WEEK 2

CRITICAL DESIGN

Lecture Response

LECTURER: DION TUCKWELL

Thought-provoking design

ANTICIPATE & ADDRESS EMERGING CHALLENGES

expands role of design beyond functionality
imagine different future
creates more just and equitable world
questions existing systems
spark meaningful conversations on design IMPACT
RE-EXAMINE assumptions and beliefs - NEW POSSIBILITIES
SOCIAL, CULTURAL & ETHICAL implications that raise awareness of important issues and new ideas

Speculative Design - Fiona Raby & Anthony Dunne

"Critical design objects often take form of prototypes, installations or fictional products. They are designed to provoke thoughts and discussion, encouraging to question STATUS QUO and consider different perspective"

CRITICAL SPATIAL DESIGN - Jane Renell
'The Practice of Everyday Life' - Michel de Corteau

"If it is true that the grid of discipline is everywhere becoming clearer and more extensive, it is all more urgent to discover how entire society resists being reduced to it, what popular procedures, manipulate mechanism of discipline and conform to them only in order to evade them and finally, what ways of operating form the counterpart, on the consumer's side of the mute processes that organise establishment of socio-economic order.

HAUS - RUCKER - CO

Cooking sections - contemporary - systems based approach

Jan Van Toor - practitioner - graphic designer - VISUAL JOURNALISM

Open to different interpretations

Type-cutting, portraiture, experience

Design makes future.....

The lecture was crucial in solidifying the concept of Critical Design, in theory and practice. Whilst it was insightful to consider this design notion critically, it often created a dichotomy between expectation and reality.

For example, businesses cater to different consumer needs, without critically considering functionality - rather just accepting the status quo.

Despite its reality, this design process is provocative, illogical function. It allows us to clearly define the target consumer, and think about the product's present and future self. It does allow us to challenge the norm and think outside the box.

Reading 1: Theoretical Perspectives

Critical Design Practice: Theoretical Perspectives and Methods of Engagement (2016)
Matt Malpass

LINK TO TEXT

INITIAL NOTES

Para-functionality - Post-optimal design - Aesthetics of Use

Critical design - design research

FOCUSSED ON INTER - SUBJECTIVITY & PROPOSITIONKEY WORDS - critical design practice, design for debate, engagement"Product Design as an investigative medium to stimulate debate" Dunne, 1998closer fit to user and product itself - user-friendlinessINTERACTION - function and interpretation - user centric design"USERS ARE MESSY, COMPLEX, UNPREDICTABLE" - EXPLORE ENGAGEMENT
"Flusser (1999) argues that designers should shift their agenda and see objects as bearers of expression with inter-subjective qualities. A focus on inter-subjectivity will deliver design that is more meaningful in critical or affirmative contexts."'Diversified Design'"When design is used to ends that are more provocative, one bridges imagination and materialization by modelling, constructing things, telling stories through objects, which become effectively conversation pieces in a very real and persuasive sense. Through the projection of design scenarios, design fictions, and narratives of use, the designer as storyteller shifts focus beyond efficient use, to embrace uncertainty, interpretation and meaning."

PUTTING THEORY TO ACTUALISATION

There is a focus placed on user experience. It is important to consider our users and their interactions to come to a refined design solution - one thinks beyond the norm. When designing and thinking critically one can engage with the end user, more closely to create a more successful, accessible design.

Reading 2: Chasing Curiosity

Chasing Curiosity: Inquiry-led Practice in Communication Design
Lisa Grocott, design researcher and academic

LINK TO TEXT

INITIAL NOTES

importance of self-directed inquiry"designing, writing and researching""curiosity fuels the inquiries that drive a designer’s practice."INNOVATION IS KEY - ACTION IS KEYgoal-setting - mind mappingDesign as a game - narrow/segment game down to simplify briefYOKO AKAMA

understanding the target audience
communicating clearly

SYNTHESISING - SENSES - ITERATIVE
COMMITTED TO THEIR PRACTICE

PUTTING THEORY TO ACTUALISATION

Grocott's simplistic analysis of design as a 'game' helped to decipher what is fundamental in the design process. It allows participants and those completing the design research to be more playful during data collection, and as such more insightful connections and results as consequence. Through the gamification of the design process, one isn't overwhelmed by the task and views it simplistically. They are able to mind-map their ideas, and create goals to develop their concept even further.

IN STUDIO DOCUMENTATION

CONNECTION

By connecting ideas with physical objects, it was interesting to note the endless connections with different objects from different individuals.

My object significance is a bracelet I wear day in and day out, that was found in my house. It was given to me by my mother, It holds significance as it was given to her at her wedding by her mum, my grandmother.

I immediately connected with this heart locket, as I thought it represented the ongoing, endless love often associated with family. I drew the connection, through its physical representation, as well as its symbolism.

"timeless & nostalgic"

COLLUSION

In finding a collision with a necklace, I aimed to represent the disconnect between my bracelet - and a necklace that someone's grandmother gifted to them. Whilst they were both objects of significance, they have opposing physical attributes. My bracelet was worn, with scratches and an irregular shape - whereas the gold necklace was still shining and had very fine details. This representation aims to demonstrate the theories mentioned above.

"sentimental"

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