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Adaptive capacity, Design Activisim by Fuad-Luke, A
1. Adaptive Capacity: Design as a Societal Strategy
for Designing âNowâ and âCo-futuringâ
Design Activism
Luke
Where Goes The Daily
ID 501 Advanced Project Development in Industrial Design
Middle East Technical University, Department of Industrial Design
Alastair Fuad-
Mert Kulaksız
4.03.2014
2. Maverick, solo designer or co-designer?
âHeads are round so that thoughts can change direction.â
Francis Picabia
ââŠdesignâs supreme role has been, and continues to be, about
giving form to the concurrent industrial, consumer and
information economies, all connected within a greater globalized
economy. Design makes the material forms of these economies
culturally acceptable.â(pp. 187)
information
economy
industrial
economy
consumer
economy
globalized economy
currently design to form these economies
3. INTRODUCTION
âThis is not to say that design has been devoid of altruism for
broader societal concerns. Nor has design totally ignored the
effect of its materialized outcomes on nature. Yet, as we look at
man-made artefacts, the built environment, and the
manufacturing and public infrastructures, we are gazing on an
aesthetic that represents collectively endorsed visions of âbeautyâ
verified as economically viable.â(pp. 187)
Many other visions of beauty simply do not make it to reality
because they do not meet with the current culture of economics.
âWe need a new vision of beauty â we could call this
beauty, âbeautiful strangenessââ(pp. 188)
4. INTRODUCTION is
A Beauty that
-
-
unusual
intrigue
with full of newness
appeals to innate sense of curiosity
more than skin deep
envisioned, planned by society, not just by big business and
governments
serving and healing societyâs divides( around
wealth, health, education, access to digital and other
technologies)
adaptable to future
not âde-futuringâ
slowing down the economy and putting our energies into other
societal values and measurables
That is why design needs to take on a more activist role on behalf
of society/ societies and the environment.
5. HPI is a measure of ecological efficiency delivering human well-being.
Happy Planet Index (HPI)
=
Life Expectancy X Life Satisfaction
Ecological Foot Print
New Economic Foundation
6. Anticipating Democracy and
âCountries at the top of the list may surprise: first is Vanuatu,
the pacific island state, second is Colombia and third is
Costa Rica, all blessed with good ecological capacity
and populated with contented, long-lived peoplesâ
âClearly material development and wealth do not
necessarily equate with subjective notions of a good or
better life. Significantly, the NEF reports also indicate
that higher social capital tends to exist where life
satisfaction is highest.â
âBuilding social capital and improving human well-being
are therefore two mutual ambitions for design activismâ
7. THE CREED OF PROGRESS
Climate change will drive a dramatic reevaluation of local and regional biotic(living)
assets because existing patterns of
agriculture, water use, human habitation
and biodiversity will change with rising
global temperatures.
8. THE CREED OF PROGRESSâ
âMost countries will have to deeply
consider their food, energy and water
security in a more uncertain worldâ
Plans for urban rooftop farming by
William McDonough for China.
.
www.mcdonoughpartners.com
9. THE CREED OF PROGRESSâ
Cuba experienced radical shifts in land ownership,
societal organization and application of
.
permaculture design thinking to reduce
dependence on external synthetic inputs
and by regenerating using natureâs
own ability to maintain levels of fertility.
www.conspiracywiki.com
10. THE CREED OF PROGRESSâ
.
www.en.Wikipedia.org
BedZED, Beddington Zero Emission Development,
new expressions in visions of productive urban
Landscapes.
11. CONCLUSION are perceived by the public as possessing ânaturalâ creativity
Designers, like artists,
and the boundary between these two creative agencies is pretty blurred.
The vagueness with which the public perceive designers may be an advantage to
the maverick, solo designer who wishes to gain the attention of the public by an
act of design activism, since such an activity would be expected of artists.
Each designer may find some projects are more easily pursued solo, whereas
others are better suited to more participatory, co-design modes of work. For
designers that already hold an âiconicâ status in the profession, and with a wider
public, they may bring effective leverage to solo maverick and participatory design
projects.
12. Suzi Gablik, in her book The Re-enchantment of Art, âcalls for an
end to the alienation of artists and aesthetics from social values
in a new interrelational, audience-oriented artâ.25 In the same
way, design needs to enjoin with active citizens to co-create and
co-design the new ânowâ, the counter-narrative that points to a
new directionality, towards sustaining that which genuinely
sustains.
We need a participatory democracy and proper spaces for it.
13.
14.
15. CONCLUSION
Taking these living and past traditions suggests the notion of a
new democratic space for design. Letâs give it the designation
âMootSpaceâ where every citizen (and citizen designer) knows
their voice will be heard.(pp. 200)
âWhatever form the âMootSpaceâ takes it should be a space that the
group or community âownsâ, one where they can comfortably discourse
and co-design their ânowâ and their future. Perhaps this is one arena
where design activism will gather momentum to deliver participatory
democracy, human flourishing and ecosystem renewal.â(pp. 200)
16. INTRODUCTION
Could âaccessibility to digital and other technologiesâ be a good
concern for our project.
How can the socially responsible design and its benefits can be
made visible, to make them preferable.
Can a digital platform provide a proper space like âMootspaceâ
can do.
ââŠtowards sustaining that which genuinely sustains.â What types
of tools can be provided to society to evaluate the genuineness of
Governments and big businesses.
Hinweis der Redaktion
According to Fuad-Luke, design is mostly understood, self-absorbed in its own culture and the main motivation for design was commercial interests. It has assured of its ubiquitous presence in consumersâ life and the prime role of it was to making material forms of these
According to Fuad-Luke, design is mostly understood, self-absorbed in its own culture and the main motivation for design was commercial interests. It has assured of its ubiquitous presence in consumersâ life and the prime role of it was to making material forms of these
According to Fuad-Luke, design is mostly understood, self-absorbed in its own culture and the main motivation for design was commercial interests. It has assured of its ubiquitous presence in consumersâ life and the prime role of it was to making material forms of these
âThe ancients perceived the world as eternally existing self-renewing, whereas we perceive it as created and existing within temporal limits; that is, world is determined toward a specific purpose.â (pp. 30)Giedion states that rationalism, view that dominated the progress, closely bounded with this belief. Advance of science with the social progress and the perfectibility of man was the doctorine âŠ
âThe ancients perceived the world as eternally existing self-renewing, whereas we perceive it as created and existing within temporal limits; that is, world is determined toward a specific purpose.â (pp. 30)Giedion states that rationalism, view that dominated the progress, closely bounded with this belief. Advance of science with the social progress and the perfectibility of man was the doctorine âŠ
âThe ancients perceived the world as eternally existing self-renewing, whereas we perceive it as created and existing within temporal limits; that is, world is determined toward a specific purpose.â (pp. 30)Giedion states that rationalism, view that dominated the progress, closely bounded with this belief. Advance of science with the social progress and the perfectibility of man was the doctorine âŠ
âThe ancients perceived the world as eternally existing self-renewing, whereas we perceive it as created and existing within temporal limits; that is, world is determined toward a specific purpose.â (pp. 30)Giedion states that rationalism, view that dominated the progress, closely bounded with this belief. Advance of science with the social progress and the perfectibility of man was the doctorine âŠ
Designners roles in detail. Solo, iconic designer
Where would those mootspaces be? Wherever they needed. He says, it does not matter the form of these spaces, they can be a chalk circle in the city square, or a mark in the sand beach.,they can occupy an existing building.
According to Fuad-Luke, design is mostly understood, self-absorbed in its own culture and the main motivation for design was commercial interests. It has assured of its ubiquitous presence in consumersâ life and the prime role of it was to making material forms of these