Week 1 & 2
Introduction to Assignment 2
Independent Study - Reading - What is 'Post - Modernism'?
- In 1989 48 global intellectuals assembled at Boston University to debate a perplexing issue: What period do we inhabit?
- The Age of Anxiety? The quantum age of Uncertainty? The Era of Space Exploration?
- Metaphors which classify an age have much importance as national identity
- The big question 'What era do we live?'
- Moderns became conscious of time as a culturally creative force
- Modernisation is irreversible
- There is no way we can live like hunter-gathers, or even like villagers.
- technical modernism, social modernity, cultural modernism there is no going back once been through.
- since two-fiths of the world is now forced into the couch, might we not learn to cultivate this strength?
- post modern has already chosen us
- can the label find us? can the word find us?
- 'Post Modern' has already chosen us
- 1992 the british independent recommended Post-modernism because it meant anything you care to think about the present.
- Modern comes from the Latin mod, meaning 'just now'
- 'Post modern' means 'after' just now - or sometimes beyond, contra, above, ultra, meta, outside-of the present
- We are much 'post' the past as the modern.
- 'Post' has spiritual and political overtones to the term.
- The direction comes from the past cultural weighting and the pull of the future.
What does this essay contain?
- A term to positively signify an emergent morality and cultural agenda
- A cultural continuium that stretches into the future
"rather, it rejects the toalising arguments with which universal rights are often imposed by an elite on a subservient minority (along with so much else). Modern liberalism fought for the 'universal' rights which the First World now partly enjoys; post - modern liberalism argues that the agenda of multiculturalism, and the rights of minorites
- Once you have gone throguh technical modernism, social modernity and cultural modernism there is no going back.
Week 7 Lecture Notes
- Modern with a lower 'm' is contempoary
- Modernism is as pure introspective - 'humans to humans'
- Modernism is quite predictable in some ways, it is always trying to control something.
- PostModernism and Modernism are both....?
- Modernism is a pretty male - driven point of view
Mana Taonga and Modernism
- We are still living in the world we are in through the lens of world war 1,2, and 3.
- Modernism is a form on Mana Taonga
- Modernist values are more important than others.
- Ezra Pound - "make it new" picking up what the early modernist said - encourging people to burn everything down and re-start. A whole new world is possible.
- Modernism and design has a feeling of a 'secret club'
Assessment two
- How we embrace plurism
- Thinking about how chanage occurs and why it occurs?
- Do artists create or respond to change?
- Start analying and bring subjective research into assesment two
1800 - 2500 words
- manifestation of an analysis - thorugh strategy of investigation create a form of art or design (select 2 or more artefacrs abd establish them in a comparitive history) e.g describe both
- Create something visual
- Mannifestation - a representation of the things you research and how you view the relationship between them.
Post Modernism
-There is no universal truth.
- 'reletivlism' ??
Breakout Room exercise
Why is globalisation relevant?
Western Style
Post - Modernism and Modernism was the end of western dominance
The rights of minority
Okay with different cultural identities
Post - modernism is taking modernism and taking out all the 'bad bits'.
There is no secret code, it is what we see.
Identify three points that narrows down Post - Modernism
Discussion
Artwork 'The Newzealanders'
- New Zealanders visiting future london
- The new zealand was seen as maori's in the 1870s
- can we imagine a time where the worlds as we know it no longer exists
Art History - western pov of how the indegious were depicted
e.g queen charlotte sound painting
- iphone case with the painting on it
- product doesn't exist and scapes the mana taogna and these cultural groups
-cultural appropriation not just people doing it but computerrs and softwares too, little consideration of original composition
- careful not to take something out of context.
Independent Study
Figuration
Colombian artist Diego Velez explores yet another facet of the relationship between figuration and abstraction. Velez’ interest in flat shapes and color lend his work a mural-like quality. The artist eschews modeling and shading, yet retains interest in figurative elements. Using repeating motifs of the face and the mask, urban landscape, and organic shapes, Velez achieves highly expressive compositions that could be as powerful on the large scale as they are as easel paintings.
https://www.art-mine.com/collectorscorner/blurring-the-line-between-figuration-and-abstraction/
Fragmentation
This work can be convieved as postmodern in many senses: its overt reference to popular culture (and low art) challenges the purity of the modernist aesthetic, its repititive element is a homage to mass production, and ironic play on the concept of authenticity undermines the authority of the artist. The use of diptych format, which was common in Christian alterpieces in the Renaissance period, draws attention to the American worship of both celebrities and images. All of these translate into an artwork that challenges tradional demarcations between high and low
Information
- Is there no better representation of 21st-century culture than the phrase, “anything goes?” We live in a time of mass-information. Ideas, concepts, philosophies, and trends can span one side of the globe to the other in a matter of seconds; our lives and our art have changed substantially because of this.
- It is a logical development of the creative genius of the painter and to a certain extent it reflects the influence of Suprematism and Constructivism assimilated by Kandinsky in Russia and in the Bauhaus.
- “Form itself, even if completely abstract ... has its own inner sound,”
Reading one - Kaihini Ahua
Pakeha Primitivism
- The colonial process impacted the Maori population due to diseases which created rumours that Maori were extincting.
- 'Pakeha' was orignally a term used by the Maori when explores and settlers entered Aeteroa. Pakeha now identity themselves as british, european, or non-Maori.
- Pakeha defined themselves in relation to Maori as if they were different to their European ancestors. Reclaiming Pakeha identitty did not solve issues of the colonial process.
- Pakeha have created a 'modern Aoteroa' by introducing cultural icons such as gumboots, black singlets, kiwifruit, and the buzzy bee toy.
- Primitive culture justified colonisation for European explorers.
- The Pakeha identity 'crisis' was left unresolved, now the cultural identity of New Zealand artists continues to be addressed.
- The gothic art movement - a response to biculturalism. Gothic art specific to Pakeha trends.
- Contempoary Maori art
Kaihono Ahua_Vision Mixer_A.M.White_2013.pdf In 1840’s, Maori were understood to be ‘the New Zealander’. “In 1856 the proportion of maori that could read and write was greater than that of the european” It was fair to say that as landowners, farmers, graziers, shipowners, labourers and artisans, Maori were the fundamental society of NZ. ‘Golden age of Maori Economy’ European artists did not document the Maori and their dominant economy as they believed that a ‘primitive’ culture was going to disappear due to european expansion. - ethnological By 1872, two NZ wars had been fought and the Maori economic power had fallen to the use of imperial force and land confiscation. Though the Treaty of Waitangi granted to all maori “the rights and privileges of all british subjects”, the New Zealand lawyers decided these did not include any right to land. Maori could also not vote unless they had a tenement built on land brought from the crown.? Between 1871-74 the european settlement doubled from 250,000 to 500,000 due to government-assisted migration programmes Maori population declined sharply during the colonisation of NZ due to the introduction of new diseases being brought into the country. Europeans were stupid enough to even think in the late 19th century that Maori were facing extinction. In the context of the artwork, the representation of Maori being the ‘futuristic tourist to the ruins of london’ was surpassed by the ‘old time Maori’ By the start of the 20th century, maori culture was being perceived as the treasure trove in the soil used by pakeha to define their unique european New Zealand identity. The Maori role in the establishment of the european settlement have been overlooked, effectively casting maori culture as a primitive culture. A view that legitimises the colonial project in NZ. Hegemony - a method of maintaining power over a group of people. Chnage in indigenous peoples lives has recently been seen as western intrusion - a theft of their ‘modernity’ Maori art before colonisation is perceived as authentic/pure whereas post contact is seen as inauthentic. - a measure of the impacts of colonialism This essay argues that the maori experience of european settlement can be regarded as a process of modernism. Maori artists and art historians have long identified innovation and adaptation as fundamental qualities of maori art Idea of colonisation effect being hybridisation. Peter Robinsons percentage art reflecting the maori of dilution through a generational bloodline. Making absolutely clear that whakapapa is the essential determination of maori art. Artists expressing maori art traditions vs expressing maori ideas using western abstract and conceptual art. These art pieces reflect the longer history of maori modernism; grounded in the ancestral tradition and occupies a point of difference from nz art. ‘I am He’ ‘I am ahybrididentity’ Lyonel Grant quoted ‘the whole action of creating a piece of art to put in a show, it doesn’t have the same depth or purpose… the Kaupapa shifts…. And that changes the whole dynamic of the artwork”. - This is why in the Maori cultural context that Grant’s work was regarded so highly - he preferred to work on marae art work etc. Lyonel Grant’s work can be viewed as having the strongest cultural position in contemporary maori art and can be implicated in identity theory debates. Cultural site of the marae and kaupapa maori are undoubtedly qualifying his work as maori art compared to the question of essentialism and authenticity when maori artists engage in western art traditions (such as art galleries) and communicate maori political positions that challenge pakeha dominant cultures. Not all my own words as it was paraphrased or direct quoted from the reading above
City Brasilia Architecture
Wednesday 13 May Zoom
Worldiness.
- Taking parts of other countries cultures and placing it somewhere out of its ordinary for public attraction.
- Globalisation
- Not aunthenic
Learning from Las Vegas — Robert Venturi
Reading Two :
- European art and how woman are painted and presented mainly by male artsits
Independent Study
Co-Creation and the new landscapes of design
Words to Look up:
- US and Nortern European approaches are now beginning to influence each other in the design direction.
- 'User-centred' (user as subject) / 'Participatory appraoch' (user as partner)
- co-design and co-creation, often confused synonymously with one another.
Co-design we indicate collective creativity as it applys to the whole design process.
Co-creation is very broad, ranging rom the physical to the metaphysical and from the material to the spiritual.
Co-design is a specitifc instance of co-creation
- The 'front - end' of the design process is often referred to as 'fuzzy' because of the ambiguity and chaotic nature that characterises it. So the front-end is often not known what the actual design will be e.g a product? an interface? a building? consideration of explorations.
Then followed by tradiontional design process - concepts, prototypes that are refined
- It was predicted in 2007 by Robert Junkg (a futurist and social inventor advocate) that change would not come for many years, in which he was correct.
- Lead-users are people who have already explored innovative ways to get things done and are willing to share their approaches with others
- Co-creation example - Websites such as www.NIKEiD.com allow people to customise theor own shows - choosing colours and details. Co-creation is the lastest trend in marketing and brand development. Latest way to get new products and services into an already overcrowed marketplace.
- Participatory Design (co-design) is attempting to involve all skateholders e.g employees, partners, customers, citizens, and end users in the design process to help ensure the result meets their needs and is usable.
- Participatory design took so long to make an impact on the man-made world, first, it requires one to believe that all people are creative (which is not a commonly accepted bried)
There are assumptions that only 'lead' people can become co-designers.
- In this generation we are having an easier time in distributing and sharing the control and ownership beacuse the internet has given a voice to people who were previously not even apart of the conversations.
- People find it hard to believe that they are creative and can behave accordinly.
- Co-designing requires creative initiative on the part of the entire team: researchers,
- The direction comes from the past cultural weighting and the pull of the future.
What does this essay contain?
- A term to positively signify an emergent morality and cultural agenda
- A cultural continuium that stretches into the future
"rather, it rejects the toalising arguments with which universal rights are often imposed by an elite on a subservient minority (along with so much else). Modern liberalism fought for the 'universal' rights which the First World now partly enjoys; post - modern liberalism argues that the agenda of multiculturalism, and the rights of minorites
- Once you have gone throguh technical modernism, social modernity and cultural modernism there is no going back.
Week 7 Lecture Notes
- Modern with a lower 'm' is contempoary
- Modernism is as pure introspective - 'humans to humans'
- Modernism is quite predictable in some ways, it is always trying to control something.
- PostModernism and Modernism are both....?
- Modernism is a pretty male - driven point of view
Mana Taonga and Modernism
- We are still living in the world we are in through the lens of world war 1,2, and 3.
- Modernism is a form on Mana Taonga
- Modernist values are more important than others.
- Ezra Pound - "make it new" picking up what the early modernist said - encourging people to burn everything down and re-start. A whole new world is possible.
- Modernism and design has a feeling of a 'secret club'
Assessment two
- How we embrace plurism
- Thinking about how chanage occurs and why it occurs?
- Do artists create or respond to change?
- Start analying and bring subjective research into assesment two
1800 - 2500 words
- manifestation of an analysis - thorugh strategy of investigation create a form of art or design (select 2 or more artefacrs abd establish them in a comparitive history) e.g describe both
- Create something visual
- Mannifestation - a representation of the things you research and how you view the relationship between them.
Post Modernism
-There is no universal truth.
- 'reletivlism' ??
Breakout Room exercise
Why is globalisation relevant?
Western Style
Post - Modernism and Modernism was the end of western dominance
The rights of minority
Okay with different cultural identities
Post - modernism is taking modernism and taking out all the 'bad bits'.
There is no secret code, it is what we see.
Identify three points that narrows down Post - Modernism
- - Argues the agenda of multiculturlism
- - An idea of living across time in a horistcal and cultural
- - The end of western domanince, the decline of individualism, capiltilsm, and christianity and the rise to power of non- western cultures.
- - The modern is not the eternal used to mas modernism with specifying
Discussion
- Implemting modernist ideas in a more fluid way, less strict and more open
- The end of western identities
- Once you have gone through technical modernism, social modernity and cultural modernism there is no going back.
- Lock in = shows the universal function and contigment compromise and both get locked in by evoulutionary development
- Everybody is having an identity crisis
- Other nations rising into power with economy growing
- Whos truth is more important than somebody else's?
- People use the western views as defaults
- As more people become advanced economies they want a segestion as to what modernism means.
- 2010 (take off of FB) 2016 (take off of trump and breckset)
Independent Study
- Look up - 'City Brazilia'
- How that city was designed as a complete work of art
- The architech of brazilia.
- How it may or may not have represented brazil as a city?
- When reading Kaihono reading be concious to read each essay
-Think back to week 2
- Illustrate and think about what design strategy is
Analyse what we did in week 2 and then draw it
Read kaihono Ahua
the read :
Post Modern values in relation to the modernist tenets.
- Look up - 'City Brazilia'
- How that city was designed as a complete work of art
- The architech of brazilia.
- How it may or may not have represented brazil as a city?
- When reading Kaihono reading be concious to read each essay
-Think back to week 2
- Illustrate and think about what design strategy is
Analyse what we did in week 2 and then draw it
Read kaihono Ahua
the read :
Post Modern values in relation to the modernist tenets.
- What is representation
- Come up with your own definitions for the these terms are, relate them to an art work or something we've already come across
- create a connection between those terms in the world that we live with
- choose some of the words, come up with a definition and then match it to an existing artwork
Artwork 'The Newzealanders'
- New Zealanders visiting future london
- The new zealand was seen as maori's in the 1870s
- can we imagine a time where the worlds as we know it no longer exists
Art History - western pov of how the indegious were depicted
e.g queen charlotte sound painting
- iphone case with the painting on it
- product doesn't exist and scapes the mana taogna and these cultural groups
-cultural appropriation not just people doing it but computerrs and softwares too, little consideration of original composition
- careful not to take something out of context.
Independent Study
Figuration
Colombian artist Diego Velez explores yet another facet of the relationship between figuration and abstraction. Velez’ interest in flat shapes and color lend his work a mural-like quality. The artist eschews modeling and shading, yet retains interest in figurative elements. Using repeating motifs of the face and the mask, urban landscape, and organic shapes, Velez achieves highly expressive compositions that could be as powerful on the large scale as they are as easel paintings.https://www.art-mine.com/collectorscorner/blurring-the-line-between-figuration-and-abstraction/
Fragmentation
This work can be convieved as postmodern in many senses: its overt reference to popular culture (and low art) challenges the purity of the modernist aesthetic, its repititive element is a homage to mass production, and ironic play on the concept of authenticity undermines the authority of the artist. The use of diptych format, which was common in Christian alterpieces in the Renaissance period, draws attention to the American worship of both celebrities and images. All of these translate into an artwork that challenges tradional demarcations between high and low
Information
- Is there no better representation of 21st-century culture than the phrase, “anything goes?” We live in a time of mass-information. Ideas, concepts, philosophies, and trends can span one side of the globe to the other in a matter of seconds; our lives and our art have changed substantially because of this.
- It is a logical development of the creative genius of the painter and to a certain extent it reflects the influence of Suprematism and Constructivism assimilated by Kandinsky in Russia and in the Bauhaus.
- “Form itself, even if completely abstract ... has its own inner sound,”
Reading one - Kaihini Ahua
Pakeha Primitivism
- The colonial process impacted the Maori population due to diseases which created rumours that Maori were extincting.
- 'Pakeha' was orignally a term used by the Maori when explores and settlers entered Aeteroa. Pakeha now identity themselves as british, european, or non-Maori.
- Pakeha defined themselves in relation to Maori as if they were different to their European ancestors. Reclaiming Pakeha identitty did not solve issues of the colonial process.
- Pakeha have created a 'modern Aoteroa' by introducing cultural icons such as gumboots, black singlets, kiwifruit, and the buzzy bee toy.
- Primitive culture justified colonisation for European explorers.
- The Pakeha identity 'crisis' was left unresolved, now the cultural identity of New Zealand artists continues to be addressed.
- The gothic art movement - a response to biculturalism. Gothic art specific to Pakeha trends.
- Contempoary Maori art
Kaihono Ahua_Vision Mixer_A.M.White_2013.pdf In 1840’s, Maori were understood to be ‘the New Zealander’. “In 1856 the proportion of maori that could read and write was greater than that of the european” It was fair to say that as landowners, farmers, graziers, shipowners, labourers and artisans, Maori were the fundamental society of NZ. ‘Golden age of Maori Economy’ European artists did not document the Maori and their dominant economy as they believed that a ‘primitive’ culture was going to disappear due to european expansion. - ethnological By 1872, two NZ wars had been fought and the Maori economic power had fallen to the use of imperial force and land confiscation. Though the Treaty of Waitangi granted to all maori “the rights and privileges of all british subjects”, the New Zealand lawyers decided these did not include any right to land. Maori could also not vote unless they had a tenement built on land brought from the crown.? Between 1871-74 the european settlement doubled from 250,000 to 500,000 due to government-assisted migration programmes Maori population declined sharply during the colonisation of NZ due to the introduction of new diseases being brought into the country. Europeans were stupid enough to even think in the late 19th century that Maori were facing extinction. In the context of the artwork, the representation of Maori being the ‘futuristic tourist to the ruins of london’ was surpassed by the ‘old time Maori’ By the start of the 20th century, maori culture was being perceived as the treasure trove in the soil used by pakeha to define their unique european New Zealand identity. The Maori role in the establishment of the european settlement have been overlooked, effectively casting maori culture as a primitive culture. A view that legitimises the colonial project in NZ. Hegemony - a method of maintaining power over a group of people. Chnage in indigenous peoples lives has recently been seen as western intrusion - a theft of their ‘modernity’ Maori art before colonisation is perceived as authentic/pure whereas post contact is seen as inauthentic. - a measure of the impacts of colonialism This essay argues that the maori experience of european settlement can be regarded as a process of modernism. Maori artists and art historians have long identified innovation and adaptation as fundamental qualities of maori art Idea of colonisation effect being hybridisation. Peter Robinsons percentage art reflecting the maori of dilution through a generational bloodline. Making absolutely clear that whakapapa is the essential determination of maori art. Artists expressing maori art traditions vs expressing maori ideas using western abstract and conceptual art. These art pieces reflect the longer history of maori modernism; grounded in the ancestral tradition and occupies a point of difference from nz art. ‘I am He’ ‘I am ahybrididentity’ Lyonel Grant quoted ‘the whole action of creating a piece of art to put in a show, it doesn’t have the same depth or purpose… the Kaupapa shifts…. And that changes the whole dynamic of the artwork”. - This is why in the Maori cultural context that Grant’s work was regarded so highly - he preferred to work on marae art work etc. Lyonel Grant’s work can be viewed as having the strongest cultural position in contemporary maori art and can be implicated in identity theory debates. Cultural site of the marae and kaupapa maori are undoubtedly qualifying his work as maori art compared to the question of essentialism and authenticity when maori artists engage in western art traditions (such as art galleries) and communicate maori political positions that challenge pakeha dominant cultures. Not all my own words as it was paraphrased or direct quoted from the reading above
City Brasilia Architecture
Wednesday 13 May Zoom
Worldiness.
- Taking parts of other countries cultures and placing it somewhere out of its ordinary for public attraction.
- Globalisation
- Not aunthenic
Learning from Las Vegas — Robert Venturi
Reading Two :
- European art and how woman are painted and presented mainly by male artsits
Independent Study
Co-Creation and the new landscapes of design
Words to Look up:
participatory
paradigm
espoused
ecosphere.
relinquished
egalitarian
curricula
- The transformation of designers using a co-designing approach is hoped that evolution will support this transformation towards more sustainable ways of living in the future. - US and Nortern European approaches are now beginning to influence each other in the design direction.
- 'User-centred' (user as subject) / 'Participatory appraoch' (user as partner)
- co-design and co-creation, often confused synonymously with one another.
Co-design we indicate collective creativity as it applys to the whole design process.
Co-creation is very broad, ranging rom the physical to the metaphysical and from the material to the spiritual.
Co-design is a specitifc instance of co-creation
- The 'front - end' of the design process is often referred to as 'fuzzy' because of the ambiguity and chaotic nature that characterises it. So the front-end is often not known what the actual design will be e.g a product? an interface? a building? consideration of explorations.
Then followed by tradiontional design process - concepts, prototypes that are refined
- It was predicted in 2007 by Robert Junkg (a futurist and social inventor advocate) that change would not come for many years, in which he was correct.
- Lead-users are people who have already explored innovative ways to get things done and are willing to share their approaches with others
- Co-creation example - Websites such as www.NIKEiD.com allow people to customise theor own shows - choosing colours and details. Co-creation is the lastest trend in marketing and brand development. Latest way to get new products and services into an already overcrowed marketplace.
- Participatory Design (co-design) is attempting to involve all skateholders e.g employees, partners, customers, citizens, and end users in the design process to help ensure the result meets their needs and is usable.
- Participatory design took so long to make an impact on the man-made world, first, it requires one to believe that all people are creative (which is not a commonly accepted bried)
There are assumptions that only 'lead' people can become co-designers.
- In this generation we are having an easier time in distributing and sharing the control and ownership beacuse the internet has given a voice to people who were previously not even apart of the conversations.
- People find it hard to believe that they are creative and can behave accordinly.
- Co-designing requires creative initiative on the part of the entire team: researchers,
designers, clients and the people who will ultimately benefit from the co-designing
experience.
- Secondly, participatory thinking is antithetical to consumerism, in which personal
happiness is equated with purchasing and consuming material goods.
Hopefully, consumerism and the rampant consumption that goes with it has almost run its course. Meanwhile in other parts of the world, basic human needs e.g clean water are not met. People want a balance between passive consumption and the ability to actively choose what kinds of creative experiences to engage with.
- A third reason it was taken co-creation so long to have an impact is that participatory design as been seen as academic endevour (lack of practical or technical skills).
The relationships between new technologies and future human experiences have just become very complex and integraded e.g For example, as car manufacturers find it hard to compete on technical quality and price, they are forced to look outside the product to the user and his/her context. They are becoming aware that the car driving experience is now of primary concern.
- What is going on in design practise?
- Design practise has been influenced by the changing landscape of human-centred design research. We are no longer designing products for users, we are designing for the future experiences of people, communities, and cultures who are now connected and educated in ways that were unimanginable 10 years ago.
- Interaction Design, Sevice Design, Transformation Design which each incorperates traditional design diciplines.
Service Design - integrates visual commnication design , information design, and interation design.
Transformation Design - based on participatory practises combined with user-centred methods.
- Tradional designs on the left centre around the product or a technology. On the right, design practises centre around people's needs or societal needs and require a different approach in that they need to take longer views and address larger scopes of inquiry.
The roles in the design process are changing
- The move from user-centred design to co-designing is having an impact on the roles of players in the design process.
- Classicla roles of users in the design process involves knowledge in the form of a report and adds an understanding on technology and the creative thinking needed to generate ideas, cincepts, etc. In Co-designing, the roles get mixed up; the person who will eventually be served through the design process is given the position of 'expert of his/her experience'. They play a big role in the knowledge depeartment, idea generation and concept development.
- The researcher supports the 'expert of his/her experience' by providing tools for ideation and experssion.
- The designer and the researcher collaborate on the tools for ideation because design skills are very important in the development of the tools
The Role of the user: co-designer
- Doing, adapting, making, and creating are the four levels of creativity that can be seen in people's lives. The Four levels vary in terms of expertise and interest. Expertise, interest/passion, effort.
- People with a high level of passion and knolwedge in a certain domain who are invited to participate directly in the design process can certainly become co-designers.
As researchers we will need to learn how to:
. lead people who are on the ‘doing’ level of creativity,
. guide those who are at the ‘adapting’ level,
. provide scaffolds that support and serve peoples’ need for creative expression at the
‘making’ level, and
. offer a clean slate for those at the ‘creating’ level.
The role of the professional designer
- With mankinds drive to address the challenges of global, systemic issues, designers will be needed beacuse they hold highly developed skills thta are relevant at larger levels of scope and complexity.
- Designers will be needed because they hold highly developed skills that are relevant at
larger levels of scope and complexity.
- In the near future,
designers will find themselves involved not only in the design of stand-alone products but
in the design of environments and systems for delivering healthcare, for example. The
design of a new community hospital may be completed 8–10 years before the hospital itself
is opened. What will the technology be 10 years in the future? Who will be the patients?
What will the needs of patients be? Who will be the healthcare workers? How will the
transition into the new facility be staged? How will the healthcare workers learn to work in
the new facility?
- Third, designers will need to play a role on the co-designing teams because they
provide expert knowledge that the other stakeholders do not have. Designers professionally
keep track of existing, new and emerging technologies, and have an overview
of production processes and business contexts
- The design/research blur will be disruptive at first, with arguments going back and
forth about who is best suited to do what, which tools and methods belong to whom and
how to analyse the data. This is where we are now. As the disruption gains momentum,
however, new disciplines will spin out and people will begin to explore the new design
spaces on the emerging landscape.
- Co-designing teams will be far more diverse than they are today. Future co-designing
will be a close collaboration between all the stakeholders in the design development
process together with a variety of professionals having hybrid design/research skills.
What to think about now :
. When should education about co-creation and co-designing begin? If started in the
elementary level, how much more rapidly will the world take shape?
. Who are the new hybrid researcher-designers? Can we learn how to identify people
with the most promise? What abilities, skills, mindsets and worldviews will they
need?
. What about the learning process for social scientists? Is the learning process for codesigning
easier for social scientists (vs. engineers) to learn? What implications does
this have for the future?
. What will be the impact of enabling and supporting multiple simultaneous levels of
collective creativity? How will that influence design cultures? What influence will that
have on the world cultures?
. With everyday people given access to the design process in co-creation, how much
will design thinking diffuse into everybody’s curriculum for living, learning and
working?
The new landscapes of design and research will be infinite in space and time and
continually changing.
Assignment 2 could extend or build upon your work in Assignment 1.
Produce a narrative, analytical essay that suggests or identifies strategies of integration. Your analysis should engage critically with the outcomes, concepts and practices of design and the social or cultural period that they were created within.
1800~2500 words
Strategies of integration
Simply — Select 2 or more artefacts and establish them within a comparative history
… and beyond
- How does an series of artefacts relate to the social or cultural period it was created within?
- How do a series of artefacts relate to one another? How did they evolve?
- How do a series of artefacts relate to concepts described by post-modernism or meta-modernism?
- How did a series of artefacts impact on our current sociocultural experience and integrate from influences around them?
Deliverables
- Submit as a typeset essay
- Accompany this with a ‘manifestation’ that helps to express your analysis or proposal of an integration strategy
- Include at least 3 set readings and those you have sourced yourself
Submission deadlines
- Manifestation of analysis — Wednesday 10 June, 10am
- Written analysis — Friday 12 June, 5pm
Wednesday 20th May Class
- The photo on the right with the moko becomes more popular as it represents Maori more outstandlily
- Distribution on reality - we are always informed and told there is a reality but the relativism suggests thats not true at all. We can take the realitivsm is really important.
- Colonisation -
Assignment 2
How the evolution of dwelling design in New Zealand effected the social and cultural period they were created in.
Maori had to adapt and shift with the westernisation and integration of cultural design decisions and way of life to continue living and progressing in new zealand. Things they considered tapu often had to be overlooked in order for maori to live in a statehome. a matter of going against their beliefs or being homeless.
artefact 1 - moari traditional whare - first designs of a dwelling in nz .... what designs they used and why eg pointed roof - big open room as it was only for sleeping heaps of people. not like now where a house is for living sleeping eating shitting. designs were to tell a story and identify the owner or resident. how this was designed purely for function and to make it as enabling as possible for the resident of the dwelling.
artefact 2 - state housing - government built housing, did not pay any attention to Māori tikanga (cultural values and traditions) because of the state’s aim of intigrating Māori into Pākehā society. They didnt intigrate how the user (resident) would interact with the artifact (house), designed more for looks and to fit many people into a smaller space (due to westernisation and immigration to New Zealand).
Artefact 3 - urban marae - Maori adapted to this change by creating urban marae, (maraes in urban areas (in town). state housing was a disabling space for maori cultural traditions and beliefs, eg having to have tangis in garages. they created urban maraes to be able to withhold their cultural way of life and not lose it due to european and maori intigration and westernisation of New Zealand.
co-creating reading: If this was a prominiant way of designing during the period of state housing, maori would have more of a say in the design direction and decisions which could have resulted in much more enabling housing for the maori culture and could have resulted in the opposite manner, Europeans having to adapt to maori traditions and culture by living in housing that reflected this. eg a bigger open space to hold tangis.
manifestation - state house with maori carvings
Assignment 2
How the evolution of dwelling design in New Zealand effected the social and cultural period they were created in.
Maori had to adapt and shift with the westernisation and integration of cultural design decisions and way of life to continue living and progressing in new zealand. Things they considered tapu often had to be overlooked in order for maori to live in a statehome. a matter of going against their beliefs or being homeless.
artefact 1 - moari traditional whare - first designs of a dwelling in nz .... what designs they used and why eg pointed roof - big open room as it was only for sleeping heaps of people. not like now where a house is for living sleeping eating shitting. designs were to tell a story and identify the owner or resident. how this was designed purely for function and to make it as enabling as possible for the resident of the dwelling.
artefact 2 - state housing - government built housing, did not pay any attention to Māori tikanga (cultural values and traditions) because of the state’s aim of intigrating Māori into Pākehā society. They didnt intigrate how the user (resident) would interact with the artifact (house), designed more for looks and to fit many people into a smaller space (due to westernisation and immigration to New Zealand).
Artefact 3 - urban marae - Maori adapted to this change by creating urban marae, (maraes in urban areas (in town). state housing was a disabling space for maori cultural traditions and beliefs, eg having to have tangis in garages. they created urban maraes to be able to withhold their cultural way of life and not lose it due to european and maori intigration and westernisation of New Zealand.
co-creating reading: If this was a prominiant way of designing during the period of state housing, maori would have more of a say in the design direction and decisions which could have resulted in much more enabling housing for the maori culture and could have resulted in the opposite manner, Europeans having to adapt to maori traditions and culture by living in housing that reflected this. eg a bigger open space to hold tangis.
manifestation - state house with maori carvings
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