Daniel Charny

Page 1

>hello

Wednesday, 6 November 2013


REQUIEM OR RENAISSANCE?

Wednesday, 6 November 2013


Learning to teach design since 1992

Wednesday, 6 November 2013


Commissioning new work, talks, participative installations and events.

Wednesday, 6 November 2013


Experimenting with blended media: The Incidental a usg map-magazine for British Council (2009)

Wednesday, 6 November 2013


Gallery for contemporary design: a lab for experimenting with formats (2002-10)

Wednesday, 6 November 2013


Focus on Prototypes & Experiments: sketches, studies, mockups, feasibility, components...

Wednesday, 6 November 2013


Commissions drive new work. SuperContemporary (Design Museum 2009)

At the heart of the exhibition were fifteen commissions by David Adjaye, Ron Arad, Barber Osgerby, Neville Brody, Nigel Coates, Paul Cocksedge, Tom Dixon, El Ultimo Grito with Urban Salon, Kit Grover, Zaha Hadid, Industrial Facility, Thomas Heatherwick, Wayne Hemingway, Ross Phillips and Paul Smith. Wednesday, 6 November 2013


Wednesday, 6 November 2013


V&A + Crafts Council = Inspire future makers

Wednesday, 6 November 2013


BIGGER PICTURE... ATTITUDES TO MAKING

ON THE ONE HAND...

ON THE OTHER HAND...

Distance from production Reduced knowledge of materials Diminishing culture of mending Skills deterioration Craft knowledge erosion Mass customisation Abusive production Entrenched attitudes

Renewed interest in making Identity & belonging through participation Social & civic awakening Entrepreneurship Viable sustainable applications Post-disciplinary practice New modes of production & distribution

Wednesday, 6 November 2013


Attitudes to Making ON THE ONE HAND... Distance from production Reduced knowledge of materials Diminishing culture of mending Skills deterioration Craft knowledge erosion Mass customisation Abusive production Entrenched attitudes

Cargo Ships

Wednesday, 6 November 2013

Vegetables from Kenya in Tesco

Main containers shipping routes 2008


Attitudes to Making

Cargo Ships

Vegetables from Kenya in Tesco

“Fast’Oyster”, “Quick’asparagus”: Are you ready to eat anything ? French Sugar Campaign, 1990s

Nuclear Clothing Explosion Guerry de la Paz

Main containers shipping routes 2008

Dell Design Studio

Thomas Thwaites, Toaster Project

Primark - £1 Clothing

Nike

Wednesday, 6 November 2013


Attitudes to Making ON THE ONE HAND... Distance from production Reduced knowledge of materials Diminishing culture of mending Skills deterioration Craft knowledge erosion Mass customisation Abusive production Entrenched attitudes

Thomas Thwaites, Toaster Components

Wednesday, 6 November 2013

Thomas Thwaites, Toaster Project

“Fast’Oyster”, “Quick’asparagus”: Are you ready to eat anything ? French Sugar Campaign, 1990s


Attitudes to Making ON THE ONE HAND... Distance from production Reduced knowledge of materials Diminishing culture of mending Skills deterioration Craft knowledge erosion Mass customisation Abusive production Entrenched attitudes

Nuclear Clothing Explosion Guerry de la Paz

Wednesday, 6 November 2013

Discarded Sofa

Primark - ÂŁ1 Clothing


Attitudes to Making ON THE ONE HAND... Distance from production Reduced knowledge of materials Diminishing culture of mending Skills deterioration Craft knowledge erosion Mass customisation Abusive production Entrenched attitudes

Cooper

Wednesday, 6 November 2013

Dry Stone Wall Builder

Lacemaker


Attitudes to Making ON THE ONE HAND... Distance from production Reduced knowledge of materials Diminishing culture of mending Skills deterioration Craft knowledge erosion Mass customisation Abusive production Entrenched attitudes

Lack of control over labour conditions

Wednesday, 6 November 2013

Pacific Trash Vortex

Losing Elements to Mobile Phones


Attitudes to Making ON THE ONE HAND... Distance from production Reduced knowledge of materials Diminishing culture of mending Skills deterioration Craft knowledge erosion Mass customisation Abusive production Entrenched attitudes

The Glass Ceiling: Sexism in the office

Wednesday, 6 November 2013

Gender and Class Division

Hierarchical Divisions and Free Labour


Attitudes to Making ON THE OTHER HAND... Renewed interest in making Identity & belonging through participation Social & civic awakening Entrepreneurship Viable sustainable applications Post-disciplinary practice New modes of production & distribution

Maker Camp at Maker Faire

Wednesday, 6 November 2013

Tinker Space at Power of Making

Fab labs


Attitudes to Making ON THE OTHER HAND... Renewed interest in making Identity & belonging through participation Social & civic awakening Entrepreneurship Sustainable applications following years of discussion Post-disciplinary practice New modes of production & distribution

Dala Street Initiative

Wednesday, 6 November 2013

The Mobile Fab Lab

Karo Open Air Library


Attitudes to Making ON THE OTHER HAND... Renewed interest in making Identity & belonging through participation Social & civic awakening Entrepreneurship Viable sustainable applications Post-disciplinary practice New modes of production & distribution

Urban Picnic, Gareth Neal

Wednesday, 6 November 2013

Creative Little garden NYC

ColaLife Kit Yamoy


Attitudes to Making ON THE OTHER HAND... Renewed interest in making Identity & belonging through participation Social & civic awakening Entrepreneurship Viable sustainable applications Post-disciplinary practice New modes of production & distribution

Formlabs on kickstarter

Wednesday, 6 November 2013

Sugru

Little Printer BErg Cloud


Attitudes to Making ON THE OTHER HAND... Renewed interest in making Identity & belonging through participation Social & civic awakening Entrepreneurship Viable sustainable applications Post-disciplinary practice New modes of production & distribution

Fairphone

Wednesday, 6 November 2013

Wikihouse

DIY bio Wetlab


Attitudes to Making ON THE OTHER HAND... Renewed interest in making Identity & belonging through participation Social & civic awakening Entrepreneurship Sustainable applications following years of discussion Post-disciplinary practice New modes of production & distribution

ARDUINO

Wednesday, 6 November 2013

Shapeways

Tool-less production with 3d


Wednesday, 6 November 2013


KEY MESSAGES

1. Global nature of making 2. Stimulation 3. Wide ranging abilities & skills 4. Crossing disciplines 5. Continuum of knowledge 6. The value of makingÂ

Wednesday, 6 November 2013


Early research

Wednesday, 6 November 2013


Techniques and skills by ways of making SHAPING

SUBTRACTING

ADDING

Metal Spinning Pressing Embossing Moulding Ironing Hammering Beating Marbelling Folding Brading Knitting Knotting Throwing Glassblowing Casting Forging Stamping Rolling

Cutting Carving Whittling Wood turning Milling Polishing Sculpting Lathing Engraving Shearing Sanding Filing Tapping Sawing Routing Trimming

Building Layering Weaving Binding Riveting Soldering Beading Basket weaving Chiseling Marquetry Fretwork Hedge laying Dry Stone walling 3D Printing Welding Laminating

Steering committee 02 meeting 11.8.10

Wednesday, 6 November 2013


SKILLS Stages of developing skills (Dreyfus Model) 1. novice 2. advanced beginner 3. competent, 4. proficient 5. expert “In the novice stage, a person follows rules as given, without context, with no sense of responsibility beyond following the rules exactly. Competence develops when the individual develops organizing principles to quickly access the particular rules that are relevant to the specific task at hand; hence, competence is characterised by active decision making in choosing a course of action. Proficiency is shown by individuals who develop intuition to guide their decisions and devise their own rules to formulate plans. The progression is thus from rigid adherence to rules to an intuitive mode of reasoning based on tacit knowledge“ Note on sophistication in makers skill: 1. Situational (in reference to the field/technique/activity) 2. Holistic 3. Intuitive 4. Absorbed 29 Steering committee 01 meeting 29.06.10

Wednesday, 6 November 2013


IMAGINATION

”The creative thinker has to make a decision about their route without having the full information they need for the choice. This dilemma belongs to the essence of creativity.”

“Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.”

”Design concept of thinking is about hypothesis, about looking at situations in a different way...time and again you see that success comes to those that are willing to look for new ideas.”

ALBERT EINSTEIN ANTON EHRENZWEIG

Wednesday, 6 November 2013

EDWARD DE BONO


IMAGINATIVE USE OF SKILLS

Wednesday, 6 November 2013


EXPLORING THE EXHIBITION

Wednesday, 6 November 2013


EXPLORING THE EXHIBITION Power of Making is an exhibition about the breadth and depth of craft’s presence in modern life. The featured objects have been selected to highlight both age-old skills and contemporary techniques, from traditional stone walls to machines that can make other machines. Each exhibit demonstrates refined craftsmanship, meticulous control or ingenious application. The exhibition is structured in groups of objects that share certain attributes. Some have been created using related techniques or materials. Others are connected by their appearance, or by their makers’ motivations. There is no set path to follow. Power of Making is intended to encourage exploration and imagination, in the open-ended spirit of the works on display.

Wednesday, 6 November 2013


METICULOUS EXPRESSIVE INGENIOUS Wednesday, 6 November 2013


METICULOUS EXPRESSIVE INGENIOUS Wednesday, 6 November 2013


METICULOUS EXPRESSIVE INGENIOUS Wednesday, 6 November 2013


METICULOUS EXPRESSIVE INGENIOUS Wednesday, 6 November 2013


LEARNING A SKILL Most people can make something, at least at an amateur level, and many reach a professional standard. But there are many layers of expertise beyond that. It may take years to attain complete mastery. Too many people never get a chance to experience this level of making. At every stage in the learning process, a maker’s relationship to materials and tools changes dramatically. What may at first have been frustrating becomes pleasurable. Makers start to think through their materials and skills, almost unconsciously. Once they learn how to use and care for a tool, makers might start modifying it, or even invent a new tool to replace it. In all these ways, learning a skill is a way of opening up future possibilities and challenges.

Wednesday, 6 November 2013


SKILLED MAKING BENEFITS SOCIETY IN WAYS NOT OFTEN ACKNOWLEDGED IN THE MUSEUM

Wednesday, 6 November 2013


Wednesday, 6 November 2013


Wednesday, 6 November 2013


TYPES OF MAKING Makers use numerous different skills and techniques to shape their materials. All these techniques may be considered as falling into one of just three types. ADDING techniques connect, layer or combine materials. They include welding, veneering, weaving, embroidery and painting. SUBTRACTING techniques remove materials. They include cutting, carving, engraving, drilling and grinding. TRANSFORMING techniques alter materials them-selves. They include throwing clay, blowing glass, forging metal, and baking. The transformed states may be temporary or permanent. Irreversible transformations occur in processes like vacuum forming, stereolithography and casting. Every object in the exhibition was made by adding, subtracting or transforming material, or by combining these processes.

Wednesday, 6 November 2013


Wednesday, 6 November 2013


Wednesday, 6 November 2013


Wednesday, 6 November 2013


MAKING NEW KNOWLEDGE All knowledge about making was once new. Someone, sometime, had to formulate it. But there is a big difference between established, ‘traditional’ forms of making and those which are innovative. Both are crucially important, and both can be expressive, but they serve different purposes. Traditional ways of making have accumulated over generations. They are passed down from person to person, often through apprenticeships, and learned through repetition. Innovative making is less rehearsed, and may be less reliable. But it is more exploratory, with the potential to open up dramatic new directions. This can involve redirecting existing skills, or creating new ones from scratch. All knowledge, even the most traditional, can be new for any individual. But some knowledge is new to us all.

Wednesday, 6 November 2013


DATA > INFORMATION > KNOWLEDGE

Wednesday, 6 November 2013


DATA > INFORMATION > KNOWLEDGE > WISDOM

Wednesday, 6 November 2013


Wednesday, 6 November 2013


Wednesday, 6 November 2013


THINKING BY MAKING Many people think that craft is a matter of executing a preconceived form or idea, something that already exists in the mind or on paper. Yet making is also an active way of thinking, something which can be carried out with no particular goal in mind. In fact, this is a situation where innovation is very likely to occur. Even when making is experimental and open-ended, it observes rules. Craft always involves parameters, imposed by materials, tools, scale and the physical body of the maker. Sometimes in making, things go wrong. An unskilled maker, hitting the limits of their ability, might just stop. An expert, though, will find a way through the problem, constantly unfolding new possibilities within the process.

Wednesday, 6 November 2013


Wednesday, 6 November 2013


Wednesday, 6 November 2013


Wednesday, 6 November 2013


Wednesday, 6 November 2013


Wednesday, 6 November 2013


Essays: The Power of Making Daniel Miller 驶We must all turn to the crafts始 Professor Sir Christopher Frayling Action Not Words Martina Margetts Social Making Ele Carpenter The Making Revolution Professor Neil Gershenfeld in conversation with Daniel Charny The Future of Making Bruce Sterling Caption Poems Patricia Rodriguez

Wednesday, 6 November 2013


IN THE ZONE All knowledge about making was once new. Someone, sometime, had to formulate it. But there is a big difference between established, ‘traditional’ forms of making and those which are innovative. Both are crucially important, and both can be expressive, but they serve different purposes. Traditional ways of making have accumulated over generations. They are passed down from person to person, often through apprenticeships, and learned through repetition. Innovative making is less rehearsed, and may be less reliable. But it is more exploratory, with the potential to open up dramatic new directions. This can involve redirecting existing skills, or creating new ones from scratch. All knowledge, even the most traditional, can be new for any individual. But some knowledge is new to us all.

Wednesday, 6 November 2013


Wednesday, 6 November 2013


Wednesday, 6 November 2013


Power of Making, V&A Museum, London, 2012

Wednesday, 6 November 2013


Wednesday, 6 November 2013


Power of Making, V&A Museum, London, 2012

Wednesday, 6 November 2013


Power of Making, V&A Museum, London, 2012

Wednesday, 6 November 2013


Wednesday, 6 November 2013


Access > Engagement > Experience > Confidence

Power of Making, V&A Museum, London, 2012

Wednesday, 6 November 2013


example > principle > example> principle > example

Wednesday, 6 November 2013


Text

Wednesday, 6 November 2013


MAKING & OPEN DESIGN?

Wednesday, 6 November 2013


Pilots: Navigating Next Models of Design Education

Curated by El Ultimo Grito and David Falkner at the Stanley Picker Gallery, Kingston Univesity April 2013

Wednesday, 6 November 2013


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Pilots: Navigating Next Models of Design Education / Daniel Charny

Wednesday, 6 November 2013


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Pilots: Navigating Next Models of Design Education / Daniel Charny

Wednesday, 6 November 2013


WHAT IS THE POWER OF MAKING?

Making is the most powerful way that we solve problems, express ideas and shape our world. What and how we make defines who we are, and communicates who we want to be.

Wednesday, 6 November 2013


>thank you

Wednesday, 6 November 2013


Wednesday, 6 November 2013


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