Eric Ku: chair/chair

From “Now in Production” at the Walker Art Center.
from the Walker blog:
http://blogs.walkerart.org/design/2011/10/26/gdnip-3-konstantin-grcic-eric-ku-chair-design/ 

Eric Ku’s Chair/Chair.

In the Gallery…

Ku’s Chair/Chair in the typography section of the exhibition.

From the gallery label… Eric Ku’s Chair is made from pieces that when taken apart, spell out the word “chair.” Ku was inspired by a famous work by conceptual artist Joseph Kosuth, One and Three Chairs(1965). Kosuth placed a real chair in the gallery next to a photograph of the same chair (photographed in that gallery) and a definition from a dictionary.

Joseph Kosuth, One and Three Chairs (1965).

Design Convos at Dcenter Baltimore

glad to be of help! (all text credit goes to fred).

On Wed, Mar 21, 2012 at 3:53 PM, Sarah Doherty <sdoherty@mica.edu> wrote:

hello zvezdana-
glad of your interest in the d center design convos! they have been really wonderful!

i passed your questions on to some of my fellow board members, especially fred scharmen who is one of the principal coordinators of the events. see his responses below which echo my own thoughts as well.

let me know if you need or want more info and or responses!

best-

sarah

———- Forwarded message ———-

From: Fred Scharmen <sevensixfive@gmail.com>

Date: Tue, Mar 20, 2012 at 12:12 PM

Subject: Re: design convo’s – book publication

To: Sarah Doherty <sdoherty@mica.edu>

Cc: Klaus Philipsen <kphilipsen@archplan.com>, Brian Oster <boster@cbhassociates.com>, Ben Stone <ben.stone@gmail.com>, Marian <marian.glebes@gmail.com>

I can take a pass at answering some of these questions.

What would you say has been the main purpose of Design Convos?

When we started them, we weren’t really sure what the main purpose would turn out to be, other than to provide a venue for presenting and thinking about design work in the city (with both “design work” and “the city” defined in the broadest possible sense here). The thing that’s kind of become the main purpose is this – it’s been a very effective way to link up people and work that might otherwise not have gotten linked up. People might come in thinking that what they do is not relevant to a design context, or they think that others in different contexts won’t be able to relate to it, and they leave with hopefully a broader perspective and some new potential friends and collaborators.

In what way have they helped interdisciplinary efforts? 

These Conversations have put artists in the same room with developers, teachers in the same room with activists, politicians in the same room with architects, engineers together with community organizers … the list could go on and on. In the best cases, each discipline is able to absorb a little bit of what the constraints and opportunities are in other disciplines, from the point of view of the people inside them, and hopefully, each discipline is able to recognize that there are a lot of interesting resonances and productive differences in the spaces between what they do.

And could you name two or three concrete things that came out of them? For example, an exhibition, project, etc.

Sure, there’s Gary Kachadourian’s Baltimore Infill Survey: http://www.flickr.com/photos/baltimoreinfillsurvey/ , that came out of a Conversation on Vacancy that Gary hosted. There were a few articles written about it, and it got entries from all over the world via flickr. I think Sarah Doherty’s Access Alley project got a new level of interdisciplinary interest when it was presented at an early Design Convo, too.( http://www.axisalley.wordpress.com )  Eric Leshinsky’s notion of ‘cultural containers’ which was the subject of a convo he hosted, has helped focus some of my own thoughts as a spatial practitioner, I’ve expanded his thoughts in a few published articles. We’ve helped push the visibility of people doing interesting work in Baltimore, in everything from street art to bio-remediation, and after showing their work in our venue, they’ve gone on to do even bigger and greater things – kind of the ‘cultural container’ principle at work.

What we’ve been most of proud of, though, is this ability to make introductions and connections between people and practices. Many collaborations have been realized after people have exchanged email addresses during design conversations, with projects realized at festivals like Artscape and Transmodern, even architectural commissions growing from meetings here. These are harder to quantify, but in some ways even more ‘concrete’ than anything. My favorite story about a concrete outcome is the fact that I met my girlfriend Marian, also a cofounder of Dcenter and a Design Convo co-conspirator, at an early Design Conversation. ;D

 

everyone should go to art school

Thomas Kovachevich is both a physician and an artist. He’s practicing both his professions in NYC and has a show there right now.
http://www.nytimes.com/2012/03/23/arts/design/thomas-kovachevich-alpenglow.html?ref=arts
Here’s a video clip where he says that “everyone should go to arts school first, to learn how to solve problems, and then go and study whatever their chosen profession is.” Take a listen! (yay, I finally learned how to post videos, thanks nance)

wandering territory

“Nestled in that no man’s land, a new era with new work is being prepared; artistic and elastic statements that without a doubt are shifting between all disciplines and all dimensions.”

The Pop-Up Generation
Design Between Dimensions
By Lidewij Edelkoort

13 December 2011 – 12 April 2012

the exhibition ‘the pop-up generation: design between dimensions’, investigates the trends of screen culture, flat-packing, and pop-up shops
by graphic designer anna garforth, in collaboration with vinke display

process video (really great!)

http://vimeo.com/36152966

http://www.motimuseum.nl/en/exhibitions/current/the-pop-up-generation/855

“In 2010, the Japanese fashion designer Issey Miyake first presented a ground-breaking collection called 132 5. Working closely with a computer scientist, mathematical algorithms were designed into 3D shapes that are then heat-pressed into two-dimensional forms. When these garments are folded, they resemble origami creations. When they are unfolded and put on, dimensional shapes pop-out and protrude from the body.”

“Young generations born with and behind the screen live in a shadow area, a no man’s land between the second and third dimension that they wish to connect. This popup generation moves easily from 2D to 3D and back again as if they do not even notice that there is a difference. The brain is trained to see volume in a flat sketch and to discover a structure behind the volume found in an architectonic drawing.”

Hit the jackpot- so many interesting projects. I’ll add more later
===========ZVEZ=======3/27/12=======
Sadly, I cannot find a graphic designer on the list of participants here. I think it’s important to keep gd as the core from which we’re writing.

from the MOTI museum website (Museum of the Image in Breda)

“Armed with technological developments, today’s designers are now able to allow themselves to be unrestricted by dimensions”

“At the start of the 21st century, the world is a cacophony of different cultures, destitute economies, innovative mass media and hyper technology. Old structures disappear and are replaced by a longing for synergy that flourishes with the new worldwide means of communication. In the practice of design, disciplines merge and worlds are linked together; 2D & 3D, analogue & digital, culture & capital, science & art, nature & technology and local & global.”

Participating designers:
Kiki van Eijk (NL), Catharina van Eetvelde (BE), Rodrigo Solorzano (MEX), Anthony Kleinepier (NL), Tord Boontje (NL), Bartosz Mucha (PL), Jaime Hayon (SP), Studio Job (NL), Niels Meulman (NL), Anna Garforth (GB), Carla Fernandez, Niels Hoebers (NL) Eric Ku (USA), Camile Scherrer (CH), Eley Kishimoto (JP), Carolina Wilcke (BE), Issey Miyake (JP), Laurens Manders (NL), Front (SE), Molo (CA), Richard Woods (GB) and Neozoon.

 

Kiki van Eijk (NL) — furniture design
Catharina van Eetvelde (BE) — animator/artist
Rodrigo Solorzano (MEX) — industrial design, origami type stuff, interesting diy toy kit for kids
Anthony Kleinepier (NL)
Tord Boontje (NL)
Bartosz Mucha (PL)
Jaime Hayon (SP)
Studio Job (NL)
Niels Meulman (NL)
Anna Garforth (GB
Carla Fernandez, Niels Hoebers (NL)
Eric Ku (USA) — graphic designer!!!
Camile Scherrer (CH)
Eley Kishimoto (JP)
Carolina Wilcke (BE) — product designer
Issey Miyake (JP)
Laurens Manders (NL)
Front (SE)
Molo (CA) — canadian architects and product designers
Richard Woods (GB) — british sculptor, fake surfaces
Neozoon.

 

method chapter: messages

  1. Make conversation (victore, d:center, etsy, social media)
  2. Ask “what if?” questions (byrom)
  3. Oppose yourself: do something opposite your norm (electroland)
  4. Apply a new method (type fluid and arkiypo, dearmond)
  5. Clarify your vision (bjork)
  6. Make yourself understood. Speak clearly, use simple language (bjork, ideo)
  7. Funny is good (bjork)
  8. Master gd basics (mm paris)
  9. Cultivate respect (mm paris)
  10. Apply graphics to unusual places (scarves, furniture) (mm paris, mike perry, joshua davis)
  11. Observe and listen (active listener) (ideo, froehlich, poggio)
  12. Build empathy (ideo, froehlich)
  13. Immerse yourself (froehlich, poggio)
  14. Question everything (project masilueke)
  15. Customize your process (project masilueke)

IDEO.org

IDEO.org Fellows Bring Beautiful Design to Humanitarian Efforts

November 6, 2011
http://www.good.is/post/ideo-org-fellows-bring-beautiful-design-to-humanitarian-efforts/

“In the long run, we hope the fellowship program will inspire the continued sharing and spread of human-centered design,” Martin says. We’re hoping the experiences gained and skills learned will help create the framework for a new cadre of leaders who will create new solutions to the challenges of poverty.”

The global water crisis seems simple enough to solve: Dig wells in communities that don’t have one, and let the water flow. After all, the problem is not that there isn’t enough water on Earth, but more of a logistical challenge about how to move it from point A to point B. But in fact, providing safe drinking water to the 1 billion people who don’t have it presents a tangled knot of complex engineering, political, economic, scientific, and cultural challenges.

That’s exactly why the water issue is such a good fit for the big-picture thinkers that make up a new breed of humanitarians—designers. IDEO.org design fellows are currently working in Nepal and Ethiopia to create systems that can support people’s varied uses of water, from urban gardening in the slums of Addis Ababa to fluoride treatment plants in the Rift Valley. The goal is to take a “holistic and human centered approach to meeting people’s water needs,” organizers explain on the project website.

>>>Human-centered design, the framework through which all IDEO.org fellows operate, guides designers to come in with a “beginner’s mind,” asking lots of questions and observing everyday moments, resisting the instinct to jump to conclusions or try to sound smart. It’s relationships and hunches, not strategic plans and short-term goals, that are the real tools of the human-centered designer. Liz Ogbu, one of the fellows working on the water project, writes, “We are starting to think of available water services and technology as analogous to a set of Lego parts that can be applied and rearranged depending on the needs of the community.”

Taking Design Thinking to the Nonprofit World

October 3, 2011
http://philanthropy.com/blogs/innovation/taking-design-thinking-to-the-nonprofit-world/35

IDEO’s approach to design starts with learning as much as possible about the people who will eventually use the product–their lives, their needs, their aspirations–rather than starting with a hypothesis about what they need, says Patrice Martin, creative director of IDEO.org. Too often, companies and organizations start the process thinking about what’s feasible or viable, but she says that doesn’t matter “unless what you’re creating is actually desired by the people you’re designing it for.”

‘More Dignity’

Last year the design company started working with Water & Sanitation for the Urban Poor, a nonprofit in London, and Unilever to develop a business to provide new sanitation products and services for city dwellers in Ghana. During a trip to the West African country, the company’s consultants set up interviews with many types of potential customers, such as women, heads of households, teachers, laborers, the elderly, and people with disabilities.

IDEO helped a nonprofit design an in-home sanitation service in Kumasi, Ghana.IDEO helped a nonprofit design an in-home sanitation service in Kumasi, Ghana.

The consultants asked “an incredible array of questions,” says Andy Narracott, program coordinator at Water & Sanitation for the Urban Poor.

He says some of the questions were very personal: how much money their household earned, what kind of work they did, how many people lived in their home, did they have a toilet, what sanitation products and services they currently pay for.

One woman they talked to had a question for her interviewers: Why have you come all the way from your country to ask about my toilet?

Mr. Narracott says most nonprofit organizations would have said, “A toilet is good for your health, and we want to help you.”

By contrast, he says, one of the consultants told the woman that they were with Unilever, and they wanted to create a sanitation product people would be happy to buy but that also improves people’s health.

“From my perspective, that provides a lot more dignity than a typical [nonprofit]  approach,” says Mr. Narracott.

Testing Ideas

After gaining an understanding of what customers want, IDEO lays out the options and develops prototypes to be tested.

“It doesn’t have to be a solution that’s ready to go to market,” says Ms. Martin, of IDEO.org. “Instead it’s something that acts like or looks like the experience that we’re trying to create. We get people’s reactions. We see what works; we see what doesn’t. And we can build on that.”

The portable toilet IDEO designed for the projectThe portable toilet IDEO designed for the project

After several iterations, IDEO developed a portable toilet for the project in Ghana. Water & Sanitation for the Urban Poor is now running a six-month test of a service that rents the toilets and charges a weekly fee for the waste to be removed. The trial started with 20 customers, who got the first month of service free. Two months into the trial, all 20 customers had agreed to pay for the service, and the nonprofit group is adding more customers.

Mr. Narracott says the pilot project is providing valuable financial information his group is using to develop a business plan for the service.

 

Nurturing Talent

IDEO.org has created a fellowship program to spread the company’s design approach in the nonprofit world.

For 11 months, the fellows–five from the nonprofit world and three from IDEO–will work with IDEO.org on nonprofit design projects in areas that focus on agriculture, financial services, health, and other areas.

The idea is that the nonprofit fellows will take their new skills back to the charitable world and that the IDEO fellows will bring a new understanding of the problems nonprofits face back to their work at the company.

“We’re bringing design and the social sector together in a big way,” says Ms. Martin. “We’re looking at the people who are working on our most intractable challenges and then we’re taking some of the best creative minds in the world and we’re putting them together.”

method tips

August 23, 2010 by 

http://crackingcreativity.net/uncategorized/7-blocks-to-creative-thinking-and-how-to-solve-them/

>>Would be nice to include some tips on how to solve creative problems and work with a group. Possibly as a side bar of full page

I’m going to purchase this book and will post more on it once i receive it

7 Blocks To Creative Thinking And How To Solve Them

Each of us has the power to be creative. It’s part of our natural make-up as human beings. The trouble is that, too often, we block our natural creativity and so make errors in thinking and give ourselves more problems than we should. Here are 7 ways to open up your natural creativity and keep the channels unblocked.

1. Don’t Make Assumptions. When we assume, we often make an “ass” out of “u” and “me”. Assumptions are examples of lazy thinking. We simply don’t wait to get all the information we need to come to the right conclusions. There is the story of the customer at the bank who after cashing a cheque and turning to leave, returns and says: “Excuse me, I think you made a mistake.” The cashier responds, “I’m sorry but there’s nothing I can do. You should have counted it. Once you walk away we are no longer responsible.” Whereupon the customer replies: “Well, okay. Thanks for the extra $20.”
Tip: When you feel yourself wanting to draw conclusions, just wait until you have all the information.

2. See Things From Other Points Of View. A truly open mind is willing to accept that, not only do other people have other just as valid points of view from theirs, but that these other points of view may be more valid. A story is told that the modernist painter Pablo Picasso was once traveling on a train across Spain when he got into conversation with a rich businessman who was dismissive of modern art. As evidence that modern art didn’t properly represent reality, he took out a photo of his wife from his wallet and said: “This is how my wife should look, not in some silly stylized representation.” Picasso took the photo, studied it for a few moments and asked: “This is your wife?” The businessman proudly nodded. “She’s very small,” observed Picasso wryly.
Tip: Don’t have a monopoly on how things are. Things aren’t always what they seem. Be ready to consider other points of view.

3. Avoid Yo-Yo Thinking. Some people tend to have a tendency to swing from a highly positive mood one minute to a highly negative one the next, all because of what they see in front of them. It’s like a yo-yo: up one minute, down the next. It’s far more healthy to stay neutral and not let emotions get the better of you.
Tip: Remember that things are rarely as good – or as bad – as you think they are.

4. Get Rid Of Lazy Thinking Habits. Habit can be a major stumbling block to clear thinking and another example of laziness. Try this experiment. Write down the Scottish surnames Macdonald, Macpherson, and Macdougall and ask someone to pronounce them. Now follow these with the word Machinery and see what happens. Most people are likely to mis-pronounce it. This is because we tend to think in habitual ways and don’t like what doesn’t fit.
Tip: Don’t think that, just because things happened in a certain way once before, that they will happen like that again.

5. Don’t Think Like An Old Person, Think Like A Child. Research shows that the number of synapses, or connections, in the brain is greater in a child of two than in an average adult. The reason for this is that, while a child of two has no limiting world view, as adults we do. It’s like a sculptor who starts off with a large block of clay, more than he needs, and then gradually removes the clay as he moulds his sculpture. If we use our brain like a child, accepting everything without judgment, we can actually halt and reverse the brain ageing process.
Tip: Don’t worry about the myth of age. With the right stimulus and a passion for learning, you can actually improve your brain’s powers.

6. See The Detail As Well As The Big Picture. You may know the poem by John Godfrey Saxe called “The Blind Men and the Elephant”. This tells how six blind men of Indostan go to see an elephant and each try to work out what it is from touching it. One blind man touches the tusk, another the trunk, another the tail, and so on. Of course, not being able to see the whole elephant, they come to wildly different conclusions.
Tip: Try to keep the big picture in front of you while looking at details. It will help to put everything in its proper place and context.

7. Think For Yourself. Taking time out to think is still frowned on in many organizations that prize activity over creativity. People who work in creativity-constrained organizations are likely to think the way they are supposed to think, or as others think, or as has always been the way to think. It’s like the blinkered thinking that Hans Christian Anderson describes in his story of “The Emperor’s New Clothes”. Everyone in the land refuses to see that the emperor is naked and has been duped into believing he is wearing a splendid costume for his coronation. Only a young boy who has been ill and not party to the cultural brainwashing can see the truth and cries out: “Look, everyone, the Emperor is wearing no clothes!”
Tip: Don’t let others tell you how to think. When others ask your opinion, tell it to them straight.