Pin-up as a Form of Ritual: DRS Conversation, June 27 2018 (TODAY), University of Limerick, Ireland
Pin-up as a Form of Ritual: DRS Conversation, June 27 2018 (TODAY), University of Limerick, Ireland
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WHAT IS THIS SITE?
WHAT IS THIS SITE?
An open digital repository. This site will track and record our writings and yours: responses and reflections on the critique within the design process — and how we might come to disrupt it. Everything within this site is flexible, so feel free to edit, add content, affect the aesthetic. Pre-, during, and post- conversation this site can and will be translated as a series of collaborative wpublications.
Request access to edit this site through email or if you are logged in through gmail, click the giant pencil below.
Email pinupasritual@gmail.com with your questions or concerns.
Our hope with making this site public and editable is to open up the conversation and participation at DRS (and beyond). The basic format is a series of prompts and musings on pin-up and rituals in design culture and how they impact our design research and making process. You can respond to these prompts, the images, or add anything that any of the content leads you to. Everything is responsive and there are no rules!
Our hope with making this site public and editable is to open up the conversation and participation at DRS (and beyond). The basic format is a series of prompts and musings on pin-up and rituals in design culture and how they impact our design research and making process. You can respond to these prompts, the images, or add anything that any of the content leads you to. Everything is responsive and there are no rules!
Also, participation comes in many forms:
Also, participation comes in many forms:
+ You can also join the DRS conversation gathering live via this link (works best with Safari or Chrome). The conversation gathering is Wednesday, June 27, 2018 14:00-15:30 GMT / 9:00 AM-10:30 EST. Add it to your calendar!
+ You can also join the DRS conversation gathering live via this link (works best with Safari or Chrome). The conversation gathering is Wednesday, June 27, 2018 14:00-15:30 GMT / 9:00 AM-10:30 EST. Add it to your calendar!
+ Join the hangout and edit this digital repository (website).
+ Join the hangout and edit this digital repository (website).
+ Edit this digital repository (website).
+ Edit this digital repository (website).
+ Anything else you can think of!
+ Anything else you can think of!
We want to challenge the barrier to participation, rethink our design rituals, and ways of forming community; the conference structure is one of them. Hope to see you there!
We want to challenge the barrier to participation, rethink our design rituals, and ways of forming community; the conference structure is one of them. Hope to see you there!
Pin up has become a way to assert yourself and your "social status" within classroom critiques. Why is that? However the more you assert yourself the more you try harder to stand out (blue) vs (red). Pin-up no longer becomes about higher thinking; it becomes about social status. The ritual act of baring your babies (concepts and ideas) to others can easily turn into an uncomfortable discuss of why it failed at meeting the mark.
Disrupting inflexible and rigid structures in the design process points to the development of new frameworks and practices in design research; those which are responsive to our time. This conversation focuses on the pin-up critique as a ritualized practice in the design process. The incorporation of ritualized processes imply a rigid structure, one that limits individual behaviors and can deprive the process of meaning and significance. The pin-up adheres to hierarchical, social and environmental parameters which are based on historical precedent. The conversation will examine and disrupt the scripted behaviors and interactions of the traditional pin-up through making, provocation and performance.
Disrupting inflexible and rigid structures in the design process points to the development of new frameworks and practices in design research; those which are responsive to our time. This conversation focuses on the pin-up critique as a ritualized practice in the design process. The incorporation of ritualized processes imply a rigid structure, one that limits individual behaviors and can deprive the process of meaning and significance. The pin-up adheres to hierarchical, social and environmental parameters which are based on historical precedent. The conversation will examine and disrupt the scripted behaviors and interactions of the traditional pin-up through making, provocation and performance.
PROVOCATION: What are design rituals?
PROVOCATION: What are design rituals?
What other shared experiences can designers emphasize?
brainstorming...
seeing...
believing...
reading...
not reading...
smiling...
drop-downing...
How can designers maintain these shared experiences?
talking...
writing...
listening...
reading...
How much rigidity in design processes is too much?
when it limits achievement
when it limits potential
when it limits justice
when it limits joy
How has the mainstream (read non-design) rise of "Design Thinking" furthered the ritualization of design?
How has the mainstream (read non-design) rise of "Design Thinking" furthered the ritualization of design?
How can disrupting the critique process build a stronger sense of community?
shared problem-solving
How can designers disrupt critique while maintaining designer rites of passage? (Or is that even necessary?)
PROVOCATION: How can responding to the perpetual flux inherent to social circumstances in pin-up open up new perspectives ?
PROVOCATION: How can responding to the perpetual flux inherent to social circumstances in pin-up open up new perspectives ?
how can a critique structure facilitate a responsiveness to the current situation encouraging the variety of perspectives and disrupting the top down teacher lead approach?
how can a critique structure facilitate a responsiveness to the current situation encouraging the variety of perspectives and disrupting the top down teacher lead approach?
+ I WISH CRITIQUE:
Utilizes a verbal framework "I wish" in three rounds: the practical, the arbitrary, the absurd
Participants, working in pairs, collaboratively work together to visualize the "wishes" , generating new possibilities for the work
+ IMPROV CRITIQUE:
Utilizes a verbal framework of "yes and"
Participants , working in groups, respond to what they see in the work presented, the next participant builds on what is offered
the purpose of divergence is to seek questions, not answers. the effect of divergence is to deliberately create muddle and confusion in one’s own mind, to upset one’s own assumptions so that one can become more sensitive to existing reality and to new possibilities.
the purpose of divergence is to seek questions, not answers. the effect of divergence is to deliberately create muddle and confusion in one’s own mind, to upset one’s own assumptions so that one can become more sensitive to existing reality and to new possibilities.
how can pin-up be generative and collaborative, responsive to the social and environmental conditions brought into the classroom? what are these conditions?
how do participants respond to one another in critique? who is guiding / leading the critique?
there is no reason to fear chaos; it is our name for another form of order: that which we see only in part. after exploring chaos one tries to “surface”, to recover one’s mental balance, to create a new picture of the problem, a transformation of the familiar and contradictory world in the light of the many different worlds it could become. but no transformation is possible if one keeps to fixed goals or aims. very often it is mental certainty that turns out to be the underlying difficulty, the hidden control, the barrier to living.
there is no reason to fear chaos; it is our name for another form of order: that which we see only in part. after exploring chaos one tries to “surface”, to recover one’s mental balance, to create a new picture of the problem, a transformation of the familiar and contradictory world in the light of the many different worlds it could become. but no transformation is possible if one keeps to fixed goals or aims. very often it is mental certainty that turns out to be the underlying difficulty, the hidden control, the barrier to living.
how can pin-up harness chaos and uncertainty or the unfamiliar to encourage question-asking or discovery rather than the problem-solution construct?
whose ideas? who is the guide?
PROVOCATION: What are the hierarchies in pin-up?
PROVOCATION: What are the hierarchies in pin-up?
The Inherent Hierarchical Structures in Pin-Up
The Inherent Hierarchical Structures in Pin-Up
Studio culture can be characterized by the rituals it preserves and celebrates. Students’ survival of critique rituals that focus on inadequacies of their work, have become a proud rite of passage in design education. The critique legitimizes a novice’s passage in obtaining elite membership in the design community. The glorification of the critique as a designer’s rite of passage, socialises students in a fraternity type culture that prides itself on personal sacrifice.
Studio culture can be characterized by the rituals it preserves and celebrates. Students’ survival of critique rituals that focus on inadequacies of their work, have become a proud rite of passage in design education. The critique legitimizes a novice’s passage in obtaining elite membership in the design community. The glorification of the critique as a designer’s rite of passage, socialises students in a fraternity type culture that prides itself on personal sacrifice.
While traditional critique has its advantages, there are many ways in which these methods can be inadequate and even traumatizing for students. As a strategy to complexify the studio dynamic, designers can firstly recognize the challenges inherent in critique rituals as they exist in graphic design practice. We can disrupt traditional methods of critique by exposing habits, norms and standards in studio culture. Subverting formal hierarchies will shift and renegotiate actors, performances, spaces and standards in studio critiques.
While traditional critique has its advantages, there are many ways in which these methods can be inadequate and even traumatizing for students. As a strategy to complexify the studio dynamic, designers can firstly recognize the challenges inherent in critique rituals as they exist in graphic design practice. We can disrupt traditional methods of critique by exposing habits, norms and standards in studio culture. Subverting formal hierarchies will shift and renegotiate actors, performances, spaces and standards in studio critiques.
Prompts:
Prompts:
What are some rituals in the design studio critique?
What are the different environments of a critique?
What are some contemporary/emerging/experimental forms of critique in the design studio?
What are the defined and undefined roles within a critique?
Why is the final review often the least generative of the critiques?
When does the pin-up become a generative critique?
Sage on Stage or guide on the side?
Does the formality of a pin-up critique hinder the development of learners?
How does the ritualization of the critique process in design impact creativity?
How can feedback in a critique have broader implications?
In a pin-up critique, how are we challenging students to engage in higher levels of reasoning?
who dictates the reasoning?
What does critique mean today? How has the idea of an "expert panel" evolved or changed the hierarchy? *MH
Image Source : Archinet
Seen in Architecture Humour
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