Frans Johansson, The Medici Effect
This book discusses the generation of new knowledge at the intersection of disciplines.
Here’s some (or all?) of it on a pdf: MediciEffect
Frans Johansson, The Medici Effect
This book discusses the generation of new knowledge at the intersection of disciplines.
Here’s some (or all?) of it on a pdf: MediciEffect
I wrote this as we chatted today:
Design is no longer about making an object, but rather a system in which a need occurs and is resolved. Why this now? In a consumer society, we’ve saturated ourselves with products and waste, and yet our needs still persist. We need to redefine who we are and what we need. Choice is not a matter of 30 brands of toothpaste lining up your drugstore shelf. Rather, it’s choosing and controlling life’s milestones: birth, education, family, health and death. Services need to become more human-centered and less profit-oriented. As designers, we have an edge up on balancing diverse viewpoints in a creative process. Let’s share our skills as we embark on a colossal re-envisioning of ourselves and the things we use.
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Brown writes how we need to “extend the perimeter” (205) of the design project, beyond just the making of the artifact, but to the complex system of its use and the need that it fulfills in a broader social spectrum. For example, in the case of the Ararind eye hospital in India, it’s not about the expensive eye lens, but the need of a poor population for care. What this project needed, and got, was an extremely low-cost yet viable solution to the problem.
Ideas in the book, annotated:
Design moving upstream (20)
Project space (35)
Empathy (44)
Wisdom of crowds (58)
Experience design (110, 114)
Storytelling (133, 140 Intel Video, 148)
Interaction design (134)
MBA/design programs (160)
Nurture — medical consultancy (167-9)
Ararind eye hospital, India (209)
Ormondale Elementary (224)
How to, step by step (229)
Met her at the STIR symposium in Columbus, OH on October 8, 2011:
This studio-in-a-school does social design projects worldwide. Natacha Poggio teams up with engineers, scientists, and other experts to find the right way to lead GD students along the path of completion of social design projects. They’ve done a clean water education campaign in India, women’s safety in Kenya, and an MLK mural in Hartford, CO. These are cross-cultural and design-driven — we should interview her!
She spoke about the challenge of doing complex projects like this within a class structure at school. Projects can take up to 3 semesters to complete. Some students participate for one semester only, while others repeat the class just to see the project through to completion.
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WATER FOR INDIA 2009
http://designglobalchange.virb.com/waterforindia
Engineers WIthout Borders student chapter at University of Hartford:
http://www.ewb-hpc.org/india
In January 2009, Hartford Art School Professor Natacha Poggio and a team of five Art & Design students traveled to Abheypur, India to implement the Water for India sanitation campaign.
Water for India aims to convey the importance of cleanliness, sharing, and respect for water resources. During the January 09 trip, the team painted a mural at the girls’ primary school and distributed coloring books with sanitation tips as well as t-shirts with the campaign logo.
This project stemmed from a collaboration with the Engineers without Borders student chapter at the University of Hartford. It is interdisciplinary in it’s foundation. The
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A neat magazine put out by the d School at Stanford. Too bad it ceased coming out last year. It’s a cross-disciplinary design magazine. We should take a gander.
Excerpt from an article by Jessica Helfand on Design Observer, 10/16/07:
“Last week, I found myself in a hospital where I toured a research lab with an immunologist. He explained how scientists look at pathogens and consider better models for treating disease. Such observation, in turn, leads to more targeted clinical trials and more effective pharmaceutical therapies. But it all begins by looking at cells dividing in a petri dish. A few days later at the AIGA National Conference in Denver, biologist, writer and “biomimicry” enthusiast Janine Benyus identified existing forms in nature — from the abstraction of the Fibonacci series to the specificity of a butterfly wing — as a paradigm for rethinking man-made practices and ensuring a more sustainable future. She discussed the finer points of bird migration and showed breathtaking images of life forms, all of them perfected over time — and none of them new-and-improved.
It’s a fascinating model for design thinking, seemingly antithetical to the pursuit of innovation, yet stunning precisely because it veers wholeheartedly in the opposite direction. It’s the less-is-more of the new age — history as novelty — with scientists the makers, the form-identifiers, the paradigm-shifters. Scientists probe and manipulate and channel and divide; they split and fuse and spike and engineer; but most of all, they look. They are the keen observers of our future because they peer so deeply into our past. They are historians, anthropologists, archaeologists of the body, the mind, the air, the planet, the universe. As a visual maker, to spend any time at all with scientists is to become at once profoundly aware of our similarities and devastated by that which divides us. In an age that is likely to be remembered for its self-absorption, it is an extraordinary thing to witness a lab filled with people devoting themselves passionately to understanding what DNA looks like, or how the immune system behaves, or what infection means for a human being fighting for her life. It’s radical. It’s humbling. And if we don’t begin actively seeking new opportunities to learn, collaborate and contribute to this critical community of thinkers and doers, then we may have good reason to revisit that psychosis study.”
A collection of useful essays.
Heller, Steven, The Education of a Graphic Designer. Second Edition. New York: Allworth Press, 2005.
Katherine McCoy, Education in an Adolescent Profession, essay from the book:
Design is increasingly in demand in fields of computer science, interactive media, and other disciplines. But we “must retain and enhance graphic design’s core value as a cultural activity. Designers can offer a compensating balance to the coolness and abstractions of technology.” (13)

Strober, Myra, Interdisciplinary Conversations: Challenging Habits of Thought. Stanford: Stanford University Press, 2010.
“The difficult task of faculty and administrators is to retain the benefits of disciplinary specialization while at the same time fostering interdisciplinary collaboration.” (2)
Recognizing funding as a big obstacle, she focuses on other issues: “disciplinary habits of mind, disciplinary cultures and interpersonal dynamics. It is also about what faculty and administrators can do to overcome these barriers to create productive interdisciplinary conversations.” (2)
“…it turns out that talking across disciplines is as difficult as talking to someone from another culture.” (4)
“To be interdisciplinary one must first be proficient in a discipline” (12)
For a brief history of disciplines, see page 13. Some of the earliest universities were in Italy, France and England, 11th and 12th Century. To be a discipline, a body of knowledge must have identity (departments across universities) and exchange (a market for new doctorates.) (15). What makes graphic design a discipline? Let’s look into that.
Interdisciplinarity is “a form of inquiry that integrates knowledge and modes of thinking from two or more disciplines…to produce a cognitive or practical advancement (eg. explain a phenomenon, create a product, answer a question, etc). By Veronica Boix Mansilla (15)