Design Threads:
•
2 j'aime•813 vues
This talk focuses on the meaning of design, providing an overview of the history of Made in Italy, contemporary design for austerity and opening up cutting-edge design frontiers towards sustainability and social innovation. Beyond Italy, I shared my international experiences, uniting the knots of the design landscape worldwide, to finally zoom into textile artisanship in East Midlands, rescuing local heritage.
Recommandé
Recommandé
Contenu connexe
Tendances
Tendances (17)
Similaire à Design Threads:
Similaire à Design Threads: (20)
Dernier
Dernier (20)
Design Threads:
- 1. DESIGN THREADS stitching together the past, present & future of design made in Italy, UK & beyond Dante Alighieri Society, Loughborough, 27/11/15 Francesco Mazzarella, PhD researcher
- 2. index a bit of myself what is design? the “o-shaped” designer how to design? once upon a time contemporary design where is design going? service design for textiles weaving a sustainable future
- 5. systems HealthyProteinsVegetables CATTLE Algae Pure water Rain water Grain Alfalfa Rye Oat Barley Soybean Cotton seed Sugar beet pulp Plumage Egg shells Grey water Grass Manure Corn Manure VEGETABLE GARDEN ORCHARD ROOF GARDEN BIODIGESTERHYDROPONICS FISH FARMING POULTRY HEN-HOUSE Worms Biogas Apples Pears Lentils Peas Onions Potatoes Lettuce Fish Milk Eggs Chicken meat Grey water Fertilizer Agricultural waste Seeds CORN FIELD Fish 9.000 kg/year Lettuce 273.000 kg/year Onions 267.540 kg/year Potatoes 382.200 kg/year 484.000 eggs/year Eggs 425.000 l/year Milk 221.130 kg/year Pears 515.970 kg/year Apples 81.000 kg/year Chicken meat 23.400 kg/year Peas 11.700 kg/year Lentils Healthy Diet FruitsWholeGrains space: 20 ha ; 7.924 trees space: 117.32 ha Floating system ; space: 5,46 ha Lake Spaarbekkens Drinkwaterleiding 300.000 m3 ; 3000 tenchs bred 50 cow Holstein space shelter: 675 m2 space outdoor: 9.000 m2 30.000 chicken Barnevelder total space: 3,5 ha (shelter 5.000 m2 outdoor 60.000 m2) 2.200 hens Barnevelder total space: 2,57 ha (shelter 367 m2 outdoor 4.400 m2) space: 39,5 ha Continuously Stirred Tank Reactor 2.000 tons/year processed Urine EXTERNAL SUPPLIER systemic farm, university of twente, 2011
- 6. graphics cuore politecnico, politecnico di torino, 2012
- 7. www.youtube.com/watch?feature=player_embedded&v=afUmaGAouzI events half full, turin-barcelona, 2012
- 8. planet.globalservicejam.org/gsj14/jamsite/10708/project/11248 services toy2toy, budapest service jam, 2014
- 9. photography
- 11. http://issuu.com/francescomazzarella/docs/f.mazzarella_msc_thesis_ecodesign_d research MSc thesis in ecodesign, politecnico di torino, 2013 MICRO-ENTERPRICE diffuse INDUSTRIAL CRAFT DOITYOURSELF experimentation service PUBLIC system CROWDsourcing PARTICIPATORY design natural no-tech reuse vernacular tradition MULTICULTURALITY MATERIALS LOCAL IDENTITY sustainabilitycommunity SOCIAL innovation crafts BRAZILITALY NETHERLANDS SYSTEMICdesign SELF-PRODUCTION digital fabrication
- 14. 99,4% 0,5%0,1% 68,2% 12,2 % 65% 13 % MICRO/SMALL ENTERPRISES Source: EUROSTAT 19,6 % 22% micro-entrepreneurship
- 15. DESIGN EXPERIMENTATION 4 DESIGN UNIVERSITIES 710 Bil GDP 8,5% UNEMPLOYMENT DESIGN SYSTEM 73,2% NO INDUSTRY 24,1% SERVICES trading, finance 12,2 % >5 LIVING LABS digital fabrication
- 16. 50÷300% INCREASE IN INCOME 18 BilFROM CRAFTS 64,3% OF BRAZILIAN MUNICIPALITIES OWN CRAFT PRODUCTION GRAPHICFASHION FURNITURE GASTRONOMY 85%CRAFTSWOMEN 8,5mln ARTISANS PROFESSIONAL REGISTER artisans’ communities
- 18. what is design?
- 19. from the latin “projectus”, a “project” throws forward its own vision of the future, implementing ideas, led by given motivations, to achieve certain results design ciribini, 1984
- 21. writing computer science music making architecture industrial design art engineering innovation strategy graphic design medicine mattson, 2015
- 22. 1 2 3 4 all design industries design specialities specific design processes specific broad mattson, 2015
- 23. design is the systematic interplay between creation and evaluation for the purpose of achieving specific design outcomes (evolution through stages of development) as caused by specific design activities where outcomes and activities are coordinated to meet specific conditions creation / evaluation integrity design outcomes design activitites design coordination all design industries design specialities specific design processes mattson, 2015
- 24. conran, 2015 value = brand design quality cost subconscious WANT conscious NEED emotional rational expectation reputation experience marketing market position integrity / CSR desirability perception of fair exchange price convenience guilt ethics sustainability performance material / finish integrity dependability science behaviour function usability usefulness innovation personality aesthetics tactile trend scarcity narrative
- 25. function: is it fit for purpose? fabrication: how easy is it to make? finance: is it affordable to make and to buy? fingers: is it ergonomically sound? feedback: what do people think of it? fundamental: how does it impact on people’s lives? feeling: is it emotionally appropriate? fantasty: does it fulfill dreams? fame: does it reinforce the brand? fashion: does it reflect trends? future: is it environmentally sustainable? failure: is it evolutionarily better? fear: does it take risks or is it bland? faith: does it require commitment to succeed? frustration: is it the mother f*** of invention? fun: does it give a smile in the mind? conran, 2015 form follows...
- 26. wicked problems
- 28. new drivers for design old/new problems in new contexts “how” and “ what” problem solving, finding, framing ways and tools for interacting from tangible to intangible
- 29. researcher businesses design public bodies facilitator co-creator entrepreneur strategist communicator designer’s roles yee et al., 2008
- 30. people as part of the problem to be satisfied people as part of the solution to be empowered design for social innovation design for social innovation manzini, 2007
- 31. events resulting from people’s active collaboration empowering community to expand people’s capabilities to satisfy their needs, based on their personal & network resources, moved by usefulness, meaning, sociability
- 32. co-designing to build collaboration and trust, enabling people to express opinions, give and collect information, act in the world, and do it together collaborative services services co-designed & co-produced by communities
- 33. PSS enabling people to meet specific needs digital platforms as enabling tools for vertical + horizontal & information + action collaboration scaling enabling ecosystem
- 34. disruption comes from looking sideways from spotting things that others miss. design not solution but problems shayler, 2015
- 36. brass, 2014 the “o-shaped” designer broad skill set specialisation circular & systemic m indset
- 37. multidisciplinary relations celaschi, 2008 humanities economics engineeringarts design
- 38. systemic outputs humanities valueform meaning function economics engineeringarts design celaschi, 2008
- 39. sustainable synergies humanities valueform meaning function economics engineeringarts design cultural c onsistency ga in origi nality suitablep rocesses celaschi, 2008
- 40. metadesign areas humanities valueform meaning function economics engineeringarts design cultural c onsistency ga in origi nality suitablep rocesses oppotunitities needs celaschi, 2008
- 42. design of services interaction of user & provider through multiple touchpoints, seen or unseen by customers usabledesirable efficient & effective
- 43. user-centred co-created sequencingevidencingholistic stickdorn & schneider, 2011
- 44. how to design?
- 45. de giorgi & germak, 2008 “explorer” designer explorer 3 where to do? starting from fixed typologies/functions concept concept concept explorer 1 how to do? concept concept concept explorer 2 what to do? starting from fixed materials/technologies starting from wide scope
- 46. design processdiscover define design council, 2013 develop deliver identify problem/need define solution space gather user knowledge analyse data synthesize findings define brief develop product/service detail product/service user tests launch product/service ensure user feedback share insights
- 47. discover define develop deliver user diaries 1 user journey mapping 2 user shadowing 3 service safari 4 5 user personas 6 brainstorming 7 design brief experience prototyping 8 service blueprint 9 business model canvas 10 11 scenarios design methods
- 48. LUMAS model: Learning for a User by a Methodologically- Informed Approach to a Solution (checkland & poulter, 2004)
- 49. once upon a time
- 50. design’s origins born in UK (industrial revolution) spread in europe in half ‘800 & in (northern) italy in half ’900 sharply developed in last 20yrs
- 51. founded by henry cole in england in 1837 to train designers about applied arts (morphology, art botany, geometry, material labs) 1st school of design
- 53. 1st design courses in 90s, named “artistic design for industry”, were within the faculty of architecture, in milan, turin, florence in italy
- 54. art <design> craft art craftdesign
- 56. production of daily crockery decoration: blue, black basalt decal, lathe, turntable, pyrometer early assembly line design school in naples “etruria” brand buyers, showroom, catalog, home delivery now incorporated by rosenthal
- 58. laminated wood from parquet to cabinet-maker design by components joints & modules export (US) wood bending patent gebrüder thonet synergy with designers
- 59. chair nr. 14 (1858) linear components assemblable modules less is more simplification of joints low-cost transport & stock optimisation sale by catalogue
- 60. 6 wooden canes 8 screws 2 nuts seat in viennese straw
- 61. 1st industrial designer christopher dresser (glasgow, 1834-1904)
- 62. art workman technical designs for production export UK-Japan collaboration with tiffany, liberty clutha glass, kömai, clean cut cost minimisation re-edition by alessi (90s)
- 63. ‘800-’900 innovations electricity, telephony, aviation... theory and studies on workplace prinetti&stucchi (wooden bikes) caproni (airplanes) pirelli (rubber wheels) stigler otis (elevators) richard ginori (ceramics) cirio (food conservation)
- 64. wiener werkstätte viennese craft workshop, founded in 1903 by moser, hoffmann & waerndorfer: artistic & artisanal activity
- 67. charles edouard jeanneret (la chaux-de-fonds, 1887-1965) early furniture design
- 68. Esprit Nouveau Pavillon, Paris, 1925 chasier-standard anatomical studies furniture in metal tubing
- 69. specialised workforce 8 steel tubular components open frame (apart from backrest) welded components breuer, wassily, manesmall, 1925-27 le corbusier, LC1, thonet, 1929 fully industrial production redundant components closed frame external joints (bolts, nuts)
- 70. yet another chair... mass production technological & social innovations avant-garde
- 71. mart stam, stuhl W1, 1926
- 73. mies van der rohe, barcelona, 1929
- 75. jean prouvé, grand repos, 1928-30
- 76. hans coray, landi, 1938 gerrit rietveld, 1942 pietro arosio, mirandolina, 1992
- 77. henry bertoia, wire chair, knoll, 1952 charles eames, DKX wire side chair, miller, 1950
- 78. giancarlo piretti, plia, castelli, 1968
- 79. stiletto studio, consumer’s rest, 1983
- 80. marco zanuso & richard sapper, lambda, 1959
- 81. miss blanche, vitra, 1988 how high the moon, vitra, 1986 shiro kuramata
- 82. ron arad, well tempered chair, 1986
- 83. marc newson, lockheed lounge, 1986
- 84. electricity & its applications bulb & household appliances USA: frigidaire germany: AEG italy: marelli, SCAEM, edison italy
- 86. la casa elettrica, 1930
- 87. light design parablesforlightingininteriordesign improvement of light sources electric arc tungsten filament carbon filament (incandescent) neon tube (luminescence) fortuny, tripod, pallucco
- 88. mariano fortuny (granada, 1871-1949) kata kami pleated silk dresses lamp design
- 89. mackintosh, glasgow school of art, 1896
- 90. 1. baldessarri, manikin, “29; 2. chiesa, luminator, fontana art, ”33; 3. castiglioni, luminator, flos, “54; 4. sottsass, callimaco, artemide, ”82; 5. sadler, mite led, foscarini, 2000
- 91. paul henningsen 1. PH’s pendulum, tivoli park, 1940 2. kogelen, paulsen, 1957
- 92. richard sapper, tizio, artemide, 1972 michele de lucchi, tolomeo, artemide, 1982
- 93. streamline (USA, 30s) economic recovery (new deal) styling & planned obsolescence evolved into US’organic design hudson dreyfuss, chicago train, 1938
- 95. raymond loewy, BMW 507, 1957
- 96. recovery design (USA) telephone radio broadcasts (RAI) music industry cinematography (cinecittà) enterpreneurship made in italy (30-50s)
- 98. olivetti (ivrea, 1908) ottavio luzzati, studio 42, 1935 figini & pollini, production plant
- 99. corradino d’ascanio, vespa, piaggio, 1945
- 100. torre & pallavicino, lambretta, innocenti, 1947
- 101. italian good design (50s) compasso d’oro (1954) ADI (1956) triennale di milano (VIII, IX, X, XI)
- 102. HfG ulm (ulm: 1953-68) social and systemic design formalisation of new disciplines international staff functionalism (”cold design”)
- 103. braun founded in 1927 in germany, with dieter rams leading the design team, specialised in household appliances, in metal and plastics, in black, white, gray
- 104. dieter rams
- 105. plastic design flexibility, modulatiry, seriality braun (mono-color) brionvega (radio) pirelli (nastrocord) kartell (R&D) arflex (upholstered furtniture) pop design (popular, colourful)
- 106. ceretti, derossi, rosso, pratone, gufram, 1966
- 107. neoliberty started in 1960 in milan, as a reaction to functionalism, rescuing art nouveau’s aesthetics, but mechanically produced and using new materials
- 108. gregotti, meneghetti, stoppino, cavour, SIM, 1959
- 109. recovery design (italy, 50s) brands from crafts to SME designer & industry design sectors (everyday life) serialproduction&massconsumption artists+product+graphic designers large distribution (also food) (dynamic) advertising gooddesign(economics&humanities)
- 110. design stars orchestrate design & production, in synergy with enterpreneurs 1. castiglioni, magistretti, munari, ponti, sottsass, zanuso 2. bellini, colombo, de pas-d’urbino-lomazzi, mari, mangiarotti
- 111. marco zanuso, lady, arflex, 1951
- 114. sapper & zanuso, seggiola per bambini, kartell, 1959
- 117. bruno munari, falkland, danese, 1964
- 118. zanuso & sapper, black, brionvega, 1969 zanuso & sapper, algol, brionvega, 1964
- 119. zanuso & sapper, grillo, siemens, 1965 zanuso & sapper, radiolina, brionvega, 1964
- 120. vico magistretti, eclisse, artemide, 1965
- 121. ettore sottsass, valentine, olivetti, 1968
- 122. enzo mari, sedia 1, artek, 1974
- 123. radical design disrupting traditional design, advocating creativity, freedom, nomadism, deconstruction...
- 125. gatti, paolini, teodoro, sacco, zanotta, 1968
- 126. de pas, d’urbino, lomazzi, blow, zanotta, 1968
- 127. gaetano pesce, up, B&B, 1969
- 128. de pas, d’urbino, lomazzi, joe, poltronova, 1971
- 129. drocco & mello, bocca, gufram, 1971
- 130. paolo deganello, AEO, cassina, 1973
- 131. exhibition “italy, the new domestic landscape”, MOMA, new york, 1972 1. bellini, kar a sutra 2. colombo, total furnishing unit 3. sottsass, micro- environment
- 132. alchimia (1977-92) laboratory for expressive research for large industry (neo-artisanship), founded in milan by guerriero, providing radical designers with workshops to freely develop working prototypes, collections, inspired by fashion, space, banal design
- 133. alessandro mendini, proust, alchimia, 1976
- 134. memphis (1982-87) founded in milan by sottsass (with thun, navone, de lucchi...) embodying post-modernism sottsass, carlton, memphis, ‘81
- 135. contemporary design
- 136. aldo rossi, la conica, alessi, 1982 riccardo dalisi, caffettiera napoletana, alessi, 1979
- 137. stefano giovannoni, merdolino, alessi, 1993
- 138. gaetano pesce, feltri, cassina, 1987
- 139. miss sissi, flos, 1991 philippe starck, juicy salif, alessi, 1990
- 140. jasper morrison, thninking man’s chair, cappellini, 1988
- 141. tom dixon, s chair, cappellini, 1991
- 142. bouroullec brothers, cloud, cappellini, 2005
- 144. denis santachiara, santa vase, serralunga, 2001
- 146. martí guixé, tape, magis, 2004
- 147. konstantin grcic, chair one, magis, 2004
- 148. eero aarnio, trioli, magis, 2005
- 149. satyendra pakhale, puzzle carpet, magis, 2005
- 150. el ultimo grito, summer to spring, magis, 2005
- 151. fabio novembre, him & her, casamania, 2009
- 152. where is design going?
- 153. sangiorgi et al. 2014
- 154. sangiorgi et al. 2014
- 155. meroni, 2014
- 156. sustainable design bennett, coral3, 2014
- 158. ferrec & wakely, disclosed, 2014service design
- 159. interaction design unfold, l'artisan electronique, 2010
- 160. digital fabrication dirk vander kooij, endless robot, 2010
- 161. hacked design paolo ulian, introverso, 2011
- 163. open design arduino: 1. botanicall project; 2. hardware: 3. software; 4. community
- 164. DIY couche, garcia gonzales & paslier, ooho!, 2014
- 166. arabel rosillo de blas, lace in place, bedford, 2012art design
- 167. traditional design google cultural institute
- 168. ethnographic design heloisa crocco, topomorfosis, 2011
- 169. glocal design campanas, vermelha, edra, 1993
- 171. crafts council, craft manifesto, 2014design policy
- 172. social enterprise chiquita banana, artesania aguas claras, 2013
- 173. paula dib, mandala, london, 2008social design
- 174. grassroot design 1. daniele pario perra, low cost design, 2010 2. adelia borges, design da periferia, 2013
- 175. olga noronha, medical jewelery, 2015inclusive design
- 176. critical design 1. marcel wanders, knotted chair, droog, 1996; 2. tejo remi, rag chair, droog, 1991
- 177. gionata gatto, geomerce, 2015speculative design
- 178. service design for the future of textile artisans’ communities: an enabling ecosystem towards sustainability & social innovation
- 179. research problem the global crisis is leading to the end of a linear economy, while setting the ground for redistributed microproductions, based on new ethics of sustainability
- 180. the craft discourse is mainly based on individual making practices, overlooking their human and social dimension
- 181. it is missing a strategic agenda, which could create sustainable interconnections within this pacthy landscape
- 182. to explore how service design can contribute to encourage textile artisans’ communities towards a sustainable future research aim
- 183. research focus material by hands machinery digital tools quality skilled control personal identity material culture local fibres: vegetable animal discarded artisan community small scale localised diversified flexible tool making
- 184. textiles utilitarian culturally meaningful aesthetic large availability of fibres high employment wide applications rising consumer trends why?
- 185. textile artisans’ communities are bottom-up, human-centred aggregations, using local fibres, managing the process of making culturally significant apparel, by hands or through digital tools
- 186. service design can facilitate this holistic process: 1. artisans’ communities 2. collaborative services 3. enabling ecosystem
- 187. bridging service design and textile artisans’ communities through the codesign of collaborative services for sustainability
- 188. reflect set a strategic agenda for encouraging TAC towards a sustainable future 1C preliminarystudy plan select TAC to involve in co-design 2A 2C to co-design collaborative services for sustainable TAC plan map textile artisanal landscape 1A plan plan interconnections among TAC reflect synthesize service design process into a theoretical framework 3A 3C evaluation to outline an enabling ecosystem of sustainable TAC act & observe explore sustainable future trends for TAC co-design collaborative services act & observe 1B act & observe outline an enabling ecosystem of services 3B2B PS: TAC: Textile Artisans’ Communities to develop theoretical frameworkfor sustainable future for TAC mainstudy reflect evaluate whereas service design has met the theoretical framework methodology
- 189. encourage sustainable development trigger creative economies New York (USA) rescue craft heritage Nottingham (UK) participatory action research Cape Town (South Africa) to explore the wide scope of application of service design participatory action research
- 190. textile artisans’ communities can contribute to sustainable development as they... rescue cultural heritage provide social engagement boost creative economy enhanceresourcestewardship
- 191. weaving a sustainable future
- 192. 1.new market models alternative economies Openwear, “Collaborative Collection”, 2010, EU
- 193. global economic shifts grassroots innovations sharing economy collaborative consumption 1a.alternative economies Patagonia, “Common Threads”, 2015, USA
- 194. 2.new business models redistributed manufacturing UKTF, Let’s Make it Here, 2012, UK
- 195. relocalised manufacturing micro-factories network of fablabs changing workforce 2a.redistributed manufacturing Repair Café
- 196. Alabama Chanin, Stichting, USA3.new production models flexible production
- 197. long tail digital fabrication mass customisation on demand 3a.flexible production Knyttan, UK
- 198. 4.new design processes circular economy Ananas Anam, “Piñatex”, 2014, Uk & Spain
- 199. open, collaborative, free communities of practice collaborations & short chains cradle to cradle Neha Lad, “Beauty in the discarded”, 2014, India4a.circular economy
- 200. 5.new product types advanced artisanship Yen Chen Chang, “Knitted Sensors”, 2014, UK
- 201. from fast to slow fashion long sellers interactive, complex, immaterial product-service-system Timo Rissanen, Zero-Waste Denim, 2010, USA5a.advanced artisanship
- 202. 6.new designer’s roles designer entrepreneur Mary Portas, Headen & Quarmby, 2013, UK
- 203. mass profession of prosumers multidisciplinary communities tinkering & self-production complex designer’s palette 6a.designer entrepreneur Wool and the Gang, UK
- 204. FireUp, 2103, UK 7.new relationships enabling ecosystem
- 205. top-down vs bottom-up distributed P2P networks systemic thinking strategic agenda 7a.enabling ecosystem TED, The TEN, 2014, UK
- 206. a sustainable manifesto for textile artisans’ communities Shift the focus from aesthetics to ethics, from style to quality meanings; Ethical labour and rights must be set: less bad is not good; Textile artisanship stands as a slow reaction to fast fashion; Textiles are interconnected to their wholeness: materials, processes, people, places; Being vs. having, learning from nature and acknowledging the unpredictable; Manage connectivity within local communities, as collective wisdom and social act of collaboration; Design as political agent, embracing diversity as resource, weaving synergies among different assets; Scale up open initiatives within peer-to-peer networks at a glocal scale; Understand the root system and trigger holistic and systemic change, from micro to macro scales; Build an enabling ecosystem: complex, adaptive infrastructure supported by polycentric governance.