Hands, 2017, Design Management: An Essential Handbook, p. 141-169
Design observes, synthesizes, generates, analyzes and evaluates hypothetical possibilities and outcomes of that process. Therefore, the understanding and application of design varies according to the historical and sociocultural conditions of the context studied.
Designers and design scholars have always understood that
there is an obvious kinship between design, innovation, and newness
Yelavich, S., & Adams, B. 2014, Design as Future-Making, p. 9
design is a natural ally of futurity
Design and temporality can be seen as coproductive, and design can reopen the dialogue between memory, futurity, and newness, rather than serving as a mere mirror of commodified duration.
Designers act as mediators. Yelavich, S., & Adams, B. 2014, Design as Future-Making, p. 23
Anthony Dunne and Fiona Raby, Technological Dreams Series
Mediators are fundamental. Creation is all about mediators. Without them, nothing happens.
Every designer must be a hacker of sorts, mashing together whatever it takes to bring blurry, partially defined concepts into sharp focus.
Designer as a...
Brito, D., The Digital Designer of the Future, designerfund. com
Facilitator to facilitate others in refining and transmitting their own ideas.
Steward to be a steward of user-centered creative process. We should be ambassadors for empathy and creativity.
Connoisseur to maintain and promote a high standard of quality.
Design and designrelated experiments are propelling us further and further into the unknown.
James Chambers designed a line of speculative products that allow users to act out aggressive inclinations by hurting objects designed for the purpose.
design, designer, designed object are redefined through new understandings of the relationship between the material and immaterial aspects of design.
Yelavich, S., & Adams, B. 2014, Design as Future-Making, p. 25
Revital Cohen's interface lets users take out their frustrations on their computers with mouse clicks until the screen bruises or bleeds.
By looking at the future less as an abstract topology and more as an embedded property of the life of Yelavich, S., & Adams, B. 2014, Design as Future-Making, p. 10,11
things, space appears in this volume as a "fold" within time, as a medium shapes, and is shaped by, temporal processes.
Looking both ways at once, design can open up a new ethics of thingness. Design thus emerges as a mediator of the relationship between space and time and not just as a manipulator of the temporality of things.
A fully reactive interior could could could could could could could could could could watch how our pupils dilate watch watch watch watch watch watch watch watch watch and glean information from our scent watch glean watch glean watch glean watch glean watch glean watch glean watch to adjust temperature, light and sound levels adjust adjust adjust adjust adjust adjust adjust adjust adjust adjust adjust adjust adjust adjust adjust adjust
monitor our body temperature, monitor monitor monitor monitor monitor monitor monitor monitor monitor monitor monitor monitor monitor monitor monitor monitor monitor monitor automatically automatically automatically automatically automatically automatically automatically automatically automatically automatically automatically automatically automatically automatically automatically automatically automatically automatically automatically
Quinn, B., 2011, Design Futures, p. 162
and and and and and and and and and and and and and and and and and and and
constantly constantly constantly constantly constantly constantly constantly constantly constantly constantly constantly constantly constantly constantly constantly constantly constantly constantly constantly adapt them to our needs. adapt adapt adapt adapt adapt
Quinn, B., 2011, Design Futures, p. 162
In the future we should live in our interiors in a symbiotic way, just as we live in the skin and organs of our bodies. - Mathieu Lehanneur, a Paris-based Interior designer who specializes in sensory design.
The effects will be widespread but pernicious. We might as well inject ourselves into the Internet of Things.The Internet of Things will demand–and we will give willingly– our souls. - Peter R Jacoby, a college professor.
Quinn, B., 2011, Design Futures, p. 162
The design disciplines are undergoing a historic transformation
Under these circumstances, new branches of design practice have emerged.
Jurgen Mayer, thermochromic bed liner
Yelavich, S., & Adams, B. 2014, Design as Future-Making, p. 9
They combine old-fashioned attention to form, function, and meaning,with focus the exchange of content and affect between user and used.
Interface and interaction design, which is sometimes brought under the more generic and functionalist rubric of user-experience delineates the behavior of products and systems, as well as the experience that people will have with them.
Yelavich, S., & Adams, B. 2014, Design as Future-Making, p. 9
Communication design focuses on delivering messages, and it encompasses more graphic design, signage, and communicative objects of all kinds, from printed materials to threedimensional and digital products.
Information or visualization design includes maps, diagrams, and visualization tools that filter and make sense of the enormous amount of information that is more widely available than ever before.
Critical design is one of the most promising and far-reaching new areas of study, using conceptual scenarios built around hypothetical objects to comment on the social, political, and cultural consequences of new technologies and behaviors. Its disciples are experts in "What if?"
Ben Rubin and Mark Hansen's Listening Post installation at the Whitney Museum of American Art.
This is a time of big change in the definition of design, because all kinds of creative activities–art, design and architecture–are discussed in the same voice.
The i a wel used etern infin
The widespread use of the internet is a factor in sharing and circulating ideas among the creative disciplines.
internet is like ll, used but never up. It is like the nal void filled with nite possibilities. Quinn, B., 2011, Design Futures, p. 162
I hope that we can build a future based on the creations of our past.
- Tokujin Yoshioka, a Japanese product designer.
Antonelli, P., 2011, Talk to Me, Design and the Communication between People and Objects, p. 5
Antonelli, P., 2011, Talk to Me, Design and the Communication between People and Objects, p. 8
Designers are aware that we live a participatory culture, in which we all contribute and feel socially connected, living increasingly creative lives.
One cannot not communicate.
Any kind of gesture, behavior or attitude can and will be interpreted as communication. Communication is cyclical.
things talk to us
in diagrams empathetically telepathically sensually
we talk to things.
In contrast to the twentieth-century triumph of semiotics, which looked down on communication as nothing but a mechanical transmission of coded meaning,
Suwappu is a group of characters that have swappable tops and bottoms and live and perform in an augmented world.
Antonelli, P., 2011, Talk to Me, Design and the Communication between People and Objects, p. 7
We now expect objects to communicate.
Materials led design in the past, but the future will be different. It is technology that dominates all today's developments, not materials. Technology shapes our time and solves our problems, and it will have more impact on future designs than materials will.
Technology will create new ways of designing structures. Quinn, B., 2011, Design Futures, p. 122
- Mathias Bengtsson, a Danish designer who experiments with materials, processes and technology.
The postdigital design movement is an extreme expression of this romantic attachment to physical things. It is made up of technologically savvy designers and artists who prefer the innocence of oldfashioned objects.
Design has a whole new set of cliches to deal with; postdigital design, in its embrace of the analog, expresses a fatigue not only with the medium but also with the forms of digital technology, and the apparent rejection of aesthetics expressed by hackers is an aesthetic in itself.
Antonelli, P., 2011, Talk to Me, Design and the Communication between People and Objects, p. 8,15
TV Man 2 by alienbiru on DeviantArt, 2011.
Postinternet on Instagram, Video, 2017.
Design
is
always
futuremaking.
Yelavich, S., & Adams, B. 2014, Design as Future-Making, p. 12
Antonelli, P., 2011, Talk to Me, Design and the Communication between People and Objects, p. 9,16, 65
Technological progress always brings formal innovation, which starts as creative flair but may soon degrade into routine.
Now that technological means are widely available, designers have become sophisticated enough to modulate them with a sensitive touch.
They have learned to wear technology,
instead of letting technology wear them. Jonas Loh created the Amae Apparatus,which makes a person's feelings explicit.
Revital Cohen, The Posthuman Condition, Video, 2008.
A crisis of identity arises.
It might seem that design has abandoned its tested, grounded, functionalist territory to venture into an ambiguous universe where its essence is confused.
Designers seem to move between two worlds, creating in the new yet anticipating the future.
Antonelli, P., 2011, Talk to Me, Design and the Communication between People and Objects, p. 9,16
The spectrum of products known as 'good design' is no longer focused solely on aesthetics and functionality, but created with the tastes, lifestyles and status of its potential buyers.
Quinn, B., 2011, Design Futures, p. 7
That is not to say that all good design is made to be a luxury object,
Designers are also gaining a critical edge, using their work to
A wide range of challenging, experimental designs is emerging that criticizes prestige and subverts high-end aesthetics.
challenge assumptions
and voice dissent
One of the most of important aspects
the emerging Internet of Things is its incredible
breadth and scope.
Not all symbiotic designs will rely on human interaction. Quinn, B., 2011, Design Futures, p. 142
daCosta, F., 2013, Rethinking the Internet of Things, p. 3
Devices on the Internet of Things will vastly outnumber human beings on the planet in a few years
and the number of devices will continue to grow.
Afterall, everything is a technology, Debatty, R., 2008, Interview with Marisa Olson, we-make -money-notart.com
There doesn't seem to be a need to distinguish, any more, whether technology was used in making work.
everyone uses technology to do everything. I think it's important to address the impacts of the internet on culture at large, and this can be done well on networks but can and should also exist offline.
The fundamental principle in the Internet of Things era is that Iot is not the end product.
The future will require a fundamental reorientation in the way technologists and product designers work together to create successful "connected" personal devices and home appliances products.
Internet of Things, Nelson, S. & Metaxatos, P., 2016, The Internet of Things Needs Design, Not Just Technology, Harvard Business Review, hbr.org
because of its innate technological integration and new customer experiences,
demands a significantly higher level of design.
The more freely information flows,
DeMers, J., 2016, 7 Predictions For How the Internet Will Change Over the Next 15 Years, Forbes, www. forbes.com
the greater power and freedom we have,
BERG investigate and develop applications that enable people to interact with every day objects and situations through new technology.
this truth will drive our desire to connect everything we can to the internet.
Designer: Mariam AlZayani Paper: Skizzen 190 gsm Cover: Canson Metallic Sheet Typeface: GT Pressura and GT and Pressura Mono