Our first visiting designer lecture of the semester is this Thursday.
February 25, 6:30pm
Metcalf Auditorium, Chace Center
Michael Rock is a founding partner and Creative Director at 2×4 and Director of the Graphic Architecture Project at the Columbia University Graduate School of Architecture, Planning and Preservation. At 2×4, he leads a wide range of projects for Prada, Nike, Kanye West, Barneys New York, Harvard and CCTV. Before starting 2×4, he was co-founder of Information incorporated in Boston. From 1984–91 he was Adjunct Professor of Graphic Design at the Rhode Island School of Design and since 1991 he has been a member of the design faculty at the Yale School of Art where he holds the rank of Adjunct Professor. In addition, he was a fellow at the Jan Van Eyck Akademie in Maastricht, The Netherlands, and a contributing editor and graphic design journalist at I.D. Magazine in New York. His writing on design has appeared in publications worldwide. He holds an A.B. in Humanities from Union College and a M.F.A from the Rhode Island School of Design. He is the recipient of the 1999/2000 Rome Prize in Design from the American Academy in Rome and currently serves on the board of the Academy.
Michael’s classic essay Designer as Author (1996)
“Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social marketing campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other information design projects urgently require our expertise and help.”
First Things First Manifesto 2000, “Emigre,” 1999, # 51
“Designers are the mediators of our daily experience. The easier my compost bucket is to use, the more comfortable my ride on the bus, and the more appealing my reusable grocery bag, the more likely I am to participate in environmentally sound practices. Designers cary a heavy responsibility, but at the same time they can offer our future the greatest gift.”
Gavin Newsom, Lt. Gavernor of California [in: Just Design by Christopher Simmons]
“Now is the time for designers to step up and use what they know how to do to help shape a positive future for people and the planet.”
John Bielenberg [in: Just Design by Christopher Simmons, p. 1]
“Why ‘social design’ here, now? What is society today, in certain parts of the world, such that it is not unusual to think that designers might have a role to play in reforming society? What is design that designers think reformed sociality is the outcome, if not also the means, of what designers do?”
Cameron Tonkinwise, Director of Design Studies, Carnegie Mellon University, ‘Social Design and the Age of Neoliberalism’, [in: Social Design Futures, HEI Research and the AHRC by Leah Armstrong Jocelyn Bailey Guy Julier Lucy Kimbell, p. 3]
“Social design cannot be a subspecialty of the design profession (like graphic design, package design, product design, service design, and so on), but is a larger activity that depends upon design in all its forms–thought, processes, tools, methodologies, skills, histories, systems–to contribute to the needs of larger society. It implies at once an attitude and an approach to life: as such, it can help us frame how we want to live in the future. It is therefore inherently pragmatic and results-oriented, simultaneously humble and ambitious, and fundamentally optimistic and forward-looking.”
William Drenttel [in Designing for Social Change by Andrew Shea, p. 7]
“This is not to suggest that so-called ‘good’ design is necessarily better design; bus schedules, product labels, freeway signs and ballots are all critical elements of our designed society. In these experiences there can be no righteousness. They are, importantly, neutral. Nevertheless, they require skillful design—just as the most mundane products and incidental experiences must also be designed. Collectively these fabricate the visual landscape of our culture.”
Christopher Simmons, Just Design p. 4
“Creative for the sake of being creative is fine, but here, the creative has to serve the mission.”
Diana Berno, [in: Just Design by Christopher Simmons, p. 186, 2011]
“I want designers to rewrite the rule book, cut back on the idle talk and engage the world as creative citizens.”
Emily Pilloton, [in: Just Design by Christopher Simmons, p. 76, 2011]
“We need to learn and see designers as creators in the service of society, where — according to contemporary sociology — ‘everybody is a designer’” …
Ezio Manzini, Alternatywne światy, “2+3D” nr 13, p. 52
Eat Drink Man Woman
Jiro Dreams of Sushi
The Cook, the Thief, His Wife and her Lover
And just FYI, via the RISD library, MOVIES!!!
Entire criterion collection + more!
KARA WALKER – On Subtlety
TOILET PAPER MAGAZINE Maurizio Cattelan
WHAT THE WORLD EATS:
best viewed on computer not phone
Other topics/people to look up
– K-Hole consumer reports http://khole.net/issues/05/
– Andrea Fraser – lectures as performance
– Hito Steyrl – Is the Museum a Battlefield?
– Charlotte Cheetham – Slide Shows series
*In regards to subverting aesthetic and established systems
– Yes Men
– Culture Jamming
– Détournement – adbusters
– armchair activism
How can designers use collaborative methods to generate content and stimulate projects?
How can we begin to communicate a complex idea or action using an economical combination of words, type, and image?
How can you design narrative experiences in physical places/environments, taking into account your audience and community?
How can designers engage audiences around issues pertaining to the most fundamental human activity of all: FOOD?
Below are common deadline for all sections. Some instructors may ask for additional deliverables or provide more details
– Bring results of both of your extended units to pin up or display for a walkabout
– Critique in your section
– Bring actual reflective document. Overview of that.
– Send electronic files to your instructor for results of all units and reflective document: a minimum of six files (pdf, etc.). This may be done via Dropbox, email, etc.
– Work from outside this class is also required for sophomore review. The above is what is needed from DS2.
Design an outward-facing expression of your reflective process.
A print product
An on-screen experience
You are making a practical but expressive tool that you will use to facilitate your end-of-year discussions.
Community (GD Commons, 5/18, 11:20am)
Your instructor (5/18)
Your end-of-year review (5/25)
We began the semester by asking you to ask questions.
This weekend, set aside some time away from distractions to think about those questions in relation to your own progress this semester.
What do you consider to be your strongest accomplishments as a designer so far?
What are your biggest challenges moving forward?
Where do you need help?
What inspires you?
What are your hopes for moving forward?
How have your design values evolved?
Try to be honest and clear with yourself.
This kind of awareness is crucial to any creative practice.
An essential part of becoming a designer is recognizing the importance of reflection and self-evaluation.
Ideally, it’s a continuous part of your growth process, in school and beyond.
Wednesday May 11
Unit 17 review
Monday May 16
Unit 18 design studio
Wednesday May 18
Unit 18 review
11:30–12:30 Full group in GD Commons
12:30–4:20 Individual meetings
Wednesday May 25
Juniors end-of-year review
Construct your piece into your space in a way that allows the viewer to navigate themselves through your concepts and ideas. This can be through video, environmental design, installation, and other interventions. Some sections have been asked to place their “Expand” object within the site as a way to help communicate the overall process of arriving at the final piece.
How does the structure of information shape action?
We will use world-wide-web and the Internet as a case study for closely looking at and analyzing how the structure and layout of information on a web page affects the way we navigate the web. We will adapt a technique called ‘the dérive’ to experience, analyze and map a small portion of the web. This technique privileges subtle, actual, lived experience above abstract analysis. The unit will go on to explore how we can propose to re-design an experience (online or offline, digital or analog) and shape actions based on insight from our dérives and mappings.
1. As we go about our web-surfing we will become hyper aware of the design and context (how did we get to this page, what links did we follow, what social media service were we using?) of each page we visit.
2. Begin to pay close attention to the way you typically interact and navigate around a page.
3. We will begin to collect the bits and pieces we are noticing from each of these pages – images, snippets of text, urls, taking notes, drawings, sketches, screenshots, etc…
1. Now try to ‘drift’ through the web: try to navigate without using the back-button, without any search functions, using your keyboard as little as possible (see the Trailblazers Web Surfing Competition below).
2. Pay close attention to the way your interaction differs during your web-derive.
3. Collect and map the elements you are noticing during your web-derive
Maps for 1.1 and 1.2
Using the collected snippets form 1.1 and 1.2, you will create a simple map of your experience. What is the simplest, most obvious way to display and share the information you have collected with your colleagues? What story does the collected information tell? Does your map reveal anything about your surfing habits, the sites you visit, the web in general? Did you take an unexpected detour on the web? Discover entire new sections, or categories of videos you have no idea existed? This assignment is about consciously navigating and tracking that navigation across the web.
You will present both maps in class in 1 week. Remember, maps can be diagrams, sketches, videos, poems, timelines, tumblrs, posters, or any other form you can imagine.
Weeks 2 – 4
2. You will either refine your maps or choose another experience on which to apply the dérive and mapping. You could choose a book, a poster, a space, an event.
3. You will propose a way – through graphic design – to modify the lived experience you have chosen.
4. You will finalize your proposal or implement your design.
This project asks you to consider all the ramifications of its procurement, consumption, ritual, and economies.
In our ever more global world, one thing we all have in common is the need to eat.
Our bodies need food for sustenance, and our souls need to gather with others for the health of our communities and for human contact. Design is complicit in how we think or know about food and how we buy it, see it, use it, learn about its politics and problems, its rituals and complexities. We are asking students to consider their own position and or interests and points of view around of: Food and Food Culture, in the context of food as part of a system of production and consumption, distribution and procurement.
Consider how the process of production, consumption, and other food/dining activities contribute to massive environmental change; which has produced 19 to 29 percent of total greenhouse gas emissions per year and deeply impacts the environmental changes that are taking place.
1) phase one:
>> Information design (project given Mon Nov 2 Due Mon Nov 9)
>> Unit 03 asks you to consider and choose among the suggested topics one of them.
>> Investigate its background Information that are related to your topic.
>> Find articles, websites, news sources, videos, books etc.
>> Evaluate, edit, organize your data to its very basic facts and core.
>> Develop a comprehensive and well-researched and knowledgeable presentation of your research and information. Show your content, drawings, and maps, and make digram(s) charts, show statistics, etc. to tell your story through the quantitative and qualitative aspect of information design (like the previous work shop study).
Format 24 x 36 poster.
Learning Goal: To develop a qualitative and quantitative understanding of information
Unit Objective: To encourage designers to engage in critical cultural and global issues.
2) phase two: Visual Narrative (project given Mon Nov 9 Due Wed Nov 18)
Based on your phase one project, begin to draw, sketch, develop a formal visual story with rhetorical narrative attitude.
It should define your narrative voice and position.
Use any media including: visual narrative, text, image, sound performance, projection, etc.
Goal is to engage your audience.
Medium is open to the most appropriate and communicative format.
SUGGESTED TOPIC AREAS:
Other agricultural practices can impact the climate. Synthetic pesticides and fertilizers are widely used in agriculture, and are often made from fossil fuels. Manufacturing and transporting these chemicals uses significant quantities of energy and produces greenhouse gases.
Where your food comes from is also a factor. Currently, the average meal travels 1200 km from the farm to plate. Food that is grown closer to home will therefore have fewer transportation emissions associated with it, and also be fresher and support local farmers. And as the distance food travels decreases, so does the need for processing and refrigeration to reduce spoilage.
Food and health
We are what we eat, and getting it right can significantly slow the clock down
The one dietary approach that has consistently been found to extend the life span of animals is simply to feed them less. A diet based on natural, nutrient-packed foods such as fruits, vegetables, eggs, meat, fish, nuts, seeds, beans and lentils will help the body get by on less without the need to go hungry. Drinking plenty of water has been linked with a reduced risk of major killers including heart disease and cancer, and helps to prevent overeating too.
America has a wasteful food culture because of the pattern of our eating, and that kind of diet is one we’re unfortunately exporting to the rest of the world. one third of the world’s food is wasted before it is consumed In the developed world most of the waste happens at the consumer end, when food spoils in grocery stores or in refrigerators. Most of the waste in the developing world happens on the farm as a consequence of inefficient storage and processing facilities.
Each year 1.3bn tonnes of food, about a third of all that is produced, is wasted, including about 45% of all fruit and vegetables, 35% of fish and seafood, 30% of cereals, 20% of dairy products and 20% of meat.
The price of food is wildly volatile. In 2008, the United Nations Food Price Index almost doubled in less than a year before crashing in 2009. Prices then shot up again in 2010 and 2011. Despite this volatility, our supply of food stayed stable throughout this period. This suggests that the price of food is not determined by our ability to produce food at a global level.
Do we choose the product that is “free from artificial sweetener” or has “no MSG”? What about the one that “contains no GM” Researchers have become uneasy about the use of iron in our diets. It brings dietary advantages to many, but problems for others. Folic acid, wheat, soya, nuts, shellfish and milk products bring benefits – but can pose risks. Dealing with occasionally dangerous trace ingredients is a vexed issue.
Organic food has more of the antioxidant compounds linked to better health than regular food, and lower levels of toxic metals and pesticides, according to the most comprehensive scientific analysis to date. There are “statistically significant, meaningful” differences, with a range of antioxidants being “substantially higher” – between 19% and 69% – in organic food.
The IARC’s experts concluded that each 50-gram (1.8-ounce) portion of processed meat eaten daily increased the risk of colorectal cancer by 18%.
Global food system
The most important thing to know about the global food system is also one of the least appreciated: there is enough food for everyone on the planet to live a healthy and nutritious life. In fact, the UN tells us that there is about 2,800 kcal per person per day available. But, the global food system is deeply inequitable. There are about 842 million people hungry on the planet, while at the same time there are about 1.5 billion who are overweight or obese.
The way we’re producing our food is impacting our environment. Agriculture is responsible for 75% of deforestation worldwide, and is the largest contributor of non-CO2 greenhouse gas emissions. We’re also rapidly losing marine food sources. In 2010, 53% of fisheries were fully exploited (pdf), 28% were overexploited, 3% were depleted, and 1% were recovering from depletion.
A very small number of corporations control the vast majority of the world’s food trade: four companies produce more than 58% of the world’s seeds; four global firms account for 97% of poultry genetics research and development; yet another four produce more than 60% of the agrochemicals farmers use.
Eat Drink Man Woman
Jiro Dreams of Sushi
The Cook, the Thief, His Wife and her Lover
And just FYI, via the RISD library, MOVIES!!!
Entire criterion collection + more!
Juniors will present their work for review on Wednesday, May 25. It’s a great way to end the year for all of us, by allowing a closer look at each student and a wide view of the curriculum. Students receive critical feedback from faculty other than their instructors and can receive some of the best on-the-spot advising for future study (areas of improvement/strengths). Think of the review as your final Design Studio project for the year, a unit that carries the question: “how does one present 9 months of work in 10 minutes?”
Your Design Studio instructors may have specific advice, but below are the Department’s expectations of the review. This document is shared with faculty before entering the review.
The reviews go quickly so we will start and end on time. A list of student date and times will posted on a Notice (available online as well). Ask your DS instructor if you have any questions. Best of luck preparing your work and closing out the semester.