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There's been a recent call for designers around the world to take more than a cursory interest in democratic discourses and political happenings in their domains; although, this is aimed at strengthening democratic practices, the intricacies and dynamics of contemporary political systems currently makes this, antithetical to the traditional role of the designer in a society. Thus, this paper highlights the conflicts surrounding the characterizations and practicality of contemporary democracy and the challenges of associating it with design and designers. It further argues that the design community as an entity lacks the requisite credibility to lead a pro-democracy campaign in view of its own questionable democratic credentials. The paper concludes that rather than join the populist bandwagon of slogan-chanting pro-democracy activists, the design community as an entity should become politically agnostic, but more socially-conscious – focusing solely on the social welfare of the people in every community it serves – whether in democracies, monarchies or communist states.
DESIGNING SUSTAINABILITY FOR ALL, 2019
The present article proposes to investigate possible futures for the design through a proximal and dialogical ap- proach between design and democracy. In this way, we begin with the letter “Stand Up for Democracy”, written by Manzini and Margolin. Thus we seek to understand the foundations of the concept of Design as Democracy, pro- posed by the mentioned authors. We seek a relationship between the structures of democratic models and design practices. For these reasons, we have opened up a dialogue on codesign as a possible methodological alternative for a democratic design, more comprehensive, horizontal and open for all. Providing a fertile ground where collective creativity can be used as a form of collaboration and solving common problems is mirrored in design as democracy. For this resonates with the creation of a more inclusive and sustainable world for the future generation.
Conference Proceedings of the Academy for Design Innovation Management, 2019
Long-term, sustainable transitions cannot occur without working at the political level to address the serious, global political challenges we are facing today. However, the capacity of design as a rigorous component and complement of the political world is yet to be seen. In this paper we discuss surveys we conducted, showing that there is a clear discrepancy between how designers engage in the political process as citizens and as professionals. We also discuss a subsequent workshop which allowed survey participants to explore these questions of roles and agency in greater depth and offered insights into barriers and opportunities. We found the workshop to be an effective method of helping designers identify leverage points and courses to intervene within both the designer's sphere of influence and sphere of concern. In so doing, we might begin to draw more designers into the critical work of designing for a transition towards more inclusive and equitable sociopolitical futures.
This contribution to the "Design Language(s)" track will point toward a possible formulation of different visual languages in the framework of design in democracy. It suggests a possible step towards a new dialect in (re)design practices by examining three elements: common depictions of the role and cultural position of designers as translators and interpreters; the growing interest that has arisen in the last decade among influential figures in the field of design and democracy in light of the recent challenges democracy has faced globally; and the powerful grip of evolving practices, such as "Design Fictions" and "Speculative Design" and the mainstream acceptance of Design Thinking methodologies.
Designing Politics: The limits of design, 2016
What are the limits of design in addressing the political and/or when has design not been enough? This question lies at the heart of Designing Politics, an ongoing project at Theatrum Mundi. After three years of organising ideas challenges in cities around the world, Theatrum Mundi gathered a group of architects, academics, artists and activists in May 2016 to reflect on the questions it asks, and the fundamental relationship between design and politics. This collection of thought pieces stems from a workshop in May 2016 at the Villa Vassilieff in Paris, supported by the Global Cities Chair at the Fondation Maison des Sciences de l’Homme in Paris.
DergiPark (Istanbul University), 2024
Today, 'design' has become a concept that is frequently used in every field, in an awkward and populist manner. Hair design, nail design, feng shui design, wellness design, and city design are some of these conceptions that reduce the value of design, manipulate its meaning, as well as empty its content. For professional designers and design scholars, this situation has become more critical, as they start losing their intellectual voice and professional legitimacy among all those who use and consume the concept of design, regardless of its context. On the other hand, when we consider it from a global perspective, we see that design is one of the most dominant concepts in the strategic planning and development policies of developed and/or developing countries. In a way, it has also become a powerful tool of politics, reconceptualized in populist discourses and practices of authorities and decision-makers.
Doctor of Philosophy - Thesis, 2020
This is a theory-based research which I intend to be a contribution to all practice of design that are, in one way or another, concerned with the question of democracy. Building on the critical accounts raised by scholars within the field of design for ‘making publics’ I propose, in this work, a departure from the thinking of John Dewey and an exploration into another strand of thought, that also investigates the link between democracy and social creativity, and which is based on the work of Cornelius Castoriadis. Dewey and Castoriadis moved from very similar concerns but the two thinkers also differed on key points, and the main difference between their two strands of thought could be found in the fact that whilst Dewey attempted to ‘socialise the political’, Castoriadis aim was rather to ‘politicise the social’. I open this monograph articulating the reasons for design practitioners and scholars to look into the work of Cornelius Castoriadis and I continue in my writing to describe what I have learnt by exploring how and if design has a role to play - through its repertoire of creative tactics – in order to advance creative democracy as an everyday practice. I will describe the issues I encountered in my two field-works within the area of design for mental health and I will articulate what I discovered about the limitations of current conceptions of creativity, as elaborated and practiced within neo-liberal modes of design practices. Through this work I will advance as my main contribution to knowledge a proposal for a renovated mode of design, which I have called ‘Design for the Radical Imagination’ and which has - as its main ambition - the creation and the nurturing of a collective subject that can interpret and change the world politically.
Introduction to Special issue of Citizenship Studies on ‘Design and Citizenship’ edited by Cynthia Weber; Published as Cynthia Weber (2010) ‘Introduction: Design and Citizenship’, Citizenship Studies 14(1):1-16. This article introduces design, citizenship and their relationships by contrasting two very different design projects on citizenship. The first is the collaborative project Touching the State, which was carried out by the publically-funded UK Design Council in collaboration with the independent think tank the Institute for Public Policy Research in 2004. The second is artist and designer Robert Ransick’s project Casa Segura/Safe House. Bearing these two design projects in mind, the article suggests that if we want to better understand citizenship, we need to better understand how citizenship, citizens, and those who are not (fully) counted as citizens are designed, re-designed, or designated as beyond the scope of design by states, professional designers, activists, citizens and citizen groups, and non-citizen and non-citizenship groups, in all the richly varied ways design and citizenship interact. The urgency in taking design seriously within the realm of citizenship studies is that design offers a new prism through which to address the political. The article then lays out how the contributions to this special issue examine citizenship in relation to the political through this new prism of design.
Since the 1970s the sustainability movement has called on designers to address the ecological impact of the products they design. This reappraisal has led to a growing awareness amongst designers of the potential for design to engage in discourses concerned with global issues such resource depletion, large scale population movement, labour exploitation, threats to food and water sources, as well as more recently climate change. Some of the more prominent practices to emerge out of these debates have been political in nature. Guy Julier describes this renewed interest in politics as 'design activism.' Design activism is a meta-‐discipline that has the capacity to transform the world by reshaping individual, social, and economic behaviour. One of the central tenets behind this heterogeneous movement is the certainty that people and objects actually inhabit complex relational assemblages that constitute particular environments and in themselves have designing agency. This is in direct contrast to earlier approaches such as eco design that remained largely subject-‐centric, applying ever more sophisticated technologies that would lead to a reduction in the consumption of materials and energy. In recent times design has taken up a more critical and interrogatory whole-‐systems approach to humans, materials and immaterial things. In this paper, we suggest that design can open up new forms of political representation and engagement, with a view to challenging dominant frameworks (habitus) that proliferate unsustainable practices. We will specifically draw on three case studies from Australia: 1) The Urmadic University 2) Natalie Jeremijenko and 3) Second Road to engage with future imaginings that adapt and mitigate potential possibilities through design. More specifically we have understood design activism as a political set of actions that materially and symbolically embody opportunities for change. These examples give rise to a multiplicity of affects, which include the emergence of new publics dedicated to critical and creative social imaginings; the creation of future scenarios that redistribute agency across non-‐human things and recast the place of humans within ecological systems; and the co-‐creation of new frameworks for equitable, transparent decision making within shared communities of interest.
REVISTA DISEÑA, 2017
What has design to do with politics? The usual answer would be: nothing. At first glimpse, politics would be a realm indifferent and alien to design. While politics must deal with the governing of human interests for the sake of common good, design, instead, would be focused on form, the aesthetic and functional arrangement of the things that populate the world. The realm of the political would be populated by norms and values (liberty, tolerance, etc.), founding its duties on what Weber called 'the legitimate use of force' (Weber, 1944). The field of design, on its part, would respond to the rule of the needs of the user, focusing its forces on transforming, creatively and sensitively, the materialities into useful, usable or decorative products. It is precisely the separation between politics and design, deeply rooted in the thought and action of the latter, which this dossier attempts to thematise and problematise.
Design thinking has recently garnered widespread recognition across a variety of sectors including education, business, and development, in the non-profit, private, and public spheres alike. In contrast to some other areas of design, advocates of design thinking focus on human needs, aka those of the end-user, as a space for increased empathy and potential social impact. Innovation of this type is then implicitly (and oftentimes explicitly) linked to social progress. In this paper, we will explore the ironies around the use of design thinking for social impact in its contemporary market-friendly iterations. Namely, mainstream design thinking methodologies are limited by their myopic focus on technological innovation and failure to address political power dynamics. After identifying a need to reformat design thinking for the social good, we present a curricular framework that integrates design thinking with social justice to transcend these flaws and address complex social problems.
AIA Dallas, Columns Magazine
This article briefly examines the changing role of design proper as it copes with and responds to a world with the knowledge, skills and tools that were once claimed exclusively by the disciplines are now controlled by increasingly empowered self-designers. Emblematic changes to architectural studio practice are highlighted.
designskolenkolding.dk
Proceedings of the 11th Biennial Participatory Design Conference on - PDC '10, 2010
The field of Strategic Design supports designers in researching and designing for the complexity of today's cities by embracing the idea of strategic dialogue, in which designers align with different actors and their interests. In this article, we discuss how democratic dialogues-foregrounded in the Participatory Design (PD) tradition-play a role in complex urban design processes (i.e. 'infrastructuring') and entail different types of dialogues of which strategic dialogue is merely one. After framing Strategic Design and PD, we describe five designer roles and their associated dialogues. This description forms the basis of an exploratory typology of democratic dialogues that was applied and exemplified in a case study about a Living Lab in the neighbourhood of Genk. The Lab attempts to design alternative futures for work in the city together with citizens, public and private organisations. We claim that engaging with this typology allows designers to understand and design infrastructuring processes in the urban context and to open up different design dialogues and roles for discussion.
2017
As designers venture deeper into government institutions and attempt to partake in solving the monumental problems facing global society, it is appropriate to question how the designers and the design community relate to the democratic implications of these engagements. This article attempts to frame this question by looking at historical and political aspects of design, as well as the practices used by designers operating in complex systems. The implementation of design and design related practices in government is reviewed, as is some literature in the field of design relating to democracy and design. The theory is discussed, and reflections on opportunities related to democratic participation are made.
Design Issues, 2017
The different traditions in design participation have overlooked the relationship between imagination and the political when discussing the sources of legitimacy in participatory projects. Whether it is in architecture, planning, or design, many practitioners and scholars base their approaches to participation on what we consider an artificial exclusion between the what and the how of design, respectively understood as results and procedures. We suggest that there might be an interesting opportunity in avoiding this binary opposition, and in considering the construction of the design problem as the true what of design.
Design Philosophy Papers, 2003
Conference Proceedings of the Academy for Design Innovation Management
The tools and techniques of graphic design have become accessible to the public at large to such a degree that the profession itself may be threatened with extinction. At the same time, design literacy — the knowledge and reasoning beyond the use of those techniques — does not seem to be experiencing the same widespread dissemination. In order to re-establish its value, the design profession must introduce a higher level of insight beyond the mere the decoration of artefacts – an ability to understand “big picture” concepts and to work across disciplines to become involved in every step of a project, from concept to completion. Thus, U.S. undergraduate design education must change as well. Educators must be innovative in order to prepare a new generation to evolve quickly and continuously. Programs must be fluid and adaptable, which requires educators to treat their curricula as design problems, to be solved with radical thinking and creativity.
Democratic Design (Oxford: Oxford University Press), 2021
The chapter introduces and frames the argument of the book Democratic Design.
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