Saturday, 9 February 2008

Melt Unreality into Everyday Life


As The Risk Society and The Beyond points out, risks are invisible and lurk in outside of the capacity of human perception. To tell this immaterial risk, giving ‘shock’ to people is a usual way of embodying it. Design like "Dooms Day Clock" gives a ‘shock’ to people with visualised risks. However, people might be going to start to be acclimated to even the ‘shocks’.


Is there the way of telling risks without using ‘shock’? Design for risks can be sometimes hidden and invisible just as like risk itself. One example for it is ‘the preparation for a risk by alternative functions’ and another example is ‘the communication for a risk veiled by humour’.


The preparation for a risk by alternative functions is easier to fit in with everyday life and people will not forget it unlike the place where an extinguisher is, for example. Metro stations in some cities such as Moscow have a function as bomb-shelters for emergency. People do not always have a consciousness for it but they naturally know how to access to the evacuation sites. A folding umbrella is one of the risk aversion objects in everyday life. “Inside out Umbrella”(above picture) can be changed into a bag when it is not used as an umbrella.


The communication for a risk veiled by humour is more attracts people and is less got bored and accustomed to than just shocking communication. Advertisements of insurance companies are designed for telling risks (and letting people join to the insurance).
I have found some.

http://youtube.com/watch?v=yuiG78Al3yc

http://youtube.com/watch?v=BFMJ8CNs-7o&eurl=http://yoichi.typepad.jp/blog/2006/11/post_6ce4.html

http://media1.adforum.com/zrIf58670C/A/AL/ALIA_19779/ALIA_19779_0047063W.MPG

They use humour as an effective way of telling risks without 'shock' even though there are some other purposes in the advertisements.

(How much we can ‘laugh’ about the risks and threats might be another topic.)


To embody the invisible risks is necessary to inform them to the people. However, communication using ‘shock’ or object just for “unreal” emergency will lose its impact and message and be forgotten. Design melting into existing environment and to be ‘real’ for our everyday life is needed to address and communicate with the unperceivable risks which might become real tomorrow.


Image:
YANKO DESIGN (http://www.yankodesign.com/index.php/2008/01/23/wet-umbrellas-no-more/)
Reference :
Barbara Adam, Ulrich Beck and Joost Van Loon, eds., The Risk Society and Beyond: Critical Issues for Social Theory (London: Sage Publications, 2000)

Thursday, 7 February 2008

Designing Politics


We have to solve a problem for the future, not just for now and for us. If we look at the decision makers and money holders (apart from the private contributors to various issues relating to energy consumption) - we must admit that a big responsibility is on the shoulders of politicians. Although we can and must all contribute to a sustainable world everyday - the decision making instance, also when elected by the public, has a great deal of power. Like it is being discussed in the posts, especially those relating to Panic Buttons and Climate Change, we generally see the government vs. the public and we never feel 'let in on the reality of the situation'. Furthermore many post mention the term ' raising awareness'. Like Anett says in a previous post, people almost need a shock in order to start caring about these issues - I then ask my self if realization is then not actually more about empathy than about recycling - we need to reach the core of people in order to make them feel like it concerns them and not just 'all the others'. How can this be done? 
It can be disturbing to think that government instances do not have a section for creativity when these areas most likely demand a sudden injection of innovation along side with law and sciences. It becomes interesting to think what an influx of designers would do to a political environment.
Shortly before the elections in Denmark I read an article explaining a proposition of one of the more socialist parties, they were suggesting that 'disadvantaged' families would receive a cheque every year enabling them to purchase schoolbags for their children. The scheme was budgeted the same as test-equipment for hospitals to reduce risk of HIV transfer during blood-infusion by 20 %. And to be fair if you struggle to put dinner on the table, this cheque may well be seen as a direct provocation. I then ask myself if this proposal is not a clear example of lack of creativity in solutions? I am not arguing against equal rights for children from different social layers - as it could be suggested in a heated political debate of contra-attacks. I am merely suggesting a new approach. Many schoolbags are disposed of every year, just because one child has lost interest in the Superman icon and convinced his parents to get him a Batman version, does not mean that some other child may not be very excited by the prospect of a Superman bag. A project in secondary school could be for the students to design, build, maintain and empty a "schoolbag recycling container", this will not only improve skills of crafts and creativity but the children will have to deal with issues of empathy, how do we communicate with visuals 'treat other as you would want to be treated'.
I believe there are endless opportunities of engaging designers in politics - not only as a response to political issues, but in the very creation of the agenda.

Danish news articles (Berlingske Tidende)
History of posted blogs
Photo borrowed from Flickr

Tuesday, 5 February 2008

Floating Waste Floating Life

Strangely familiar may be the term that defines the debate of how we remain ethical and critical consumers even with our constant desire for change. Jonathan Bell (1) proposes that we look at architecture's ability to sustain and suggests we carry these values on to design for everyday life. An experiment that will challenge us to aim for long lasting values and emotional attachment in what we design. What happens then if you look at architecture as the shell we can exist within, the security for us not to be eaten up by the constant changes, and then see 'design for everyday life' as exactly marks of change; a sort of object-diary of our lives and being? It then becomes an even bigger challenge to transfer the sustainability of (some!) architecture to the design of objects. It could be suggested that with a mobile home both objects and architecture may remain for longer as our desire for change can be fulfilled through the changing location we find ourselves at. We will then live a nomadic life, where the search for survival will remain, not in the form of feed for animals, but in stimulation of the modern man. The desire to collect and keep will then be a design task to solve, we can only travel with limited goods but we may wish to know we will remain through the traces we leave behind. It remains ironic that the search for survival can no longer in many areas of our part of the world only be limited to food, shelter and health for us to feel human, when our ethics are now more than ever in bad need for a burst of sustainable realization.


Susan Collis art takes quite some time to discover especially if you don't know you are looking for something - maybe this principle can be applied to design to expand lifetime of an object and maintain interest?
Check the link or her piece currently displayed at V&A South Kensington.
http://www.vam.ac.uk/vastatic/microsites/1637_outoftheordinary/artists_detail.php?artistTag=collis


Photo from Living Design - 'Maisson Flottante', designed by Bouroullec brothers
(1) Bell, J. Ruins, Recycling, Smart Buildings, and the Endlessly Transformable Environment. In Blauvelt, A. Strangely Familiar: Design and Everyday Life. Minneapolis
(2) Hinte, Ed van. Eternally Yours: Time in Design. 010 Publishers. Rotterdam, 2004

Monday, 4 February 2008

Constant Consumption?

It seems at the moment that we are surrounded by big companies, especially supermarkets, who have suddenly decided to ‘go green’. Not that that’s a bad thing – we’ve used and abused this planet for so long that it’s overdue for some looking after. But these companies bring up a complete contradiction we’re encouraged to consume endlessly as long as we use a bag made from recycled plastic to carry all our unnecessary products home.

Whilst the amount of plastic bags in use is clearly an issue and a needless waste of resources, the amount of energy needed to make them is tiny. To produce the more ‘eco-friendly’ bags, more energy is needed, so are they really good for the environment? The trouble is that the majority will buy a ‘bag for life’ but if spontaneously go to the shops the likelihood is that the bag will be lying forgotten in the cupboard at home. So not only is that wasted, but the customer then needs more regular plastic bags to replace it. Maybe shops should start to wean their customers off plastic bags – stop providing them and the customers will have to remember to bring their own…

The new trend for fashion designers to comment on this issue is a good way to encourage publicity and awareness of the subject, but is this just a fad that will die out in a few months? And again we have the same contradiction – surely the most environmentally friendly thing that designers as a whole can do is stop designing unessential products and encouraging this constant consumption?

Images from www.flickr.com

Friday, 1 February 2008

Sustainable tables & chairs

In the last three or four years sustainability has become a very popular topic in the design “scene” mainly promoted through exhibitions of “Eco Design”. Last London Design Festival even featured Eco Design as a category on its own. Surely cardboard chairs and recycled bags have done their job as charming eye catchers to raise awareness for the topic itself but its about time to rethink the public perception of Eco Design. Looking at (re)designs current (re)booklet, >toolbox> [re]strategies Booklet., 90 percent of its content is furniture.

Thereby they contribute to the impression that the only discipline in design is furniture design. And do we really need another smart chair, a clever cupboard or a crazy lamp? Especially designers who "don't want to make landfill", as (re)design calls its group of exhibiters, should ask themselves if there aren't already enough chairs– even good ones? The general belief to use their skills to improve society is very honorable and they have done a great job in terms of directing attention to a rather unpopular topic. Even big companys start environmental project, if only to impress their costumers. It’s a step into the right direction. Now these very designers should accept the next challenge and try to project the undeniable charm of their readymade products onto functional objects of our everyday life.

Moreover they should take into concern a fact that has barely been treated so far: The ecological footprint of a product: “It compares human consumption of natural resources with planet Earth's ecological capacity to regenerate them.“ To design ecologically it's not only necessary to recycle material and remind us of our responsibility towards the environment, but to take into account how much energy is de facto required the production of the item itself.

Tuesday, 29 January 2008

Bill Burns Talk

Not sure if everyone has seen this or not but Bill Burns is giving a talk at the ICA:

Bill Burns talk and book signing

Bill Burns: Safety Gear for Small Animals Photo: Yung Kha
Bill Burns: Safety Gear for Small Animals Photo: Yung Kha
31 January 2008

Meet the man behind 0.800.0FAUNA0FLORA.

Bill Burns will be talking and signing copies of The Flora and Fauna Information Service in the Digital Studio from 6-8pm.

Entry free with Admission Ticket.


DateTimeVenueBook
Thursday 31 January 20086:00 pmDigital Studio

Wednesday, 16 January 2008

Ethics + Sustainability, 2008

New postings for Year 2 BA Design in Ethics + Sustainability



Image: Water samples from Chinese urban rivers and lakes, collected by Wu Yilong
Photo credit: Teh Eng Koon/AFP/Getty Images

Tuesday, 27 November 2007

Friday, 23 March 2007

Futures




When I think of utopias, my mind is full of images of failure. Vast housing schemes being knocked down before they are even paid for. Cities the product of an individuals dream, meant to be the perfect city but containing no evidence to support the reason why they would. Then these models, parts at least, become realised and the evidence that they don’t work becomes all to clear. The Dragons of Eden, by Carl Sagan (1977),

‘Deals with the human brain in the context of the evolutionary history of the animal kingdom and recognises four major phases of development, each of which continues to function in its own cerebral layer, and each of which would have implications for home-making.’

The first component, we see in limpets that form a protective shell, shrimps that burrow into the sand, and snails that create a mobile home. The second development relates to increased power to interact with other organisms, through ritual behaviour, social hierarchy and aggressiveness, which lead to the acquiring of territories. In the third phase birds and mammals developed warm bloodedness and endocrine glands, intensifying consciousness through feelings and emotions. Creating the need for nests and burrows to combat the fear of attack and provide care of the young. Finally, the primate-human neocortex developed a high level of foresight, manual dexterity, reasoning, concern, and ethical understanding, developing home making as an adaptable, individual process.

‘Each major edition overshadowed the parts of the brain so that we tend to ignore them, but we do so at our own peril; we are adaptable but not infinitely adaptable. However, in the matter of housing we are discovering our adaptive limits very slowly and through trial and error and during the utopia epoch both the trial and the error seem to be on a more massive scale than the discovery.’ The failure of utopian cities such as Radiant and Garden Cities are clear to us today; much work has been done on understanding why. Alice Coleman writes in Utopia on Trial of some of the shortfalls of housing estates that sprung up predominately in the sixties, as extracts of Radiant City, to combat housing shortages. Town planners saw multi-storey flats as the answer, after the Second World War, to housing shortages and solving the problem in the least amount of time. This was in spite of the fact that the US had already built similar blocks of flats with negative results; in the UK these were seen as American problems, and that they wouldn’t exist here. Jane Jacobs was one of the first to predict and later witness the troubles that estates could cause she argued that the successful areas of a city, are those with many small streets close together, busy with people walking through. As those who live there become familiar with others who live close by, individual skills can be noted and called upon at times of need. It also provides a network of surveillance to care for children in the community and apprehend criminal behaviour. ‘Their involvement is reinforced by ‘eyes on the street’ from the windows of the buildings’

Radient City proclaims that it provides a strong, stable social structure, when infact its design segregates the city into areas such as residential, business and parks. This makes it impossible to rely on walking from place to place, forcing citizens to drive down the main roots of the city, which in turn get overcrowded while elsewhere becomes abandoned. Jane Jacobs also describes how the car restricts the normal interaction two strangers might encounter on a street, making a city a more isolated and lonely place.

‘In 1961 there were still too few post-war housing estates for her message to be inescapably self-evident.’ Her argument was mostly ignored if not attacked by planners in this country who continued to build high rise housing estates. Oscar Newman analysed many such projects. ‘Newman’s aim was to discover which design features attracted the most crime or vandalism.’ In a book titled Defensible Space, he picked up on three main topics to account for discomfort in housing estates caused by crime. Firstly, anonymity, a criminal seeks to be unseen and avoid being confronted. High-rise blocks created the perfect cover. Newmans studies revealed that crime rates are higher in flats with a greater number of floors. Internal corridors with no windows looking onto them and the greater number of people living there also pushed up crime rates. When there’s many people living in one building, it is harder for residents to recognise everyone. Making it easier for criminals to go unnoticed. Secondly, surveillance, the positioning of the entrance as to whether or not it is possible for residents to see who passes through affects safety. Crime rates are lower when there is clear site of the entrance. Thirdly, escape roots, criminals like an easy get away if they need it, security guards have often complaned of it being too easy to loose the suspect with a multidude of exits.

When you analyse the facts like this it becomes clear as to why these Utopias failed. Next time, before instigating an idea for Utopia, force-feeding countries capitalism or eating fish, stop and check it works.



Futures

Can we as designers design the future? It might sound very easy to answer, because we cannot design for the past, the time and technology goes so fast that we are unable to design for the present. So, my answer is simple, we can design for the future, and we do so, but we cannot design ‘the future’.
In everything we do, we think of the future. We are studying, than working to save some money for holidays or to buy a house etc. and all those things we are planning to happen in the future.

From a designer point of view, future is like a final exhibition for the artist. We are looking back to the past to get some inspiration, and than we are working on the developing idea in the present to see the results in the future. Everything would be nice and simple if we wouldn’t have to live in the world that is going to the end.
For some reason I feel like the society is trying to blame us, designers for all this mess. Most of my, not related with design environment, friends suggested that in around 70 percent we, designers, are responsible for the future. Apparently, in most cases it depends on us for example, which material to use to build the house, or how much energy this object would have to use to meet the clients expectations etc. Of course, in this profession we do have to have a sense of reality and strong opinion on things that we do design. But it is also public or clients demand to posses certain goods, which most of the time are not ecologically friendly. Perfect looking fruits and vegetables, nicely packaged (usually in plastic or paper) goods, free newspapers (every day), flayers, bank statements and so on. Public should realise that somebody (like a designer) by the pressure of consumerism designed all those things. By saying all this, I’m not trying to defend other designers, to be more specific, myself, because we should all be ethical in everything we do. But, as we can see in many examples being moral is sometimes impossible to achieve.

For some people it might sounds a bit funny but right now technology is on such a high level of development, that soon humanlike machines could replace us. So, from this point of view I am not so sure if we should have so much ‘power’ in designing the future.
There is another side of the coin. Technology is helping many people with communication and exchange of information. In many situations, Internet and high technology, such us CAD software or modelling computer systems, can help with communication with certain communities near and faraway. At the same time, we are able to design and produce a safer, more disaster-resistant buildings using those advance computer software.
In my opinion every single person on this planet is equally important and responsible for designing the future. Everybody should be moral and use it as a guide to live, create and help others.

Futures

‘Perhaps the greatest utopia would be if we could all realize that no utopia is possible; no place to run, no place to hide, just take care of business here and now.’
Jack Carroll

Futures have always been idealised throughout history and it is a common way of thinking to look to the future for hope. Utopian visions are one way in which people have recorded their hope. The Modernists vision compared to that of the Post-Modernists can be simply viewed as two topics set in binary terms. However, Post-modernism forms a more discursive way of thinking rather than Post-modernism being viewed as the Anti-Modernism that is so frequently spoken about. Michel Serres says that we should no longer be ‘answering yes or no to questions of having sides’ and instead suggests that there is ‘an infinite amount of answers.’ The usual Utopia tries to restructure the world into an entirely successful space. However, it is this view of respecting the world as an arena for varying standards of success that relates to my thoughts on improving design practice.

‘Some men see things as they are and say, why?
I dream things that never were and say, why not?’
Robert F. Kennedy

Victor Papanek speaks of design as the ‘underlying matrix of life’ and speaks against the idea of seeing design as a ‘thing-by-itself.’ I can see why an argument like this formulates because designers are able to have a direct impact on the future. Objects that are created impact the environment that they are situated in. Due to this idea, it is as designers that we can break a future as well as make the future. My argument is that there needs to be an emphasis on minimising problems rather than eradicating problems entirely. However, it becomes easy to become transfixed on creating solutions rather than simply being ethically and socially aware of what is created and therefore, reducing problems. It comes back to Michael Serres’s idea to stop seeing the world in binary relationships. The world is not either broken nor is it fixed, it is continuously in a state of change. Grey areas exist and that is ok.
I find designers can become transfixed in the idea that design will be able to provide solutions to the worlds problems. Utopian visions are formed and through ideas the world’s problems seem to be able to be solved. It seems a beautiful idea as a designer to believe in this. However, I find it difficult to believe that designers alone are going to overcome problems such as third world debt as well as prevent pollution to the environment single handed. It is true that designers have a large role to play in the grand scheme of things because of the very nature of design. However, Utopian visions such as LeCorbusier’s Pruitt-Igoe prove that trying to create an ‘all knowing’ system often ends in failure. Maybe Utopian visions are a warning for us not to try and ‘fix things’ on a grand scale because this is unpractical, but rather improve upon the obtainable problems that already exist.

Thursday, 22 March 2007

Surviving the Help


As I read through our ‘virtual space’, I notice that a lot of people write about Far Eastern slums,poverty and ways of trying to understand and address this ‘social problem’.
I really like Ange’s optimistic suggestion in trying to understand the problematic issue -- from the entry on the 13th March when she wrote, “if you truly care and want to help them, you must do it right! Go live with them (for example) and feel with them to fully realize what they need. You could be surprised that they might not even need any help actually.”

However I cannot agree with Samuel Clarke’s entry posted on the 4th April when he comments on Olivier’s entry:
“It was suggested, as Olivier Ward writes, that people began to argue positively for favelas in the class seminar, arguing that there was ‘enjoyment’ in living in such a place or that it would be ‘ok’ because ‘mother earth’ will sort out the situation. I do not believe that either of these suggestions made, were thought about in an ethical manner but it does go to show the extent to which people begin to try and detach themselves from the situation and also end up at ridiculous solutions to the problem”.

I would like to focus not on the Far Eastern slums but on “Cardboard City” - a famous slum of one of the richest European cities – London. I would also like to focus on the supposedly ‘ethical’ way the British government dealt
with ‘the issue’, and question what is a designers position in solving this type of ‘inconvenient’ problem.


Cardboard City was an area of cardboard boxes, lived in by homeless people in London near Waterloo station
from 1983 until 1998.

In the mid-1980’s the site, in the pedestrian underpasses under the Bullring roundabout, was home to up to 200.
It was famously regarded as a symbol of society's failure to deal with homelessness.

By 1998 the local Council won an eviction order, enabling to clear the remaining people from the area, to make way for a £20m IMAX cinema.
In many articles we can read about how wonderful the government was, offering the last 30 homeless flats
and small sums of money to ‘get straight’, however no one seems to mention that the big number of the rest 170 people were threatened and intimidated (with a use of physical violence), and left what for years use to be their ‘home’ simply out of fear.

But even the previously mentioned ‘lucky 30’ didn’t find the opportunity of being re-housed appealing…

“(…) those who live in Cardboard City feel there is a real sense of community. People know each other, they have been living together for a long time and it's probably the first time that many of them have had what they feel is a family"

"They have no concept of a normal life and just spend the £500 that you give them to get straight on drink or drugs. It might work if the people you are trying to rehabilitate are given some counselling because most of them have no idea what it is like to settle down and live in a flat."

While the life of those sleeping rough is unacceptable to most of us, those who lived in Cardboard City felt there was a real sense of community.
That’s why I do not agree with Samuel stating that people’s comments, suggesting that maybe there is ‘enjoyment’
in living in such a place, were unethical or that they tried to detach themselves from the situation.
…if anything they were trying to understand and it seems that they got it right.

As one man who lived in Cardboard City for 15 years put it:
“I know it stinks, I know it's shitty, it may seem like hell to you but we've chosen it”.

The question I want to raise is – how can designers help in difficult social situations like this one?

I don’t have a perfect or fulfilling answer but what I am sure of is that as designers we have to be able to use our empathy to the extreme. And if our imagination can’t take us far enough, we then need to put ourselves into the actual situation.

I partly agree with Samuel that “This topic is larger than a righteous designer saying how ‘devastating’ the situation is and how they as a designer are going to make a difference”.

I wrote ’partly’ because it is clear that without the political will there can be no fundamental change, however if our ethics don’t let us sleep at night, what is there to stop us from trying to make a difference as individuals…?
Yes, it would be like giving first aid, but if we can really understand their needs, just that little help might mean a lot more than a flat and £500.




http://shockgenerator.blogspot.com/2007/03/arts-of-survival.html samuel
http://shockgenerator.blogspot.com/2007/03/arts-of-survival_13.html ange
http://www.findarticles.com/p/articles/mi_qn4158/is_19980225/ai_n14148779
http://en.wikipedia.org/wiki/Cardboard_City_(London)

“Your future depends on many things, but mostly on you“.


Being a designer is difficult. No. Sorry, let me start again…
Being an ethical and socially conscious designer is difficult.
It is much easier to block those aspects of design profession out and be glamoures, designing pretty things, which can go straight onto the window display of an expensive shop or a gallery wall.
But as soon as you start considering ‘bigger issues’ in your work, the level of expectations seems to go up, and no longer are you being praised for the ’good bits’ but questioned whether you could have done better.

In today’s world full of threats of nuclear war, biological catastrophe, and climate change, (which brings into question, how can humanity continue to survive?), there seems to be forming, a general state of panic, which echo’s directly into the design world.
When scientific reports contradict themselves… ‘global warming is happening and we have to change our style of living to save the Earth’ vs.. ‘it is too late to do anything, we should be investing into moving to some other planet’… it is difficult to know what to believe and what are the priorities.

And it doesn’t get any easier when we take to the consideration the ‘smaller picture’ - not the global crisis but the day-to-day community problems.
As Kate Stohr suggests, designers should “(…) humbly venture into the communities in which they live, listen to the needs of their neighbours, and offer their services".
Very well, but again – what are the priorities? and what are the expectations?
On one hand we are told to ‘design for the future’, yet on the other ‘to solve the existing problems.

I believe that we-designers shouldn’t worry too much about the future, as long as we keep in mind that “The future is always beginning now”. There is now point in trying to predict what will happen in 50-100 years time and what kind of problems will we be facing than… as it is almost if not completely impossible.
I agree that while designing we should be ethical and do not forget to consider the possible future impact of our work (i.e. using sustainable materials, building homes which will last etc), however I feel that we shouldn’t try to jump ahead of our times as the conditions can change drastically (for example the resources of today might no longer be available) and all we’ll be left with, will be set of sketches and concepts.
As Eric Hoffer puts it:
“In times of change, learners inherit the Earth, while the learned find themselves beautifully equipped to deal with a world that no longer exists”.

A Buddhist saying says:
“If you want to know your past, look into your present conditions.
If you want to know your future, look into your present actions.”

So let’s make ethical decisions about the way we design and about what we design and remember that each one of us can be a butterfly whose fluttering wings can cause a storm on the other side of the planet.




• http://www.quotegarden.com/future.html
• Kate Stohr, ‘100 Years of Humanitarian Design,’ in
Design Like you Give a Damn (London: Thames and Hudson, 2006)
• http://quotations.home.worldnet.att.net/future.html
• http://www.wisdomquotes.com/cat_future.html

Wednesday, 21 March 2007

Building for the Future

When designing for the future designers need to consider how people will be affected or even react to design. Instead of designers attempting to enforce their ideals on people’s behaviour it is important to incorporate their ethical ideals into people’s day-to-day lives. In western societies life is fast paced and no matter how much some of us want to help the environment crisis, we do not have time or financial means to do so. Architectural determinism is the term applied to the concept that building environments directly affect our behaviour and attitudes. Can the built environment really impact social structures?














“We shape our buildings; thereafter shape us!” (Winston Churchill)

The impact buildings have on us is evident, for instance high-rise tower blocks were first built in the UK after the Second World War. Initially, they were welcomed as a good option for low cost housing in the UK. However over time the buildings themselves deteriorated, they grew a reputation for being undesirable symbols of urban decay and alienation. Design flaws such as poor ventilation leading to condensation and mould, inappropriate use of materials, i.e. asbestos, lack of community facilities and poor design making cleaning and maintenance difficult, contributed to creating unpleasant and unsafe living environments. This consequently created a breeding ground for drugs, violence, crime and lack of prospects for its inhabitants. As Adolf Behne points out "you can kill a man with a building just as easily as with an axe."

In comparison Dr Ken Yeung considered the occupants and surrounding eco systems when he designed the EDITT tower in Singapore. Many Singaporeans live in high-rise housing or work in skyscrapers to save space for it’s ever growing population.
The EDITT tower is a 26 -storey building that accommodates for humans, plants and birds, in order to improve a degraded eco system in a busy inner city spot. The key biological aspects is the creation of planted areas vertically streamlining the building, whilst the lower six floors are landscaped ramps filled with cafes and shops, integrating the surrounding street life.


















The building is designed with a ‘loose fit’ this includes removable partitions and floors in order for future generations to adjust the building when required. Singaporeans rely a lot on its neighbour Malaysia for water supplies, the EDITT building is designed to collect rainwater providing 55% water self sufficiency. When Dr Yeung designed the building he wasn’t just concerned with the environmental solutions but he also made it pleasant for the occupants who live there. Comfort levels were ensured by including elements designed to direct wind for ventilation and ceiling fans with water misters to humidify the air (Faud-Luke, 2005, p239).

As seen with environmental determinism, the designed environments can impact and influence people’s thoughts and behaviours. Designers can learn from past mistake and move forward to design for all species and eco systems, as seen in the design of the EDITT tower. Taking the future into consideration and making sure that past mistakes are not repeated will create a brighter and better future for all of us.

‘The answer will likely depend on the willingness of architects and designers to reach beyond the design community and its traditional audience —to humbly venture into the communities in which they live, listen to the needs of their neighbours, and offer their services.’ (Stohr, 2006, p53)


Bibliography

Faud-Luke, A. (2005) The Eco-Design Handbook, London: Thames & Hudson Ltd
Fletcher, A. (2001) The Art of Looking Sideways, London: Phaidon Press Ltd
Stohr, K. (2006) 100 years of humanitarian design, London: Thames and Hudson

http://en.wikipedia.org/wiki/Architectural_determinism
http://www.sustainingtowers.org/SOA-hist-decline.htm

The Future is bright, the Future is...

( Pruitt-Igoe in the process of being torn down)

When you say the word future are you talking about tomorrow or 100 years from now? How far can we look into the future, as designers? Fashion changes every season, yet we have fashion designer who think they can design styles that would be worn until the end of time. Meghan asks in her blog the ultimate question, ‘can we design the future?’

Everyone has their own idea as to what the future will be like. When many look into the future they see the world 50 or so years from now. Seeing flying cars and vacuumed packed food. This is the type of future that has been designed for us, do we then comply by its rules of development? We as designers should know that to design for the future is not as simple as product development but also human development.

One example of product development without thinking about human development is the 33 tower public housing Pruitt-Igoe project, in St Louis Missouri. The buildings were designed for a space that was predominantly inhabited by black people. The designs originally had a notion to divide the blacks from the whites. Maybe if Le Corbusier had considered a way of slowly collaborating black and white people in one space before the project, it may have lasted longer. There were other reasons as to why the project was unsuccessful, according to Alexander von Hoffman the project was destined to fail. “From 1950 to 1970, the city's population fell by 234,000 people, and its share of the St. Louis metropolitan area's population plummeted from 51 percent to 26 percent. This sad fact adds what may be the largest failure to the formidable list of failures associated with Pruitt-Igoe: even if it had been built as proposed, Pruitt-Igoe, the child of a grandiose vision that failed, probably would have failed anyway.” (Alexander von Hoffman, Why They Built the Pruitt-Igoe Project). Maybe if Le Corbusier designed more for the future of the space that the future of architecture the project may have been more successful, later in the future.

As designers we should steer away from this futuristic brief of design and focus more on what is here today. As Meghan says in her blog post, “designers could not absolutely blueprint the future they can use the shortcomings of the past to aid them” (Meghan, shock generator, 2007).

Bibliography

Meghan, shock generator, 2007

http://www.soc.iastate.edu/sapp/PruittIgoe.html

Tony Fry, A new design philosophy, 1999


The Arts of Survival

The ingenuity showed by the millions of slum dwellers across the third world really is remarkable, not just in the way their houses are constructed, but the fascinating and beautiful objects they can create from what we deem to be waste, such as the Volkswagen Beetle pictured in James’ blog constructed from used Fanta cans. The resourcefulness and creative ability of the people themselves raises questions as to whether it is necessary for western designers to intervene at all in these slum societies. The work of artist Marjetica Potrc reflects the creativity of the slum dwellers in Caracas themselves, re-fashions it as art and brings it into the public forum. ‘Growing house,’ ‘dry toilet’ and ‘house with extended territory’ are all examples of ingenuity which Marjetica has observed in the city.


The dwellings constructed by those in squatter communities often eventually form a ‘large part of the low income housing stock.’ (Skinner and Rodell 1983:1) Their abilities and determination to build are hindered by the lack of adequate sites and fear of being moved off the land, as well as lack of public services, infrastructure and ‘construction credit.’ (Skinner and Rodell 1983:1) After the failure of housing policies in the fifties and sixties, new approaches to housing policy which take into consideration these limitations on the abilities of the people themselves have emerged. Following observations of the way unofficial housing is created, it is often the case that if the housing agencies set out to meet the residents halfway, a successful outcome can be reached. These new housing policy initiatives of the seventies enabled the residents and government to work together, in the form of self help schemes. Skinner and Rodell calculate that a city with 100,000 squatter houses represents 100 million hours of family labor. With ‘five-hundred thousand to 1 million’ (Web 2) people estimated to live on the hillsides of Rio de Janeiro, surely they represent a resource which could be used more productively in the formal sector?

The extent to which this family labor can be utilized as part of a self-help scheme varies according to the design of the scheme. If family labor can only be involved in the preparation and finishing of the site, wage savings for the build project would be slim, whereas if the dwellings are designed in order that the families can construct them unaided, or if training is given to the families themselves, labor costs are virtually eradicated. Another concept for self help schemes was developed by Abrams and Otto Koenigsberger, where the government to play no part in the design or construction of housing, but ‘lay out and provide plots and utilities,’ allowing the owner to either build himself or employ others, according to the families budget. Abrams himself stated that the result may still be described as a slum, but it would be an ‘alterable and improvable slum.’ (Skinner and Rodell 1983:8)


A point worth bringing to attention is that even the word ‘Favelas’ is not recognised by spell-check on Microsoft Word. The massive injustices and problems in society cannot begin to be rectified whilst the predominantly white, and excessively rich turn a blind eye. Yes capitalism works pretty well for us, we have job opportunities, health care, money to spend, and we are legally obliged to complete eleven years of education. However our economy as a nation still thrives on the exploitation of others.

People Poverty and Shelter, Skinner and Rodell, 1983
Web 2: http://www.macalester.edu/courses/geog61/chad/thefavel.htm

Tuesday, 20 March 2007

More Politics? Why?

“The Bush administration ran a systematic campaign to play down the dangers of climate change, demanding hundreds of politically motivated changes to scientific reports and muzzling a pre-eminent expert on global warming, Congress was told yesterday.”

What is this guy on?

cornucopia, city of the future>?

How can the use of design shape the future away from the consumer lead world we live in, and what will this change do for us in the future? People have always liked to speculate about the future state of the world, what people will be doing and mostly the products they will be using from hover cars to chips inlayed under the skin of humans. This has been happening at an increased rate as the consumer society we live in expands and grows.
Vance Packard talking about the dreams of a sales and marketing person “ If we could probe the dreams of those marketing people as they slumber restlessly at night we would find – that they are not dreaming mealy of those bewitching products to sell us but more likely are dreaming that they are in there private world of the future where markets have become easy because the haunting problem of saturation has vanquished.”
Now is seems that the projection of trend is starting to turn do the ideals of healthy living, environmental awareness, and fair trade and equality. I feel design has had a major part in these shifts as time goes on. You just can see the numbers of eco design companies, and projects geared towards the aid of others through design has enabled the situation to be viewed in a way that previously had not been seen. Such projects as the paper log housing that was discussed in the lecture I feel can really give a positive message to the turning around of peoples opinions and the whole idea of being more aware of what we can do with cheep materials to really improve the life of others. I find that it gives me hope for the future and we won’t continue to consume ourselves to destruction.

Futures

Though not all designers have the opportunity to aid poverty, any designers can respond to the even larger scope of anticipated changes to humanity, that of global warming. The job of a designer is to design for the future; in order to create a successful design, the designer must accurately anticipate the consequences global warming. If a designer ignores these climate changes the sustainability of their work will be affected. For example, the Al Gore film, An Inconvenient Truth, estimates that “global sea levels could rise by more than 20 feet with the loss of shelf ice in Greenland and Antarctica, devastating coastal areas worldwide” (Davis Guggenheim, 2006). If a designer is not aware of the water levels rising, and he or she designs a building for a costal area, he or she risks wasting millions of dollars and polluting the sea. Though this designer may be designing for a future, it is not the right one. Thus it is the designer’s responsibility to be informed on the anticipated changes to the environment.
http://www.smh.com.au/ffximage/2006/12/28/polar_bear_narrowweb__300x387,0.jpg the melting polar ice caps will be destroy the
natural habitats of almost all the Artic species.

Predicting the disputed climate changes may seem easer said than done, but not responding at all can lead to catastrophic results. Michel Serres states in The Natural Contract that the ”past, however distant, never knew such experiences. Because of our action, the composition of the air, and thus its physical and chemical properties is changing” (4). Others have used this claim to support their inaction with the belief that the climate is constantly experiencing these irregularities. However, it cannot be denied that our actions are the cause of these changes and that we must be held responsible. For it is because of our actions that the state of humanity and the world as we know it is at stake. Serres quotes “If we judge our actions innocent and we win, we win nothing, history goes on as before, but if we lose, we lose everything” (5) Here Serres means that if we don’t act we could forfeit the world, if we do act and it turns out that nothing changes we don’t lose anything. For a designer, every new challenge is an opportunity. Accurately anticipating the future may be impossible but the opportunity is a positive one and stakes are too high not to try.

http://www.worldproutassembly.org/images/climate-change-hurricane.jpg
Who could have guessed? Who guessed and did not act?


If the designers are aiming towards an environmentally friendly future, the question is, what chance do they have at truly altering the future of the climate? I have shown earlier that they must be aware of climate changes for the sake of their individual designs but what degree can they use their designs to help change the world? Harvey Moloch answers the question by explaining that “Design determines about 80-90 percent of an artifact’s life-cycle economic and ecological cost, in an almost irreversible way—raw materials will be used, gasses emitted, who will get hurt, how much will get to the landfill” (245-246). Because global warming is caused from a buildup of carbon dioxide, the designers, whose creations determine the admittance of gas can alter, on a large scale, the amount of carbon dioxide. “The concentration of carbon dioxide has been growing in the atmosphere since the industrial revolution, a byproduct of the fossil fuels: the propagation of toxic substances and acidifying products is increasing…” (Serres 4). Designers can control the uses of these toxic substances and aciditying products by changing what their products are made of and how they are made. The simple alteration of materials comprising a cell phone for instance could have a huge impact on the environment.
By: Katie Brunero

An Inconvenient Truth, The Science.
http://www.climatecrisis.net/thescience/. Al Gore.
March, 12, 2007.
Moloch, Harvey. Where Stuff Comes From: How Toasters, Toilets, Cars, Computers and Many Other Things Come to Be as They Are. New York: Rotlede, 2003.
Serres, Michel. The Natural Contract. The University of Michigan Press, 1995.