What is design?
Everyone is a designer. Design is just a particular mode of problem solving. It addresses problems inherent in everyday life. We, as humans, are de facto designers. The glove compartment won’t stay closed, so we fold up a piece of paper to wedge it shut. Keys fall behind the bookcase, so we bend a coat hanger and hook them out. Anytime we make a tool, we’re acting as designers. Every time we organize our drawers, we make design decisions. We often forget that everything man-made we use (which is most of what we use) at some point had to be designed. At least this is the conclusion I have come to through my studies.
When we talk about design however, we’re really discussing those people who are intentionally designing. Thinking about the impacts of each decision on the overall effect of their creation, be it a chair or a public service. Unfortunately, many of today’s designers have taken more of the role of the shell producer, the aesthetic finisher, the marketer’s assistant. Perhaps this generalization is a bit harsh, but frankly, there need be more concern over what’s being made, how it’s being made, and what it’s being made of than how it looks in the end [Though admittedly, one cannot ignore this factor: it plays a major role in selling the piece.]
One of the first expansions of my view of the designer during the project took place during a lecture on sustainable design given by Daniel C Wahl (Forum for the Future). He pointed out that design methods can be used on many different scales, not simply for product design. In the sustainable field, principles of design can be applied to sustainable architecture and sustainable construction industry, scaling up to sustainable community design, and further to industrial ecology and sustainable urban design, to scales as large as bioregional planning and national and international cooperation. My focus was mainly on product design, but included some experience with design of social services.
Design can and will play a much bigger role in the development in a sustainable role, and, in light of technological developments currently taking place where computers can generate gorgeous curves and perfectly straight edges, design must be more than creating beautiful forms. Design can be used to solve many of the world’s greatest challenges, including energy production and use, social inequalities, global poverty, etc. etc. etc. Really, there are too many problems to list, and good design can address all of them.
Hopefully, more focused developments of this post will appear when I finish with the rest of the ones I've already proposed.
Tuesday, October 21, 2008
Thursday, September 11, 2008
New Designers Show
New Designers Show – 18 July 2008
I went to the New Designers not really knowing what to expect. At first, I was impressed. Designers were considering their audience, inventing new interfaces, making products more user-friendly. There was return to tactile control and interaction. Some projects focused on using their product to create an experience.
But the more I saw, the more I realized that there weren’t many designers working with sustainability in mind. There were a few cool projects addressing global issues – access to drinking water and waste management. There was one close to home looking at Beehive design - I appreciated this as on Cape Cod (MA), many beehives are experiencing Colony Collapse Disorder . Without bees, flowers and crops go unfertilized, food chains are disrupted. Basically it's just bad news. On the other hand, I also saw at least four different designs for deodorant. frankly, I'd rather have my flowers alive and smelling good (no offense to those designers who put a lot of time and effort into creating their deodorant designs).
After a few hours of walking around and talking with designers, I came to the conclusion that most of the designing aimed to satisfying wants rather than needs. It solved trivial problems and was designed for middle class and up. Now don’t get me wrong, there was a spectacular spread of solid 'design', but most of their definitions of design lacked environmental or social concerns. This disappointed greatly. I had done previous interviews and remembered that two people I already interviewed had gone to the Milan furniture design show and been disappointed in the lack of sustainable design.
I guess this proved to be my Milan furniture design show. Fresh with new design ideas, but slightly less hopeful about the planets future, I left the show.
I went to the New Designers not really knowing what to expect. At first, I was impressed. Designers were considering their audience, inventing new interfaces, making products more user-friendly. There was return to tactile control and interaction. Some projects focused on using their product to create an experience.
But the more I saw, the more I realized that there weren’t many designers working with sustainability in mind. There were a few cool projects addressing global issues – access to drinking water and waste management. There was one close to home looking at Beehive design - I appreciated this as on Cape Cod (MA), many beehives are experiencing Colony Collapse Disorder . Without bees, flowers and crops go unfertilized, food chains are disrupted. Basically it's just bad news. On the other hand, I also saw at least four different designs for deodorant. frankly, I'd rather have my flowers alive and smelling good (no offense to those designers who put a lot of time and effort into creating their deodorant designs).
After a few hours of walking around and talking with designers, I came to the conclusion that most of the designing aimed to satisfying wants rather than needs. It solved trivial problems and was designed for middle class and up. Now don’t get me wrong, there was a spectacular spread of solid 'design', but most of their definitions of design lacked environmental or social concerns. This disappointed greatly. I had done previous interviews and remembered that two people I already interviewed had gone to the Milan furniture design show and been disappointed in the lack of sustainable design.
I guess this proved to be my Milan furniture design show. Fresh with new design ideas, but slightly less hopeful about the planets future, I left the show.
Sunday, September 7, 2008
A Day with David Stovell, Designer
20 June 2008
Invited by David Stovell, product designer, I spent the morning walking through an old coppice wood in Essex County, UK. Coppicing is a sustainable way to grow and harvest trees. You cut a tree at its base and it regrows in multiple shoots. This isn’t as useful for large scale harvesting, as the shoots don’t get too think. That being said, it works great for furniture production, and other small scale wood products.
Much of David Stovell’s work includes recycled goods, such as his newspaper chair. Also, the night before, I went to an Eco-Design and Fashion show, and much of what was going on there included recycled fabrics and other goods. This brought to me the question: can you make these goods from recycled stock with any sort of speed or mass production? Could a system be developed that brings together systems so that this could happen?
He feels design has a big role to play in spreading eco-consciousness: consumption is powerful, and as people consume more and more sustainable goods, they get the ideas in their head. In this way, it’s important to think about what makes a product sell: Is it actual good design? Or is it just because of its eco-friendliness? Does it matter who makes it? If it’s industrialized or not? The influence of design in a consumer world (at least product design) depends on whether or not the product is bought. If no-one wants what your making, even if it’s the most eco-friendly product out there, it won’t make much of a difference in the world.
In an attempt to compete with a market flooded by cheaply made, mass produced furniture, David is showing his buyer with the very thing the mass producer is keeping hidden: the details of the production process. He’s attaching the history of the wood that created his piece, the people who worked on each piece, the methods used to shape the wood, everything down to how far the wood has traveled. He hopes this will establish emotional connections between the user and the furniture. He feels the production process is important and people should know and understand the environmental implications of the furniture their buying.
He’s also doing explorations of ideas, which even if not feasible, are important, as they discuss new viewpoints and point out current problems (see his Flipper project).
He also feels that in bigger productions, the designer loses power in how the product gets made.
A large part of the day was spent discussing materials. Is it better to used recycled materials? Are they sustainable? If our design gets better, won’t scraps eventually be diminished? When you’re working with wood, there’s different was to sustainably forest: selective harvesting, coppicing. Also, he discussed both the benefits of having regulations (like FSC approval). It’s good to have some established point of comparison, but it takes significant sums of money to get certified. This means that while the guy from which he buys his wood couldn’t harvest in a more sustainable manner, but can’t technically claim his wood is sustainably harvested.
Check out David Stovell’s website here.
Invited by David Stovell, product designer, I spent the morning walking through an old coppice wood in Essex County, UK. Coppicing is a sustainable way to grow and harvest trees. You cut a tree at its base and it regrows in multiple shoots. This isn’t as useful for large scale harvesting, as the shoots don’t get too think. That being said, it works great for furniture production, and other small scale wood products.
Much of David Stovell’s work includes recycled goods, such as his newspaper chair. Also, the night before, I went to an Eco-Design and Fashion show, and much of what was going on there included recycled fabrics and other goods. This brought to me the question: can you make these goods from recycled stock with any sort of speed or mass production? Could a system be developed that brings together systems so that this could happen?
He feels design has a big role to play in spreading eco-consciousness: consumption is powerful, and as people consume more and more sustainable goods, they get the ideas in their head. In this way, it’s important to think about what makes a product sell: Is it actual good design? Or is it just because of its eco-friendliness? Does it matter who makes it? If it’s industrialized or not? The influence of design in a consumer world (at least product design) depends on whether or not the product is bought. If no-one wants what your making, even if it’s the most eco-friendly product out there, it won’t make much of a difference in the world.
In an attempt to compete with a market flooded by cheaply made, mass produced furniture, David is showing his buyer with the very thing the mass producer is keeping hidden: the details of the production process. He’s attaching the history of the wood that created his piece, the people who worked on each piece, the methods used to shape the wood, everything down to how far the wood has traveled. He hopes this will establish emotional connections between the user and the furniture. He feels the production process is important and people should know and understand the environmental implications of the furniture their buying.
He’s also doing explorations of ideas, which even if not feasible, are important, as they discuss new viewpoints and point out current problems (see his Flipper project).
He also feels that in bigger productions, the designer loses power in how the product gets made.
A large part of the day was spent discussing materials. Is it better to used recycled materials? Are they sustainable? If our design gets better, won’t scraps eventually be diminished? When you’re working with wood, there’s different was to sustainably forest: selective harvesting, coppicing. Also, he discussed both the benefits of having regulations (like FSC approval). It’s good to have some established point of comparison, but it takes significant sums of money to get certified. This means that while the guy from which he buys his wood couldn’t harvest in a more sustainable manner, but can’t technically claim his wood is sustainably harvested.
Check out David Stovell’s website here.
Saturday, August 30, 2008
A question posed to Jody Boehnert from Eco-Labs
Eco-Labs
If things happen as they need to, sustainability will not simply be a trend or fad. It will really need to root itself into the values of Western society. As of right now, with society based on consumption, in order for sustainable principles to become integrated into lifestyle habits, it will require (and of course I am clearly not the first person to say this) a paradigm shift. Here's the question: do you think communication design could play a major role in this shift?
Yes, if communication design were not powerful, designers would not get paid so much to do it! Design is a lucrative industry for some because design is a means to make new ideas understandable and also seductive. Building a sustainable society will require dramatic change. The design industry could help create a understanding of the issues and the solutions. Unfortunately, this is not likely to happen if we rely only on the market to solve our problems. We need to look at the systemic causes of the problems, and recognize that designers are implicit in driving a model of consumption which is now seriously effecting the biosphere. We have not very much time now to bring about the necessary changes, and we need to harness the skills in design immediately to address this global level crisis.
If things happen as they need to, sustainability will not simply be a trend or fad. It will really need to root itself into the values of Western society. As of right now, with society based on consumption, in order for sustainable principles to become integrated into lifestyle habits, it will require (and of course I am clearly not the first person to say this) a paradigm shift. Here's the question: do you think communication design could play a major role in this shift?
Yes, if communication design were not powerful, designers would not get paid so much to do it! Design is a lucrative industry for some because design is a means to make new ideas understandable and also seductive. Building a sustainable society will require dramatic change. The design industry could help create a understanding of the issues and the solutions. Unfortunately, this is not likely to happen if we rely only on the market to solve our problems. We need to look at the systemic causes of the problems, and recognize that designers are implicit in driving a model of consumption which is now seriously effecting the biosphere. We have not very much time now to bring about the necessary changes, and we need to harness the skills in design immediately to address this global level crisis.
Conversation with Ali Kriscenski
The following interview with Ali Kriscenski, managing editor of Inhabitat, took place by e-mail with the bulk of the responses coming on 5 July 2008.
What is the work that you are currently doing?
I work in new media (blogging/internet) and communication design. I am managing editor of Inhabitat, freelance writer and new media specialist. I also continue to work as a design consultant on residential restoration and new construction projects during the initial design and/or project development.
What does the design process entail for you? How do you go about designing?
For me, design is a process of meeting client's needs while incorporating sustainable ideas whenever possible. For instance, on remodel and new construction I try to start at from a baseline of basic green build principles like solar orientation, solar shading, waste reduction, and energy efficiency, and work up from there.
How is sustainability integrated into the design process and/or the end result of your work? How do you balance the aesthetics of design with the requirements of sustainability?
I pretty much see everything through a sustainable lens, but also have an awareness that theory and practice are not always the same. It is important to me to advocate sustainability and also accept that it is not the only factor for clients. Time, budget and other variables play a part in design. In other words, do the best I can.
How did you get involved with design? What was the education path? What would you say the most important skills are for designing?
In my opinion, a multi-disciplinary understanding of environmental issues is crucial. I studied environmental design at the beginning of undergraduate work, as a compliment to liberal arts studies in graphic design, art history and cultural studies. (BA Art history – UConn). I then studied environmental science with field study in tropical ecology, ornithology and environmental justice (Environmental Science at Antioch New England Graduate School). Since building science is an integral part of overall environmental issues, I felt it was important to have an understanding of technical issues related to green building and completed a Master's Certificate in Sustainable Design from Boston Architectural College.
While many people think that bird studies are completely unrelated to green building, I have found that the knowledge gained through a multi-disciplinary approach to training has given me a unique perspective and skill set to use as an environmental communications specialist.
If you are interested in green building, I would highly recommend looking into the certificate programs offered by BAC. The courses are taught by adjunct professors, including Alex Wilson of www.buildinggreen.com and are on the USGBC's Education Provider Program list. (www.usgbc.org).
How popular do you think eco-consciousness is among designers? Is it becoming more popular?
I think the trend is towards eco-awareness in design and it has definitely become more popular, but is still a small part of the design industry at large. I think the trend towards sustainability is overall a good development, but not without some related problems. My concern with "green" as a trend is that it is at times sensationalized and might not become truly rooted in the values of society, but only a superficial acknowledgment of what is "in" at the moment. In order for the trend to become long lasting, society needs to understand that going green is a long term commitment.
What role do you think designers can/will play in the movement towards popular sustainable living?
The designer has a vital role in sustainable living, as they have a deciding role in what products reach the consumer. Even small efforts in design, like efficient stacking for transport, can make a big difference. But I also think the consumer has a responsibility to consume more efficiently and be less careless.
Is the simpler answer for sustainability not to make 'stuff'? That is, do you think the making of products is in contradiction to sustainability?
In many ways, yes. Most of the things in my life that are "green" are old ideas - clothes drying rack instead of electric dryer, hand crank coffee grinder, natural cleaning products, reused jars for kitchen spices, second hand furniture, second hand clothes, bicycle transportation, train transportation, basket for grocery shopping, growing one's own food, being frugal. At times, the green trend in the US feels like a new way to sell more stuff that we don't really need.
It is important that everything new is done with sustainability in mind, but making new things in the name of sustainability is not the answer to environmental problems. The answer is in a shift in societal values from more to more frugal. One of the best professors I've had, Tom Wessels, articulates this in a recent commencement speech which you can view online - http://www.antiochne.edu/commencement/ - his latest book is also a good resource on this issue - The Myth of Progress: Towards a Sustainable Future. Tom teaches forestry and ecology, so he's not a designer, but his is an important perspective.
In what areas is the most interesting work in sustainable design occurring?
I think that some of the most interesting work is in technology, computers, cell phones, etc. Building green is an age old idea that has regained momentum under new labels, but technology is still pretty new and has no real sustainable history. That this industry is making a shift towards more energy efficient and material conscious design is, I think, a true sign of change.
What is the most challenging part of your work? The most fulfilling?
The most challenging part of my work is shutting off and stepping away. Another challenge is not getting frustrated with some of the self-righteous attitudes I encounter. I don't believe that alienating people or judging other people is an effective way to further the environmental movement. Yet I find it does still happen quite a bit, particularly in the US. Here in Germany, green is more common sense and absent of the "look how green I am" attitude. It is more an accepted responsibility rather than something to brag about so, in that way, feels and probably is more deeply rooted.
The most fulfilling part of my work is the opportunity to be continually learning.
Is there anything I should have asked that I haven't?
Maybe: Who are we designing for? It’s a question about intent. Is the intent of the designer to solve real problems (like meeting basic needs with the environment in mind: food, shelter, so on) or to solve problems of luxury (convenience factor, status) that have no effect on most of the global population / environment? Are we designing things to perpetuate consumerism or are we designing to alleviate the burden that over-consumption has on the people who live with less? It is a monster question, but one that can't be ignored in today's global world.
Do you have any advise for me?
No matter what you do in your professional career, there are ways to bring sustainability into the picture.
What is the work that you are currently doing?
I work in new media (blogging/internet) and communication design. I am managing editor of Inhabitat, freelance writer and new media specialist. I also continue to work as a design consultant on residential restoration and new construction projects during the initial design and/or project development.
What does the design process entail for you? How do you go about designing?
For me, design is a process of meeting client's needs while incorporating sustainable ideas whenever possible. For instance, on remodel and new construction I try to start at from a baseline of basic green build principles like solar orientation, solar shading, waste reduction, and energy efficiency, and work up from there.
How is sustainability integrated into the design process and/or the end result of your work? How do you balance the aesthetics of design with the requirements of sustainability?
I pretty much see everything through a sustainable lens, but also have an awareness that theory and practice are not always the same. It is important to me to advocate sustainability and also accept that it is not the only factor for clients. Time, budget and other variables play a part in design. In other words, do the best I can.
How did you get involved with design? What was the education path? What would you say the most important skills are for designing?
In my opinion, a multi-disciplinary understanding of environmental issues is crucial. I studied environmental design at the beginning of undergraduate work, as a compliment to liberal arts studies in graphic design, art history and cultural studies. (BA Art history – UConn). I then studied environmental science with field study in tropical ecology, ornithology and environmental justice (Environmental Science at Antioch New England Graduate School). Since building science is an integral part of overall environmental issues, I felt it was important to have an understanding of technical issues related to green building and completed a Master's Certificate in Sustainable Design from Boston Architectural College.
While many people think that bird studies are completely unrelated to green building, I have found that the knowledge gained through a multi-disciplinary approach to training has given me a unique perspective and skill set to use as an environmental communications specialist.
If you are interested in green building, I would highly recommend looking into the certificate programs offered by BAC. The courses are taught by adjunct professors, including Alex Wilson of www.buildinggreen.com and are on the USGBC's Education Provider Program list. (www.usgbc.org).
How popular do you think eco-consciousness is among designers? Is it becoming more popular?
I think the trend is towards eco-awareness in design and it has definitely become more popular, but is still a small part of the design industry at large. I think the trend towards sustainability is overall a good development, but not without some related problems. My concern with "green" as a trend is that it is at times sensationalized and might not become truly rooted in the values of society, but only a superficial acknowledgment of what is "in" at the moment. In order for the trend to become long lasting, society needs to understand that going green is a long term commitment.
What role do you think designers can/will play in the movement towards popular sustainable living?
The designer has a vital role in sustainable living, as they have a deciding role in what products reach the consumer. Even small efforts in design, like efficient stacking for transport, can make a big difference. But I also think the consumer has a responsibility to consume more efficiently and be less careless.
Is the simpler answer for sustainability not to make 'stuff'? That is, do you think the making of products is in contradiction to sustainability?
In many ways, yes. Most of the things in my life that are "green" are old ideas - clothes drying rack instead of electric dryer, hand crank coffee grinder, natural cleaning products, reused jars for kitchen spices, second hand furniture, second hand clothes, bicycle transportation, train transportation, basket for grocery shopping, growing one's own food, being frugal. At times, the green trend in the US feels like a new way to sell more stuff that we don't really need.
It is important that everything new is done with sustainability in mind, but making new things in the name of sustainability is not the answer to environmental problems. The answer is in a shift in societal values from more to more frugal. One of the best professors I've had, Tom Wessels, articulates this in a recent commencement speech which you can view online - http://www.antiochne.edu/commencement/ - his latest book is also a good resource on this issue - The Myth of Progress: Towards a Sustainable Future. Tom teaches forestry and ecology, so he's not a designer, but his is an important perspective.
In what areas is the most interesting work in sustainable design occurring?
I think that some of the most interesting work is in technology, computers, cell phones, etc. Building green is an age old idea that has regained momentum under new labels, but technology is still pretty new and has no real sustainable history. That this industry is making a shift towards more energy efficient and material conscious design is, I think, a true sign of change.
What is the most challenging part of your work? The most fulfilling?
The most challenging part of my work is shutting off and stepping away. Another challenge is not getting frustrated with some of the self-righteous attitudes I encounter. I don't believe that alienating people or judging other people is an effective way to further the environmental movement. Yet I find it does still happen quite a bit, particularly in the US. Here in Germany, green is more common sense and absent of the "look how green I am" attitude. It is more an accepted responsibility rather than something to brag about so, in that way, feels and probably is more deeply rooted.
The most fulfilling part of my work is the opportunity to be continually learning.
Is there anything I should have asked that I haven't?
Maybe: Who are we designing for? It’s a question about intent. Is the intent of the designer to solve real problems (like meeting basic needs with the environment in mind: food, shelter, so on) or to solve problems of luxury (convenience factor, status) that have no effect on most of the global population / environment? Are we designing things to perpetuate consumerism or are we designing to alleviate the burden that over-consumption has on the people who live with less? It is a monster question, but one that can't be ignored in today's global world.
Do you have any advise for me?
No matter what you do in your professional career, there are ways to bring sustainability into the picture.
Wednesday, August 27, 2008
Conversation with Niels Peter Flint, Experience Designer
The following are my notes from a Skype conversation with Niels Peter Flint (see his website: www.exdl.com ) on 1 July, 2008.
What is the work that you are currently doing?
Experience design. He's developing concepts in the fields of design and architecture. The result should not only be a finished product, but an experience for the eventual user. In his work, he attempts to integrate as many different disciplines as possible to create sustainable experiences that provide a fusion of the physical or material with the immaterial. Since technology is not going away, he feels it is important to utilize and integrate it appropriately.
What is 'appropriately?'
When determining appropriateness, it comes down to some basic thinking: everything is in constant cycles. Everything comes from planet, and goes back to the planet. Humans need to enjoy life thoroughly, but respect eternal cycles.
Appropriate use of technology acknowledges and respects these eternity principles.
What does the design process entail for you? How do you go about designing?
It is very difficult to describe, as he has no recipes – he's never used the same formula for different design problems. He profoundly doesn't believe in systems and structures. He'll often look for systems and structures and then jump back out, as he finds them restraining. True creativity means having the ultimate freedom all the time. Of course, he recognizes that this doesn't necessarily work for everyone.
But he finds an ordered format for designing a hindrance to creative innovation. As things are changing all the time, one must also invent new thinking every time.
Every time products or ideas are developed, one must constantly reassess their context. The only structure truly important to the underlying ideas of ethics, where ethics relates back (of course) to an understanding of eternity.
How is sustainability integrated into the design process and/or the end result of your work?
Most of his projects more mind oriented. For example, with a project he did called
Painted On, people harnessed their creative abilities by painting their own carpets. The materials were not very eco-friendly, but the whole point was to get humans to start to look at things in new ways. If you can't think creatively, you can't comprehend things in new ways, which means you'll be completely lost a few years from now because everything is changing so quickly.
How did you get involved with design? What was the education path?
He started work in architecture at age 18, although before that he had worked with stage design. Continuing this work in stage design while studying architecture, he realized he found stage design more provoking and switched over to study it formally. With this, he also studied some industrial design. After his studies, he did some performance art.
What brought him into experience design?
He was doing performance art and working as apprentice in Italy Ettore Sottsass (founder of the Memphis movement, and according to Neils Peter Flint, one of the most creative and elegant designers out there.) when he had an epiphany. He realized the harm to the world the design field was causing and realized he couldn't continue at it. He felt he must do something better for the world.
What would you say the most important skills are for designing?
Constantly challenge yourself spiritually, physically, mentally.
For example, He's purchased an Old Mill in the middle of nowhere in France, and is now living there, renovating it to create the Micro Macro Monde. This is a huge change for someone who's always lived in a city.
Frank Lloyd Wright offered a similar educational experience for his students when he brought them out to a desert and said, 'build your own home.' Flint greatly appreciates this type of hands on approach and feels we need to adapt our system of education. For the upcoming generation of designers, he feels the most important thing will be to have completely open mindsets and be emotionally intelligent. Holistic creative skills allow the designer to be capable of seeing and understanding, and since technology will quickly surpass human abilities, the capacity of emotional mindset will be the ultimate ability separating us from our technology. Of course, as for everyone in the world, it is important that the young designer understand and respecting eternal principles.
How popular do you think eco-consciousness is among designers? Is it becoming more popular?
When he went to the Milan furniture fair, he was (unhappily) surprised at the little consideration the design field exhibited. He does feel that there is definitely a lot more than there was when he started. Unfortunately the amount of designers is colossal, and most of them are still making junk. They exhibit a complete ignorance where making money is the big thing.
As for it becoming popular, its no longer a decent question. All the world's biggest companies know there's no excuse. If they're not considering the environment, then they're completely oblivious.
What role do you think designers can/will play in the movement towards popular sustainable living?
The designer of tomorrow must be a holistically wise person, especially in emotional, spiritual, and immaterial dimensions. They will develop quality experiences to the world., as opposed to things. Smart engineers will take over roles current designers play. There may be a few designers left who are exceptionally sophisticated at handling form. In tomorrow's world, a machine can take the place of today's form shapers. Also, currently, oly the rich are capable hiring designers. Hopefully in the future, ordinary people could be able to get wise, interesting designers into their everyday life.
Is the simpler answer for sustainability not to make 'stuff'? That is, do you think the making of products is in contradiction to sustainability?
No. It very much depends on what you do. Right now he's experimenting on how to get rid of personal excrement. Right now, we live in a culture of 'Flush and forget.' We handle our garbage, excrement, and death in the same way: we don't want to think about it, and this is a huge emotional issue. IN this case, the tools of design can be used to solve a major problem. It really is a matter of changing habits
In what areas is the most interesting work in sustainable design occurring?
Here are two of the most interesting: an enormous development is necessary in designing the no waste world, i.e. making waste a resource. There are "a zillion" possibilities that haven't been explored. The second is the creation of experiences that enhance our life quality in a sustainable way.
What is the work that you are currently doing?
Experience design. He's developing concepts in the fields of design and architecture. The result should not only be a finished product, but an experience for the eventual user. In his work, he attempts to integrate as many different disciplines as possible to create sustainable experiences that provide a fusion of the physical or material with the immaterial. Since technology is not going away, he feels it is important to utilize and integrate it appropriately.
What is 'appropriately?'
When determining appropriateness, it comes down to some basic thinking: everything is in constant cycles. Everything comes from planet, and goes back to the planet. Humans need to enjoy life thoroughly, but respect eternal cycles.
Appropriate use of technology acknowledges and respects these eternity principles.
What does the design process entail for you? How do you go about designing?
It is very difficult to describe, as he has no recipes – he's never used the same formula for different design problems. He profoundly doesn't believe in systems and structures. He'll often look for systems and structures and then jump back out, as he finds them restraining. True creativity means having the ultimate freedom all the time. Of course, he recognizes that this doesn't necessarily work for everyone.
But he finds an ordered format for designing a hindrance to creative innovation. As things are changing all the time, one must also invent new thinking every time.
Every time products or ideas are developed, one must constantly reassess their context. The only structure truly important to the underlying ideas of ethics, where ethics relates back (of course) to an understanding of eternity.
How is sustainability integrated into the design process and/or the end result of your work?
Most of his projects more mind oriented. For example, with a project he did called
Painted On, people harnessed their creative abilities by painting their own carpets. The materials were not very eco-friendly, but the whole point was to get humans to start to look at things in new ways. If you can't think creatively, you can't comprehend things in new ways, which means you'll be completely lost a few years from now because everything is changing so quickly.
How did you get involved with design? What was the education path?
He started work in architecture at age 18, although before that he had worked with stage design. Continuing this work in stage design while studying architecture, he realized he found stage design more provoking and switched over to study it formally. With this, he also studied some industrial design. After his studies, he did some performance art.
What brought him into experience design?
He was doing performance art and working as apprentice in Italy Ettore Sottsass (founder of the Memphis movement, and according to Neils Peter Flint, one of the most creative and elegant designers out there.) when he had an epiphany. He realized the harm to the world the design field was causing and realized he couldn't continue at it. He felt he must do something better for the world.
What would you say the most important skills are for designing?
Constantly challenge yourself spiritually, physically, mentally.
For example, He's purchased an Old Mill in the middle of nowhere in France, and is now living there, renovating it to create the Micro Macro Monde. This is a huge change for someone who's always lived in a city.
Frank Lloyd Wright offered a similar educational experience for his students when he brought them out to a desert and said, 'build your own home.' Flint greatly appreciates this type of hands on approach and feels we need to adapt our system of education. For the upcoming generation of designers, he feels the most important thing will be to have completely open mindsets and be emotionally intelligent. Holistic creative skills allow the designer to be capable of seeing and understanding, and since technology will quickly surpass human abilities, the capacity of emotional mindset will be the ultimate ability separating us from our technology. Of course, as for everyone in the world, it is important that the young designer understand and respecting eternal principles.
How popular do you think eco-consciousness is among designers? Is it becoming more popular?
When he went to the Milan furniture fair, he was (unhappily) surprised at the little consideration the design field exhibited. He does feel that there is definitely a lot more than there was when he started. Unfortunately the amount of designers is colossal, and most of them are still making junk. They exhibit a complete ignorance where making money is the big thing.
As for it becoming popular, its no longer a decent question. All the world's biggest companies know there's no excuse. If they're not considering the environment, then they're completely oblivious.
What role do you think designers can/will play in the movement towards popular sustainable living?
The designer of tomorrow must be a holistically wise person, especially in emotional, spiritual, and immaterial dimensions. They will develop quality experiences to the world., as opposed to things. Smart engineers will take over roles current designers play. There may be a few designers left who are exceptionally sophisticated at handling form. In tomorrow's world, a machine can take the place of today's form shapers. Also, currently, oly the rich are capable hiring designers. Hopefully in the future, ordinary people could be able to get wise, interesting designers into their everyday life.
Is the simpler answer for sustainability not to make 'stuff'? That is, do you think the making of products is in contradiction to sustainability?
No. It very much depends on what you do. Right now he's experimenting on how to get rid of personal excrement. Right now, we live in a culture of 'Flush and forget.' We handle our garbage, excrement, and death in the same way: we don't want to think about it, and this is a huge emotional issue. IN this case, the tools of design can be used to solve a major problem. It really is a matter of changing habits
In what areas is the most interesting work in sustainable design occurring?
Here are two of the most interesting: an enormous development is necessary in designing the no waste world, i.e. making waste a resource. There are "a zillion" possibilities that haven't been explored. The second is the creation of experiences that enhance our life quality in a sustainable way.
Monday, July 14, 2008
MIT's Solar Cells
It's hard to be interested in sustainable design and not be a regular visitor of Inhabitat.com. For my first post on sustainable technology, I figured it would be fitting to discuss something a bit outside the 'design' category on which I'm focusing. Tonight's check of new posts on Inhabitat.com brought to my attention new PV technology. The MIT publication, which was admittedly a bit sketchy with the figures, presents a new PV design solving a couple of major previous problems: efficiency - current PV cells have limited wavelength absorption range; and cost of production - you don't have to cover the entire roof (or surface) with PV cells, just the edges of panes. We'll see what happens though.
I do believe that the best way to solve energy production problems will be to localize energy production - i.e., taking people off-grid, or at least less grid reliant. This new development in the technology could have the potential to make it more commonly available (i.e. cheaper) and practical. Also, the system could harness photons in the UV range as well, making them effective on cloudy days as well (they don't mention this potential capacity in the fact sheet, but I don't see any reason preventing it).
Critical questions: are the dyes used in the concentrators toxic?
What will the life span be?
Hopefully, we shall soon see.
Also, with micro-production of electricity, we aren't necessarily constrained to the tradition of 120V (or 240V depending on your country). Because the electricity is only being transferred a short distance, this minimizes need for AC currents. If a particular DC voltage was designated, like the 12V now used in car sockets, engineers and designers could start designing products for the lower power source, and therefore decrease overall consumption of power. This relates back to why I italicized production problem: much of our problems come from the consumption side. Decrease consumption and we don't need more coal power plants. But right now, almost all our electronics consume far more energy than they actually need to run, releasing much of that energy as heat. In fact, I could probably fry an egg on my computer right now. And that's not even considering the transformer which is taking the 240V AC from the wall and converting it down to 18.5V and 16.5V DC. Not the most efficient of systems. The only problem is: power companies aren't going to start changing if there are no products to run off a different type. And why design for a source that's not easily available - that's just plain stupid. This is a dilemma.
This is a place for a full scale re-design. Can it happen?
I do believe that the best way to solve energy production problems will be to localize energy production - i.e., taking people off-grid, or at least less grid reliant. This new development in the technology could have the potential to make it more commonly available (i.e. cheaper) and practical. Also, the system could harness photons in the UV range as well, making them effective on cloudy days as well (they don't mention this potential capacity in the fact sheet, but I don't see any reason preventing it).
Critical questions: are the dyes used in the concentrators toxic?
What will the life span be?
Hopefully, we shall soon see.
Also, with micro-production of electricity, we aren't necessarily constrained to the tradition of 120V (or 240V depending on your country). Because the electricity is only being transferred a short distance, this minimizes need for AC currents. If a particular DC voltage was designated, like the 12V now used in car sockets, engineers and designers could start designing products for the lower power source, and therefore decrease overall consumption of power. This relates back to why I italicized production problem: much of our problems come from the consumption side. Decrease consumption and we don't need more coal power plants. But right now, almost all our electronics consume far more energy than they actually need to run, releasing much of that energy as heat. In fact, I could probably fry an egg on my computer right now. And that's not even considering the transformer which is taking the 240V AC from the wall and converting it down to 18.5V and 16.5V DC. Not the most efficient of systems. The only problem is: power companies aren't going to start changing if there are no products to run off a different type. And why design for a source that's not easily available - that's just plain stupid. This is a dilemma.
This is a place for a full scale re-design. Can it happen?
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