]. Psycnet.apa.org. 2020 [cited 10 May 2020]. Available from: https://psycnet. apa.org/record/1981-24754-001
The image travels between lenses and two prisms which are coupled, as in a set of binoculars, to erect the image completely.
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
REMOTE FURNITURE This Japanese installation aimed to connect people in public spaces using interactive art and digital interfaces. It does so through two rocking chairs which work in tandem with one another creating a playful and tactile connection as the users realise their link. While the technology behind this may be innovative, the relationship formed is the spark of joy that makes this successful. Although designed for pre-Corona Virus spaces to bring together shy members of society the nature of its purpose could very well be applied to current day situations.
Image reference: Remote Furniture: Interactive Art Installation for Public Space. http:// netzspannung.org/cat/servlet/CatServlet/$files/72043/df3_9.jpg
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
DISCOMFORT IN PROXIMITY.
JONATHAN PILOSOF, AUCKLAND / NEW ZEALAND
The focus of this study is to explore how the WHO-recommended two metre physical distancing guidance could be spatially manifested, or literally realised. In April 2020, the New Zealand government relaxed pandemic lock-down rules to permit some business activity. One weekend spent documenting Aucklanders’ isolation-outings, and some superimposed Zorbs, asks: What is the easiest way to visualise an enforced physical distancing required to return to open spaces?
THE AUTHOR Jonathan is an designer living in New Zealand. Graduating with a BA in architecture in 2018, he will be commencing a masters degree in architecture in September 2020. He is an editor of Design Re-Viewed magazine. image by the author
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PANDEMIC PUBLIC EFFO For many privileged young people - myself included - this disruption to open spaces is as close to societal upheaval as we have experienced. Our situation is scary; how do we encourage distancing whilst ensuring the outlook isn’t all doom and gloom. British war-time media efforts emphasised that every citizen needs to ‘do their bit’. These visuals examine one such method of visualising sufficient physical distancing through the adoption of the humble zorb. The zorb implies a false sense of security; masked by it’s playful origins. could we imagine zorb
fights erupting in the streets? during a time of intense personal scrutiny and fear, the joy of wearing a zorb could encourage the wearing of a defence shield. no-one could argue that applying hand sanitiser is ‘fun’. The zorb is surely not a long-term replacement for adequate global vaccination, but it poses an interesting question: just because protection is serious, does that mean it can’t also be funny? Encouraging the safe practice of open space is a vital method to educate the public and minimise disruption.
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words and images by jonathan pilosof
‘just because protection is serious, does that mean it can’t also be fun?’
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
ABRAMOVIC: IMPONDERABILIA In 2018, London’s Royal Academy of the Arts restaged the 1977 Marina Abramović work Imponderabilia; featuring two nude performance artists. When passing through the doorway, the piece asks us: should I turn to the face the woman or the man?; which is less uncomfortable?; which am I expected to do?; which do I feel more comfortable doing?. In the context of proximity on the perceived ‘unsafe’ streets, Abramović’s evokes the same uncomfortable proximities.
Marina Abramovic and Ulay, Imponderabilia, 1977, re-performed during ‘Marina Abramovic The Cleaner’, Palazzo Strozzi, September 2018. Courtesy: Getty Images; photograph: Laura Lezza
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NOLLI + CROSSES.
LAURA HEBDON, AUCKLAND / NEW ZEALAND
The study proposes an urban manifesto for a more pandemic prepared city; rethinking the realities of public space. It is becoming clear that some cities are better equipped than others. In the wake of lock-down, the ‘open space’ of the city transformed overnight. The poche space of the urban texture suddenly got a whole lot darker. Pathways marked out in the form of crosses on the floor. So, that’s what 2m looks like? How can the perception of distance be integrated within the public realm rather than reliant upon post-application?
THE AUTHOR Laura Hebdon is an architectural designer with experience working on projects in the UK, Australia and New Zealand. Laura enjoys working with existing structures, conservation and sustainable conscientious design. image by the author
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
LEARNING FROM LAS VEGAS The book by Venturi and Scott Brown interrogates the urban structure of Las Vegas’ strip through a series of figure-ground studies. Highlighting the symbolic association and architectural significance of signage in the architecture and modern urban design of Las Vegas. Interpreting these ideas, the Nolli and Crosses study observes the impact of COVID 19’s lock-down measures on a popular urban thoroughfare in Auckland City. Drawing further parallels to the symbolic nature of crosses to health as a means of visualising distance in light of a global pandemic.
Mapping Las Vegas by Robert Venturi & Denise Scott Brown. Image reference: http://predmet. fa.uni-lj.si/siwinds/s2/u3/su4/s2_u3_su4_p1_2.htm
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
URBAN SNEEZE.
LYNDE NGUYEN, MELBOURNE / AUSTRALIA
A sneeze leaves airborne traces lasting scientifically for 3 hours. How do we know what to avoid when we’re in a public space? Our streets can be curated into segregated pathways allowing for the occasional sneeze to occur onto an ‘urban object’ instead. Urban objects frame the walkable space thereby the pathways within are the ideal sterile zone for walking.
THE AUTHOR Lynde is a designer and Architect based in Melbourne, Australia. She observes culture through the urban fabric, and is interested in space affecting behaviour and expresses this in photography and illustrations. 1 High-speed images of a sneeze recorded at 1,000 frames per second: a) 0.006, b) 0.029, c) 0.106, d) 0.161, e) 0.222, and f) 0.341 seconds. Image by L. Bourouiba, MIT https://www. nationalgeographic.com/science/2020/04/coronavirus-covid-sneeze-fluid-dynamics-in-photos/
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^ Before disruption
^ After disruption
^ Plan view of 1.5m radius distance
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
DONALD JUDD Removing the road from the street, transforming the street into a public realm, expands the footprint for compositions of urban objects. Donald Judd, an artist using sculptural geometry of raw industrial objects within exhibitive contexts, confronts viewers on sheer object-hood in space. This minimalist language of objects in effect, define space. Through one’s body, one will see avoidance cues and one will question the use of an already congested footpath. Might this be a way to remove cars on unnecessary streets in the new world?
Image of Donald Judd work at Chinati Foundation, US in 1986, Photo by Ake E: Son Lindman https://divisare.com/projects/409804-donald-judd-ake-e-son-lindman-chinati-foundationphoto-essay-by-ake-e-son-lindman
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
RECYCLING REFILLING REDESIGNING. ROSS COCHRANE, HONG KONG / HKG What if each Hong Kong resident has their own park bench? swing? zone? There would be no need to worry about social distancing, interaction or a simple sneeze. Sounds crazy? Well, 7.4 million Hong Kong-ers discarded 12 billion plastic bottles of water across 10 years in the city! Why if we cannot recycle them? Or refill them? Do we not redesign them? Make use of single self-structured modules to produce a life beyond its plastic origin?
THE AUTHOR Ross will say he is a creative realist. He has the creative ideas to reuse all-sorts while the realisation he has just hoarded 100 plastic bottles. Currently an architectural designer hoping to sit his RIBA part 3, 2021. image by the author
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PLASTICBOTTLE ‘ Even A Bottle Wants To Be Something’
ENDLESS information
It takes 1.32 litres of water to produce one litre of bottled water
90% of the cost of bottled water is the bottle itself. Plastic bottles can take 450 years or more to break down and decompose. Some estimates push that number closer to 1,000 years.
F A C T : Plastic is everywhere. Every day, about
one megaton more is produced, enough to make almost 22 trillion water bottles and more than 90 percent of that will never see the inside of a recycling plant .
Hong Kong throws away 5.2 million bottles a day.
By 2030, an estimated 111 million metric tons of used plastic will need to be buried or recycled somewhere else—or not manufactured at all.
China’s consumption of bottled water makes up nearly a quarter of global demand.
E X P L O R A T I O N : Creating the image on the left, draws from the inspiration of “SUPERSTUDIO”. An architectural group which began to respond with startical images of what the group saw as a capitalist tendency to disrupt the balance between urbanism and ecology. Last year 480 billion plastic drinking bottles were sold across the world – 65 bottles per person at the time – up from 300 billion a decade earlier. If placed end to end, this would reach halfway to the sun. One million plastic bottled drinks are bought around the world every minute.
P R E C E D E N T : Pavilion structure with I-CONO. Made of 2500 plastic bottles and standing a little over 21 feet high, the project reflects on the public’s interaction with architecture and the city.
It takes three times the water to make the bottle as it does to fill it
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
RUBBISH REDESIGN A social gather was never designed with distance in mind. A Public Space was never designed with Landfill in mind. A Plastic Bottle was never designed with recycling in mind. With a lifespan that rivals that of a brick: we have components that last 400-500 years. Instead of recycling bins; public zones of construction. With the environmental mortar of the plastic world. Each individual can be adapting space as quickly as they purchased the plastic bottle. Redesigning is Recycling.
Plastic Pavilion dazzles in Mexico City: https://archinect.com/news/article/150117157/a-plastic-pavilion-dazzles-in-mexico-city-through-innovation-and-discourse
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
UNPRECEDENTED TOGETHER (IN) ALONE TIMES. SIENNA GIRALDI, MELBOURNE / AUSTRALIA Tragedy and shock create something beautiful in public space; they give us the license to collapse socialis(ed) distance and provide a rare intimacy in some of the most hostile urban environments. While COVID-19 has provided that license for conversation and care, it has simultaneously introduced a collective suspicion and judgment of behaviour—while exacerbating our respective pods of solitude or couple-hood (platonic and romantic). How will this duality of connection and solitude, myopia and worldliness, play out in future public interactions?
THE AUTHOR Sienna Giraldi moved to Melbourne from NYC in 2018 after finishing her BA at Brown University. She is a Brand and UX Strategist, and eternally obsessed with the power of human stories.
image by the author
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
ODE ON A GRECIAN URN “Ode on a Grecian Urn” by John Keats is my all time favourite poem. I love it because it so aptly describes the contradiction of pleasure: the euphoria of its presence and the devastation of its impermanence. It’s not only this nuanced revision of ‘good things’ but the poem’s articulation of public space (as a collection of individual, adjacent and occasionally competing experiences strung together by either commonality or coincidence) on which I’ve based my analysis of disruption.
Ode on a Grecian Urn drawing. John Keats (1795-1821): https://www.flickr.com/photos/ litmuse/64111434/
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THRESHOLD SPACE.
STEPH WORBOYS, MELBOURNE / AUSTRALIA
As designers, we should be constantly thinking ahead for how our current events can shape the way we design in and for the future. COVID-19 has changed the way we behave in public. The semi public / semi private spaces have been used as a safe connection to the outside world for many people globally. It makes the outside world seem a slightly less frightening during these times when we can engage with our community from the comfort and security of our balconies, verandas, driveways, porches and windows.
THE AUTHOR Steph Worboys is a practicing architect and university tutor in Melbourne. To Steph, the ways in which social issues and events act as a drivers for architecture and design are fundamental to the decisions she makes as a designer.
image by the author
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THRESHOLD
S PAC E For many of us in our mid 20’s and early 30’s, there’s a great appeal in sacrificing the amount of private space we occupy to be able to afford living in inner city urban areas where in return we get a lifestyle rich with cafes & restaurants, bars & pubs, libraries, parks, art galleries and theaters. Up until about March this year, living in a small run down houses seemed worth the trade off when we typically spend most of our time out of the house. Two months deep into our COVID-19 adjusted lifestyles, we are starting to question our value systems towards public and private space. Public realms which use to encourage social interaction and a sense of freedom have turned into an anxiety provoking, plastic tape ridden spaces of necessity. The virus has inflicted a shift in the urban typology which puts into question our traditional values towards public and private space and how we design for them. Nobody knows for sure what long term or permanent changes COVID-19 will have on our public and private realms, but as designers we start to question and assess what the world was like before COVID-19 and what it will be like after. As post-lockdown cities are starting to emerge, we are more cautious and aware of how we engage and behave outside of our private homes. One thing that is started to become apparent is that the virus is starting to redefine our relationship with public and private space. Will we start to place more importance on our semi private / semi public spaces such as verandas, balconies, porches and driveways? Have we in the past under estimated these spaces as ‘secondary’ or ‘nice to have’ extensions of our private worlds into the public realm? During the virus, these threshold spaces have helped us engage with the outside world whilst feeling the security of our safe quarantined sanctuaries. We can only speculate on what the future holds for how we treat and design public and private space post COVID-19, however I believe now is a time to reconsider blurring the boundaries between public and private and reconsidering the importance of what sits in between.
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2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
WALLS AS ROOMS Whilst they are predominantly viewed as a defence mechanism against invaders, some of the fortified churches which sprawled all over the Transylvania region during the XII century started to re-imagine how we can inhabit our boundaries between private and public space. Similarly, our verandas, balconies, porches and driveways have acted as a connection to the outside world whilst we can control our environments to protect us from the virus. I think we need to reconsider the threshold spaces between our private and public spaces and the opportunities they offer us to transition from the comforts of our homes to our public realms.
Copsa Marae fortified church architectural drawings. Image reference: https://raoulpop. com/2018/03/23/the-fortified-church-in-copsa-mare/
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WHEN LIFE GIVES YOU LEMONS. TANYA HALDIPUR, AUCKLAND / NEW ZEALAND
In New Zealand, the COVID-lock-down has been lifted and its effects are easing. We should ask ourselves, do we go back to our old ways or do we carry forward the lessons learnt and build a better future? With its relatively small population density, New Zealand has an opportunity to redesign its growing cities in a way that preserves its natural landscapes. If a post-virus world is one of increased self-sufficiency can a larger public realm be redesigned to encourage localised production whilst simultaneously mobilising an unemployed population?
THE AUTHOR Tanya is an architectural designer, currently living in New Zealand. Her interest lies in well-considered designs that are healing, stimulating and accessible to all.
image by the author
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THE FIFTH SACRED THING In the post-apocalyptic book “The Fifth sacred thing” author and environmental activist, Starhawk, portrays how a community, fractured by an epidemic, heals through the rebuilding of its city as “a place of riotous flowers, climbing vines, and trees... heavy with ripening fruit”. The book explores themes of permaculture and, albeit utopian, raises an important question, that is fitting in a post COVID-19 world: when a mass event results in the collapse of an unsustainable civilisation, can a new regenerative approach be the new way forward?
Starhawk., 1994. The Fifth Sacred Thing. New York: Bantam Books, p.1.
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EDITORS’ CONCLUSIONS. Globally the issues surrounding COVID 19 have impacted the way we use space in many different ways; you need only flick through this magazine to observe how. Our ways of thinking about space have changed. Whether this is a permanent change or a short disturbance from life as we know it, we are yet to find out. This issue captures the impacts and ideas of designers across the world. In the event of an emergency global pandemic, time moves against us, actions are required to be both educated and instant. Many of the impacts being tackled are unprecedented and as a result a procedure of trial and error can only be adopted. As we continue to observe and react to the impacts, the following issues will progress to capture and interpret these. To conclude the first issue in this magazine series, Design Re-Viewed’s ambition is to make relevant and contemporary design thinking accessible across different disciplines and cultures. As we move into our next issue we look for more ideas that reflect the strong impact designers have within society to react and start to solve real issues.
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open space
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GET INVOLVED. Hello designers, thinkers and readers alike! The intention behind Design Re-viewed is to be guided by current events that are universally relevant. The hope is that with an international range of voices - we can get a varied dialogue that reinterprets design ideas in a succinct and thoughtful way.
Get involved! We are therefore looking for contributors from all backgrounds; we want to approach design through a wide lens because we believe the greatest conversations are often multidisciplinary! If you have a great idea for a future contribution, issue or collaboration, we would love to hear from you!
Sponsor us! Within this magazine, we are keen to highlight businesses and individuals that share a similar ethos to us. By sponsoring an independent magazine like Design Re-viewed, you can be a part of a pioneering mission to explore some of the more
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significant issues that will affect designers in the years to come. If you are interested in getting involved or sponsoring the magazine, please get in touch at:
designreviewed@gmail.com
2020 ISSUE 001 series: PANDEMIC DISRUPTION topic: open space
? What is
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Design Re-Viewed is guided by 3 main principles; striving to make relevant and contemporary design thinking accessible across disciplines and cultures. We aim to: 1. be guided by relevant real-world events based on international commonalities between designers, ensuring discussions are contemporary and important; 2. be presenting design ideas in a way that is succinct, legible and tangible, so that we can facilitate a common dialogue; 3. empower all voices who have an idea they want to share.
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back cover: Workers wearing protective gears disinfect as a precaution against the new coronavirus at the subway station in Seoul, South Korea on March 11, 2020. (Kim Sun-woong/ Newsis via AP)
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