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IF – Social Design for Sustainable Cities

Polish-Japanese Academy of Information Technology EUNIC Warsaw Warsaw 2021


INDEX Introduction 5 Marjatta Itkonen, Ewa Satalecka, Jan Piechota 5 Rupert Weinmann 6 Essays 9 Gerald Bast 10 Marek Prawda 14 Rafał Trzaskowski 16 Ewa Satalecka, Jan Piechota 20 Roger Paez 29 Gosia Warrink 34 Joanna Murzyn 37 Susanna Cerri 40 Esteban González Jiménez 44 Ruedi Baur 47 Bulent Akman, Martin Van Dijk 52 Workshops 57 Design as Nature 58 Diversity Manifesto 64 Introspection68 Living Machine. Me (in, vs., &, about, with) the CITY 72 Make Diversity Credible 78 No Man's Land 82 Sensing and Desensitisation 88 Who Owns My City? 90 Exhibition 101 Aalto University 102 Academy of Arts, Architecture and Design in Prague 110 Academy of Fine Arts and Design in Ljubljana 114 Escola Superior de Artes e Design 120


Hogeschool PXL–MAD132 Kharkov Academy of Design and Arts 138 La Factoría 144 Massey University College of Creative Arts Toi Rauwhārangi 152 Namseoul University 160 Polish-Japanese Academy of Information Technology 168 RANEPA Design School 176 Rhode Island School of Design 182 Sint Lucas Antwerpen School of Arts 190 Stellenbosch University 196 Università degli Studi di Firenze 204 University of West Attica 212 Wrexham Glyndŵr University 220 Case Studies 227 Berlin University of Arts 228 ELISAVA Barcelona School of Design and Engineering 236 Escuela Superior de Diseño de València 248 Esteban Gonzales independent project 252 Helen Hamlyn Centre for Design – Royal Academy of Arts 258 Hochschule Mainz University of Applied Sciences 262 Institute of Art Design and Technology 268 Swiss Federal Institute of Technology Zurich (ETH Zurich) 278 University of Applied Arts Vienna 288 University of Cyprus 300 University of Niš 310 Bios 321 Conference Talks 348


Introduction MARJATTA ITKONEN, EWA SATALECKA, JAN PIECHOTA CURATORS OF THE PROJECT

IF – Social Design for Sustainable Cities is a project by the PolishJapanese Academy of Information Technology in co-operation with the European National Institutes for Culture (eunic) Warsaw. This is a global multidisciplinary project for design students, educators and experts. Our goal is to challenge together how to build a socially and environmentally sustainable future for communities. The planning process started late April 2019; hundreds of emails were sent and dozens of Zoom-meetings held before October 2020 when we started the workshops, poster exhibition was opened and at the conference took place. The second part of international workshops were held in November. We organised 18 simultaneous workshop October/November with the following: Diversity, Green future and Accessibility. Part of the event was a poster exhibition by students from 28 different educational institutions from all continents at the beautiful gallery prom Dom Kultury in Warsaw. For the fourth time in a row, the Warsaw based cluster of eunic joined forces with the Polish-Japanese Academy of Information Technologies and organised an international conference on a socio-cultural topic. The if conference on sustainable development was organised on-line due to the pandemic on October 23rd 2020 from Warsaw with international guests speakers. This publication presents essays, some workshops outcomes, international students posters and details of the participants. We are especially thankful for all students and staff members who made it all happen. Thank you so much!

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Social design for sustainable urban innovation RUPERT WEINMANN PRESIDENT EUNIC WARSAW 2020

How cities are planned has always been a reflection of prevailing cultural and technological trends, economic developments and even major calamities. The cholera epidemics in the 19th century sparked the introduction of modern urban sanitation systems. Housing regulations on access to light and air were introduced as a measure against respiratory diseases in overcrowded slums in Europe during industrialisation. The introduction of railroads had an immense impact on national urban systems, and the mass production of the car has led to cities that bleed seamlessly into sprawling suburbs, creating vast metropolitan areas. The impacts of the global covid-19 pandemic are still to be understood, but it does seem clear that this crisis will make a mark on cities, physically and socially, which will echo for generations. People increasingly live in cities. Human settlements face challenges in meeting the needs of their growing populations. Sustainable urban development increasingly depends on the successful management of urban growth. In recent years, urban innovation, primarily based on digitalisation and data, has changed the way cities are navigated and how communities mobilise and advocate for change. However, technology alone does not make cities ‘smart’. For creativity to prosper

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and an inclusive society to emerge, a culture of innovation is needed that values and supports social design and technology equally. The European Union National Institutes for Culture (eunic) Cluster Warsaw – a network of cultural institutes and embassies of European Union member states – strives to build bridges between culture, society, economy, and technology in cooperation with local partners. Within the project IF – Social Design For Sustainable Cities – Making cities and human settlements inclusive, safe, resilient and sustainable, we had the privilege, pleasure and honour of working together with the Polish-Japanese Academy of Information Technology, the City of Warsaw and the European Commission Representation in Poland. By highlighting the involvement of culture and social design in the societal debate on sustainable cities and, at the same time, interconnecting different perspectives we anticipate something new and creative will emerge as a result. We hope the project IF – Social Design For Sustainable Cities together with this publication will contribute to a framework for continuing interdisciplinary discussions including creative minds using arts as a tool, paving the way for sustainable urban growth.

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ESSAYS


Arts as radical answer to radical challenges GERALD BAST

Social design for sustainable cities is the most important topic of this conference, and I am really honoured to be part of this conference. Let me start my speech with a video foundation of the topic. Over the next 25 years, the way people live and work will change as never before in human history. Unpredictability and uncertainty will continue to shape peoples’ lives. AI, genetic engineering, robotics, quantum technology and the continual fusion of man and machine will launch entirely new dimensions of thinking and acting. These technologies all pose philosophical questions on human life and its role in the universe. The climate crisis has a dramatic global impact. It is not a question of whether climate change will occur, but how we can deal with its consequences. Regions with the highest population density will be hit the hardest. Millions will be forced to migrate. By 2050, two thirds of the world's population will live in cities. The number of individuals aged 65 or over will double to 1,5 billion. Democracy faces increasing challenges. Radical new technologies, impending economic crises and environmental migration will further threaten democracies. Now more than ever a society of understanding will need to combine information in creative ways. Knowledge is power. Change into creativity is power. Digitisation and automation will lead to a dramatic transformation of labour markets. Heisenberg's uncertainty principle teaches us to accept uncertainty as a fundamental component of the universe.

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New professions require new skills, critical thinking, dealing with complexity, creativity. Education must provide the capability to deal with uncertainty and ambiguity, think in alternatives, change perspectives, search for unusual connections, utilise intuition and imagination, predict the mechanisms of fundamental technologies and the potential societal impacts. To shape the future, we need to know both the alphabet of the sciences and the alphabet of the arts. Indeed, to meet global challenges we need to know the alphabet of the arts. Challenges will primarily hit people living in cities. Till now, cities always have been laboratories for social development. Paradigmatic models in business, art and politics – such as the bank, library, university, marketplace, guilds, museum, theatre and democracy – were developed, tested, and refined in the city. The city was a place where the exchange of knowledge, services, goods and ideas between people of different origins, education, occupation and worldview took place. Can the city maintain its function as a socio-economic development laboratory? As a laboratory that creates paradigmatic innovations for the coexistence of people in a world that is about to change dramatically in terms of social life, economy and politics. How can we avoid that cities rather become areas of social and economic problems than places of innovation? What role can the power of the arts play in the process of developing and negotiating new ideas and models for urban life? ‘Arts as urban innovation,’ this is the subtitle of the Social Design master programme the University of the Applied Arts Vienna established in 2012. Our focus is not on designing products, rather we aim to design the Social. Let me highlight only a few of the many projects which were realised in the last years. The most recent one, coronity radio is a virtual space that encourages sharing of knowledge. It opens a counter-position to the contemporary reality of social distancing. Social designers from the University of Applied Arts Vienna have already completed a project in Poland. spotting treasures in bełchatów was a series of artistic interventions and workshops, realised in Bełchatów, a town which was built near declining coal industries. Using local elements in workshops, like pierogis and the milk bar, young citizens were invited to explore and rethink innovative alternatives for their current industrial and social environment.

gerald bast

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Thereby, opening the sense of imagination of both administration and residents. feel dementia: In a new way the project makes visible the individual challenges that people with dementia face every day. At interventions in public spaces people were given the opportunity to experience disorientation, uncertainty, and overstimulation. Improving social awareness about dementia to change the minds of ordinary people and politics for a better life of people living with dementia. The European Union project placecity is dealing with the variety and diversity of urban centres in Oslo and Vienna, analysing the potentials and setting fresh impulses. The 30-month project follows a transdisciplinary approach and mediates between citizens, organisations in the private sector and city administration focusing on the use and appropriation of public space. On 20 November 2019, the next project symbolically gathered global players, global warmers and climate sinners around one table, gambling for nothing less than the climate crisis. The title of the installation spielfield refers to the Austrian border town Spielfeld where in 2015 many refugees crossed the Austrian border. The concrete wall with barbed wire refers to border walls like the wall now being built between the United States and Mexico or the ones in Israel, or the former one in Berlin; the list could easily be continued. The variety of projects that social designers realise all share approaches that integrate artistic knowledge, apply transdisciplinary and collaborative procedures, and are concerned with social and urban challenges. That could be focusing on urban mining, on looking at the role of art and design in an atmosphere of fear, or on the right to the public. Who owns the city? A question raised by Saskia Sassen, the grande dame of urban sociology, who also was in Vienna for a conference we organised. Another focus could be on an examination of fundamental issues of housing and coexisting. We are facing radical challenges. Fundamental radical change can only be met by radical innovation. But what does it mean to be radical? It means using a mindset that is used by artists. Working with uncertainty and ambiguity, thinking out of the box, changing perspectives, applying non-linear perception, using intuition and imagination. If politicians and it companies are talking about the future of the city, we often can hear the term Smart City – developing the city by

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implementing technology, as we also always did. Following the mindset of the first three industrial revolutions in a quite linear way. Is this smart? If we understand the term smart as a precondition for meeting the recent challenges, which are radical like never before? If we understand the term smart as a precondition for human civilization? A smart city is not just a city dominated by technology. Technology is only the condition of possibilities. A smart city is dominated by creativity, using technology as a tool for social innovation. Hence, I am rather with the urbanist Jan Gehl, who claimed power to the people.

gerald bast

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Making the necessary beautiful MAREK PRAWDA

It was my great pleasure and honour to open this conference on ‘Social Design for Sustainable Cities’ on behalf of the European Commission. As happy as I am to be a part of this exciting discussion, I certainly regret – as I am sure many of us do – that we cannot meet in person. The pandemic has, indeed, changed our routines. However, we need to keep in mind that the issues we were dealing with before the pandemic broke out are not gone. Those issues remain with us and are likely to rebound even stronger when the pandemic is over. The primary aim of the European Union (eu) was to ensure sustainable peace, but also to make Europeans' lives better and to make Europe a better place to live. The eu has been very successful in doing so for many years. However, with a series of crises that hit our continent in the 21st century and with the ever more alarming effects of climate change, it has become clear that we have come to a point where the European Union needs to redefine its mission. That is exactly what the new European Commission did. In December 2019, Ursula von der Leyen formulated a set of new priorities for Europe to follow in the years to come. When listing those priorities, it is always the European Green Deal that comes first. And for a good reason. Europe has set an ambitious goal to become the first climate-neutral continent. This will require more than cutting emissions. We must rethink and replan. We need a different way of living, of doing things, of consuming and of travelling.

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Even more is at stake: a new cultural project for Europe. Every movement has its own look and feel. This systemic change needs its own aesthetics – blending design and sustainability. This is why the eu is about to launch a project called a New European Bauhaus. It is inspired by the historic “Bauhaus” founded in Weimar a hundred years ago, which has influenced creative thinking and helped the social and economic transition to an industrial society. Of course, this time we have different problems and are facing entirely new challenges. But we are sharing the same ambitions. The New European Bauhaus should trigger a similar dynamic. It should show that the necessary can also be beautiful; that style and sustainability can go together. Cities are living organisms whose needs go far beyond clean air and access to environmentally friendly facilities. I believe this conference is a refreshing and necessary reminder of that obvious, yet often ignored, truth. Why not make our homes, the cities we live in, more beautiful and inspiring? Why not culture and art have a stronger say in how our cities look and feel? Take for example the famous artistic project Dotleniacz (Oxygenator) by Joanna Rajkowska that was installed a couple of years ago at Grzybowski Square in Warsaw. Municipal authorities had a completely different idea of how to use that space but owing to the strong and long-lasting engagement of artists and the local community the authorities decided to completely change the development plan. That square was given back to the people and it became a completely different common space. This space is close to my heart, because it is not far from my office and I used to invite my guests there, not because it is a nice space but because it is encouraging that I have a story to tell. This conference has a big chance to encourage many more stories like this. The European Union has been supporting a great number of municipal revitalisation and culture-related projects across Europe. However, I realise that we are only at the beginning of our journey here and that we need a strong input and contribution from the art and culture community. This conference has the potential to mark a major step on the way towards social design for sustainable cities of the future. One might say to oxygenate our cities in a broader sense.

marek prawda

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The environment as a strategic urban resource RAFAŁ TRZASKOWSKI

The development potential and size of the city are a privilege, and they bring a number of unquestionable benefits for all users, but also a series of challenges, such as air pollution, a negative impact on the environment, excessive car traffic, and the spreading of buildings, along with social and economic problems, such as increased social stratification, security issues or a lack of social integration. City development reflects a mixture of growth processes, unforeseen challenges and appropriate management, including responses to changes and emerging challenges. This year has proven that we are not always able to predict what may happen and prepare for it. Nonetheless, in the long-term management of the city, the conscious creation of its development becomes crucial. In our city we are working on ensuring a high quality of life for the present and future residents and users of the city. Providing the comfort of living and operating in a large city requires a balance between metropolitan and capital functions while maintaining the environment of everyday life of the inhabitants. We, therefore, focus on the availability of basic services in each district by enhancing care, educational, healthcare and support services for small and medium-sized enterprises. By this I mean to name a few: • Introducing one of our crucial projects - the Warsaw Nursery Voucher – over 13 000 free new nursery places for children aged 0 to 3. • Implementing programmes increasing the quality of teaching: wars and sawa – a system of supporting gifted students.

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• Start-up jump – a programme aimed at shaping proactive attitudes among school youth, subsidising students’ participation in cultural, educational and sports activities. The expenditure on education constitutes the largest part of the city’s expenses (25%; more than pln 4.8 billion). • More than 250 thousand individuals have benefited from Warsaw’s health programmes, including HPV and flu vaccinations, and birthing schools. • We support couples trying to have children: over 1.5 thousand couples benefited from the in vitro programme in 2019. • We also care for the elderly: more than 7.5 thousand seniors benefited from transport services, and more than 6.5 thousand from care services, provided by the City of Warsaw and its subordinate units. • Last but not least, we support entrepreneurs: At the Smolna Entrepreneurship Centre over 900 people received individual advice and over 1000 events were organised (lectures, debates, etc.). Warsaw is a city for everyone – a city where people feel at home, no matter where they come from, what religion they have, or what lifestyle they prefer. Warsaw is open to everybody – many people from different parts of the world choose our city as their new home. According to official data, there were over 40 thousand foreigners in Warsaw in 2019 (that is in fact over 30% more than a year before). That is why the Multicultural Centre was established as a place providing assistance to immigrants and an incubator of intercultural initiatives. Warsaw is also a city pursuing its development through a dialogue with its residents, supporting non-governmental organisations and civic society. For several years now, we have been providing part of the budget for the implementation of projects submitted and selected by residents. This year’s Citizens’ Budget was pln 83 million, and 109 000 people cast their vote. A large part of the votes was given to projects that increase and enrich urban greenery and to projects related to the development of bicycle infrastructure. The results of the vote reflect the real demands of the residents of Warsaw – not only ensuring a better quality of life, but also focusing on ecology and care for the environment; for us, they also confirm the rightness of the choices made and prove the synergy between the City of Warsaw's activities and the will of its residents.

rafał trzaskowski

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Culture is highly important for Warsaw. It is the basis of human bonds, a significant instrument for the development of a democratic society, and a source of innovation in various spheres of our life. Moreover, it is a place of critical thinking and reflection. It is culture that provides the tools to activate social imagination and thinking about the common good – for all of us, the inhabitants of Warsaw. In the new cultural policy of Warsaw adopted this year, three priorities in thinking about culture and cultural activities in Warsaw are indicated. These are: Free Culture – the protection of culture as a space of freedom and imagination, Education – the recognition of culture as a tool of education shaping competences, participatory attitudes and ways of talking about the world, and the Concern for the Work and Living Environment – which is the recognition of the role of culture as an important dimension of a friendly, social and natural environment. The urban natural environment cannot be seen as an addition or luxury, and its protection as a cost. The environment is a strategic urban resource, and its protection is an investment in a better quality of life. Climate change is a real threat to large agglomerations, and poor air quality means poor health of the residents. We build the city’s sustainability and resilience to the effects of climate change by replacing the bus fleet with low- and zero-emission vehicles – 150 low-emission buses in 2019, developing rail transport – 3 new Metro stations in 2019, 213 ordered tram rolling stocks, or investing in bicycle infrastructure – 50 km of new bicycle routes built in 2019. The Veturillo city bicycle network is of significant importance to promoting and encouraging residents to cycle around the city. In 2019 Veturillo was used nearly 6 million times. The top priority for us is to improve air quality in the city. Between 2017 and 2019, we eliminated 2150 black-smoke-belching stoves, including 993 in municipal resources. By 2022, the city will have completely eliminated such stoves from municipal resources and will continue the programme of grants to their exchange in private resources. Simultaneously, we make efforts to protect green areas. In 2019, more than 16.5 hectares of greenery were added to Warsaw, so at the end of the year, the residents of Warsaw benefited from 88 parks with a total area of 930 hectares. Resilience of the city also includes the ability to respond to changes by implementing innovative solutions. Warsaw is undergoing transformation using state-of-the-art technologies. We are implementing

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numerous digital projects that translate into an increase in the quality of services offered by the city and, consequently, in a further increase in the quality of life of Warsaw residents, such as digital platforms: the Municipal Contact Centre Warsaw 19115, a Big Data analytical platform. Currently, the end-stage work is underway before the launch of Warsaw’s platform of e-services Moje 19115. The platform will provide all the services that residents, taxpayers, students or tourists can perform via the Internet, without leaving home. Earlier this year, we launched the eduwarszawa.pl platform – a tool for remote working, via which all students and teachers at Warsaw schools have access to Microsoft Office. “The city will never be a static, formalised creation – it remains in constant motion, currently particularly vigorous. In order to understand the city and be able to work on it, we should see it as a combination of the results of human deeds and will, which create the appearance, shape and functioning of the city. [….]” (Joseph Rykwert (2000): The Seduction of Place: The History and Future of Cities). To build upon this and at the same time to sum up. The city will not be: • inclusive unless we fully accept the other person as he or she is; • safe unless we behave responsibly; • resilient unless we are aware of changes and threats, ready to deal with them, and open to innovative actions; • sustainable unless we are able to fulfil our needs without diminishing the chances of future residents to do the same.

rafał trzaskowski

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If – design is still a design? Why can’t it be simply beautiful? EWA SATALECKA, JAN PIECHOTA

I In the year 2100, the largest city in the world is Lagos, population 88 344 661; the second largest is Kinshasa 83 493 793; then Dar es Salaam 73 678 022.1 American and Japanese metropolises are no longer among the top 20. In 2100, the world has shifted its demographic balance. Design likes big agglomerations. It expands through a network of interactions. In view of these changes, will the Western pattern of development remain a good solution? Without projecting too far ahead, is the currently accepted approach to design adequate to the challenges we face? The modernist dream of coining mass into quality has burst like a bubble. Since the 1990s we have experienced numerous crashes and depressions. We have been shaken by subsequent crises including the economic crash of 2008, terrorism, epidemics and serious demographic and racial issues. In the book Our Final Hour: A Scientist's Warning: How Terror, Error, and Environmental Disaster Threaten Humankind's Future In This Century – On Earth and Beyond, published in 2003, 1 https://sites.ontariotechu.ca/sustainabilitytoday/urban-and-energy-systems/ Worlds-largest-cities/population-projections/city-population-2100.php

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the Royal Astronomer, Sir Martin Rees, contested the durability of human civilization and put forth the thesis that we have a 50% chance of surviving until the end of the 21st century. A 50% chance to see whether the largest agglomerations actually develop based on old human settlements. Does the future need us at all? Or, as claimed by Bill Joy,2 it will do just fine without us? Waiting for what happens after modernism, we fail to recognize the new order, at least not where we are expecting to find it. Generation Z dilutes the border between the ‘real’ and the ‘virtual’. Its recipe for modernity is melting the two realities into one. The older generation perceives this approach as escapism, the younger views it as creating new active communication networks. As assumed by Manuel Castells,3 communication and information development disposes of the hierarchy of social relationships. He claims that by enhancing the need of network presence, the multimedia culture relieves the world from the mass and focuses on the individual – just as the young want it. Is this narcissism? Or, maybe, the groups formed online are the equal, parallel communities with a strong effect on reality? Castells thinks that the Internet holds the power of revealing the incompetence and corruption of authorities and thereby facilitates the remodeling of governmental systems. He thinks that expanding digital communication increases social control and citizens’ effect on reality. In view of the current events taking place in the streets of many cities and towns worldwide, where crowds of young people are protesting against the injustice and stupidity of the old men in power, it is hard to disagree. They have organized themselves via the Internet. The level of well-being is by no means the highest in high-income economies.4 It is not civilizational progress and new technologies that seem to determine the quality of life, but rather interpersonal 2 Bill Joy – American cybernetist, in January 2000 published in Wired a widely discussed article: Why the Future Doesn’t Need Us, in which he defended the title thesis https://www.wired.com/2000/04/joy-2/ 3 An outstanding sociologist of Spanish origin dealing with the technology of communication. His first book The Urban Question has been known as the key scientific publication of the discipline. He introduced the notion of ‘urban phenomenon’ as a social construct, a settlement attitude rather than urban territory. His research also deals with new technologies and the consequential ‘networking’ of social relationships. 4 Happy Planet Index, hpi – a ratio developed in 2006 by Economics Foundation (nef); http://happyplanetindex.org/about

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relationships and feelings. Antonio Damasio5 writes: “We humans, along with the creatures from which we descend biologically, inhabit a universe in which objects and events, animate as well as inanimate, are not affectively neutral. On the contrary, as a consequence of its structure and action, any object or event is naturally favorable or unfavorable to the life of the individual experiencer.”6 The achievements so far considered glorious to design – its sole focus on the human, human-oriented design – turn out to be simply selfish in the Anthropocene era. Faced with the looming global catastrophe, it is not only ourselves we want to save. The stakes are much higher – it is about saving our relationship with nature. Modernism and its ideology become useless: anthropocentric modernism may as well be flushed. The civilizational effort is quite likely to fail. “In one possible scenario,” Damasio writes, “it will not succeed at all, because the very instruments with which we invent cultural solutions – a complicated interplay of feelings and reasons – are undermined by the conflicting homeostatic goals of different constituencies: the individual, the family, the cultural identity group, and larger social organisms.”7 The dystopic scenario seems to be supported by the strong civilization dependence on its biological seeds – it predicts the fight and inability to settle the growing conflicts. The gloomy future is sketched in essays of Yuval Noah Harari.8 Was our ancestors’ drive towards the better future and progress an error? “The error is not merely possible, it is actual: it is inscribed in time, rather like a slip of the pen. The future is written but it is partially indeterminate. It includes the catastrophe but as an accident. As the most metaphysical of all poets, Jorge Luis Borges, once wrote: ‘the future is inevitable, but it may not occur.’”9

5 A neurologist of Portuguese origin, head of the Brain and Creativity Institute at the University of Southern California, Los Angeles, which he calls his intellectual home. 6 Antonio Damasio, Strange Order of Things. Life, Feeling, and The Making of Cultures, Knopf Doubleday Publishing Group, Kindle Edition, p. 180 7 Antonio Damasio, Strange Order of Things, op. cit., p. 224 8 Yuval Noah Harari – Israeli historian and Professor at the History Department of the Hebrew University of Jerusalem. 9 https://arcade.stanford.edu/occasion/precautionary-principle-and-enlighteneddoomsaying-rational-choice-apocalypse [access: 7 Dec. 2020]

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Define irony, says Bruno Latour:10 living in Anthropocene we have reached the point where we (regretfully) renounce anthropocentrism. The dream of achieving well-being by means of gradual migration to the cities has turned out illusory. The current coronavirus pandemics reveal that in the time of danger the city becomes a trap; escaping it, paradoxically, can only be afforded by the very rich and the very poor, as they return to their family villages, previously abandoned in pursuit of the better tomorrow. At the time of pandemics, the 21st-century city has failed both groups. How will the middle classes find the new reality? If they are willing, designers have the privilege of taking a perspective broad enough to see the network of connections and relationships. In view of the negative effects of progressing civilization this associative perspective is needed more than ever before. The main sin of design, nonetheless, is not coming close enough to science, if only as a translator of its successes and capable of interpreting its achievements clearly. This results in a progressive turn away from science and the consistent application of aesthetic categories to design. Redefined, it should become independent from the weight of artefact and extend beyond the borders of visual categories into the area of comprehensive thinking processes. Assuming that design is like architecture, critical and creative thinking should be understood as urban design. When constructed without any plan, even the most beautiful buildings coexisting in unorderly surroundings become nuisances. Such chaos is a no-win situation. Whether untransformed or insufficiently transformed, the communication will necrose. Meanwhile (and this we know for sure) the time of masters has passed. Observers tend to question the future of traditional forms of education. Let us face the facts: Aren’t we able to teach anyone anything anymore? The whole of our knowledge, properly multiplied and constantly updated, is available online. If we keep ourselves in the bubbles of personal contacts and interests, we will keep out those different from us. Most probably, the network will quite soon be developing on its own, with no programmers involved. Where in this structure do academic teachers fall? Humility might be the best policy. The lack of understanding and disappointment with modernity, the constantly 10 http://www.bruno-latour.fr/sites/default/files/124-GAIA-LONDON-SPEAP_0.pdf [access 7 Dec. 2020]

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manifested frustration of the generation of masters has presented the young Generation Z with no alternative. We should learn from each other – and this is possible only when we are and work together. Contesting existing reality and decision makers’ actions, designers will ask ‘stupid questions’ – no doubt about it – as we are expected to do! II How do global problems translate into our small-scale activities? It is always about scale after all. Organizing pjait workshops such as Social Design and Cross Culture Design, dedicated to various social and cultural issues, we invite the participation of lecturers and designers from all over the world. Our intention is to develop interdisciplinary, international academic collaboration in order to give our students an opportunity to work with representatives of diverse cultures. We expect such meetings to have a positive effect on forming young designers’ personalities and attitudes, to make them sensitive to social issues and expand their horizons. “[W]e should be aware that our being is enclosed within the circle of its perceptions, but not reduce reality to dreams and the phantoms of the mind.”11 Being open to others is not a polite gesture, but a challenge, which requires taking a good look at ourselves. Venturing beyond the sphere of our preconceived notions, we become open to new experiences, which diversify and inspire our further pursuits. What can we do, Dupuy asks, to avoid catastrophe? “[H]umanity taken as a collective subject has made a choice in the development of its potential capabilities which brings it under the jurisdiction of moral luck. It may be that its choice will lead to great and irreversible catastrophes; it may be that it will find the means to avert them, to get around them, or to get past them. No one can tell which way it will go.”12 The progressing hybridization has not brought us closer to each other, but rather emphasized a new type of tribalism: groups gather around their leaders and feed the media pulp or conspiracy theories. The ‘we’ and ‘they’ division does not need to be pejorative. My ‘I’ and your ‘you’ can be as much a basis of hostility as of a dialogue. There is no ‘I’

11 Czesław Miłosz, What I learned from Jeanne Hersch 12 https://arcade.stanford.edu/occasion/precautionary-principle-and-enlighteneddoomsaying-rational-choice-apocalypse [access: 7 Dec. 2020]

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without a ‘Thou’, as noticed by Friedrich Heinrich Jacobi.13 Focusing on the human is close to the humanistic design approach, based on empathy. Nevertheless, it may be necessary to take a step further and remodel the division according to which ‘I, the designer’ or ‘I, the lecturer’ work for ‘someone’. Building relationships also relies upon collaboration, which gives rise to co-responsibility: we work together in joint effort. Differences of opinions facilitate our creativity, not antipathy. We have been interviewing young candidates for the international design studies for ten years. These representatives of various communities and cultures want to develop their personal careers. They want to be recognized and appreciated as visual communication designers. Few of them still read paper books. Few visit museums and galleries. Out of several hundred candidates in ten years of interviews, only one declared that studying design should improve anybody’s quality of life; and he believed that obtaining a diploma could improve the standard of living of his mom. What should we teach young people emigrating to fantasy worlds to escape the existing reality? As prescribed by Damasio: “A long-term educational project aimed at creating healthy and socially productive environments needs to give prominence to ethical and civic behaviors and encourage classical moral virtues – honesty, kindness, empathy and compassion, gratitude, modesty. It should also address human values that transcend the management of life’s immediate needs. The circle of concerns for other humans and, more recently, the concern for nonhuman species and for the planet reveal a growing recognition of the human plight and even an awareness of the particular conditions of life and environment.”14 Is this a recital of cliches or a timeless recipe? “Why can’t it be simply beautiful?” asked a student of the 2nd year of Multimedia Communication Design fascinated with the beauty of imaginary large-eyed princesses from Internet castles. Indeed, why can’t it be simply beautiful? Why are we forced to struggle, over and over again, with recurrent problems? Declaring its mission as internationality, interculturality and interdisciplinarity, the school’s name memorializes the joint Polish and Japanese initiative dedicated to propagating knowledge and collaboration. 13 German philosopher and author, 1743–1819 14 Antonio Damasio, Strange Order of Things, op. cit., p. 225

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The Department of New Media Art has conducted its English-language program since 2011. Each year, we devote one week in October and one in November to the analysis of current social issues. This course was initiated in 2014 by Marjatta Itkonen, lecturer at Aalto University (now professor emerita), designer and poster artist with extensive experience in conducting projects and international artistic collaboration. She said: I want to share with you. Do we always agree? Do we speak with one voice? No! Our relationship is filled with heated debates, efficiently expanding our cognitive field. Our visiting lecturers include politicians, economists, lawyers, philosophers, artists, designers and social activists. Sometimes the basic course is connected with a broader international operation such as a common exhibition, conference or workshop involving groups representing different academies worldwide. We are hopeful in viewing the development of this program. Since its introduction, there have been more and more diploma projects inspired by the social workshops. Usually, we choose the subject matter and we work comfortably in small teams. Sometimes, however, we are inspired by our partner institutions; these projects are complex and require both agile organization and mutual communicative effort. These are learning opportunities for our students and ourselves alike, as we polish our negotiation skills during frequently exhausting debates. The great reward for persistence is the joint work we accomplish. As we were preparing the first workshops in 2014, there was war in Syria. Marjatta Itkonen suggested the subject of Refugees,15 dedicated to migration. The classes started in October 2015 and developed into a large international research project: alien. It was conducted in collaboration with economists, sociologists, social workers and designers from academies in Poland, Finland, Scotland, Wales and Greece.16 As it turned out, the most difficult thing was finding a common language and opening ourselves to different attitudes towards the same topics discussed by representatives of various disciplines. The group that reached agreement the fastest were students – having fun and spending their free time together, sharing their stories and emotions, they built a community. Their understanding and joy of being 15 https://issuu.com/martazofia/docs/scialdesigncourse_issuu 16 ALIEN project: https://alien.pja.edu.pl ; Warsaw conference summing up the project: https://thresholds.pja.edu.pl/alien.html

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together confirmed the lecturers’ opinion that it is worth giving up the division into ‘us in our school’ and ‘you in yours’ and trying to work together, without proving who knows better and who is right, for the pleasure of learning about diverse attitudes. We were able to go beyond the stereotype of the artist-designer responsible for a nice visual presentation. alien gained very high assessment from the European evaluation commissions. All its participants developed an appetite for collaboration with partners from different disciplines. The project “Women’s Rights are Human Rights”, initiated by MassArt Professor, Elizabeth Resnick (now professor emerita), and since 2016 run at our Department by Marta Myszewska, brought together a group of activists engaged in social protests and contributing to emergency poster service. In addition to Elizabeth Resnick’s collection of women’s rights posters at the Poster Museum at Wilanów17 and the Galicia Jewish Museum in Kraków.18 The workshops and conference participants became international emissaries of the Polish social protest graphics.19 Every year there is at least one diploma project dedicated to visual communication of social contention and civic protest reflecting personal and social attitudes.20 Groups of about 150 individuals are joined by mutual obligations and trust. Larger communities – friends – maintain contact without altruistic strings attached. Going over 150 individuals we do not identify faces, do not remember names, surnames, and personal features. Our ability to maintain intensive relationships has been restricted to Dunbar’s number – 150 individuals sharing material and emotional resources, built in a given environment by means of our senses. Aware of the fragility of these relationships and the globalization of connections, we cherish 17 http://www.postermuseum.pl/en/ews/womens-rights-are-human-rights-now-atthe-poster-museum,35.html 18 https://galiciajewishmuseum.org/pl/prawa-kobiet-prawa-czlowieka-plakatyposwiecone-prawom-kobiet-z-kolekcji-elizabeth-resnick,1208 19 Based on materials provided by Natalia Łajszczak, Steven Heller wrote about contemporary Polish graphics of public protest in on-line publications: The Design Observer – https://designobserver.com/feature/graphic-emergency-emerges-inpoland/40294/and The Print Magazine – https://www.printmag.com/post/thedaily-heller-poland-outlaws-abortion-women-express-outrage?fbclid=IwAR1FrwFX Z9wfQfjweOlijKwAQ66DfyNMgZBwRXxwdHRYmz67faVF-ZL-HLE 20 https://zuzarawa.xyz/zrob-pobie-protest-book/ http://protestposter.pl https://www.youtube.com/watch?v=GgNN0DSYFe0 https://www.facebook.com/watch/?v=1958469744451152

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international collaboration networks and participate in such projects as “Civic City – places in relations”21 and “Civic city – inscriptions,”22 initiated by Ruedi and Vera Baur. Many months of online work cumulated in the joyful and exciting moments of joint exhibitions and personal meetings in the walls of prestigious institutions like Pompidou Center (2018) or Palais de la Porte Dorée (2020). This opportunity to shake hands, have face-to-face conversations and contact outside work, a carefree chat at the same table to background music – to build our actual relationship, which makes us happy and willing to engage in further joint operations. We support each other’s feeling of closeness rather than obligation to collaborate. This is what distinguishes us among living organisms. According to Robin Dunbar and his co-authors, we differ from other primates in our ability to conduct social life as if others are present despite their absence – social life plays out in our minds, our imagination, and we constantly think of other individuals who belong to our various networks.23 This makes us carry on despite the sadness of isolation. We try to feed empathy and sympathy for the world in our and in our students’ minds as we trust that the effort of understanding and acceptance of ‘not-I’ and ‘not-mine’ will have long-term benefits both to the individual ‘I’ and the specific ‘we’ – Homo Sapiens – sharing elementary particles with the entire universe. As Carl Sagan said: We are, all of us, made of star-stuff.24

21 http://civic-city.org/places 22 http://www.civic-city.org/inscriptions 23 Cf. Clive Gamble, John Gowlett, Robin Dunbar, Thinking Big. How the Evolution of Social Life Shaped the Human Minds, Thames & Hudson Ltd, London 2014 24 https://www.space.com/1602-carl-sagans-cosmos-returns-television.html

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Ephemeral Architecture and Social Purpose ROGER PAEZ

We live in an increasingly uncertain world, in which temporary is the new permanent. Traditional certainties have dissolved and change has become commonplace. The flexibility, swiftness, adaptability, responsiveness and resilience allowed by temporary solutions is increasingly being perceived not only as positive but radically necessary. The systemic emergencies we are now living with (social inequality, climate change and pandemics) only reinforce the relevance of ephemeral architecture. Recently, the covid-19 crisis has fast-tracked the need for a more dynamic approach to city planning and city making, capable of creatively addressing change and finding opportunities to improve the city amid our unpredictable reality. Temporary space design has a crucial role to play in this emerging context, and ephemeral architecture is increasingly being viewed as a serious discipline with a huge social impact, as it helps to adapt to continuous change using few resources and achieving a high level of citizen engagement. At the beginning of the 21st century, ephemeral architecture was perceived as a minor pursuit. Professionally, it was associated with limited commercial or recreational formats such as trade fairs or music festivals. Academically, only a handful of well-established niches such as exhibition design paid any attention to temporality within spatial design practices. Finally, the research component was, with some notable exceptions, all but inexistent. Moreover, despite the huge advances made by ephemeral architecture and temporary space design in the past 20 years, the discipline is sometimes still perceived as attractive but fundamentally irrelevant.

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There are deep-seated reasons that explain why both traditional professional architecture and academic programmes pay very little (if any) attention to temporality. This is due to a widespread cultural undercurrent that associates temporary with useless, meaningless, gratuitous and essentially futile. This is an extremely relevant issue, as this association is deeply embedded in the dominant branch of Western thought that equates permanence with value, meaning, and, ultimately, with being. From this point of view, (true) reality is associated with permanence, and so are the categories for describing and exploring this reality: physicality, visibility, identity. A consequence of this interpretation of reality is the difficulty of conceiving and addressing change and becoming (a question already addressed by Aristotle, challenging Plato’s stable worldview). Indeed, in today’s speech, the verb ‘is’ is linked to actuality rather than potential, and the dominant understanding of reality is ‘that which remains’ rather than ‘that which becomes’. Although this is not the place to elaborate further on the profound difference between a representational philosophy of ‘being’ versus a constructivist philosophy of ‘becoming’, suffice it to say that it has fundamental implications for how we understand the world we live in and the ways in which we can transform it. The conceptual, practical, and political effects of subscribing to a constructivist logic (von Glasersfeld, 1984) whereby experience generates reality are huge – and for us, they are consubstantial with the way we understand ephemeral architecture. Despite the desire for permanence of the state apparatus and its many subsidiaries (i.e., administration, military, technology, finance, economy, etc.), change and uncertainty are unavoidable aspects of our contemporary societies – perhaps more than ever before, due to globalization. If we are to build a better world for all, learning to creatively address these aspects is of crucial relevance for all facets of society, including design. Specifically, spatial design practices need to expand beyond traditional practices (without abandoning them), addressing temporality to respond to pressing social problems within the framework of globally limited resources and sustainable development goals. Radically incorporating temporality into spatial design’s processes and products allows us to cater to human experience (shifting focus from material objects), to foster citizen engagement, participation, collaboration and inter-personal relationships, and to explore spatio-relational potentials unthinkable through conventional, permanent means.

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We indistinctly use the terms ephemeral architecture or temporary space design to refer to the expanded field of spatial design that radically deals with temporality. It encompasses well-defined formats such as pop-up structures, event design, temporary interventions in public space, and exhibition design, as well as the rich areas of overlap between them, such as emergency architecture, tactical urbanism, flexible habitats, collaborative experiences or reactive atmospheres. Learning from contemporary art, technology and sociology, this emerging design discipline uses the flexibility, swiftness, adaptability, responsiveness and resilience allowed by temporary solutions to address precariousness, chance and uncertainty in order to prompt citizen empowerment and positive social change. Ephemeral architecture has a huge social and even emancipatory potential – some of it linked to its relatively marginal status within spatial design disciplines. Marginal, here, does not mean inconsequential but fringe. Without dismissing the consolidated centre of architectural discipline, it explores and exploits the fluid areas of its edges. Indeed, ephemeral architecture is marginal inasmuch as, devoting itself to happening, change and becoming, it problematizes permanence, the dominant idea of architecture as epitomized by the second element of the Vitruvian triad, firmitas, and a large part of subsequent architectural theory and practice. Less concerned with the structural or objectual aspects of architecture, it focuses on performance and perception. Less concerned with technique per se it focuses on its affects and effects. Less concerned with closure and grand narratives, it focuses on duration and lived experience. Instead of prescribing behaviour, it focuses on triggering happenings. As opposed to conditioning design, it focuses on designing conditions. Rather than defining, it focuses on irrigating, prompting and suggesting. Eschewing specialized authorship, it incorporates the inhabitant/user in the design process – implicitly or explicitly. Less concerned with optimization, it focuses on exploration. In addition to its unique conceptual approach, there are also very relevant pragmatic specificities of this emerging spatial design field. Due to its temporal nature, ephemeral architecture usually mobilises fewer resources (both economic, labour and material) than permanent architecture. At the same time, its scope and ambition include not only questions of form, structure and function, but also questions of performance, perception and action. This combination requires a strategic use of limited

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resources to achieve maximum results, so that the designer is challenged to ‘kill many birds with one stone’, so to speak. Practically speaking, this has several implications. First, one needs to be especially aware of the location and social space where the project happens, cleverly reading its make-up and behaviour, as the intervention will change its dynamics for a while (perhaps even well beyond the project’s disappearance). The use of operative mapping (Paez, 2019) is a crucial point here. Second, one needs to be particularly strategic in using material and logistic resources to achieve the desired results. This often implies incorporating the inner logics of these systems into the conceptual core of the project, rather than using technique solely as a solution provider (Numen/For Use, 2016). Third, one needs to hone the proposal, at all its levels, so that nothing is superfluous, further exploring the idea of design as purpose informed by constraints (Eames, 1989). Fourth, one needs to take advantage of disciplinary fluidness in order to conceptually, methodologically, and technically expand the field of time-related design (Saraceno, 2012). Fifth, one needs to explore and further the critical agency of unplanned, open-ended, improvisational activities and practices usually shunned by planning disciplines (Dell, 2019). Finally, one needs to posit the end user as an active agent in the design process (Franck and Stevens, 2007). Temporary space design’s relatively marginal status within spatial design disciplines affords it a leeway that may be explored with degrees of freedom and scrutiny unlikely in more traditional design areas. If we look at public space design or housing design, just to name two of the more consolidated spatial design themes, we can quickly see the relevance of ephemeral architecture and the added value it may offer by expanding on conventional design, architecture and urbanism. On the one hand, public space design is typically concerned with shaping and equipping public spaces to facilitate public use. It builds a permanent ‘crust’ over service infrastructures (sewage, electricity, water or telecommunications) by means of paving, spatial limits, lighting, gardening, urban furniture and so on. It concerns itself mostly with the design of a permanent, stable, safe and hopefully pleasurable outdoor space. Ephemeral architecture’s approach concerns itself with reading site conditions to propose temporary changes to prompt different uses and appropriations of this public space. It focuses on action and interaction and learns from these to suggest specific interventions (Haydn and Temel, 2006).

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Housing design, on the other hand, is typically concerned with providing a permanent, stable, secure and protected space for inhabitation. Because of the technical, regulatory and financial difficulties of successfully achieving this task, architects hardly ever address what happens inside houses and flats after they are built. Ephemeral architecture’s approach concerns itself with flexibility, adaptability, responsiveness and the cumulative effect of lived-in “signs of occupancy” (Smithson, 2003). The inhabitant is posited as a crucial agent in the changing definition of the dwelling, and experience, action and change are explored beyond the stable physical framework of the building. Complementing other spatial design approaches, ephemeral architecture caters directly to citizens’ actions and desires, focusing on lived reality and experience. It uses its fleeting nature and the lack of many of the technical and cultural hurdles associated with permanent buildings “to explore this new freedom aggressively” (Koolhaas, 1989). More profoundly, it insufflates a sense of hope in human ability to find meaning in life as opposed to in its fixed representation. In that sense, ephemeral architecture and temporary space design have a crucial role to play in the current emerging context, defined by a globalized, resource-limited, emergency-ridden and radically uncertain world. References Dell, Christopher. The Improvisation of Space. Berlin: Jovis, 2019. Eames, Charles. “What is Design?” Neuhart, John, Neuhart, Marilyn and Ray Eames. Eames Design. The Work of the Office of Charles and Ray Eames. New York: Harry N. Abrams, 1989. pp. 14-15. Interview transcription, 1972. Franck, Karen A., and Quentin Stevens. Loose Space: Possibility and Diversity in Urban Life. London: Routledge, 2007. Haydn, Florian, and Robert Temel. Temporary Urban Spaces: Concepts for the Use of City Spaces. Basel: Birkhäuser, 2006. Koolhaas, Rem. “The Strategy of the Void.” Rem Koolhaas and Bruce Mau. S, M, L, XL. Rotterdam: 010 Publishers, 1995. pp. 602-661. Numen/For Use. “Stepping Out of One’s Field.” Oris, no. 101 (2016): 126-146. Paez, Roger. Operative Mapping: Maps as Design Tools. New York: Actar, 2019. Saraceno, Tomás. “Where is Everybody?” Domus, no. 962 (2012). Smithson, Alison and Peter Smithson. Signs of Occupancy. Barcelona: Academia Libertaria de Arquitectura, 2003. Audiovisual shot in 1979. von Glasersfeld, Ernst. “An Introduction to Radical Constructivism.” Paul Watzlawick, ed.. The Invented Reality. New York: Norton, 1984. pp. 17–40.

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Social Inquiry and Creative Foresight – How Can We Teach Design Today? GOSIA WARRINK

Current economic and social globalization processes, political nationalism, climate change and technical disruption due to digitalization all create tension within the current global system. This demands new responses, concepts and future models, and designers cannot be exempt from this process. A complex worldwide interaction is beginning to assume a new role for design beyond its form-giving and aesthetic function. These enormous challenges invariably influence the training of future designers: The basis for good and sustainable design in a global environment should be firmly anchored in all our minds. We must stimulate interdisciplinary skills nourished by empathy, active thinking, diversity and networking. These are the new skills to be fostered – naturally in addition to a broad spectrum of knowledge regarding design, practice, theory and methodology. I have been teaching on the central theme “Design & Thinking” in the Visual Communication Faculty/Design for Business and Advertising Department at the Berlin University of the Arts (UdK Berlin) since 2016. I am passionate about awakening the potential in designers to actively shape the future and to assume social responsibility. Methodologically, I focus on utopias, dystopias and sometimes fictions concerning what are predominantly socially relevant topics. The aim, however, is not only to test the design repertoire, but also to become

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aware of the potential of design, to expand it and to form, sharpen and enhance the students’ own designer identity and stance – and to develop the skill of creative foresight. In 2019/2020, my students developed thought experiments and product ideas for fictitious future scenarios as part of the course on “Speculative Design”. The space for speculation is a privileged one, because it allows design to act without commercial pressures and take responsibility in terms of “shaping the world”. In the process, speculative design functioned as a vehicle for critical intervention: Through fictional future concepts, attention was drawn to current and potential problems in the world, with thought given to possible scenarios, such as the ecological, economic, technological, political and demographic changes that are currently taking place or are imminent. Thinking about the future requires a kind of leeway to create space for projects which arouse students’ enthusiasm and commitment. For this reason, I employed theoretical units as convenient tools or a kind of framework for the practical work in this course. Individual coaching and group meetings were also essential for feedback and elaboration of the concepts. From the “what-if” question and the development of future scenarios and creative concepts to the communication process regarding the fictitious, speculative products, the students gained insights into the entire process surrounding a product’s development and its launch. They learned how to make visions reality and to follow through. Lateral thinking and presentation skills were developed, the creative view was honed. To my mind, diversity, interdisciplinarity and networks form a very relevant framework. That’s why I prefer to teach in a multidisciplinary spectrum which ranges from visual communication (the basis of my seminars) to fine arts, architecture, product design, social and business communication, music, philosophy and human factors. My seminars are open to students of other faculties, as well as to those from other universities. By establishing this wide experimental field, my teaching encourages and opens the mind to mental experiments, hypothetical “end states” and thinking in terms of possibilities. I focus on the simultaneousness of differences. Diversity offers opportunities for cultural development via the broadening of horizons, as well as an assertive shift in terms of the understanding of design. Because design is not merely something purely aesthetic, but instead constitutes substance,

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essence, message – also socially, as the link between the conceptual and technical configuration of objects and systems. Design has the potential to move people and create change. Communication design in particular not only succeeds in systematically transmitting messages filled with intrinsic meaning, but can also facilitate the communication process in a formal sense. Here, empathy is a key term, also serving as a central idea generator within the creative process. It acts as the basis for interdisciplinarity, sincerity, an eagerness to experiment, curiosity and optimism.

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Data Centers & Smart Cities development JOANNA MURZYN

With over two-thirds of the global population projected to live in urban areas by 2050, big challenges will emerge. From greater usage of natural resources to increased demand for public transportation, expanding urban populations will put even the best-designed cities to really hard tests. There is one dimension to which we should pay close attention: with massive urbanization, cities and citizens are becoming increasingly digitally connected, and demand for connection infrastructure and data centre services is growing rapidly. Internet of Things [IoT] sensors, surveillance cameras, face recognition technologies, 5G, blockchain, e-learning platforms, online video chats, social media, navigation apps, emails… All these solutions constantly collect and analyze data, and every byte, transferred or stored, requires large-scale, energy-greedy terminals and infrastructure. According to cisco, data traffic is responsible for more than half of digital technology’s global impact, amounting to 55% of its annual energy consumption. But those numbers refer to pre-Corona reality, we don’t know how much they increased because of the mandatory transformation to cyberspace, which we have been experiencing since March 2020. The world is shifting from analog to digital faster than ever. While the digital era has brought society many unimaginable benefits, we also face many challenges such as growing demand on hardware

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products, overexploitation of natural resources, digital segregation, cyber crimes and human rights violations online. All of these have raised concerns about the societal and climate impacts of data centres and internet infrastructure. As more data centers move into cities – they are already present in almost every country in the world – they must become more closely integrated with the existing urban infrastructure. Is urban infrastructure ready to face the rapid growth of data centres? The new types of hyperscale data centres have extensive impacts on local power grids, consuming hundreds of megawatts of electricity annually. This problem has already emerged in smaller countries such as Denmark. According to the Danish Energy Agency, electricity consumption of data centers is expected to reach 15% of total electricity demand in 2030. Please note that these estimates were made in a pre-Corona context, the lockdown has increased usage of online and e-commerce services globally, so we can expect future consumption to be significantly greater. Most countries are slowly moving into renewables and facing other challenges caused by the rising demand for electricity; the additional power demand by hyperscale data centers will have a critical impact on local power grids. How does the ict industry address this issue? Information and communications technology (ict) covers any product that can store, retrieve, manipulate, transmit or receive information electronically in a digital form; for example, personal computers, smartphones, mobile apps, email and video streaming. Leading companies are fully aware of market trends and are trying to protect themselves from unpredictable energy prices and developing their brand reputation as environmentally conscious by investing in renewable energy. According to the International Energy Agency, the top six corporate adopters of renewables in 2019 were all ict companies, led by Google. In the same year Google announced a two billion dollar investment in the opening of a new cloud region in Poland, to better serve their customers in Central and Eastern Europe, and formed a reseller partnership with Poland’s Domestic Cloud Provider (dcp) to accelerate adoption.

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Their investment had brought along their biggest challenger – Microsoft, which also announced a one billion dollar data centre in Poland. But their strategy is slightly different, focusing on teaching local people how to fully utilize the cloud; they are hoping it will help startups, entrepreneurs and others with cloud services. It looks like there is no turning back: the future seems to be entirely transferred into the cloud, and large local centres will increasingly exploit local grids and utilize natural resources. How can policy makers and local activists take a proactive approach to data centre sustainable development? There are already other authorities who are facing the same challenges, which is why cooperation and knowledge transfer is significant: there are great opportunities to learn from one another and share best practices regarding policy making, education and strategy. Data centres might play a crucial role as a driver for renewable energy. In Poland, where almost 74% energy comes from coal, Google and Microsoft together with grid operators could drive renewable energy production and distribution toward a more sustainable path, including infrastructure, effective grid integration and flexibility. They could benefit the whole system and prepone achieving climate targets. To face these challenges we must first step back to understand better how the ict system affects energy consumption. First, we should educate governments so they can provide guidance and enact standards and regulations for data centre operators that will protect our civic and environmental interests. Citizen education is also crucial: we should be fully aware of how our online presence has a direct impact on our devices’ functionalities and thereby on the environment. For example, not many of us know that each Google search generates 7 grams of carbon dioxide. It might seem miniscule but in processing 3.5 billion searches a day, the world’s most popular website accounts for approximately 40% of the Internet’s carbon footprint. And what is the carbon footprint of the Internet? According to a study conducted by the Boston Consulting Group, the Internet is responsible for roughly one billion tonnes of greenhouse gases a year, or around 2% of global emissions. That’s the same as civil aviation’s global footprint. The scale of the issue is greater than we can imagine, and only proactive co-actions on all levels can help us to overcome these challenges.

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Can design encourage behavioural change? SUSANNA CERRI

“At one time, graphic design was used primarily for the promotion of commerce, but today social communication is the central challenge for graphic designers and this necessitates well-developed principles of information design, social interaction and semantics. Expertise in persuading consumers to purchase products is highly developed, and now persuasive skills must be applied to promoting positive social behaviour, such as ethnic and racial tolerance, energy conservation and environmental citizenship. Encouraging behavioural change has, in fact, become one of the greatest tasks of the graphic designer. The cultivation of formal judgment – the use of typography, organization of information, creation of symbols and logotypes – must be taught as means of social communication rather than simply as aesthetic technique. This is not to denigrate the typographic sophistication of classic Swiss design or the symbolic power of Polish posters, but rather to emphasise that visual technique has a social purpose”. –Victor Margolin

Victor Margolin in this passage, extracted from the Icograda Design Education Manifesto, focuses our attention, as teachers of graphic design, on asking ourselves how and in what ways we can help students to engage with the world, to become significantly interconnected with it, so that they can express themselves, but also to be able discern from a fragmented, unstable and seemingly disconnected flow of phenomena, those things that really matter. It is necessary to transform

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design education, to reconsider how we form our future generations of experts. Central to this effort is social communication, which in all its forms, has become the fundamental challenge of graphic design. It is superficial and wrong to think that working on social communication reduces to creating actions that praise revolution, even if this has been and is still an undeniable component. Designers have developed important and meaningful relationships, for example, the Atelier Populaire actively engaged in the May 1968 uprising in Paris; but inciting a riot has been only a small part of the work of the design activist and this modality, although sometimes crucial, is certainly not the only one. Design that works for a gradual transition towards common goals over the long term, even if it is less impressive, it is the type of design that helps people most: design that engages without claiming moral superiority. Social design often means working with and for those who lack access to design methods, strategic thinking or knowledge of communication systems; the tools they need to defend themselves or advance their causes, usually politically unfavourable causes, full of the complexities confronting marginalized and excluded groups. Design activists make projects for public welfare. This can mean saving a language from oblivion, as much as sustaining people who devote their lives to providing humanitarian assistance, but know little about website design. As a discipline, social design was inspired by the writings of Victor Papanek (1971). He encouraged designers and creative professionals to adopt a proactive role to make effective changes, to make other people’s lives better, rather than selling them products and services they neither need nor desire. The “instrument” manifesto For all the aforementioned reasons, we ask students to work on project manifestos. The manifesto is the basic form of a political instrumental gesture, where politic refers to polis, the city. It is a tool directed to citizens, members of a community, forming a collective. The manifesto is thus an instrument of democratic communication: it lives in the public space, and it dialogues directly with people, it questions and makes them reflect: it is pure communication. It has always been like this, historically speaking. If we think about Martin Luther when he chooses in 1517 to display his theses, we can already see the idea of a manifesto, the idea to use the walls of public

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space (in this case, the Church’s doors) as support for dialogue, confrontation and, sometimes, even provocation. Hannah Arendt (1958: 52) writes: “that the term “public” signifies the world itself, in so far as it is common to all of us and distinguished from our privately owned place in it. To live together in the world means essentially that a world of things is between those who have it in common, as a table is located between those who sit around it; the world, like every in-between, relates and separates men at the same time. The public realm, as the common world, gathers us together and yet prevents our falling over each other, so to speak. What makes mass society so difficult to bear is not the number of people involved, or at least not primarily, but the fact that the world between them has lost its power to gather them together, to relate and to separate them.” The principal motivation of the social designer is to promote positive social change within their society and to design for the public welfare. Natalia Ilyn claimed that a student graduating in graphic design gets a licence for persuading. To be able to use the techniques of persuasion and to have the capacity to communicate, carries with it the responsibility to comprehend what and for whom we communicate and to choose to learn and think in a wider way. Engaging in social design also means to understand what we believe, to understand what is important and to dedicate to these our time and talents. Thus we ask students to work on their own, taking advantage of the pandemic isolation, and try to find in themselves a theme that involves them personally, but at the same time could have a common meaning, a reason to share it with the world. The results have exceeded expectations, especially considering that for them graphic design is not the principal goal of their education. In this moment of introspection, this research on something of importance to share and to engage with has been the expressive force of works that do not renounce the will to use typography and the power of images, making it fascinating and engaging difficult themes such as cultural isolation, prejudice or political migrants. Ethics must be present in the workflow process of a graphic designer; the concept of the designer cannot simply be reduced to aesthetic concepts, styles and trends. Design can and must do more: it can change, it can inspire, it can engage and at its best, contribute to resolving the world’s problems.

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Arendt, Hannah. 1958. The Human Condition. 2nd Ed. Chicago: The University of Chicago Press. Margolin, Victor. 2011. Graphic design education and the challenge of social transformation. In ICOGRADA Design Education Manifesto 2011, International Council of Graphic Design Associations. 104-106. Papanek, Victor. 1971. Design for the Real World: Human Ecology and Social Change. New York: Pantheon Books.

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Words to say it: the use and effectiveness of the poetic in the Colombian armed conflict ESTEBAN GONZÁLEZ JIMÉNEZ

The experience of the Colombian armed conflict (since 1964 – ongoing), which caused the dispossession and exile of more than seven million peasants, the assassination of more than three hundred and fifty thousand people, the forced recruitment of more than eleven thousand children and the enforced disappearance of more than sixty thousand Colombians, categorically questions us on the ways of telling and representing the experience of the war, and on the ways of conceiving the hope of other possible forms of community. After almost sixty years of living the horrors of war, the concepts have become insufficient. In Colombia there is a reality that goes beyond any attempt at conceptualization: it is the reality of the unspeakable, of what cannot be said. How to name this matrix system of violence, for which there are no precise enough words? These limits of "telling" prevent the emergence of a community denied by violence, exile and dispossession. As Édouard Glissant asserts, the emergence of a denied people requires "a prophetic vision of the past", a movement capable of integrating an affirmative recollection of the experience and the hope of becoming. But, faced with the silence provoked by the horrors

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of war, how can we find a form of expression capable of affirmatively retrieving the experiences of a people and of articulating the possible forms of a future community? While the victims and ex-combatants (peasants, workers, women and men subjected to conditions of economic exploitation and dispossessed of their lands) cannot find the precise words to express their experience and their hope of this future community, official and institutional discourses impose a way of naming the realities of the conflict that is completely contrary to the experience of marginalized and stripped communities. Based on a rational mode of access to reality, discourses such as statistics, official history, conflict theories, law, public administration, among others, refuse other non-conceptual forms (poetic, religious, artistic) of appropriation of the experience. Inhabiting the geography of a country marked by a history of violence and dispossession requires that we deploy other ways of relating to reality and of naming it, beyond the forms imposed by official and institutional discourses. Religion, popular art and poetry can therefore constitute a field of intervention to open the experience of the world to new forms of relationship. From this point of view, it is necessary to question the way in which the victims of conflicts relate verbally to their experience: how do landless peasants express their lived experience? How do the victims of the conflict imagine the future? Is it possible that in these ways of telling “the real”, there are other ways of thinking about emancipation? Could these other forms of access to reality affirm another possibility of life? Faced with this problematic, this work aims to rehabilitate poetic fictions, as a form of access to reality, which could make it possible to find a form of "speaking the unnamable" and to consider relational regimes which deviate from the logic of reduction and appropriation of the other. Poetic fictions are representations that, starting from the universe of images, seek to embrace the totality of reality through intuition and without the mediation of the concept, renouncing the knowledge of the being of things as finality. From their capacities to "say" the real differently and to produce concrete effects on the regimes of relation, poetic fictions could become political and acquire a legislative function: poetry could be a creator of values a ​​ nd thus constitute the field of intervention for the creation of less violent and more assertive modes of relationship, as evidenced by a set of restorative practices mobilizing art carried out in Colombia.

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Words crossing life The work carried out within the framework of our investigations about the armed conflict was both with people deprived of their liberty in a prison complex in the city of Medellín, and with ex-combatants in the process of reintegration in the departments of Antioquia and Chocó. In the El Pedregal prison complex, the sessions that make up the workshop Words crossing life were designed and carried out simultaneously in two groups, one of 38 men and the other of 43 women; we took account of their differences and group specificities, which explains some methodological changes and differential analyzes between them. The itinerary had seven different sessions on the spoken word, and a closing activity to facilitate the emergence of the other who speaks about himself, through the word that crosses his life, and whose appearance is unique within each activity, that is, unique to each experience. With the ex-combatants, during the period between April and June 2019, eight workshops were held in a cycle entitled Words crossing life. Based on these activities, it was sought to give entry to the voices of people in the reintegration process, and to give way to the stories not told and hidden in the events of the armed conflict and in the framework of peacebuilding. All this, to give way to the appearance of subjectivities in transition from war to peace: their wishes, dreams, fears, expectations, desires, and feelings.

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Imagine a possible future RUEDI BAUR

Every design act is built around a "before-and-after". It is measurable by the quality of the generated transformation. This transformation will be either modest - being linked to a very specific situation – or extremely more important. It will be either useful or on the other hand even useless. It will be either in the private interest or in the public interest. In any case, this transformation results from the contrast between an existing previous designer intervention, and the result of the implemented or only imagined proposal. As a result of its presence, this quality will inevitably change its environment and its perception. This definition thus goes beyond the historical link between design and modernity. Even an intervention involving, for example, the preservation or removal of a disturbing element, a better consideration of the environment and the planet that has entered the Anthropocene epoch. It is even minimalism that could be described as frugal, which cannot escape from this confrontation based on the difference between a prime state and the result of the design process. On the contrary, the contemporary attitudes of this transformation only reinforce sensitivity to what has been generated by the intervention and thus the transformation measure. The term design, which, as we know, links the French ‘dessin’ (a drawing) to design, was taken from the Renaissance Italian word ‘designo’ which includes the conceptual dimension of drawing. The design function was not to represent what already exists, but rather what does not yet exist. In the 17th century, the French language separated the two actions of drawing and design (‘dessin’ and ‘design’); and it had difficulties to reintroduce this term ‘design’ in its vocabulary even though it already existed in this language before it proceeded to

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this deviation of the meanings. Still, the term ‘design’ does contain this idea of a f​​ orward projection (the French term ‘dessein’). This projection is intended to give shape: To represent what is not existing yet, and which will necessarily transform. The Italian term ‘progettazione’ used to express the action of ‘making design’ clarifies more this concept of anticipation present in any design process. The Italian term ‘progettatore’ (the projector) refers to one able to imagine a world in the presence of his project. The designer will design according to a specific ‘dessein’, he will use the form to represent what is not yet existing. Both of them (transformation and design) will, therefore, articulate their action in the relationship of this existing and this after. However, the planned transformation will not automatically lead us into the future. Many design operations fall under what we will call an adjustment to the times. Even if ‘the before and the after’ also exists in these cases that gap can even sometimes be significant, the design process will not be directed towards a future but rather towards the present, towards what is known to be accepted or even desired. It is a kind of modernist catch-up of elements considered outdated towards the actual spirit and technique. The marketing ideology - which has strongly influenced design over the last few decades to the point of colonising the design field and diverting it from its purpose - derives from this controlled future without any major change compared to the present. Therefore, the marketing ideology suggests without expressing it, the reproduction of already approved models. The application of these approved models will be based on the variation of some overvalued secondary criteria and celebrated as innovations. The transformation will be mainly strategic. Its purpose (the French ‘dessein’) will not be a better future but the increase of the current benefits. In this role of artificial transformers, the design can only be reduced to the shape. It would be better to call it a stylistic activity, as proposed by the French academy. Its purpose will be to strengthen the spirit of the present time, by adapting each particular context to it, before the coming of a new fashion or technique. There are epochs, and we are emerging from one of them, when the future plays only a moderate role in a society’s imagination. In my childhood, and in my advanced age, the future was symbolised by the year 2000. When the question was to represent in a positive modernity what could not yet be but was supposed to be possible in the future, this date was used as a shared meaning. The use of this symbol dates

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back to the second half of the 20th century, but perhaps was already used to express the future as early as the 1930s. Then, we’re getting closer to and then beyond the year 2000. The future was behind us. With nostalgia we reread science fiction books, noting that our present was just as advanced as the imagination to which it corresponded. But above all, the future was not replaced by a new date. The phenomenon was reinforced by a systematic discrediting of all utopias orchestrated by reactionary and liberal movements after the 1970s. Any societal thinking that projected forward was qualified as authoritarian. In fact, authoritarianism emanated rather from this inability to develop an alternative to the paths dictated by the economy. The eyes should focus on profitability, on competition, and not on a so-called social Romanticism that could only lead to dictatorship. The future could only arise from the obligations of the present. The future was limited to technological innovation and therefore could not be a societal subject. To imagine, in this context, an ‘other world’ and thus a desired future was an immediately discredited subversive operation. This preventing attempt marked the so-called neo-liberal era. And suddenly a little virus messed up the set. Hundreds and billions of dollars appeared where the authorities had always claimed that the money did not exist, and that they were going into financial disaster by accepting the expenses corresponding to the claims. In recent years, the neo-liberal system has been unable to simulate its contradictions. Those between a society based on ‘always more’ and competition, pushing everyone to increase their profits as much as possible, and a planet whose ecological weakening was becoming more and more visible. Innovation became the master password. Innovation to maintain consumption and even increase it if possible, while producing products that are less destructive to our environment. Everyone felt sure that the operation could not be successful. We were therefore expecting a notorious catastrophe which could free us from this vicious circle preventing us from changing the course. Looking into the future always led to this black hole that we seemed unable to avoid. Suddenly a pandemic stopped the world, more than 3 billion people were confined. In fact, it continues to affect the functioning of the entire population of the Earth by placing us in a situation where nothing becomes plannable. The theatre of a liberal policy trying in an authoritarian way to continue its path as if nothing had happened, becomes more and more unbearable. At the same time, countries are

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retreating into dangerous national egoism. Racism and even hatreds in relation to all that would come from elsewhere or that would look at the situation of the world differently revives the gloomy meanders of history: ‘We must find the wrongdoers. We must look for them among our enemies’, ‘they are not our enemies,’ ‘error then, they must become our enemies’. At this point, either we must conclude or we must venture beyond the disaster by taking into account the many often still modest experiments. These experiments are generally in resistance against their societal environment but in harmony with the natural environment. They are emerging throughout the world. László Moholy-Nagy will help us to take this second path. This Bauhaus master - who directed the new Bauhaus in Chicago during the Second World War - proposed in 1944 (just before his death), a fundamental definition of the design field: ‘Designing is not a profession but an attitude’. He added, it consists of ‘design for life’, which is not a trivial matter. With this statement, the artist-designer-theoretician-professor of the Bauhaus left for the design discipline a lasting and fruitful bone of contention: the inability to define themselves through a profession that is stabilised with its traditions, its action fields, its knowledge, and its limits. It forced designers to think of their actions within constantly changing transdisciplinary conceptual fields, by questioning the ways in which they approached their projects, as well as the purpose of these projects. A much less reassuring exercise which places the creator faced with responsibilities that go well beyond the scope of a professional response to a sponsor order. Moholy-Nagy’s phrase was thought at one of the darkest moments in history. However, and this is its enduring strength, it reintroduces the humanist dimension into this activity, it forces that even. Nearly a century later, we could consider that we are in a similar transitional period. Yet if design becomes more and more clear to everyone: what was designed from which we still benefit. It has the obligation to transform itself in a short time, this mutation seems less a matter of utopia than of progress towards collective wisdom. This is to avoid the term ‘return’, which is very often used today to express this becoming. We could even talk about this: a necessary attempt to extract a utopia that has gradually turned into a dystopia, without the societal forms of an afterwards being really yet imagined. All this is crowned by a suspicious culture of innovation emanating from those who would like basically to maintain the current state of things.

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In this sense and always by questioning this attitude, which would allow, with the help of design, to give shape to these needs and needs for change. It seems to be interesting to consider, in the manner of François Julien, ‘the gap’ between this moment when modernity was thought and our time. The design role is to implement on the contrary a spirit of frugality while maintaining the well-being, and this in the perspective of a better future. The in-between analysed in this way will make it possible to propose a certain number of conceptual approaches for this future that we hope it will be better, but which still remains largely unimagined. The manifesto of László Moholy-Nagy and the accompanying humanistic definition will help us to take a critical look at the way in which the conception of the future of our living space is intended to be implemented. The notion of attitude cannot be approached as immutable or permanent, but to experiment with possible creative shapes that better correspond to the stakes of the substantial mutations necessary for the subsistence of the human species on earth. In order to address the notions of degrowth, preservation of global public goods, taking into account interdependencies and solidarity, the development of a transnational civic spirit and especially the preservation of our local and planetary environment; design shall retrieve itself from the dominant spirit of competition, of which it constitutes an essential factor in marketing. While dealing with attitude issues, we must also consider a design we call ‘of relationship’. It will take into account the notions that we have already extensively worked: those of a contextual, more civic design, even more social which will involve thinking about the synergy with the environment into which it is introduced. Design, with its ability to transform a concept into a shape, can play an essential role here.

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Reflections on the Conference BULENT AKMAN, MARTIN VAN DIJK

A rapidly growing majority of the world’s population lives in urban areas with 75% of global CO² emissions attributable to cities. The responsibility, knowledge and design-skills for collective health and well-being lies not just with local leaders. Cities get built as a result of decisions made by diverse stakeholders of whom few are directly answerable to public concerns and cannot be voted out if a city’s inhabitants do not like what they do. The conversation about sustainability often focuses on the environmental and economic aspects of the issue and ignores the social dimension. However, creating cities of the future requires concepts, courage and competencies based on social design as much as on technical skills. Should not all design be social design? Moving the conference online was a socially sustainable solution to an acute problem, yet the need for integrating knowledge from diverse sources in a sustainable way will remain long after the 2020 pandemic ends. If more developers, lobbyists, government officials and citizens continue to share their knowledge and expertise with the help of social design techniques, would a greater appreciation of the challenges and trade-offs result in more parks and fewer parked cars? The European Union National Institutes for Culture (eunic) Cluster Warsaw in cooperation with the Warsaw-based Polish-Japanese Academy of Information Technology (pjait) decided to facilitate such interdisciplinary knowledge exchange and organized the IF – Social Design for Sustainable Cities conference on 23 October 2020 inspired

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by United Nations Sustainable Development Goal 11 – Make cities and human settlements inclusive, safe, resilient and sustainable. The conference, accompanied by workshops and a poster exhibition by international design students, brought together a wide array of stakeholders from 13 countries to speak to an audience of over 500 registered participants on-line. Speakers included the Mayor of Warsaw, Rafał Trzaskowski; the Head of the European Commission Representation in Poland, Marek Prawda; and the Rector of the University of Applied Arts Vienna, Gerald Bast; together with a diverse gathering of leaders from academia, practitioners, artists, and other voices from all over Europe and beyond. The conference was created to inspire thoughts, present facts, and stimulate discussion. The future of cities must include creating more civic space where people feel free to be outside their homes without feeling pressured to spend money. Spaces such as a river park that was added to the plans in Nijmegen in the Netherlands when opening built-up areas around waterways to combat flooding. The park had an immediate effect on the well-being of Nijmegen’s citizens in addition to the long-term benefit of reduced risk of floods. Well-being is also behind efforts by cities to re-purpose spaces (such as disused industrial land) for new public uses. For example, by creating small-scale civic spaces such as neighbourhood regeneration projects in Antwerp or building temporary plaza risers in Barcelona. Protecting the environment must happen not only in cities but also around cities. Buying up exhausted agricultural land and, provocatively, doing nothing with it, is one idea which is striking both in its simplicity and its rarity. All of which argues for social, sustainable design to now be viewed as the preferred approach. Social and thus sustainable design has great appeal for younger generations. Where better to raise awareness for the consequences of zoning and development choices than among the youth who stand to suffer the most from short-sighted actions? Our speakers share the goal of communicating not only good design practices but also a critical way of thinking and a sense of responsibility. Young change makers need a glimpse of hope in our uncertain future. Even the youngest of students can be reached with innovative educational practices. For example, Urban Dots is a game designed for children that makes learning about urban planning fun.

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Wasteful and destructive practices reassert themselves quickly. If we are already taking action in new ways, we will see the already-existing, already-effective, solutions shared by our speakers spread across Europe sooner rather than later. The conference showed the usefulness of leading a broad discussion on how to bring about sustainable urban growth and made it very clear: If we do not experiment with open-ended architecture, social design, and urban planning now, who will and when?

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WORKSHOPS


Design as Nature CLYDE DOYLE, SHIRLEY CASEY

The environmental crisis is a design crisis. It is a consequence of how things are made... [Yet] design manifests culture and culture rests firmly on the foundation of what we believe to be true about the world Van der Ryn and Cowan (2007)

Is it possible to change how we see and engage with the living world? Can the human designer collaborate with the more-than-human? What could that collaboration look like? Our current culture of design is born of the Western rationalistic tradition fronted by Cartesian dualism and human exceptionalism. These practices do not recognise, or incorporate, the inherently relational dimension of life and the broader ecological systems which sustain us. As designers in a world in crisis we need to prioritise the ecological, reconnect with the natural world, and recognise our place in it. This workshop will introduce you to new methods that attempt to do just that. First, together, we will identify and interrogate our anthropocentric perception of the world through the lens of our current design practices. Then through a range of experimental research methods (embodied exercises and experiments) you will actively engage with your own environments, urban and/or rural. These will decentre the human and re-centre the morethan-human, increasing your ecological consciousness with a view to developing a capacity for ecoliterate design.

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In this workshop we want you to explore the place where you are situated as a human, wherever that is, and sense, attune, relate, recover and re-establish a connection with that place. It is not about what you can design, but what might emerge from your reconnection with where you are. You are a living being living in living worlds; what can you discover by opening up to and reconnecting with those worlds?

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Alicja Kondej

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Viktoriia Vakulenko

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Madina Mahomedova

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design as nature

Ilia Dolbniev

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Diversity Manifesto KATERINA ANTONAKI

My dear students we are in the middle of weird times, someone might it even say they are dystopian. Social and self oppression is quite commonly presented as a (legitimate) ultimate solution, as a sacrifice we ought to make in order to "be safe," "preserve life," "ensure economy." We are in the process of changing: worldwide there are debates and struggles for social, political, geopolitical, biopolitical, environmental changes. Yet, we could think of this process as a state of multiple perspectives, as an opportunity to imagine a new, humanitarian society, a "critical zone" as Bruno Latour called it. In ancient Greek thought, art and crafts were based on the notion that "the measure is the man". Latour also exalted human power during coronavirus lockdown: "The first lesson the corona virus has taught us is also the most astounding: we have actually proven that it is possible, in a few weeks, to put an economic system on hold everywhere in the world and at the same time, a system that we were told it was impossible to slow down or redirect". During the workshop I wish you to create a co-edited manifesto on diversity and design your posters to visually explain its rules to the public. Get inspired by biology, botany, queer identities, music, space, the human body, language and alphabets. Try to liberate yourself from preconceptions and to debunk given assumptions, starting from the one of objectivity. Pick up a blank page and, if you are a right-handed person, start drawing with your left hand and, vice versa, if

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you are left-handed. Switch between the small and the large scale, the micro and the macro; e.g., think of the structure of your toes and the structure of a choreography of 17 dancers or the structure of a flock of birds flying together; think of the different alphas that exist. Imagine new worlds by liberating your thinking: stay playful and experiment.

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We met virtually today, 21 October 2020, we the undersigned: graphic designers, illustrators and multidisciplinary communicators coming from Poland, Ukraine, Mexico, Vietnam, China, Belarus and Greece. We wish to share our views on diversity discourses, raising our voice publicly. 1. Diversity is polyphony. Speak it out. Be yourself. 2. Respect others' traditions, beliefs and differences. Embrace the unknown. We are all human. 3. My Autism is what makes me Me. 4. Diversity is a variety of religions. Devine! 5. Don’t you worry your pretty little mind, people throw rocks at things that shine. Be buddies not bullies. 6. Diversity is culturally rich and makes us stronger. 7. Me and my TULPAS 8. Diverse in life - same after death. 9. Show the way you think. Show your thoughts Show your opinion. Show your ideas. Show your diversity of mind Be open minded. 10. Unity in diversity. Speak up as lesbian, gay, bisexual, transgender, queer, intersex. 11. Εnrich your cultural database. Develop your knowledge of the world and then diversity will stop scaring you. 12. Liberate your movie from studio chains.

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13. Respect and protect journalistic expression. Hannah Arendt said: The moment we no longer have a free press, anything can happen. What makes it possible for a totalitarian or any other dictatorship to rule is that people are not informed; how can you have an opinion if you are not informed? 14. Dare to think differently. Liberate your thinking. Imagine. Evolution comes with original thinking. 15. Diversity=subjectivity=beauty= freedom=expression=liberation= variation=acceptance=art=difference. 16. Lets share our singularities. Let’s love our emotions. 17. Diversity matters in nature. 18. No bad music! Be free! 19. I am a woman. I am a woman Me the woman, I choose for myself.

Authors / students Maksym Yaroshenko, Anna Kravchenko, Jan Wisniewski, Justyna Doherty, Huyen Le, Ana Paulina Flores De la torre, Anastasiia Semenchenko, Maryia Prokopovich, Daria Gunya, Veronika Shiliak, Amelia Grubinska, Mariia Shvab, Alina Shcherbakova, Daniil Vereshchahin, Nadya Shvydka, Alesia Kuzmenkova, Taiisia Husyeva, Yu Zhong, Natalia Przybysz.


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Introspection SUSANNA CERRI

"Today social communication is the central challenge for graphic designers and this necessitates well-developed principles of information design, social interaction and semantics. Expertise in persuading consumers to purchase products is highly developed, and now persuasive skills must be applied to promoting positive social behaviour, such as ethnic and racial tolerance, energy conservation and environmental citizenship. Encouraging behavioural change has, in fact, become one of the greatest tasks of the graphic designer. The cultivation of formal judgment – the use of typography, organisation of information, creation of symbols and logotypes – must be taught as means of social communication rather than simply as aesthetic technique. This is not to denigrate the typographic sophistication of classic Swiss design or the symbolic power of Polish posters, but rather to emphasise that visual technique has a social purpose." Victor Margolin, Icograda Design Education Manifesto, 2011

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Madina Mahomedova

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Nataliia Radchuk

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LIVING MACHINE. ME (in, VS., &, about, with) the CITY ANNA MACHWIC

The main topics of this workshop are character and narration design. The participants will design: themselves (self-portrait) and the city (urban landscape). Every student will define themself, their role or activity in relation to the city (tourist, resident, activist, contestant, passer-by, observer, ecologist, partygoer, runner, worker, driver, cyclist, etc.), and the city (foreign, metropolis, deserted, populated, friendly, interesting, harmonious, chaotic, dangerous, entertainment, modern, etc.). Then, based on the research from the previous workshops, the student will rethink a specific aspect/problem related to the place. Based on these observations and notes, the student will design character and narrative.

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living machine

Alesia Kuzmenkowa

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Claudia Semaniuk

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Mikita Gerasimchik

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Arnit Manchanda

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Ngoc Tran

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Make Diversity Credible ESTEBAN GONZÁLEZ, RUEDI BAUR, VERA BAUR-KOCKOT

The pandemic, like various national elections, has once again demonstrated the nonsense but also the effectiveness of nationalist propaganda, based on demagogic theses, often false and racist. In this context, it seems urgent to rebuild modes of representation that better explain the interest and beauty of diversity, respect for people, the commons, solidarity, and openness to everyone. Starting from the need for a planetary approach that takes better account of our Anthropocene planet and the social and health balance, the workshop will experiment with new methods of representation that would take into account and give credibility to the cosmopolitan realities of scale. We start from the hypothesis that the qualitative representation of new imaginaries will promote the realization of multiple desires.

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make diversity credible

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no man's land BRIGITTE FELDERER

The necessity of free spaces i.e., spaces that are not clearly defined and are deliberately kept open for interpretation, has been intensively discussed in recent years. Scholars have come up with different concepts to describe the meaning and necessity of free space in the contemporary debate on the city: In his text "No Man’s Land" (1980) the Swiss sociologist Lucius Burkhardt introduced the concept of the "dysfunctional zone". According to him "dysfunctional" refers to spaces which are not bound to a predefined function. Being undetermined in function, these "No Man’s Lands" offer a high openness and freedom to be transformed and appropriated. As undisciplined spaces they become urban grounds, which invite improvisation and open up various opportunities meeting the existential needs of its informal users. "No Man’s Land does not exist, at least not in any decently planned city. No Man’s Land is a product of planning. Without planning, there is no No Man’s Land. But once planners realize they have planned a No Man’s Land, its end is already nigh. It is even renamed then – as "a dysfunctional zone" (Lucius Burkhardt, "No Man’s Land," In: Why is Landscape Beautiful? The Science of Strollology). Students joining this workshop will be introduced to methodology by the Social Design Studio Vienna. During our collective work process a collection of "No Man’s Lands" will grow. No special requirements needed, just a core interest in cities as our second nature! 82

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Muse

Open free fashion space Muse is a space for fashion design lovers, young people that is willing to express their ideas, to meet each other and to share their experiences and artworks. The project presents a young space where all those things can happen, with the objective of creating a stronger relationship between young designers and the city. This place is for people who are working in the field of fashion and need free space to work on parades, photography sessions and meetings. The designers will be free to change and add things to the project in order to make it suitable for their event. The organisation is run by Alick and Andrea, two design students willing to make this project become real. To join the iniciative contact them in www.muse.com. Author Andrea Fernández Camps Alick Radziyonava

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Old School The Space Discover a space: a No Man's Land, it's an abandoned school in the center of Esfahan, Iran. It is in Charharbagh Street; however it is not clearly visible on Google maps. Nearby are many fancy places; it's one of the most important areas in the city. The History It used to be a private school, but it went bankrupt long ago. No seems to know what its name was. The owners, two brothers who left Iran, have left the place empty for more than 10 years. Anybody can enter this place. The photos taken here challenge Iranian social assumptions. New Form Idea We would like to convert this space into an extraordinary hostel for young travelers. A space where they can sleep, live a different life and explore new things. Our inspiration is the Fabrika hostel in Tbilisi, but we envision a different decor for the Esfahan space. Author Soudeh Salehi Kahrizsangi

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Sensing and Desensitisation FREDERIK DE BLESER, LUCAS NIJS

The coronavirus epidemic has created a sudden and dramatic lack of physical contact in our world. All of a sudden we could no longer hug, kiss or be close to one another. Our senses have been reduced to what we see on screen and hear in our headphones whenever we have virtual calls. But can we describe exactly what’s missing? In other words, how exactly do we experience the world around us? And what happens if those senses are reduced to what a computer can see or hear? We’ll use our own sensors, and the computers’ sensors, to explore novel interpretations of our environment through video, audio and other sensing techniques. In this workshop we’ll use digital tools to create our own artistic interpretations of the world. The software requires no coding skills. We will use visual programming tools to create our own designs and artistic experiments.

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WHO OWNS MY CITY? MARJATTA ITKONEN

There is a saying “works as designed”, but what if our cities are designed inefficiently, costly, for profit or plain stupidly? And who decides about that? To whom are we designing the city for? Who is the owner of your city and who makes the decisions that shapes this space? Participants of “Who owns my city?” workshop took a critical look at these matters so you could re-discover one’s own city. During the workshop we looked critically into the spaces we live in and tried to re-design the way they work. Designers in most cases work in interdisciplinary teams; this was also the case during the workshop . We had four teams that are presented here. Thank you dear students, I’m very proud of the results! Churches The project, Financial Confessions (Wyznania Finansowe), is focused on the lack of transparency and knowledge about the financial wealth of Catholic Church in Poland – the only institution not obliged to share their finances with the public. We gathered information from journalistic investigations about the properties and fortune of Catholic Church and presented it through a visual comparison, to help people understand the size of these numbers and scale of this problem. Students: Natalia Przybysz, Kinga Ostapkowicz, Zofia Włoczewska, Karolina Kwiek

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Cafes Cafedemic is a prototype of a game, whose goal is to promote knowledge about responsible acting in a civic society, focused on the difficulties of cafeterias during pandemic. A player takes on the character of a client and makes choices about drinking coffee. If his decisions support local cafes, he is rewarded with virtual coffee beans and followers on Instagram. Students: Mateusz Król, Anastasiia Ivanova, Viktoryia Mialeshka, Kirill Varlamov

Under Construction The project is about buildings in Warsaw that have not been finished, some have been standing untouched for over 20 years. The comments in our poster shows the opinions of Warsaw’s citizens about this unfinished business. Students: Maciej Jasicki, Daniela Osińska, Natalia Dluzniewska, Worawalan Jirakangwan

New Purposes In Ukraine, there is a large number of buildings connected with its Soviet past. What happened to them in modern Ukraine? Were these changes good or bad? Should we get rid of the Soviet legacy, or leave it? Students: Elina Pyrohova, Sofiia Vialykh, Alina Kharchenko, Tetiana Babii, Yeva Ratsyn

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Financial Confessions

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Under Construction

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Please choose your character

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Paulina

who owns my city?

Cafedemic

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New Purposes

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3 IF EXHIBITION – was one of the events accompanying the international IF – Social Design for Sustainable Cities. The aim of the IF exhibition, organized jointly by the prom Kultury Gallery, the Warsaw cluster of the European Union National Institutes of Culture (eunic) and the Polish-Japanese Academy of Information Technology, was to present student social design projects. The posters and multimedia presentations were selected and submitted by lecturers from 28 schools around the world. Visitors to the exhibition have been able to learn about the attitudes, opinions and proposed solutions to problems, which the future designers faced on all continents.


EXHIBITION


Aalto University HELSINKI, FINLAND

Tutor Tarja Niminen

Students Aarni Kapanen Akseli Manner Markus Grönlund Milja Komulainen Pihla Lemmetyinen

Website www.aalto.fi/en

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At the School of Arts, Design and Architecture of the Aalto University, the project was implemented as an optional, tutored small group activity that included five ba 2nd-year Visual Communication Design students. The project course took place in April and May (2020), of which May was a more intensive period including working on background research, concept development, visualization concept and execution. The students could freely investigate the IF topic according to their interests and develop their concepts. The stages of the project included orientation, background research, brainstorming, sketching and execution of more advanced designs and the final poster, the first mentioned at times running simultaneously, not necessarily in sequence. All project meetings were carried out as online palavers and included discussion sessions with constructive feedback given for each student both by the tutor and the fellow students. The students began their work by choosing a concept they all wanted to explore through the poster medium. The team shared an interest in design as a tool for utopian thinking. Solarpunk, a genre of sci-fi literature and art which emphasizes diy culture, egalitarian society, radical creativity and sustainability was chosen as the shared focal point. After joint discussions and research, each student picked their own angle on Solarpunk to represent in their work.

aalto university

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104

Markus Grönlund

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aalto university

Milja Komulainen

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Untitled-3 1

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29.5.2020 23.17

Aarni Kapanen

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aalto university

Akseli Manner

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Pihla Lemmetyinen

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aalto university

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Academy of Arts, Architecture and Design in Prague PRAGUE, CZECH REPUBLIC

Tutors Martin Ponec Petr Babák

Students Jan Stuchlík Josef Gečnuk

Website www.umprum.cz/web/en/

110

exhibition


The main shortcoming of current interdisciplinary cooperation is low mutual awareness (or knowledge) of topics that are adressed at particular institutions. Information on lectures at different universities is difficult to access. Cooperation between institutions is always ensured by these institutions, and students do not have much opportunity to get involved in to the process. Therefore Missing studies connects students from different disciplines based on their common interests. Common topics are visualized and can help to establish new professional relationships. Connections between people and collaboration that are created thanks to the platform can also help solve the current problems of our society and our world. The platform also enables to educational institutions and users to create public meetings (eg lectures, workshops, exhibitions, etc.), which are all to be found on one particular site. Students thus have access to a clear list of all available events that they can attend and where they can actually meet in person.

academy of arts, architecture and design in prague

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Jan Stuchlík, Josef Gečnuk

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Academy of Fine Arts and Design in ljubljana LJUBLJANA, SLOVENIA

Tutors Radovan Jenko

Students Ana Karlin

Website www.aluo.uni-lj.si/en/about-aluo/

114

exhibition


We present four posters from our workshop. Identity calls for critical reflection on how society influences us. Social Networks speaks to a false, unrealistic identity to which we are subjected. Intimate, family and friendly relationships reveals the personal life-traps of an individual. Self-image critically views the beauty ideals of our society.

academy of fine arts and design in ljubljana

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Ana Karlin

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academy of fine arts and design in ljubljana

Ana Karlin

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Ana Karlin

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academy of fine arts and design in ljubljana

Ana Karlin

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Escola Superior de Artes e Design MATOSINHOS, PORTUGAL

Tutor Sérgio Correia

Students Ana Faria Constança Penedo Diana Silva Filipa Esteves João Santos

José Sousa Leonor Brochado Manuel Queiroz Mark Schlickmann Raquel Sá Susana Barbosa

Website www.esad.pt

120

exhibition


The proliferation of digital media and its increasing inclusion in our daily lives, changes the way designers think and project graphic objects. From led billboards to lcd posters, social media and music apps consumed on our smartphone, all of these devices offer new possibilities for communication, narration and expression. The current pandemic scenario, social, economic and environmental crises, and the stresses of the current civilisational model, raise questions about the social, political, economic and cultural challenges we have to face as individuals but also as a community. Design can and should be a fundamental subject, which thinks, structures and represents, at the same time that it mediates form and its function, public or private, local or global. Considering the challenges that the current world conjuncture imposes us, is this an opportunity to think about the future as individuals and as a society? How can graphic design contribute to this thought and what is the role of technology? Students are challenged to speculate and express themselves about the future of the world we live in, in a post-pandemic scenario under the theme “post pandemic world”. Their thoughts must be communicated through two paradoxical media: a printed poster and a digital animated poster.

esad

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122

Raquel Sá

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escola superior de artes e design

Susana Barbosa

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124

Ana Faria


esad

Constança Penedo

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126

Diana Silva


Filipa Esteves

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128

João Santos


José Sousa, Manuel Queiroz

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130

Leonor Brochado

exhibition


escola superior de artes e design

Mark Schlickmann

131


hogeschool pxl-mad HASSELT, BELGIUM

Tutors Ann Bessemans Carl Haase María Pérez-Mena

Students Aline De Feyter Céline van Bakel Deniz Kaya Camps Ancy

Website https://pxl-mad.be

132

exhibition


The Master of Arts in Visual Arts of the Graphic Design Department at pxl-mad (Media, Arts & Design) welcomes applications for the English typographic Master programme ‘Reading Type & Typography’ (one year – 60 ects). Reading Type & Typography is defined as an open, experimental and functional ma-project about typography and/or type design in the most extensive way possible. The latter two are (in the broadest sense of the word: as a composition, a layout, an abstract script or a series of signs, a typeface, book design, identity design, posters) looked at from a practice-based attitude, under a multidisciplinary and scientific perspective, and with an interest in legibility or even illegibility. Within this context, the term scientific can inform a methodology but can also refer to a source of inspiration for a design concept and/or outcome. The design practice arises from formal experiments, is theoretically founded and situates itself in reading research. This implies that the student can motivate the necessity of (un)readability/(il)legiblity and/or (un)recognisability by the (envisioned) reading behaviour. This ma is embedded in an inspiring environment where thinking and creating are perfectly synchronized. The student will be supervised to develop a project which will be anchored in research and methodology and will develop through design experimentation. The student will get the opportunity to deal with a variety of methods in favour to enrich typography.

hogeschool pxl-mad

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134

Deniz Kaya

exhibition


hogeschool pxl-mad

Aline De Feyter

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136

Camps Ancy

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Céline van Bakel

137


Kharkov Academy of Design and Arts KHARKOV, UKRAINE

Tutor Nadiia Velichko

Students Anna But Hulka Mari Grigoryevna Mariia Holdysh Tatiana Pavlova

Website www.ksada.org/index-eng.html

138

exhibition


We present the work of second-year Graphic Design students of the Kharkiv State Academy of Design and Fine Arts. The posters concern two topics: the fight against corruption and humanistic values during quarantine. Corruption is a very negative social phenomenon, it affects all spheres of life. The students were faced with the task of showing what corruption means exactly for them. During quarantine, the topic of supporting each other becomes very important. Warmth can be transmitted through a poster. This will help everyone to survive this difficult time easier. Students were given the task of expressing support, optimism, and a positive outlook during quarantine. To enhance this, it was recommended to use not only computer graphics, but also hand-made work. Students used applique, hand-made illustration and modeling clay, among other non-digital media.

kharkov academy of design and arts

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Anna But

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kharkov academy of design and arts

Hulka Mari Grigoryevna

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Mariia Holdysh

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kharkov academy of design and arts

Tatiana Pavlova

143


La Factoría ECUADOR

Tutor María Mercedes Salgado

144

Students Juan Carlos Vargas Kenia Carbo Liliana García Rocio Soria Valentina Bolivar

exhibition


Overcoming difficulties caused by the pandemic, we managed to bring together the production of one design and four art students. The five young people live in Guayaquil, a city that collapsed with the arrival of the plague: the authorities did not bury the dead, families experienced horrors. Only our initial meeting was in person, after that we communicated over the internet. Students had limited access to technology, so we decided to prioritize the manual gesture that communicates humanity: For Juan Carlos, monsters speak of a city that scares. Kenia knows that in Ecuador if rods are left visible on the roof of a building, another floor can be built. Water lilies that grow in clouds: this is Irina's dream. She believes it is possible because they are hydroponic. Rocío was happy to be able to synthesize with just one flower and two colors, the balance for urban wellbeing. And Valentina proposes to stop obsolete production models.

la factoría

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Valentina Bolivar

exhibition


la factoría

Kenia Carbo

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148

Liliana García

exhibition


la factoría

Rocio Soria

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150

Juan Carlos Vargas

exhibition


151


Massey University College of Creative Arts Toi Rauwhārangi WELLINGTON, NEW ZEALAND

Tutor Matthew Clapham

Students Astor Feng Jack Matheson Moana Barnard Moana Williams Zara Simpson

Website www.creative.massey.ac.nz

152

exhibition


This project examines the themes of ihi and wehi associated with the creative process. It addresses the intangible resonance within creative practices and acknowledges that design is so much more than the sum of its components. Ihi and wehi are complementary terms associated with emotional and psychological behaviour. Ihi can be described as an individual’s essential force, charisma, power or charm – which emanates throughout the creative process. Wehi, on the other hand, highlights the internalised feelings that occur in response to ihi. Sometimes the terms dread or awe are commonly used to describe wehi. In this context, wehi is taken to mean the emotional response on the part of the viewer. How does your work make you feel? How does the work of others make you feel? What effects, intentional or unintentional, does it provoke or generate? What energy or resonance does your work have for others?

massey university college of creative arts toi rauwhārangi

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Astor Feng

exhibition


massey university

Moana Barnard

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Jack Matheson

exhibition


massey university

Moana Williams

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IF_Simpson_A5.pdf

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Zara Simpson

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Namseoul University CHEONAN, SOUTH KOREA

Tutor Byoung-il Sun

Students Byung-Su Kim Da-Hyun Kang Hae-Ri Yun Ji-Hye Kwon Min-jae Kim Seo-Hee Choi Yun-bok Lee

Website www.nsu.ac.kr/en/?m1=home

160

exhibition


In the new era, digital technology develops quickly and it seems that nothing is impossible. Students just open their smartphones and in a few seconds they try to get whatever they need and want. It may be the reason why students don’t need thinking. Everything is done in their smart phones. They don’t need adventures, research, experience, trials or even reality. It is difficult for them to solve problems through their own deep thoughts and imagination. The educational idea of this poster task was to design a poster without using smartphone resources. The main aim was to evoke creative process but without information that anyone could get easily. The main goal was to focus and understand communication methods, staring from images and looking for their context. I believe that working with students we should be mindful of the balance between creative thinking and the digital resources (readymade material).

namseoul university

161


협력기관 과학기술정보통신부, 방송통신위원회, 한국전자통신위원회, 한국음향예술인협회, KBS, EBS, SBS, CBS, TBS, ARIANG, KOTRA

162

Ji-Hye Kwon

exhibition


가짜뉴스 및 허위사실 유포는 범죄입니다. [출처 : KBS NEWS 2020.05.24]

namseoul university

Seo-Hee Choi

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164

Yun-bok Lee & Min-jae Kim

exhibition


namseoul university

Da-Hyun Kang & Hae-Ri Yun

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Byung-Su Kim

exhibition


167


Polish-Japanese Academy of Information Technology WARSAW, POLAND

Tutors Marjatta Itkonen Jan Piechota

Students Natalia Przybysz Aleksandra Miaskiewicz Anastasiia Pozhidaeva

Kacper Weyna Vlad Boyko Danylo Melnichuk Anastasiia Dmytriieva

Website www.pja.edu.pl/en/

168

exhibition


“Fashion is my ism” was the topic of the 2019 social design workshop. The fashion industry churned out 100 billion pieces of clothing for 7 billion people in 2015 and since then clothing production has gotten even bigger. The waste has got to stop. Many famous brands burn the previous year’s collection in order to launch the next one. So much raw material, energy and human labour are wasted. Enough of this! We have to make a change. The three key words are: reuse, redesign and recycle. Students created concepts of how to challenge the current fast fashion trend and to reduce consumption in general, but they still enjoy beautiful clothes and fashion. Curiosity, observation and asking questions are essential in the learning process. Creative and beautiful proposals came out. Thank you all! “You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete.” – Buckminster Fuller Marjatta Itkonen

The Punk Science Design course was created to bring together scientists and designers in collaboration. Thanks to the involvement of non-scientists, it's possible to develop research on various aspects of our lives, such as environmental protection, agriculture or health care. The goal of the designers is to bring scientists' work closer to citizens by creating understandable visual messages. The projects we create are not always attractive in the visual sense, but they respond to scientific assumptions and are understandable to users. Aesthetic value is important, but most of all, we focus on functionality and clarity of information. Jan Piechota

polish-japanese academy of information technology

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Check it out! To watch the videos open your phone camera and scan the QR codes.

PROMOTIONAL VIDEO

170

APP PREVIEW

Natalia Przybysz, Aleksandra Miaskiewicz, Anastasiia Pozhidaeva, Kacper Weyna


pjait

Vladyslav Boyko, Danylo Melnichuk, Anastasiia Dmytriieva

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pjait

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max. acceptable level (ASHRE) max dop. stężenie wg ASHREA

174

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175


RANEPA Design School MOSCOW, RUSSIA

Tutors Katerina Terekhova Serge Serov

Students Bagdasaryan Angelina Chigrinova Irina Dimareva Alla Green Ana

Website www.ranepa.ru/eng/

176

exhibition


ranepa design school

Green Ana

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178

Dimareva Alla

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ranepa design school

Chigrinova Irina

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180

Chigrinova Irina

exhibition


ranepa design school

Bagdasaryan Angelina

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Rhode Island School of Design PROVIDENCE, UNITED STATES OF AMERICA

Tutor Thomas Wedell

Students Amanda Barrow Billy DeNatale Kartik Tuli Serena Shen William Sumrall

Website www.risd.edu

182

exhibition


The potential for typographic experimentation is one of the most fruitful results of this exercise. For example, a sentence placed on its side becomes the vertical stroke of a letter form. One idea nested into another or dominated by another. A word could contain some letters that are not oriented on the baseline but float sideways. Type could be sliced mid-x-height and then collide with another slice of another typeface. All of these configurations may help to direct the viewer to the intended meaning of the poster. It gets even more exciting when type meets image. A small piece of a structure might abut the bottom of the letter forming a typo/photo graphic ligature. There is a seamlessness to the space. Some elements can be flat color, some texture, some could be photographic, and some could be typographic. Think about the possibility of looking at an elevation, a plan view or a worm’s eye view, all simultaneously. The subject we will address will be water. How it’s used, how it’s wasted, and how the future of water looks.

rhode island school of design

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184

Amanda Barrow

exhibition


rhode island school of design

Billy DeNatale

185


186

Kartik Tuli

exhibition


rhode island school of design

Serena Shen

187


188

William Sumrall

exhibition


189


Sint Lucas Antwerpen School of Arts ANTWERPEN, BELGIUM

Tutors Frederik De Bleser

Students Amber De Coen Chloé Casier Els van Hooft

Website www.sintlucasantwerpen.be/en/

190

exhibition


Amber De Coen

191


‫هذا المتر المربع مُلك للجميع‬

‫‪exhibition‬‬

‫‪Els van Hooft‬‬

‫‪192‬‬


wild geschoten Chloé Casier

sint lucas antwerpen school of arts

Chloé Casier

193


Inleiding Elk jaar proberen er ongeveer 18.500 jagers een ‘trofee’ te scoren, nadien een foto te nemen, om er dan bij het thuisfront mee te pronken. Het internet en sociale media staan er vol van. De trofeeënjacht in Zuid-Afrika is een belangrijke industrie met alleen al 5000 tot 6000 jobs.

De jachtindustrie levert jaarlijks zo’n 201 miljoen dollar op.

Zelfs Nederlanders en Belgen zijn bereid om te betalen voor dit soort toerisme. Uit cijfers van 2010 tot 2013 blijkt dat er 150 jachttrofeeën zijn ingevoerd, waaronder 3 leeuwen uit Zuid-Afrika, woestijnlynxen en zebrahuiden. Spijtig genoeg is jachttoerisme in sommige landen zoals Zuid-Afrika en Namibië toegestaan en wordt er onder andere gejaagd op de witte en de zwarte neushoorns.

194

Chloé Casier

Wat gebeurt er met dat geld? Het probleem is dat het geld amper terecht komt bij de lokale bevolking, die beweren het natuurbeheer ervan te betalen. Een groot deel van de inkomsten verdwijnt als het ware in een ‘zwart gat’. Denk maar aan corruptie, aan de rijken van de Verenigde Arabische Emiraten die zonder moeite tegen betaling op wild gaan jagen.

Het gaat ook slecht met de leeuwenbevolking in Afrika. In totaal zijn er nog maar 30.000 exemplaren over, wat een eeuw geleden nog 200.000 exemplaren was. In 28 Afrikaanse landen wordt de leeuw met uitsterven bedreigd en worden ze uit hun oorspronkelijke habitat verdreven.

Het grootste bedrag dat ooit neergeteld is voor het doodschieten van wild is 317 duizend euro.

exhibition


d? Het per evolrbeheer deel als het k maar van de en die g op

met de Afrika. maar ver, n nog was. In wordt ven ze uit habitat

Zebra 1.550 Amerikaanse dollar

Boszwijn 248 Amerikaanse dollar

Luipaard 15.000 Amerikaanse dollar

Leeuwin 9.000 Amerikaanse dollar

Olifant 42.000 Amerikaanse dollar

Leeuw 23.000 Amerikaanse dollar

sint lucas antwerpen school of arts

Chloé Casier

195


Stellenbosch University STELLENBOSCH, SOUTH AFRICA

Tutors Mieke van der Merwe

Students Alexandra Randell Alicia van Greuning Anicka de Lange Cayla Basson Mieke Verster

Website http://www.sun.ac.za/english/

196

exhibition


The 3rd year Visual Communication Design students from Stellenbosch University, were tasked with submitting a poster design, inspired by the un Sustainable Development Goal 11, for the if – Sustainable settlement / Design / Social future exhibition. This project was received with great enthusiasm and excitement because students realized what impact their posters could have to spread awareness among citizens about persisting issues in our society and to ask hard questions, as to why these problems have not been solved. As a third world country, most of these problems are struggles with which each of our students are confronted with on a daily basis. By creating possible future solutions helped them gain perspective on the role they play as designers and how design could drive action for change.

stellenbosch university

197


198

Alexandra Randell

exhibition


    

stellenbosch university

Alicia van Greuning

199


200

Anicka de Lange

exhibition


stellenbosch university

Cayla Basson

201


202

Mieke Verster

exhibition


203


Università degli Studi di Firenze FLORENCE, ITALY

Tutor Susanna Cerri

Students Andrea Silverii Alibek Atahanov Camila Saulino Lisa Capaccio Riccardo Amatucci Silvia Farolfi

Website www.unifi.it/changelang-eng.html

204

exhibition


The blockage period induced by the covid-19 Pandemic has been the base force of this project, realized with the first-year students of the Master's degree program in Design. The idea at the base of these works was to create four posters that, starting from the personal emotions built up in the forced period of isolation, could evolve starting from the personal emotions accumulated during the forced period of isolation, into an awareness campaign on collective social themes, addressing topics such as cultural isolation, prejudice or climate change. From the point of view of graphic rendering, expressive use of typography was required in a strictly monochromatic language.

università degli studi di firenze

205


206

Alibek Atahanov

exhibition


università degli studi di firenze

Camila Saulino

207


208

Silvia Farolfi

exhibition


università degli studi di firenze

Alibek Atahanov

209


210

Lisa Capaccio

exhibition


università degli studi di firenze

Riccardo Amatucci

211


university of west attica ATHENS, GREECE

Tutors Eleni Martini Rossetos Metzitakos Sofia Mytilinaiou

Students Farmakis Euaggelos Malamatenia Paraskevi Malioti Panayiota Mouxa Konstantinos Skandali Margarita

Website www.uniwa.gr/en/

212

exhibition


We introduced the students of the Multimedia Graphic Design Lab (6th semester) to the project. We asked students to narrate a story or an action, using (digital or printed) visual means, setting the question “(What) IF”. Ideas and messages were based on personal, social, or any other experience and research. Initially, a brainstorming symposium was organized, with speakers from different fields, aiming to inspire students and expand their critical thinking. We invited intellectuals, scientists and activists to debate on the future of the contemporary sociopolitical, economic, and cultural global world. Sustainable cities comprise complex relations and interrelated subjects: they consist of humans, animals, buildings, environment, homeless people, refugees, solidarity, social and personal relations, etc. Sustainable can be any matter designed with respect to life, on the social, political, economic, and/or cultural level. What IF we propose or present good practices upon any of the above? How designers can be inspired by activists, scientists, philosophers, and creative people? Our lives and plans were overturned by the emergence of the virus. All educational institutions were locked down; face to face communication was no longer possible. We immediately changed to synchronized digital communication. Eventually, lectures from experts in various fields were accomplished, through the university’s electronic platform, with about 150 students participating. All students had the chance to develop their ideas for about a month, receiving weekly feedback from their tutors. Through discussion, new ideas were brought to light under social, technical, and educational points of view.

university of west attica

213


214

Malioti Panayiota

exhibition


Malamatenia Paraskevi

215


216

Farmakis Euaggelos

exhibition


Mouxa Konstantinos

217


218

Skandali Margarita


219


Wrexham Glyndŵr University WREXHAM, UNITED KINGDOM

Tutor Wulf Livingston

Students Josh Schofield Julian Johnson Megan Doherty Sandra Zuzanna Pietrzyk Yunying Chen Zakiya Crofts

Website www.glyndwr.ac.uk/en/

220

exhibition


wrexham glyndŵr university

Zakiya Crofts

221


enable your journey

LLWYBR

222

Megan Doherty & Yunying Chen

exhibition


wrexham glyndŵr university

Sandra Zuzanna Pietrzyk

223


224

Josh Schofield & Julian Johnson

exhibition


225


4


CASE STUDIES


Berlin University of Arts BERLIN, GERMANY

Tutor Gosia Warrink

Students Christina Tran Louie Gavin Marc Loewer Marie-Luise Trabandt Paulina Höfner

Website www.udk-berlin.de/en/home/

228

case studies


“Speculative Design as an Experiment: Making Future Products” An interdisciplinary seminar used “Speculative Design” as a tool for critical intervention. The students were tasked with the design of fictional future concepts, which led to an exploration of current and upcoming global problems and the conception of potential solutions. By learning how to create a mental space for speculation, the class practiced using design without commercial pressure, as well as responsible leadership through “shaping the world”. The course presented well-established stances, theories and examples of speculative design. These were subsequently combined with exercises that resulted in prototypes of fictional products. With a focus on socially relevant topics, thought experiments and utopian product ideas for fictional future scenarios were developed. Ideas were researched and developed, followed by a concept, branding and communication process. The aim was to lead the students through the entire design and product development process. Finally, they created in-depth presentations of the future product idea in order to convince their peers, thereby developing critical skills and presentation techniques. Guests from Berlin’s creative industries, including Yasushi Zonno, mixed reality expert and creative director at Microsoft, and text expert Sonja Knecht, also made valuable contributions to the seminar. Students from various disciplines were invited to participate in this interdisciplinary project.

berlin university of arts

229


Auto

Louie Gavin

Automation

In contrast t predominan Automater Automation is invisible, video This video s In contrast to the Industrial Revolution, during which physical work relationship was predominantly automated, today the focus is placed on the virtual is unusual, it sphere. This video shows three possible scenarios of future humanmachine relationships at work. Although an industrial robot in an office environment is unusual, it helps visualize the topic. Will the machine be Will the mac your boss, or will you be in control? Will it assist you, or will it take over or will it take all your tasks? What type of relationship do you want? Author Louie Gavin

230

case studies


HYO

Hold Your Own — a new physical human-machine interaction tool What if there was a technology that was yearning for us? In times of overpopulation, we have developed technology that allows us to avoid physical contact. Although we live in a connected world, we are more isolated than ever before. The lack of touch triggers a strong feeling of loneliness in us and we long to connect with someone. Even our most trusted companion, the smartphone, disappeared into the Internet of Things. But being human also means physicality. What if our devices were to reenter our lives with the same desire for affection? Author Marie-Luise Trabandt

berlin university of arts

231


Satori

Protect your dreams – save your thoughts. Three hundred search entries and I know you better than you know yourself. Everything is illuminated. I know too much about you. But you remember the song: The thoughts, they will not be able to take them away from you. You welcomed the new technologies with hope. Language became redundant, compassion became literal, relationship became unity. The new eyes are everywhere. Your most intimate thoughts live withdrawn in the depths of your mind. How long will they be able to hide? You get dressed and venture out. You feel safer now. There’s a child on the corner. He has no helmet; he looks at you with empty eyes. You feel his fear. For a moment, you see yourself standing there, through the eyes of the child. Then you close your visor, turn away, and go on your way. Author Marc Loewer

232

case studies


Simple Ease A person dressed in dirty clothes limps into the U7 and the passengers lower their eyes. What would happen if the person could be blanked out? What would the situation feel like then? Would the suffering remain comprehensible? Simple Ease contact lenses give their users control over what they can and cannot see. Don’t want to see people of other political views? People of a certain culture? News about climate change? No problem. The disturbing visual stimuli are a thing of the past. Author Paulina Höfner

berlin university of arts

233


Smellery The negative consequences of climate change are forcing people to leave their homes. How can we take away their fear of the unknown? Smellery is a reaction to trans-continental migration and the negative connotations engendered by the climate refugee. Smellery is a piece of jewelry whose value is not located in materiality, but in the immaterial. The pendant allows us to capture a piece of home, carry it with us and share our personal history with others. Author Christina Tran

234

case studies


235


ELISAVA Barcelona School of Design and Engineering BARCELONA, SPAIN

Tutors Roger Paez

Website www.elisava.net

236

case studies


elisava barcelona school of design and engineering

237


238

case studies


Subjctive Cartographies: a mirror of diversity Collaborative workshops in Raval district, Barcelona

The Raval district has been and still is a territory where multiple views have crossed generating different perspectives on the physical, social and cultural reality. Raval has been built as a framework for social activism, processes of social inclusion, collective struggles, cultural community and coexistence, citizenship, documentalism, technological innovation, awareness or restitution of the city, among many others. This intersection of personal and collective stories highlights the value of the multiplicity of subjectivities: the constitution of a shared urban environment, built time from multiple perspectives at the same. For this reason, the interest of the Civic Placemaking II research project focuses on the study of this diversity of subjectivities at different scales, with the idea of recreating them through a series of participatory cartographic workshops. These workshops are proposed, on the one hand, as a process of creation of new communities and links with the territory, and, on the other, as a strategy to deepen the research on the sociocultural complexity of the Raval district as a territory of reception and continuous gestation of diversity and plurality. Authors Roger Paez, Manuela Valtchanova

elisava barcelona school of design and engineering

239


240

case studies


Et Mitjons a la Plaça*

Collaborative action for urban regeneration This is a collaborative action that is integrated within the framework of a research project commissioned by the local government of Sant Boi and "la Caixa" Banking Foundation. The project consists in studying the potential of Plaça de la Generalitat square to become the engine for urban regeneration of the Marianao neighbourhood, and in understanding the reasons why this square does not work. The main design strategy aims to propose site-specific actions with potential to reverse the current dynamics, applying the logics of ephemeral architecture practices. One of the main conclusions of the study is that the great majority of the neighbours has a negative perception of this space, despite the good conditions of the square to become the central public space of the neighbourhood. On the Square in Socks is a collaborative action that aims to promote a collective, celebrative and cathartic experience which helps to build a new positive collective imaginary of the place. An act of reappropriation of the public space by the neighbors themselves. The action comprises the Christmas decoration of the square through a network of light garlands made out of socks, each one of which personalized by a resident of the neighbourhood. Almost 1,000 children and adolescents and 24 entities among schools, associations and foundations of the neighbourhood were involved throughout the whole process of the development of the project. Authors Roger Paez, Manuela Valtchanova, Toni Montes, Rodrigo Aguirre * On the Square in Socks

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Slow Down, Stop, and Stay: Public space appropiation

'Slow Down, Stop, and Stay' helps to consolidate an ongoing tradition of temporary public space interventions in Barcelona's Placa dels Angels with a clear social focus. Amongst many other projects, it is worth recalling Fabrications (macba, mvrdv, Rigler+Riewe, Vicente Guallart, Abalos+Herreros, 1998), eme3 Collapse (Oscar Guayabero, 2009), Araw ng Kalayaan (Kalipi, 2011) and Perruquers per la MaratO TV3 (Hairdresser's Guild, 2012). In meats, prior experience in public space appropriation includes 'A la Placa: Modes of Public Space Appropriation in Barcelona', a research project exhibited and presented at the Centre Pompidou in Paris in January 2018. Several squares in Barcelona were studied in order to understand the different ways in which public space was being appropriated by people in a spontaneous way. Mapping a series of Barcelona's squares according to the kind of activities that take place within them stresses the relevance of human action as the single most defining element of public space, above and beyond the morphology of its physical configuration.

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This experience led us to a deeper understanding of the dynamics by virtue of which public space is used by various interest groups in mulitple ways. It also helped us reinforce our initial hypotheses about public space being the cradle of social life and its most relevant gameboard. 'Slow Down, Stop, and Stay' stems from 'A la Placa' in its understanding of cities as both material and social realities, where public space is a space defined not only through structures but fundamentally through the actions that take place in it. 'Slow Down, Stop, and Stay' is an experimental project to test out, in practice, the research carried out for 'A la Placa'. 'Slow Down, Stop, and Stay' introduces a surprise element in order to temporarily change the current dynamics and avoid skate monoculture in Placa dels Angels, in front of macba, Barcelona. We want the skaters to thrive along with other kinds of uses and activities. 'Slow Down, Stop, and Stay' is an ephemeral infrastructure to prompt naturally occurring public space appropriation activities on the part of the local residents and users of the square. It is an open system that will activate potential reactions, opening the eyes of the users to what the square might really be, rather than what it is now. The outcome hopefully will be a trigger for possible new types of uses and behaviours that will enrich this relevant Barcelona public space. Direction Roger Paez, Toni Montes, Jordi Queralt Students Shaun Barton, Lorenzo Damonte, Fiona Gather-Stammel, Marta Gutierrez, Mira Kanj, Felix Kostinger-Lingitz, Ji-Qian Lai, Hung-Chi Li, Marcelo Reinoso, Laura Sanchez, Carlota Segú, Giulia Sportolari.

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Community Plugins

Microarchitectures for superblock community-building Community Plugins aims to design a prototypical intervention in Raval, Barcelona, using micro-architectures as civic infrastructure to articulate informal, organic and self-managed programs to foster collaboration and social cohesion throughout the district. Working on a site that epitomizes Raval's character as a test bed, these solutions may be applied throughout the district, defining a new sense for the superblock model. Rather than public or private spaces, Community Plugins specifically addresses common spaces, and posits them as key to community-building in the framework of the contemporary revision of the compact, dense and complex city as the most environmentally and socially sustainable urban model. The notion of plugin refers to a software or hardware component that adds a specific functionality or feature to an existing system. Community Plugins are spatial-relational modifiers that upgrade the existing urban fabric in order to augment its flexibility, adaptability and resilience, radically incorporating temporality in the design approach. Community Plugins workshop is a collaborative effort between meats Elisava (Barcelona) and Balwant Sheth School of Architecture (Mumbai), directed by Roger Paez, Toni Montes, Atrey Chhaya and Bhavleen Kaur. Direction Roger Paez, Toni Montes, Atrey Chhaya, Bhavleen Kaur Students Tiago Abreu, Dalia Alakki, Jana Antoun, Juan Arizti, Assil Naji, Marta Borreguero, Elena Caubet, Nishil Desai, Inés Fernández, Tanvi Gupta, Stephanie Ibrahim, Tracy Jabbour, Yunling Jin, Jad Karam, Sajol Kinariwala, Louis Kurian, Selen Kurt, Alexa Nader, Joelle Nader, Mokshuda Narula, Eirini Sampani, Dhruv Seth, Montserrat Sevilla, Rupal Shah, Brentsen Solomon, Sajitha Varghese, Leo Wu

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Llum BCN

Temporary spaces and relational places built with light LIumbcn is Barcelona's public Light Festival, a remarkable initiative with excellent specialist and popular reviews and a stunning 200 000+ vistors in just three days. Since its relocation in the Poblenou/22@ district in 2018, LIumbcn has consolidated as one of the world's leading light festivals. One of its special features is that it showcases the work of the most critically acclaimed light artists worldwide together with student projects from most architecture and design schools in Catalonia. Since 2017, meats faculty has led Elisava's proposals, which have consistently received critical praise and popular success. While very different, all Elisava's installations are based on a single overarching premise: to radically explore the inherent properties of light, using it to reveal hidden site opportunities that temporarily transform a banal space into a socially rich relational place.

Direction Roger Paez, Toni Montes, Maria de la Cámara, Gabi Paré Students Esther Abad, Joana Bisbe, Clàudia Blanes, Carla Camín, Alberto Cantera, Joan Carreres, Maria Casadellà, Aina Engelhard, Aina Flores, Nils Kamminga, Sofía Martín, Cristina Peiris, Carme Roig, Ariadna Sala, Clara Viladecans, Elise Chukri, Miguel Estany, Marta Esteban, Anna Gayete, Tatiana Glock, Laia Gonzalez, Laura Gusart, Mariana Magalhaes, Aida Pastor, Anna Piliugina, Amalia Puga, Elisabeth Pujol, Albert Sanz, Valentí Soler, Marta Velasco, Alexa Nader, Assil Naji, Berta Abad, Beth Pujol, Brentsen Solomon, Cristina Martí, Dalia Al-Akki, Eirini Sampani, Elena Caubet, Jad Karam, Jana Antoun, Joelle Nader, Juan Arizti, Judith Solé, Kuan Yi Wu, Liam Kelly, Ines Fernandez, Marta Borreguero, Miguel Perez, Mokshuda Narula, Montserrat Sevilla, Rubén García, Rubén Montero, Selen Kurt, Stephanie Ibrahim, Tanvi Gupta, llago Rosado, Tracy Jabbour, Yunling Jin

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Escuela Superior de Diseño de València VALENCIA, SPAIN

Tutors Elisabet Rodríguez-Flores Imbernón Maria Navarro Diego

Website www.easdvalencia.com

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From the pedagogical point of view, a semester project was proposed for two specialities (graphics and product) and various courses which would converge at the end of the semester in a public intervention in the neighbourhood, coinciding with International Game Day, on 28 May 2018. Residents would then be invited to test, observe, and reflect on the work carried out in the classrooms. The objectives of this project were: • To develop a social design proposal that would have an impact on the environment around easd Valencia. • To increase coordination between subjects of the same course and speciality, to connect the knowledge that students perceive in a fragmented and unconnected way. • To coordinate between specialities, encouraging interdisciplinarity and collaboration between the students and the teachers at the school. As part of the speciality of graphic design, third-year students of the subject “Global Communication Projects” coordinated with those in the subject “Marketing and Communication” to develop several communication campaigns to reclaim the public space for children and youths in the district of Velluters. At the same time, as part of the speciality of Product Design, we planned to develop a project guided by the subject of “Basic Projects” in coordination with the subject of “Volume”, both from the first year. The project linked to the reclaiming of public space for children proposed the following theme: The nomadic toy in public spaces.

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Velluters También Juega The School of Art and Design of Valencia (Escuela Superior de Diseño de València, easd València), with almost 175 years of history and around 2,000 students, teaches six specialities in the subject of design: graphic, product, fashion, interior, jewellery, and photography. It is located in the historic neighbourhood of Velluters in Valencia, corresponding to the Ciutat Vella (Old Town) district. Precisely in this neighbourhood, in the very centre of the city of Valencia, there is a considerably rundown and stigmatised area known as El Chino, which is a hub for drug addiction and prostitution. In the face of serious sustainability problems, our society needs design in order to move forward in a sustainable and egalitarian manner, and educational institutions can not disregard this reality. Following the principles established by Victor Papanek (Designing for the Real World) and Gui Bonsiepe (Designing for the Periphery), we are responsible for the design that surrounds us, thereby being able to intervene in the empowerment of vulnerable groups. As a public educational institution concerned about the environment in which we are located, we are part of a working group called “Escoltem Velluters” (Listen to Velluters). A group made up of neighbours, associations, and social entities that work to attend to the problems and needs of people and groups at risk of social exclusion: Ca Revolta, Ciutat Vella Batega, Collectiu de Mares i Pares de Ciutat Vella, Endavant, Amaltea, Metges del Mon, Fundación apip-acam, Lambda, Villa Teresita, and la Dula. This working group is a collaborative organisation, as described by Ezio Manzini in his book When Everyone Designs: An Introduction to Design for Social Innovation. The improvement of the urban environment in run-down neighbourhoods is a central issue for their transformation. The urban development interventions that have been carried out in the Velluters district in recent decades have focused on “sponging” the medieval section and the creation of huge, stark, arid plazas, devoid of urban furniture, shade, vegetation, or trees. Thus, the neighbourhood group, together with the teachers of the projects involved, have detected that these “non-places” are areas of transit in which no one lingers (Marc Augé). For this reason, the proposal is to carry out a social design project in the classroom to reclaim these areas as places to play and meet, thereby encouraging the various children’s and youth groups in the neighbourhood to gather

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in them. We assume that a city that takes children into account and promotes spaces for them is also more inclusive with the rest of its citizens, and that it is more sustainable, in the broadest sense of this concept as defined in The Sustainable Development Goals, whose website presents the group of global objectives to “eradicate poverty, protect the planet and ensure prosperity for all”.

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Esteban Gonzales independent project MEDELLÍN, COLOMBIA

Tutors Esteban González Jiménez

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Naming the unnamed

Words to say it – the use and effectiveness of poetics in the Colombian armed conflict Make up words to narrate a life experience for which there are no words in the dictionary. Participants were invited to use parts of existing words or images that evoke their past experiences, to build new ways of naming the world before and after the war. The words that emerged during the sessions have a direct relationship with desires, narratives or stories of inner states, of the inner dimensions of being and inmaterial conditions (tranquility, peace) related to their space and relationship with themselves.

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It is not who we are but who we want to be

Words to say it – the use and effectiveness of poetics in the Colombian armed conflict During the development of the workshop there was an active participation of the attendees when they were asked about the drawings. In principle, there was some shyness and concern to know their names, where they came from and why they are in the process. Most of them have some kind of relationship with their name, either because they do not know it, because they do not identify with it or because they fear appearing somewhere where they know who they are. Some of them do not feel they belong to the city or have not adapted to the process, either because they are not in it voluntarily or because of loneliness and rejection in the city. Most of them remember with nostalgia the place of origin, being a common axis not being able to return for fear of dying, due to the insecurity of the territory. Among the words repeated most are love, freedom, peace, tranquility, new life, thank you (gratitude), God. There is also a repetition of the relationship with the mother

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Words crossing life

Words to say it – the use and effectiveness of poetics in the Colombian armed conflict Each word is the first piece of a story to be told or the last piece of a forgotten story. These words tell us stories, talk to each other, whisper secrets and truths, open questions to those who wrote them and even more to those who read them. Each word is an invitation to ask ourselves about everything they contain, where they come from and where they travel. Restless words that avoid any attempt to hunt them down and give them a unique and established meaning. Words that live one and a thousand lives. Words that cannot live without each other, always looking for each other, jumping from one place to another, hugging and composing multiple images, like the infinite and variable shapes of clouds.

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Limits of “telling”

Words to say it – the use and effectiveness of poetics in the Colombian armed conflict Within the framework of the investigations of the Research Group on Critical Studies about the armed conflict and violence in Colombia, we developed a series of workshops with excombatants of the farc and the eln, and persons deprived of liberty. The main objective was to study the way in which poetic forms of access to the experience make it possible to overcome the impossibility of “saying” the armed conflict based on categories and narrative forms imposed by official and institutional discourses. The invention of words, like the invention of a new language, allows us to express a reality that, as in the case of the armed conflict, exceeds the limits of the discursive capacity of enunciation. It is necessary to question the way in which the victims of conflicts relate verbally to their experience: how do the landless peasants express their lived experience? How do the conflict victims imagine the future? Is it possible that in these ways of telling “the real”, there are other ways of thinking about emancipation? Could these other forms of access to reality affirm another possibility of life? This work aims to rehabilitate poetic fictions, as a form of access to reality, which could make it possible to find a form of “speaking the unnamable” and to consider relational regimes which deviate from the logic of reduction and appropriation of the Other. Poetic fictions are representations which, starting from the universe of images, seek to embrace the totality of reality through intuition and without the mediation of the concept, renouncing the knowledge of the being of things as finality. From their capacities to “say” the real differently and to produce concrete effects on the regimes of relation, poetic fictions could become political and acquire a legislative function: poetry could be a creator of values and thus constitute the field of intervention for the creation of less violent and more assertive modes of relationship, as evidenced by this set of restorative practices mobilizing art carried out in Colombia.

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Helen Hamlyn Centre for Design – Royal Academy of Arts LONDON, UNITED KINGDOM

Tutors Rama Gheerawo

Students Emilia D’Orazio Saumya Singhal

Website www.rca.ac.uk

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In the London Borough of Barking and Dagenham, information deficit and lack of communication between public services, practitioners and local authorities is leading to late interventions and adverse outcomes for vulnerable children. AcrosSilos is a pattern library that enables joined-up approaches within local governments through a set of tested tools and guidance that improve information flow and communication. The patterns were co-designed and are being piloted in the London Borough of Barking and Dagenham. They resulted in targeted interventions to prevent child neglect. The interventions enable the sharing of crucial information of vulnerable children to schools, allow schools to find and activate services, and receive feedback and guidance from services for referrals made. The solutions reduce time taken to activate support, escalations to statutory services, and ultimately, prevent adverse outcomes for families.

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Authors Emilia D'Orazio Saumya Singhal

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Hochschule Mainz University of Applied Sciences MAINZ, GERMANY

Tutor Markus Pretnar

Website www.hs-mainz.de/en/

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Bed & Bunker In Albania, there are an estimated 400 000 abandoned bunkers. They are evidence of Enver Hoxha’s paranoid dictatorship from 1944 to 1985. Bed&Bunker is a research project that sees these bunkers as a resource and reuses them in the sense of sustainable tourism development. Tunnelflieger [Tunnel Flyer] The “tunnel flyer” is an interactive spatial installation by students of the master class ‘spatial communication’ that atmospherically enhances an underground passageway of the University Medical Clinic Mainz, which children have to pass on their way to an surgery.

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Bed & Bunker

Sustainable redevelopment of bunker buildings in Albania The Albanian population has never really got used to the bunker buildings that were left open, they are regarded as disgraceful. Since they belong to the Albanian state and are still considered as military installations, the bunkers could not be destroyed or dismantled. In the research project Bed&Bunker, the students wanted to find out by means of a practical experiment whether it is possible to convert a bunker into a minimal hostel for individual tourists in a prototypical way, using – for Albanian conditions – inexpensive self-construction. The financial and technical possibilities of self-initiated followup projects should be taken into consideration under the aspect of sustainable and gentle tourism development. The project team was made up by 27 people: Students and teachers of the Hochschule Mainz and the Polis University of Tirana. The bunker is located in Tale, a small town 60 km northwest of Tirana. The implemented interior concept provides for the bunker to be equipped for up to eight persons. The existing structure was renovated, sealed and then a double floor was installed for the storage of the sewage pipes and electrification. A wet room with a toilet, shower and washbasin as well as a kitchenette have also been installed. Project Management Prof. Dipl.-Ing. Markus Pretnar BA Franziska Mamitzsch Dipl.-Ing. Mathias Ewald Endrit Marku (Polis University Tirana) Eno Barjami (Polis University Tirana)

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Tunnel Flyer

Redesign of an underground connecting passage The paediatric clinic and surgery rooms at the University Medical Center Mainz are located in two different buildings. These are connected by a 200-meter-long, functional and rather rough-looking underground corridor - not an optimal spatial situation for transporting young patients on their way to their surgeries. The non-profit association “Sterntaler e.V.” and the management of the pediatric surgery, represented by Univ.-Prof. Dr. Oliver Muensterer, have made it their business to improve this spatial situation. Together with students and professors of the master’s course “Communication in Space” at the University of Applied Sciences Mainz-Gestaltung, they developed the idea of the “tunnel flyer”. The aim of the project is to improve the spatial atmosphere in the connecting corridor through specific design measures in the room. These design features are supported by a specially developed playful installation that distracts from the actual transport to the surgery room and makes the journey a soothing experience. A virtual paper airplane takes the little patients on a journey and circles over the children on a cloud-like-layer specially developed for this purpose. The ‘image’ paper plane is immediately recognisable for young and old and transports playful lightness. A light projection of the paper plane accompanies the patients and their relatives through the corridor and shows them the way. The flight path of the plane is made visible on a ceiling made of 800 three-dimensionally deformed cloud modules. The intensity of the “tunnel flyer” image gradually decreases as the patient travels through the corridor, allowing him or her to let go. Project Management Prof. Bernd Benninghoff Prof. Dipl.-Ing. Markus Pretnar Prof. Holger Reckter

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Institute of Art Design and Technology DUBLIN, IRELAND

Tutors Clyde Doyle Shirley Casey

Students Asma Khanani Caporaletti Carmen Irene Paz Casey Hinton Maria Daniela Yepes Jiménez

Website www.iadt.ie

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The ma Interdisciplinary Design Strategies is a new programme at the Institute of Art, Design and Technology (iadt), Dublin. It was written in close collaboration with the Institute without Boundaries at the School of Design at George Brown and validated by iadt in 2017, delivering one of the first transnational taught Post-Grad programmes in the Irish Institute of Technology sector. In the programme, students and faculty collaborate with external stakeholders to understand and tackle real-world challenges. Guided by research, students learn skills, conduct research, create comprehensive proposals and present their work to stakeholders and the public. In Terms 1 and 2 collaborative opportunities exist to run projects and research in tandem with international partners (e.g. the Institute without Boundaries in Toronto). Sharing the same mission, the two programmes act separately (Canada/Ireland). Students from both institutes reconvene in Dublin to complete their final, individual project informed through a charrette conducted with the participation of iadt undergraduates and teaching staff from across the institute. The aim of the Major project in Term 3 is to provide students with an opportunity to conceive, negotiate and manage their own major design project; apply an integrated design process; develop their skills and competencies in relation to interdisciplinary principles, experience and practices to an advanced level, and to communicate the results in a variety of forms and including a supplementary project report. We will describe the programme, in particular the dynamic of the charrettes as they occur in iadt, and present five students projects with a particularly strong social focus that have been produced through the programme.

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Entrepreneurship as a Socio-Economic Tool for Resettlement: First and Second Generation Canadian Entrepreneurs Entrepreneurship as a Socio-Economic Tool for Resettlement is a research project that focuses on first and second generation Canadian business owners. The project explores how entrepreneurship has played a role in the resettlement of first and second generation Canadians and how this group of people redefine their identities in new communities through entrepreneurship. The project researches how refugees, immigrants and their children are supported through existing current social and economic services to forge new living patterns and identities in urban centres, what challenges they encounter, and what the missing support services are to develop better strategies to assist this population in the establishment and growth of business ownership. The entrepreneurs interviewed in this project are refugees, immigrants or children of refugees or immigrants and their business partners. Like many entrepreneurs, they each carry with them the resiliency and values they were exposed to at formative times in their lives. Each participant was interviewed extensively asking them to explain what had brought them and/or their families to Canada, how their entrepreneurship journey began, what they felt their business contributed and what challenges they have and/or continue to face. The businesses that participated in this research are part of the same communities yet vastly differ from one another in their business activities. From architect, to butcher shop owner, from day care director to plant-based food chef, all of the businesses and their owners had a unique story. However, their values and their motivations for opening and operating a business, were all almost exactly the same and their visions and values stood out as particular to first and second generation Canadian entrepreneurs. Author Asma Khanani Caporaletti

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Transparent Design – Making design’s invisible impliactions visible The field of design is rapidly shifting towards the creation, understanding and reframing of systems. A critical stance is being taken in which design questions its implications, problems and ethical dilemmas. Understanding the relationship the field holds across complex systems clarifies design’s role as a transformative and political tool. For design’s complexity and interconnectedness to be fully understood, it is assumed that design must become transparent. Through the transparency of design, an unveiling of its hidden manifestations, intentions and implications occurs, thereby providing a deeper understanding. Transparent design paves the way towards a more ethical and balanced approach to the field. Could design’s transparency empower personal choice and behavioural change? The aim of this project was to understand the relationship and interconnectedness the design field holds across complex systems. Creating a methodology for designers to observe their environment through a lens-based approach, facilitates their understanding of the relationships and connections that exist through complex systems. By making design’s invisible implications visible, our approach to design shifts. We become aware, we start to question our practice, we acknowledge the impact our design decisions will have, we work towards more ethical and transparent design solutions. Author Carmen Irene Paz

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The Future is Being Sold. The Power of Your Personal Data The result of our pervasive computer-mediated lives has created a new world where everything is knowable and shareable. Hungry data accumulators; tech companies, data brokers, digital platforms, know us better than we realize. They’ve linked our data-double, our digital selves with our physical bodies and surveil us in order to make life frictionless. To provide us with customized solutions, convenience and efficiencies. And they’ve started to guess what we’ll do next. They’re getting better at this guessing games. Predictions are fast becoming our new reality, because you can profit of off certainty. The future is being sold. How will data collection and the resulting behaviour modification change our society, and us? What does it mean to be human when we have no privacy and no anonymity? dividual: Products for a data - rich future dividual is a product line for the future. Set in 2030, the products respond the elements of the future scenarios developed using speculative design methods. dividual envisions a world where everything about you is known, and it is impossible to be anonymous. It allows you to license an alternative identity – your Dividual Identity (di). You can masquerade as your di online. While your di can’t make you anonymous it can help you to obscure yourself in a cloud of unreliable and confusing data. This obfuscation of your own identity and personal data renders your data untrustworthy to the big data collectors. We don’t know who these will be in 2030 – tech companies, governments or some entity that doesn’t yet exist – but it doesn’t matter. dividual and the fictional narrative in which it exists positions us, the citizens, the users, the people, the data products, as David facing these Goliaths. lt’s is about taking back some form of power with our personal data and turning the tables on trust. Author Casey Hinton

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Tools for reconciliation & understanding – Empowering citizens in conflict resolution After 52 years of internal war, Colombia’s government and the farc (Revolutionary Armed Forces of Colombia), one of the largest guerilla groups in the world, signed a long awaited peace agreement on 24 November 2016. However, barely one year later, the agreement is unredeemed and unstable, and the possibility of returning to war haunts the minds of the entire country. But what if Colombian citizens found a way of contributing to establish a peace agreement that transcends governmental policies and embeds itself in all aspects of society? This project aims to understand the complexities of social reconciliation, and how to involve different citizen groups in the process using design-thinking methodologies. Focusing specifically on the educational sector, the new program “Catedra para la Paz” or Peace Talk is a great opportunity to examine how simple tools and frameworks can change the way students and teachers familiarize with a conflict, otherwise distant to them. The opportunity to work with Instituto Copesal of Bogotá emerged in early stages of the project. Although the process and objectives evolved as the workshops developed, the aim from the very beginning was to give participants the opportunity to use design thinking methodologies and make them active participants of the reconciliation process. This would be achieved by making a “workshop” version of a Peace Talk lesson. Since the framework and topics of the activities align with the curriculum of the class, this was a valuable experience to see how teachers and students perceive and evaluate our socio-political environment. “How might we contribute to the formation of autonomous, well informed citizens in regards to the peace agreement?” was the problem statement proposed to the students and teachers in the beginning of their respective workshops. Because the peace agreement has many different branches and issues one could focus on, it was important to present a clear and simple issue that is relevant and relatable, even if the participants based their knowledge on perspective and experiences. The student and teacher workshops took place on two separate days at the school and its surroundings, and unfolded between 7:30 am until 12:00 pm. The framework was the same for both activities

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and it was designed to smoothly transition the participants from a complex problem to a well-thought solution. Some of the tools used during the activities include: brainstorming, prioritizing, swot analysis, User Segment from the Value Proposition Canvas and Theory of Change template (diy Toolkit). To support and guide the participants both workshops counted with the participation of three co-facilitators. Their task was to assist the teams without disrupting their creative process. They overlooked the conversations within the teams, making sure they encourage healthy, open discussions. Finally, their consistent questioning and motivation guided each group to develop a better solution. These workshops allowed the participants become active designers of solutions and take ownership of the reconciliation process through a specific problem statement: the lack of autonomy and reliable information. Author Maria Daniela Yepes Jiménez

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Swiss Federal Institute of Technology Zurich (ETH Zurich) ZURICH, SWITZERLAND

Tutors Hubert Klumpner Michael Walczak

Website www.ethz.ch/en.html

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Students Bornasconi Lorain, Bietenhard Matthias Johannes, Boer Laura Brigida, Comas Sala Albert, Di Canio Gianluca, Fernandes Pires Marco, Franceschini Laura Sofia, Gama Patricia, Imhof Meret Adelheid, Imseng Rolf, Örün Deniz, Rüede Mike Tito, Rüfenacht Dara Fiona, Stadelmann Angela, Stadler Anna-Leo Sofia Marguerite, Thai Daryl, Thai Derek, Toppan Dario Mateo, Wenger Valentin Peter, Yue Marco Cheun‑Fung, Zimmermann Armon Teaching Team Prof. Hubert Klumpner, Diogo Rabaca Figueiredo, Melanie Fessel

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Meta-morphosis Medellín

Making in the City – The Fourth Industrial Revolution Existing and new infrastructure, concepts need to be re-invented for a new paradigm of what the design for a city of production and a Center for the 4th Industrial revolution (C4IR) can be. The studio researched and designed together with students in Medellín how the making, production, fabrication of the city itself can be at the heart of a novel industry. The city of Medellín teaches us valuable lessons for development after winning the 2016 Global Smart City Award. It shows three factors of transformational potential at work in Medellín: 1.) physical environment 2.) programmatic transformation and 3.) people's resilience. The studio focused the design inside a 60 ha project area, designing prototypical urban and architectural projects on different scales in coalition with local stakeholders. Students took a role developing solutions in collaboration with the Medellin City planning office, academia, and "RutaN" of the Swiss / World Economic Forum. The studio engaged in a multi-disciplinary approach that builds upon common ground. By tackling real-world urban challenges, this studio is looking to create qualities for the regeneration of public spaces, workspaces and housing that transcend the commercial plane. The studio is informed by the chairs' ongoing research on our book on sdg 11. The seco on urban transformation research in col links researching, learning and making the city an integrative design laboratory for the people living in the city.

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Students AnIiker Rebekka Rasika, Burkhardt Lars Benjamin, Däschler Nick Jonas, Dillmann Félix, Rolf Dieter, Egger Patricia, Giger Alexandra, Gürber Kay, Tian Georg, Karim Lina, Leneveu Cédrik Ruben, Peter Jan, Tröndle Mirjam Elisabeth, von Gunten Simon, Wenger Valentin Peter, Zimmermann Joana Josephina Marisa Teaching Team Prof. Hubert Klumpner, Melanie Fessel, Scott Lloyd

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Open City Sarajevo Re-Urbnizing the City

Sarajevo is an arena, which like no other European city, is synonymous for a century of conflict, destruction, de-construction, re-construction, and re-urbanization. Re-living and re-designing this city on shifting scales from urban to architectural is the aim of the studio. We defined an urban paradigm based on a proactive approach to design prototypical projects on different scales in coalition with local stakeholders. Projects were developed on specific sites for urgently needed programs. The existing assemblage of different religions and ethnic populations requires translation in shared public indoor and outdoor spaces and a narrative of architecture and urban design in practice. We asked the students for an integration of the social, economic and cultural re-development of the city. The design students focused on identifying an underlying logic that connects the valley's fragmented neighborhoods, its topographical symmetries and asymmetries, and its natural and human-made divisions that simultaneously splinter and unify Sarajevo. How can the existing infrastructure and the lack thereof, shortages and limited mobility, climate crisis and scarcity create an integrative urban vision that could regenerate, revitalize and reconcile the city? This studio allowed students to travel to Sarajevo during our seminar week with the aim of engaging in the real city. They developed solutions in collaboration with local partners, government, academia, and industry to develop a multi-disciplinary approach that builds upon a common base. By tackling real-world urban challenges, this studio was looking to create qualities through urban and architectural projects that transcend the commercial plane.

eth zurich

283


Students Angelova Nikolina, Beer Gianmaria, Brtan Monika, Danila Ioana, Egger Vinzenz, Enz Adriennne, Fischer Romano, Franceschini Laura, Galliker Vivienne, Goto Takayoshi, Grabski Monika, Hassan Halima, Imhof Meret, Imseng Rolf, Nünlist Stephanie, Ramadani Besjana, Reisinger Christopher, Rüede Mike, Rüfenacht Dara, Strologo Lorenz, Yang Yibin, Yue Marco Teaching Team Prof. Hubert Klumpner, Melanie Fessel, Scott Lloyd

284

case studies


Urbanizing Through Architecture Cartagena Peace in Process

The studio proposed an inclusive urban vision for a new town development for 25 000 migrants on the edge of Cartagena, Colombia. A new settlement strategy and methodology for urbanization was designed to grow a village into a city. The design focused on one central space within this development that provides identity, centrality, and safety. Each student designed a prototypical place/ building type of production, addressing mobility and hybrid programming, including work and education. City making in this sense required the definition of the various elements both public and private that make up a city. Colombia is an emerging, middle-income country that faces many pressures of today's' global urbanization process. The Caribbean port city of Cartagena is characterized by a tourism industry that is growing exponentially. Cartagena exemplifies the most extreme inequality in Colombia. New high-rise developments along the coast in Boca Grande, unesco-Heritage sites, a newly planned airport, gated communities, environmental issues, such as flooding and most of the population living in slums, are all ingredients of Cartagena's contemporary condition. After 50 years of civil war, Colombia is re-urbanizing and discovering its cities. Ciudad Bicentenario, a new space for social mobility, is an ambitious project in Cartagena that will provide 25 000 housing units on 400ha.

eth zurich

285


Students Angelova Nikolina, Beer Gianmaria, Brtan Monika, Danila Ioana, Egger Vinzenz, Enz Adriennne, Fischer Romano, Franceschini Laura, Galliker Vivienne, Goto Takayoshi, Grabski Monika, Hassan Halima, Imhof Meret, Imseng Rolf, Nünlist Stephanie, Ramadani Besjana, Reisinger Christopher, Rüede Mike, Rüfenacht Dara, Strologo Lorenz, Yang Yibin, Yue Marco Teaching Team Prof. Hubert Klumpner, Diogo Rabaca Figueiredo, Melanie Fessel

286

case studies


Liquid City Rijeka

Re-activating Rijeka – Designing Land- and Water-Borne Urbanization Processes The studio re-designed, re-programed, and re-invented an innovation zone for the re-establishment of a new model for a harbor city, designing beyond the land and the water. Rijeka, as the center of shipbuilding in the Adriatic Sea, is known to be a harbor with a city, This studio proposed the design of a coastal paradigm for the Mediterranean and generated an alternative city development model for Rijeka, the European Capital of Culture 2020. Rijeka is a city on the border between Italian and Slavic spheres of influence. This valley was, over centuries, the natural division between languages, nations, and political systems. Setting borders and shifting borders will be a design strategy for the studio, proposing a Special Cultural Zone bridging both sides of the river in Skoljid. The zone was the source of energy, drinking water, and work, intensively used by industry. Today the area is very close to the city center, providing a unique opportunityfor developing Rijeka's urban qualities. Students designed solutions by prototyping the process for a new urban paradigm in the context of environmental, social, and governance issues. We provided the base for each student to develop her/his multi-disciplinary approach that builds urban design projects upon common ground. Students were encouraged to interpret the United Nations (Sustainable Development Goals) sdg's, articulating an individual and critical position on the potential role of the architect to guide a design process within broader social, political, and economic systems. Informed by the chairs' ongoing research in the Balkan region, starting in Athens, Sarajevo, this semester, engages in Rijeka, Croatia, with teaching, making, and researching the city. The impact of the covid-19 pandemic forced the presential studio to continue online in our "Endless Studio"

eth zurich

287


University of Applied Arts Vienna VIENNA, AUSTRIA

Tutor Brigitte Felderer

Website www.socialdesign.ac.at

288

case studies


“Social Design – Arts as Urban Innovation” Cities are second nature to us, entities we have created ourselves but find hard to keep track of in their constantly shifting complexity. Cities form disputed spaces, with a presence that points back into the past and power structures that can be identified and also changed. We must be able to anticipate necessary change on a long-term basis but also to respond in the acute case with fresh solutions to crises great and small. The projects developed in the studio for the Social Design Master’s program show that social innovation, i.e. unexpected approaches and unusual results. The differences or even polarizations that develop between sciences and arts refine our methodological awareness and compel us, in cooperative processes, to find designs that do not seek recognition in the established discourses of a single scientific or artistic field. In this Master’s program, the acuity of the arts combines with the sciences’ potential for innovation. Research is focussed, in place and content, on the theories and practice of the city, on the urban realities that the students come from and know with a quasi mother-tongue competence they share as systems of thought and experience and formulate as grammar in the course of their studies. The title of the program perhaps suggests that social comes before societal, that social designers are helpers just waiting to step in. Individual commitment, empathic thinking, and a willingness to help without hesitation are doubtless personal requirements for students wishing to enroll in this program. In the Social Design Studio, however, solidarity is seen as a sociopolitical category requiring out-of-the-box responses. The goal is to provoke a rethink and generate new ideas that can lead to societal change. university of applied arts vienna

289


Insitu ani·motion What? Insitu ani·motion is a method for intervening in public space through playful participation. This action research approach aims to create conditions for real-time onsite collaboration via stop motion-based video-making for socio spatial interventions. Insitu ani·motion is an attempt to investigate potentials created by the abolishment of the phases that separate different partakers in conventional video media production and the impact such procedures have on the production of space. How? Through the design and implementation of a technical tool, a closed circuit installation, this approach shifts the attention from product (the video) to process (co-creating), allowing the participants to, at the same time, create and observe changes while playfully challenging routinised use of the public space. To intervene in space via participatory video making, a codebased mobile technical tool was developed. By bringing the programming interface to public space, conditions for creation of participatory real-time video producing of live events are established. This setup abolishes the separation between distinct phases of creating and consuming art. The installation consists of a webcam, connected to a portable computer, an input device and a beamer. Images captured by the camera are processed by a custom-coded script in a way that every newly exposed frame is added to the looped stop motion sequence as the final one. The output video is projected on a surface in the surroundings. People engage with each other and the interface through various means of artistic expression. Why? Space is an outcome of social processes. It is created by people interacting with one another. By providing a platform for playful participation and situating it in public space, the space will be used in a novel way and new forms of spatial creation will ensue. The routines of co-production of space will be disrupted and a possibility for new ways of appropriation of space will emerge. Through on-

290

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site participation in real-time video producing, participants are becoming aware of their contribution to the creation and active shaping of space. The abolishing of production phases will render the production process more participatory and inclusive. Situating the process in public space will challenge and change the way space is produced. Authors Ivan Pantelić Bernd Rohrauer

university of applied arts vienna

291


Spotting Belchatows Micro-Values

Which characteristics must be addressed to create a common sustainable future? Belchatow, a monotown in Poland dependent on the industry of electricity production from lignite coal, is facing imminent regression due to decreasing coal resources and stricter eu Climate Policies. The city has a unique opportunity to proactively think of innovative alternatives for their current industry, however that requires the formation of a completely new image of the city thus a stronger political engagement and sense of imagination of its residents. With our project we are addressing this issue through proposing a series of events, directed at the youth, which aim to engage them in numerous activities that allow them to gain a new perspective on Belchatow and acquire skills of creative thinking, civic engagement as well as collaborative work. Outcome Our outcome is a proposal for a three day event. The first event aims to set the general scene for our intervention through a participatory performance by a Polish artist, Joanna Zabielska. The second part is a workshop organised for the pge Giganty Mocy Museum, where the youth develops theoretical and practical skills. The third event aims to put the skills the youth has gained during the workshop into use in their daily lives or a public space. Through giving this responsibility to our target group we hope to make our impact more sustainable and permeated into the social fabric of Belchatow. We are presenting our proposal to the pge Giganty Mocy Museum as well as to the University of Applied Arts in Vienna in a form of an installation, which already uses some of the infrastructural elements of Belchatow – the MilkBar, which is a traditional Polish eatery. Using elements of this significant part of the city’s built environment in an original way, as a method to present our project proposal, not only allows us to test our own strategies of using new perspectives, but also utilizes a certain language which can be understood by our target group, creating an interplay between the unfamiliar (our project) and the recognizable. Our final exhibit shows our ideas in a form of three meals, in this case ‘pierogi’, which our participants can metaphorically consume if they wish to be a part of our events.

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Each ‘dish’ displays a single event in a distinctive way. Although coal is considered to be Belchatow’s biggest economic treasure, the area also offers man-made wellness and sports facilities such as an artificially erected ski-slope, cycling paths, forest routes, hiking opportunities and a wide range of indoor and outdoor sports. There is also a rich bank of local, historical and social knowledge, which expresses itself in various forms such as relationships between inhabitants or daily habits. Additionally the city is architecturally, socially and geographically positioned between a rural and industrial area, which creates many contrasting views and infrastructural elements. Authors Zuzanna Zając Marlene Hübner

university of applied arts vienna

293


Authors Amelie Schlemmer Ana Mumzlade Amanda Sperger Fabian Ritzi

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case studies


Authors Theresa Binder Lena Michalik Danny Nedkova

university of applied arts vienna

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296

Catalin Betz, Raphael Voklmer

case studies


Car as Extinct Species Silvan Hagenbrock Sophie Bösker supported by Jutta Schwarz (voice-over) Nik Hummer (sound design)

Car-free Vienna in the year of 2120. China, a 95-year-old native from Vienna, who witnessed the extinction of the car in the green 20s only from fragmented stories by her parents as well as by her late wife, tells about her personal memories in ZEIT ZU GEHEN. China’s late wife, Reni, was a journalist and climate activist and had played a major role in the extinction of the automobile species. With the help of that knowledge she has gained through her wife and the nebulous machinations of her parents, China is making a first attempt to reconstruct the history of the extinct species.The master project ZEIT ZU GEHEN does not provide political or urbanist solutions but uses artistic approaches to raise provocative questions, to challenge privileges and to look fictionally from the future into the present. The project critically examines the domination of cars in urban space. The focus is on researching the car and the emotions associated with it along a photographic and film documentation of a fictional car-free city. The project intends to generate an imagination through the format of an essay film that represents a different narration of automotive presence. essay film, 13 min, 2020Trailer vimeo.com/387958385

Supervision by Brigitte Felderer and Martin Färber University of Applied Arts Vienna Social Design Arts as Urban Innovation

university of applied arts vienna

Silvan Hagenbrock, Sophie Bösker

297


Exploring possibilites of rural life through action and experience

Landprobe

Landprobe invites city-dwellers to try out life in the countryside. A village in Austria will become a rehearsal space for both city and countryside dwellers. During one week they get a taste of everyday-life and test the effects that an active invitation and a concious arrival/hosting could achieve on both sides. @landprobe I www.landprobe.net

298

Katharina Spanlang, Magdalena Hubauer

case studies


Construction Choir Collective The democratically organized Construction Choir Collective (CCC) temporarily transforms places in public space through acoustic and physical interventions and performances that raise awareness of their meaning and function. It was founded in 2019 and is directed by Pavel Naydenov. Instagram: constructionchoir

Typeface: Phase (Elias Hanzer) www.eliashanzer.com/phase/ Graphic Design: Raphael Volkmer

university of applied arts vienna

Pavel Naydenov

299


University of Cyprus NICOSIA, CYPRUS

Tutors Socrates Stratis

Students Eleni Andreou Marina Antoniou Anastasia Georgiadou

Website www.ucy.ac.cy/en/

300

case studies


“Encouraging Urbanity” Games The aim of the seminar is to expose students to critical spatial practices that comprise collaborative structures operating across disciplines, such as architecture, visual arts and urban planning. The seminar emphasizes the architecture’s spatial agencies and the political dimension of such practices in a globalized world, with increasing mobilities and contested urban territories. It concentrates on ways that architectural practices reach out to other disciplines to advocate for the public sphere. The driving force has been the concept of negotiation between conflictual actorial relations in urban environments bound by boundaries and borders. The students are exposed to relevant literature and to best practices both in Cyprus and on an international level. They are invited to redefine their relation to the public domain and the urban commons through such practices. The pedagogical method I have adopted is firstly that of round table exchange of ideas between students who present topics from relevant literature and secondly that of designing urban games. The Urban Game Design, has become a pedagogical method that allows students to grasp complex urban processes, project actors’ relations, issues of negotiation and conflict, adaptive means of communication, nonlinear project-making trajectories. The “Encouraging Urbanity” Games (E.U. Games) have become a series of urban games with such output. Implementing some of them (E.U. 05 and E.U. 06 Games) enabled the students to grasp urban nuisances and contingencies and their role in project making. In fact, the E.U. Games have become a research-generating material. The E.U. 07 Game series dealt with night urbanities, investigating marginalized urbanities. The E.U 08 & E.U. 09 Game series supported the “Hands-on Famagusta” project. Some of them were exhibited at the Cyprus Pavilion that I curated that the 15th Venice Biennale of Architecture, 2016. The E.U. 10 Game series contributes to the “Companion for Cyprus Counter-Militarization” and supports the urban commons of Meridian city, an imaginary city in Cyprus.

university of cyprus

301


E.U. 08 The challenge of the E.U. 08 Plug-in Game is to unfold these tools in a playful manner by addressing them to specific interest groups. (students, journalists, ngos dealing with reconciliation, grassroots initiatives, politicians, citizens’ groups, etc.) The E.U.08 Plug-in Game contributes to increasing the Hands-on Famagusta web-platform’s interactive character. The challenge of the E.U. 08 Game was to unfold the tools of the “Hands-on Famagusta” webplatform in a playful manner. The “Hands-on Famagusta” initiative is about re-imagining the urban commons of a non-divided city of Famagusta, Cyprus, with the re-unification of the island, (www. handsonfamagusta.org). The E.U. 09 Game series translates the Hands-on Famagusta tools for specific interest groups such as students, journalists, ngos dealing with reconciliation, grassroots initiatives, politicians, citizens’ groups, etc. E.U. 09 The challenge of E.U. 09 Game was to unfold the tools of the “Handson Famagusta” web-platform in a playful manner. The “Hands-on Famagusta” initiative is about re-imagining the urban commons of a non-divided city of Famagusta, Cyprus, with the re-unification of the island, (www.handsonfamagusta.org). The E.U. 09 Game series translates the Hands-on Famagusta tools for specific interest groups such as students, journalists, ngos dealing with reconciliation, grassroots initiatives, politicians, citizens’ groups, etc. The E.U.09 Game contributes into increasing the Hands-on Famagusta webplatform’s interactive character. The students, based on the seminar’s theoretical investigation and activist events, designed four board games. More precisely, the use of the playful practice takes place in the E.U. 09 Game series, as pedagogical and negotiation device as well as way of engagement in the public space. E.U. 10 The E.U. 10 series aims to bring hidden truths and questions to the sphere of the sensible. It will playfully problematize the overwhelming militarization of Cyprus. The students’ groups designed playful critical spatial practices to form a “Companion for Cyprus CounterMilitarization”. It is a playful guide in the hands of the civil society. The games is based on strategies and tactics that reverse the militarization

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practices of the imaginary Meridian City in order to encourage the urban commons. The E.U. 10 Game series contributes in the “Companion for Cyprus Counter-Militarization” and supports the urban commons of Meridian city, an imaginary city in Cyprus.

university of cyprus

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case studies


RE-thinking the Buffer Zone as a network of Exceptions The aim of this study is to enrich and revise the role of architecture in designing in controversial spaces. This Diploma Thesis investigates spatial practices that erode the exceptional status-quo of the Buffer Zone of Cyprus. In other words, it explores and analyses a daily routine that evolves into an exception to the state of exclusion. Following a reading of the existing exceptional spatial practices of the buffer zone’s status, the buffer zone ceases to be considered a solid strip of land but as an exceptional condition. This study proposes a list of infrastructures and spatial tactics that implement informally to claim territories within the existing formal and informal system of the buffer zone (buffer state), changing the accessibility, porosity and the status of a territory. The main objective is to engage private erosion practices by changing their character and encouraging sharing and collective practices. Author Elenia Andreou

university of cyprus

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306

case studies


Designing Switches of Sovereignty The design proposal is about a scenario to counter the territorial dominance on the communities of Ormideia and Xylotymboy by the Dhekelia United Kingdom Sovereign Base. The scenario is based on the design of mechanisms that regulate change, undermine the dominant powers and their geographic control. The aim is to design programmatic and protocol regulators translated into space to counter the dominating status quo of the uk sovereign base. The implicit and explicit placement of such regulators within public infrastructures will allow for weakening the dominance of the Dhekelia Sovereign Base by the uk. Could renewable energy be a mechanism for countering geopolitical domination and empowering the political power of the local communities? We propose to insert the actual the State Electricity Authority (eac) power station in Dhekelia equiped with renewable energy use - mainly through photovoltaics - in an energy sustainable development system of an overall energy union of Europe. By working on the interconnections between the communities, they can increase their power within the extraterritorial condition of the Dhekelia uk Bases. The new alternative energy infrastructure will be a means to establish energy sovereignty. The loop with the junction points is the programmatic network, where the junctions function as satellites of a translocal character to activate public and collective spaces for the displacement of communities. By designing architectural typologies for soft back-up infrastructures that camouflage the regulation of everyday life and space and land-use, we foresee the creation of dynamic open neighborhoods that profit both from the official infrastructures as well as from the created spaces for their informal use. Our intention is to allow for exchanges to take place among the various members of the diverse collectives that will be able to use the hybrid infrastructures. The role of this proposal is to camouflage the informal use of the official infrastructures, thus shifting the power regimes on space, turning conflicts productive. Author Marina Antoniou

university of cyprus

307


308

case studies


The project explores the role of architecture in relation to the Commons, focusing on social and spatial practices that may encourage their emergence. The main concern is how we form the conditions for the possible emergence of the Commons as well as how architecture can be the trigger for the inhabitants to activate the agency for the production of the Commons. It is assumed that Commons are not just the sharing of space, but an ensemble of social practices and inventive possibilities that explore the potential of emanci­pation of sharing. The design should consider that the Commons do not have the form of an object, but they constitute processes - active forms that are modified and (re)configured over time. The design problematic is based on the notions of Commons and Urban Threshold. Four exchange protocols are proposed - agreements between various actors, which concern the collective management of "resources". The public infrastructures {streets, educational infrastruc­tures, public parks), the land (private and public), the lost energy and waste, as well as knowledge – the provision of services and time, constitute the means by which protocols are shaped. The programmatic framework has to do with the mainte­nance and care of the National Forest Park of Academy considering that the various practices related to the reinforcement of the park could possibly promote the Commons. The proposed protocols can be considered as negotiating tools that encourage those practices that may lead to the emergence of the Commons. According to the relevant protocol, spatial systems such as greenhouses, grey water platforms, waste/materials collection and management areas are placed on the site, which in addition to the park maintenance practice, in a second tem­porality they function either as collective spaces for the neighbourhood, timeservice sharing spaces, as well as part of the educational infra­ structures. These spatial systems constitute a con­tinuous process of negotiation, shaping dynamic spaces where their production continues over time. Author Anastasia Georgiadou

university of cyprus

309


University of Niš NIŠ, SERBIA

Tutors Mihailo Mitković Milena Dinić-Branković Milica Igić Petar Mitković

Students Andrijana Mitrović Jelena Nasev Katarina Knežević Marija Kondić Mirjana Milenković Natalija Kostić

Website www.ni.ac.rs/en/

310

case studies


Urban project for remodeling and social design of public open spaces in a large housing estate along Pasterova Street in Niš, Serbia, based on the principles of eco-compact development The master plan concept of the block is based on the principles of eco-compact development as well as on the application of water sensitive urban design. The subject area already has the character of a residential community with mixed contents, which has been preserved in the process of remodeling, and meets the criteria for an eco-compact block. Several public open spaces of various contents adapted to all age groups have been created, connected by the introduction of sufficient pedestrian communications which made the whole area more accessible. The principles of water sensitive urban design are applied in the form of rain gardens (six) and bioretentions (four), as well as green roofs and walls that were also applied at the location. The trees have been completely preserved, and the whole concept is subordinated to pedestrians and to creating a safe environment without fear of motor vehicles. Author Andrijana Mitrović

university of niš

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university of niš

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case studies


Urban project for remodeling and social design of public open spaces in a large housing estate along Pasterova Street in Niš, Serbia The subject of remodeling is a location near the center of Niš in Serbia. For the large number of residents that it contains, this location is very poorly organised. The design sought to obtain a sufficient number of parking spaces in relation to the optimal area of green spaces, also trying to solve traffic problems and conflicts. Green areas are designed as hills, which significantly increases the absorbing power of the soil and can be a solution to the problem of flooding in a non-invasive way. The presence of garages on the site disrupts the hygiene of the site so it is necessary to clean and renew them. In addition, garages can serve as intermediaries in collecting water for irrigation of green areas. Urban furniture is provided in the form of benches in niches, which enables the formation of slopes in the green spaces. This creates privacy, both for the users of the furniture and for the apartments of the buildings located on the ground floor. Wooden canopies are placed beside the garages and are supported by its walls, creating a suitable space for resting, in touch with nature and functional in all weather conditions. Residents have a lot of problems with waste disposal, so underground containers are proposed as a solution. The design introduces a sustainable future to the local community. Author Marija Kondić

university of niš

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Urban project for remodeling and social design of public open spaces in a large housing estate along Pasterova Street in Niš, Serbia The goal of this project was to create a more functional space with the relocation of several garages and the introduction of a shared street with traffic calming. The revitalization of the space was achieved by the introduction of green spaces, state-of-theart playgrounds, outdoor gyms, basketball courts, as well as new materialization of streets and urban furniture. These interventions have created a healthier environment and an attractive space which is adapted to all age categories. This remodeling has achieved greater safety for residents and passers-by from the immediate area. Main issues in the space and our solutions: 1. Unorganized parking – redesign existing parking areas into more functional parking lots and extend parking capacities 2. The lack of greenery in the blocks – introduce new green areas and new types of greenery 3. Unorganized public open areas – rearrange by introducing amenities that would be appealing to people of all ages 4. Lack of urban furniture – install better lighting, seating areas, waste bins Authors Mirjana Milenković Jelena Nasev

university of niš

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318

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Urban project for remodeling and social design of public open spaces in a large housing estate along Pasterova Street in Niš, Serbia The project is located in the city of Niš, Serbia. The project won the first prize in a student competition. The conceptual design is fully integrated into the Urban project for remodeling and social design of public open spaces in a large housing estate along Pasterova street. The project has passed the adoption procedure by the competent city institutions and its implementation is expected. The problem of poorly realized and ferocious traffic will be solved by introducing several organized parking lots, defining suitable footpaths and living streets. It is necessary to repair garages and bring them back to their primary purpose. The existing green spaces inside the area will be mostly preserved and redesigned. The design also includes facilities for children, places for gathering of residents and space for playing chess. The area will be modernized using stylishly designed street furniture and playgrounds. The goal of remodeling this area is improving residents’ quality of life and strengthening their social relations through inovative and noninvasive physical structures. Authors Natalija Kostić Katarina Knežević

university of niš

319


5


BIOS


Pedro Aibéo

conference speaker workshop leader

Pedro Aibéo is an internationally awarded Architect and Civil Engineer. He is a Kone Säätiö Research Fellow, a Visiting Associate Professor at unam University, Mexico and at Wuhan University of Technology, China and a Doctoral Candidate at Aalto University, Finland on "Architectural Democracy". He is the founder & ceo of the Gamified Cohousing Oy, founder and Artistic Director of “Cidadania” theatre+games group, a professional Musician at Homebound, the founder and Chairman of the World Music School Helsinki, a drawing teacher at the croquis nights and at Kiasma and a comic novelist.

Bulent Akman

conference moderator

Bulent Akman has been a guest lecturer at swps University in Warsaw for the past 6 years where he has taught communication skills and public speaking. Born in Istanbul Turkey and raised in Toronto, Canada, he has made Warsaw, Poland his home since 2001. Bulent writes children's books in English with his wife, Olga; two of which were published by Edgard Publishing in 2019. Since 2011 he has taught movie making to children at summer camps and was most recently the creative consultant for the independent feature film Florrie (2019), currently touring festivals across the United States and Canada. Bulent's podcast about the storytelling process, Midnight Bath, is available on Anchor and Spotify.

Babis Alexiadis

workshop leader

322

Babis Alexiadis is an animator and media artist who works between London and Athens. He works mainly with traditional animation. He produces animation and film projects for interdisciplinary platforms such as theatre, site-specific installations, music videos, commercials, and other visual media. Recent projects include 2 music videos projects for Renard; a short animated film ‘Other’; an animation commission for the uk touring exhibition ‘The Heart of The Matter’, uk; Ron Arad’s 360 projection installation Curtain Call London; an animation commission for the 50th Dimitria Festival, Thessaloniki, and the creative direction of moving image for the theatre production, The Barometer of My Heart London.

bios


Katerina Antonaki Katerina Antonaki ma fa – Creative Director of Technopolis City of Athens since 2014 and visiting lecturer at uniwa since 2013, Department of Graphic Design and Visual Communication. She is involved in educational and urban research projects as well as a scientific member of international interdisciplinary projects. Her interests include visual communication, the social role of graphic design in the public sphere, design methodologies. She has studied in London, Helsinki, and Athens holds an ma in “Design Critical Theory and Practice” from the Goldsmiths University of London. She is an iky scholar. Her design practice has been awarded and her research has been presented in international conferences and exhibitions.

workshop leader

Petr Babák

academy of arts, architecture and design in prague Graphic designer, pedagogue and publicist. In 1996 he graduated at the Studio of Book Editing and Type Design (Prof. Jan Solpera) at the Academy of Arts, Architecture and Design in Prague. In 1997, together with Tomáš Machek, he founded the Machek & Babák Studio, and since 2003 he has run his own graphic studio Laboratoř. Since 2005 he has been the head of the Graphic Design and New Media Studio at the AAAD in Prague, where he earned the academic title of Professor in 2016.

tutor

Gerald Bast

university of applied arts vienna Dr. Gerald Bast studied law and economics at the Johannes Kepler University Linz. He also attended the Austrian Federal Academy of Public Administration. Since 2000, Gerald Bast is Rector of the University of Applied Arts Vienna. Under his leadership the University of Applied Arts implemented the Social Design - Arts as Urban Innovation master programme, dealing with the shaping of reality in urban agglomerations and closely working with the urban context of the City of Vienna.

a–b

keynote speaker

323


Ruedi Baur

conference speaker workshop leader

Ruedi Baur has been working in the context of the public space since the 1980s. He led the research institute Design2context in Zurich, then Civic city in Geneva. Programs like: “Urban Spaces and Design”, "Orientation-disorientation", "Visible-invisible", "Civic design”, ”Design and complexity" present his attitude as a designer, teacher and researcher. A proponent of interdisciplinary design, Baur created the Intégral network in 1989 with its own workshops: Intégral Ruedi Baur in Paris and Zurich. Today he lectures and develops research programs in the head University of Geneva, ensad in Paris, and at the University of Strasbourg. He lectures and implements research in different countries in the world.

Vera Baur-Kockot

conference speaker workshop leader

Sociologist, Cultural Scientist, specialized in visual and urban anthropology, she is an associate researcher in Sociology of Design at the University St Gallen, Switzerland. She develops research and interdisciplinary practice in the crossing of culture, sciences, and politics. She founded and leads interdis Institute in 1989 in Berlin. She was a founder and co-director of the Institute of Art, Design and Media Technology at the gso University of Nuremberg, the Institute Design2context at the University of Arts Zurich. She is a president of the Association Civic City, the research program Visible / Invisible at the University of Art and Design Geneva, Integral Ruedi Baur, Paris / Zurich.

Ann Bessemans

pxl-mad school of arts and hasselt university

workshop leader tutor

324

Prof. Dr. Ann Bessemans is a legibility expert and award-winning graphic and type designer. She founded the readsearch legibility research group at the pxl–mad School of Arts and Hasselt University where she teaches typography and type design. Ann is the program director of the international Master program ‘Reading Type & Typography’. Ann received her PhD from Leiden University and Hasselt University under the supervision of Prof. Dr. Gerard Unger. She is a member of the Young Academy of Belgium and lecturer at the Plantin Institute of Typography.

bios


Seppe de Blust Seppe De Blust is sociologist and urban designer. After working in between politics and policy, he co-founded endeavour, an Antwerp based office for socio-spatial research. Seppe conducted his PhD research in Architecture at the ku Leuven with a strong focus on the position of critical spatial practitioners in processes of urban transformation. At the newrope chair of Architecture & Urban Transformation (eth Zürich) Seppe leads the action research on reflexive pedagogies, collective learning in action and intervention driven design.

conference speaker

Dan Bugariu Dan is a software architect, entrepreneur and smart city expert. He is coordinator of MultipleXity, the future Center of Art, Technology and Experiment in Timisoara, president of the Smart City Association, Government adviser on ogp implementation and co-founder of Growceanu Angel Investment.

conference speaker

Shirley Casey

institute of art design and technology, dublin Shirley Casey is a lecturer on the Visual Communication Design programme, recognised by Domus magazine as one of the top 25 Graphic Design programmes in Europe, and co-chair of the ma in Design for Change at iadt, a programme run in collaboration with the Institute without Boundaries (IwB) at George Brown College in Toronto. She has taught spatial design for over a decade with a focus on experiential graphic design facilitating several industry projects with a variety of government, cultural, educational and sporting organisations. She previously specialised in packaging design and retail branding for a broad range clients.

b–c

conference speaker workshop leader tutor

325


Susanna Cerri

università degli studi di firenze

tutor

Professional Associate Senior Communication Designer of aiap Italian Association of Visual Communication Design. Professor of Communication Design at the master's degree in Design and the Master of Documentation and Management of Cultural Heritage of the Department of Architecture of the University of Florence. Creative Director of the DidaCommunication Lab. She has focused on research and social design by forging international collaborations that have generated significant results including the scientific responsibility of the project "Migrant identity, Signs for a new geography of hospitality" presented in Paris during the "Inscriptions en relations".

Matthew Clapham

massey university college of creative arts toi rauwhārangi

tutor

Born in 1971, Matt studied Visual Communication Design at Wellington Polytechnic's School of Design. With over 25 years of experience as a practising designer to draw on, his work ranges from brand identity and editorial design to packaging and stamp design. Matt is currently a lecturer at Massey University’s College of Creative Arts where he teaches across all four years of the Bachelor of Design programme. He teaches a wide range of subjects including typography, graphic design and branding however he is particularly passionate about posters, poster design and the role of the poster as a voice for change.

Sérgio Correia

tutor

326

Sérgio Correia is a communication designer and lecturer. Graduated in Communication Design at esad – College of Art and Design (Portugal) he researches typography and interactive systems under the Master’s Degree and has recently obtained the Specialist Title in Graphic Design, at Polytechnic Institute of Tomar. He has been a lecturer at esad since 2003. As a graphic designer he is the co-founder of Asymmetric Studio (2005), a multidisciplinary design company, tina (2013) a studio that questions pre-established ideals, teasing audiences through ephemeral or permanent urban interventions, ironically signed as This Is Not America, and d-vine (2014) focusing on the identity of wines and packaging.

bios


Sara Dang Dr Dang Thuy Duong is an architect, researcher, and academic teacher. In 2019 she developed the research method "City in motion" dedicated to the study of the relationship between urban spaces and pedestrian practice. She teaches research methods at Polish-Japanese Academy of Information Technology. As architect, she designed number of public spaces and buildings in Poland, Kazakhstan and Russia, among others.

conference speaker

Frederik De Bleser

sint lucas antwerpen school of arts Frederik De Bleser is a Ph.D. researcher and professor at the Sint Lucas School of Arts in Antwerp, Belgium. His research focuses on the link between art and technology, developing free software tools for generative design, data visualization, and creative AI. He co-founded the Experimental Media Research Group in 2004. He coordinates the new Master in Digital Media Data starting in 2020–2021. Using NodeBox as a tool he has organized data visualization workshops in Europe and Canada. He has worked creating visualizations for one of the largest Belgian newspapers and an interactive art installation for the Research Foundation Flanders.

workshop leader tutor

Milena Dinić-Branković university of niš

PhD Milena Dinić-Branković, is an Assistant Professor at the University of Niš, Faculty of Civil Engineering and Architecture, at the Chair of Urban and Spatial Planning. Her research focuses on urban design of residential and central zones of urban/rural settlements, and their public open spaces. She published over 50 papers and two books. She is a Fellow of the Junior Faculty Development Program and a member of Scientific Committees of several international conferences.

c–d

tutor

327


Clyde Doyle

institute of art design and technology, dublin

conference speaker workshop leader tutor

Clyde Doyle is a lecturer in design and Co-Chair of the ma Design for Change at the iadt. His professional career since 1995 has spanned a variety of creative industries; industrial design, model making/rapid prototyping, fine art fabrication and production design for film, tv and theatre . Currently engaged in his PhD in Design at the National College of Art and Design (ncad) he is developing non-anthropocentric design methodologies with the aim of facilitating ecological design practice.

Tomasz Drozdowski

workshop leader

He majored in Film Direction at the Film and Television Department of the University of Silesia in Katowice. He has directed and produced documentaries (e.g. Znaki Pokuty, Dom wielki jak zamek, Świat według Lema, Concerto for two – Warsaw Film Festival – Audience Award 2018), video clips, television series, and shows, as well as television plays (The man who stopped Russia). He made his feature debut as the director and producer of “Fur”, co-produced by Poland and Germany. He teaches directing, cinematography, and editing with Multimedia students at the Faculty of Mechatronics at Warsaw University of Technology. Member of the Polish and European Film Academy.

Anna Eichler

polish-japanese academy of information technology

workshop leader

328

Anna Eichler graduated in painting at the Academy of Fine Arts in Warsaw. She is a painter, educator and the art director in Redsheels, a female mural painting crew. She is the co-author of ‘Women of Liberty’ mural in Gdańsk and designed for production and painted many murals in Poland, such as ‘Kora’ and ‘The postcard from Ursynów’ in Warsaw.

bios


Brigitte Felderer

university of applied arts vienna Curator, head of department Social Design-Arts as Urban Innovation at the University of Applied Arts Vienna. Her projects focus on themes within the field of cultural history and technology and have been shown internationally.

conference speaker workshop leader tutor

Rama Gheerawo

helen hamlyn centre for design – royal academy of arts Rama Gheerawo is a serial innovator in the fields of Inclusive Design, Design Thinking and Creative Leadership having led over 100 projects working internationally with governments, business, academia and the third sector. He won a ‘Hall of Fame’ award for his work at the Design Week Awards in 2019 and was named a 2018 Creative Leader by Creative Review. As Director of the Helen Hamlyn Centre for Design, he uses design to address society’s toughest issues from ageing and healthcare, to ability and diversity. Rama sits on a number of advisory boards and committees for awards, universities and international organisations.

conference speaker tutor

Esteban González Jiménez Professor of political philosophy at the Pontifical Bolivarian University of Medellín (Colombia) and researcher attached to the research Groups of Critical Studies (Medellín), Mondes Caraïbes et transatlantiques en mouvement (cnrs/fmsh, France) and the action-research institute "dix-milliards-humains" (Paris). Experienced on social quantitative and qualitative research he has worked with victims and ex-combattants of the Colombian armed conflict with the aim of finding actions and expressions for the construction of alternative and possible futures.

d–g

conference speaker workshop leader tutor

329


Carl Haase

pxl-mad school of arts and hasselt university

tutor

Carl Haase is a graphic designer and publisher based in Antwerp. A recent researcher with the Jan van Eyck Academie with a focus on our shared designed surroundings. Currently a PhD candidate within the aria program at the University of Antwerpen under the supervision of Prof. Dr. Pascal Gielen, researching how we visualise language. Carl is part of the teaching staff for both the international Master program ‘Reading Type & Typography’, the standard master design program and teaches editorial design at the pxl–mad School of Arts.

Michiel Hustinx

conference speaker

Michiel Hustinx served as programme manager at the municipality of Nijmegen. He was one of the organizers of European Green Capital 2018 (an annual competition, in which one European city that has consistently achieved high environmental standards is selected for an award), and now works at De Bastei, a museum for nature and cultural history in Nijmegen.

Beata Hyczko

workshop leader

330

Screenwriter, film and tv producer, copywriter and social ad designer. For twenty years (together with Tomasz Drozdowicz) in charge of Studio Filmowe Autograf film company. She has written, developed or produced documentaries, television feature, educational and documentary series, tv dramas as well as feature films. As a former art historian and current architecture fan, since 2013, she creates and produces the Księga Przestrzeni (dir. Tomasz Drozdowicz) documentary series dedicated to modern Polish architecture and urbanism.

bios


Milica Igić

university of niš Milica Igić is a Teaching Assistant at the University of Niš, Faculty of Civil Engineering and Architecture and a PhD candidate at Chair of Urban and Spatial Planning. Her scientific, pedagogic and professional focus has been in the fields of urban and spatial planning. Her current research is oriented towards climate change, rural areas and renewable energy sources. She is a member of the Organizing Committee of two International Conferences and one International Exhibition.

tutor

Marjatta Itkonen

polish-japanese academy of information technology Itkonen graduated from Academy of Fine Arts in Warsaw and did her MA degree at Henryk Tomaszewski’s poster studio. She was a founder and a designer at Studio Viiva design agency for three decades. She was a professor of visual communication at Aalto University, School of Art, Design and Architecture 2004–2015. Her special interests are visual communication and social design. She has participated in many national and international poster events; being a jury member in Mexico and Warsaw and conducting social design poster workshops in France, Germany, Mexico, Slovenia, Poland and Belgium.

workshop leader tutor

Hubert Klumpner eth zurich

Since 2010 Professor of Architecture and Urban Design at eth Zurich. After studying architecture at the Angewandte in Vienna under Hans Hollein, and a mas in urban planning at Columbia University, nyc, he founded the ngo Urban-Think Tank (u-tt) in Caracas in 1998 together with A. Brillembourg. Since 2019 he has been solely responsible for Urban-Think Tank with a growing young team in Medellín, Zurich and Eichham near Salzburg.

h–k

tutor

331


Iwona Kurz

conference speaker

A professor in the Institute of Polish Culture at the University of Warsaw. Her fields of interest include the visual history of modern culture, the visual memory of the Shoah, the anthropology of body and gender. Editor and co-author of publications on culture animation. Member of the Program Team of the Forum for the Future of Culture. Co-author of the cultural policy for Warsaw.

Anc Lisowski

workshop leader

Anc comes to PJATK after years of working as a digital product designer across different industries globally. She likes to approach any new project as a person who knows nothing, and from there strives to reach a complete understanding of business processes, technology, and users’ needs. Although her principle role has always been hands-on designer, she jumps at the chance to take on any new challenges. As a design thinking workshop facilitator, she supported Aalto University Public Sector Hackathon, Bosch Connected Experience Hackathon,, and PJATK Social Design Course. She’s attracted to the social side of design and believes that the work of designers has the power to greatly influence people’s lives.

Wulf Livingston

wrexham glyndwr university

tutor

332

Wulf is currently a Reader in Social Sciences at Glyndwr University and registered practicing social worker. His formative experiences have been gained in both governmental and voluntary sector agencies, working predominantly with alcohol, drugs and mental health. Wulf has, since the acquisition of his PhD, actively undertaken research and published on these topics, with regards to policy and practice research implications. He is currently chair of the British Association of Social Workers Alcohol and other Drugs group and co-editor of Practice journal. He has a passion for good food, running up mountains and windswept beaches.

bios


Anna Machwic She graduated from the AFA in Katowice. Since 2003, employed by her alma mater, in Illustration Studio. Since 2008, she has curated 6 editions of the international competition A Well-Designed Book – Let’s Start with Children and the accompanying conference A Children’s Book – How Is It Done? She has published articles about illustration and children’s books in 2+3D design quarterly and others and presented at international conferences, including European Art of Illustration in Warsaw (2009), Think(in) Visual Communication in Warsaw (2014), and Illustration Reaserch in Kraków (2012). She has also run workshops and lectures on illustration in Poland and abroad.

workshop leader

Eleni Martini

university of west attica Eleni Martini is a lecturer in the Department of Graphic Design and Visual Communication at the Faculty of Applied Arts and Culture of the University of West Attica. She holds ba / Department of Graphic Design, tei Athens, and ma in Electronic Graphics, Coventry University. Scholar of the State Scholarships Foundation for undergraduate and postgraduate studies. Working experience at a magazine and advertising companies and as an independent designer. Teaching Visual Identity and Communication Design of Messages and Information, Social and Advertising Campaign and Branding. Participated in a number of international educational projects.

tutor

Mieke van der Merwe stellenbosch university

Mieke van der Merwe is a lecturer at Stellenbosch University, South Africa and teaches in the fields of Digital Production, Illustration and Design. She completed her ba in Visual Communication Design (2010) and a ma Visual Arts (2015) at Stellenbosch University and is working on her PhD in Children’s book illustration. Mieke, also works as a freelance illustrator for local and international clients in the children’s book, magazine and corporate industry. She published her own adult colouring book, Beautiful South Africa in 2016.

k–m

tutor

333


Rossetos Metzitakos university of west attica

tutor

Born and raised in Athens. Graduated the Department of Graphic Design (1996) of the Technological Institute of Athens. Master of Arts in Visual Communication Birmingham Institute of Art and Design (1998) and Ph.D. in Research Design (2006). He worked as researcher Associate in Graphic Design since 2001 and since 2009 as Assistant Professor in Multimedia Graphic Design. He is member of the Research, Design, Interior Architecture and Audiovisual Research Laboratory of the School of Applied Arts and Culture, as well as the Postgraduate Program in Intelligent Packaging. He is in charge and the creator of the Multimedia Graphic Design Lab.

Mihailo Mitković university of niš

tutor

Mihailo Mitković is teaching Assistant at the University of Niš, Faculty of Civil Engineering and Architecture, PhD candidate at Chair of Urban and Spatial Planning. He received several scholarships during the studies, his professional and scientific improvement is achieved through participation in numerous workshops and courses in the field of architecture, urban planning and design. His research is focused on: renewable energy sources, energy efficiency, solar power and rural areas.

Petar Mitković university of niš

tutor

334

Petar Mitković is a Full Professor, Dean of the Faculty of Civil Engineering and Architecture, University of Niš and chief of the Chair of Urban and Spatial Planning. He graduated from the Faculty of Architecture, University of Belgrade and acquired his PhD degree in field of architecture and urban planning. He is a member of Engineering Chamber, National Scientific Committee for traffic, urban planning and construction, and member of Scientific Committees for several International Conferences.

bios


Joanna Murzyn Founder of Radicalzz, a social movement that investigates the influence of information and communication technologies on the environment and equips society with tools that stand with them in the process of unplugging themselves from the dependency of the predominating system. Technology enthusiasts, but radical in pushing its desire to serve humans' needs. As a part of her activities, she is responsible for research, community directing, and social engineering for meaningful purposes. Gained professional experience while conducting projects with unesco mgiep, African Leadership Academy, and the Sustainability department of ikea.

conference speaker workshop leader

Sofia Mytilinaiou

university of west attica Sofia Mytilinaiou is an experienced graphic and ui designer. She holds a Ph.D. in Cultural Technology and Communication as a Scholar of the Greek Scholarship Foundation, as well as an MSc degree in Cultural Informatics (University of the Aegean, Greece). Her research work has been published in international conferences and books related to Interaction and ux Design in Mixed Reality Environments. She is currently working as a freelance designer and is also teaching young designers to create memorable digital experiences and printed design at the University of West Attica.

tutor

Witold Naturski Witold Naturski holds a degree in economics and has been working for eu institutions since 2004, first in the European Parliament and since 2016 in the European Commission. He is currently serving as deputy head of the ec Representation in Poland. His previous institutional experience includes, inter alia, speechwriting for the President of the European Parliament and heading the communication team of the ec Rep. Between 2006 and 2010 he has also served as an elected member of the regional council (Sejmik) in the Polish region of Silesia.

m–n

conference speaker

335


Maria Navarro Diego

escola d’art i superior de disseny de valència

tutor

Graduated in fine arts at upv (1999). She worked as a cultural manager and animation film programmer for Spanish film festivals and film libraries. Member of the expert committee at the Ministry of Culture in Spain (2006–2007). Since 2007 she works as a project teacher at the iseacv Higher Schools of Art and Design. At easd Alcoi (Alicante) she developed a social design project: l'ecojoguet al Marroc, designing toys from waste materials; she obtained an educational innovation award for its realization in Morocco 2010. Since 2012 she teaches at the Product Design Department of easd Valencia.

Tarja Nieminen aalto university

tutor

Tarja Nieminen is an artist and designer. After graduating from the University of Art and Design in Helsinki, she pursued further studies in photography and film in the Czech Republic and in the u.s. She has been a lecturer of visual communication design in the Media Department at the School of Arts, Design, and Architecture of Aalto University since 2007. She served ten years as a Head of the Graphic Design Department at the Institute of Design in Lahti University of Applied Sciences. In her educational work, she has focused on developing curricula related to dynamic media and international cooperation.

Lucas Nijs

workshop leader

336

Lucas Nijs has been a freelance graphic designer since 1981. He was employed at Apple Computer Europe from 1989-1994. He has been teaching new media, graphic design and experimental typography at the Sint Lucas School of Arts (Antwerp, Belgium), the Plantin Genootschap (Belgium, until 2005) and the Lahti Institute of Design (fi) since 1983. In 2004, he founded the Experimental Media Research Group. He has coordinated research funded by the Institute for the Promotion of Innovation by Science and Technology in Flanders, and co-promotes PhD theses of Tom De Smedt and Frederik De Bleser.

bios


Roger Paez

elisava barcelona school of design and engineering PhD architect, professor and researcher. Professional experience in the studios of Alison+Peter Smithson and Enric Miralles. Founder of aib (www. aib.cat). Architectural design professor at etsals, research leader and meats director at elisava (meats.elisava.net), guest professor at universities worldwide. Author of Critical Prison Design (Actar 2014) and Operative Mapping (Actar 2019). Works at the intersection of design, architecture and the city, focusing on experimentation and social impact.

conference speaker workshop leader tutor

María Pérez-Mena

pxl-mad school of arts and hasselt university Dr. María Pérez-Mena is an awarded graphic and type designer and post-doctoral design researcher at readsearch at the pxl–mad School of Arts and Hasselt University, where she focuses her research activity on legibility and reading studies from the perspective of type design. María received her PhD with honours from the University of Basque Country. María is part of the teaching staff of the international Master program ‘Reading Type & Typography’ and teaches typography and type design at the pxl–mad School of Arts.

tutor

Jan Piechota

polish-japanese academy of information technology Jan Piechota is a visual communication designer and researcher. Likes to work in interdisciplinary groups, focusing on book design, visual identities, information design, web sites and collaborate with engineers, researchers, designers, and artists. Adjunct professor at the Polish-Japanese Academy of Information Technology in Warsaw. He teaches typography, visual information, focusing on the relation between design and science., and design process management in the ba and ma programmes at the Polish-Japanese Academy of Information Technology in Warsaw.

n–p

tutor

337


Martin Ponec

academy of arts, architecture and design in prague

conference speaker tutor

Graphic designer. He studied Theory of Art and Culture at Faculty of Arts at Masaryk University in Brno. In 2018, he also graduated at the Studio of Graphic Design and New Media at the Academy of Arts, Architecture and Design in Prague. Between 2014 and 2015, he studied at Bezalel Academy of Arts and Design in Jerusalem. Since 2019, he works as an assistant at Studio of Graphic Design and New Media at the AAAD in Prague.

Marek Prawda

keynote speaker

Since 1 April 2016, Head of the European Commission Representation in Poland. In 2012-2016, served as Permanent Representative at the Permanent Representation of Poland to the European Union in Brussels; in 2001-2005, Polish Ambassador to Sweden; in 2006-2012, Polish Ambassador to Germany. Active member of the Solidarity movement in the 1980s. In 1984, granted a PhD degree in Sociology at the Polish Academy of Sciences. Author of numerous publications on Polish-German relationships and European integration.

Marcus Pretnar hochschule mainz

tutor

338

Prof. Markus Pretnar studied architecture at the Technical University Darmstadt. After one year as freelance designer in Warsaw/Poland and several cooperations (MMZ-Architects, Designafairs, Escape-Germany etc.) he joined the inter-disciplinary design team 3deluxe in Wiesbaden. Here, the overlapping of genres has shaped his attitude in the training of future interior designers: In a team of specialists from different fields, interior designers are the experts for space, atmosphere and materials, and as such they have to assert themselves.

bios


Elisabet Rodríguez-Flores Imbernón

escola d’art i superior de disseny de valència Graduated in Fine Arts from the Polytechnic University of Valencia (1999). Her professional career as a graphic designer began in 1996, after working for various studios, she founded Estudio Kikuru, one of the pioneering graphic design studios in motion graphics in Valencia. Since 2013 she works as teacher at the Escola d’Art i Superior de Disseny in València, Spain.

tutor

María-Mercedes Salgado Vejarano la factoría

Since 1990 worked with newspapers in Ecuador, France, Poland and Granma in Cuba. In 1998 began a collaboration with Le Monde redefining its infographic style, until 2006 acted as art director. She founded in 2010 with George Haffner “La Factoría” a structure created for hosting students and local artisans for creative workshops on the Ecuador coast. Invited to address workshops in Paris, speaker at Media Summit Design Mexico, juror at Mexico and Bolivia Poster Biennials. Teacher at the “Universidad de las Artes” in Guayaquil where she also developed its visual identity.

tutor

Ewa Satelecka

polish-japanese academy of information technology Ewa Satalecka is a Professor at the Polish-Japanese Academy of Information Technology in Warsaw. She represents Poland on the international forum of ATypI. Satalecka organizes international design workshops, conferences, and exhibitions. Her work includes kinetic typography installations presented at the “Liquid Page” Symposium in Britain's Tate (2008) and as a part of the international “Moving Type” Exhibition in the Gutenberg Museum, Mainz, Germany. Edited by Satalecka: motyf2013, motyf2014 and Fajrant, awarded tdc prize. Her articles were included in Very Graphic: Polish Designers of the 20th Century and 365xtypo.

p–s

tutor

339


Peter Andreas Sattrup

conference speaker

Dr. Peter Andreas Sattrup is advocating sustainable architecture as senior adviser and head of sustainability at the Danish Association of Architectural Firms. Drawing on his background as a practicing architect and as a researcher, Sattrup works on documenting how architecture creates value to investors, users and societies in multiple ways that are both qualitative and quantifiable. He argues that documenting the value of design can support policy making and design decisions at all levels for the good of society, while enhancing the business potentials of architects.

Serge Serov

ranepa design school

tutor

Graduated from the Moscow Technical University in 1974 and the Repin Institute in 1986. Organizer and curator of more than 100 exhibitions. He is the author of 14 monographs and more than 500 articles. President of the Moscow International Biennale “Golden bee”. Academician of the Academy of graphic design. Representative of Russia in the International Council of graphic design associations icograda and the ibcc Founder and head of the Higher academic school of graphic design. Professor at ranepa Design School.

Socrates Stratis

university of cyprus

tutor

340

Socrates Stratis is a PhD Architect, Urbanist, Associate Professor at the Department of Architecture, University of Cyprus. Socrates’ research focuses on the political agencies of architecture in conflictual plus uncertain spaces, supporting the urban commons. His is the main founder of aa & u. He is the editor of the “Guide to Common Urban Imaginaries in Contested Spaces”, jovis, 2016, and the curator of the Cyprus participation in 15 th Venice Biennale of Architecture, (www.contestedfronts. org). (www.socratesstratis.com, www.aaplusu.com)

bios


Byoungil Sun

namseoul university Byoungil Sun was born in 1958, in Korea. He's a graphic designer based in Seoul. Since 1995, he has been a professor in Visual Information Design at Namseoul University. He is a graduate of Visual Communication Design at Hongik University, where he received his Master’s degree in 2005 (Ph., D. degree in Arts). He's been awarded various prizes such as the Presidential Award for his contribution to the development of design at the Government of the Republic of Korea, the Minister of Education; the Minister of Industry Award at the International Awards Golden Bee of Graphis in Taiwan; Red dot or China-Italy design week.

tutor

Katerina Terekhova ranepa design school

Graduated from Higher academic school of graphic design. Teacher, head of creative workshops "Treshki" and "Terki", Art Director, assistant of the Head of the Department of the School of Design Ranepa. Curator of the exhibitions "Plein air design", "Sounds and signs" and "Phantasmagoria" at the Marat Gelman gallery in Budva (Montenegro, 2018, 2019), "Beautiful Frankfurt" at the European school of design (Germany, 2019) and "(Not) really" in the CCA Winzavod (2019).

tutor

Traumnovelle Traumnovelle is a militant faction founded by three Belgian architects: Léone Drapeaud, Manuel León Fanjul and Johnny Leya. Traumnovelle uses architecture and fiction as analytical, critical and subversive tools to emphasize contemporary issues and dissect their resolutions. Traumnovelle alternates between cynicism and enthusiasm all the while advocating for critical thinking in architecture. Traumnovelle champions a multi-disciplinary approach with architecture at the crossroads. Traumnovelle distances itself from current forms of naive architecture and refuses to glorify the mundane. Traumnovelle sides with those who have not sacrificed ambition and criticism.

s–t

conference speakers

341


Rafał Trzaskowski

keynote speaker

Rafał Trzaskowski is a Polish politician and the current Mayor of Warsaw. He is also a political scientist specialising in European studies. Warsaw has become Poland’s first city to join EBRD Green Cities, which strives to build a better and more sustainable future for cities and their residents. The programme achieves this by identifying, prioritising, and connecting cities’ environmental challenges with sustainable infrastructure investments and policy measures.

Sebastian Trzoska

polish-japanese academy of information technology

workshop leader

Sebastian Trzoska is a visual artist currently living and working in Warsaw. His practice and research focus on the language of drawing, its nature, and its interdisciplinary character in the field of modern art and art education. In 2016 he began his doctoral studies at the University of Art in Poznań within the structures of the Drawing and Painting Faculty. He also works as an assistant at Drawing Studio No. XIII lead by dr. Adam Nowaczyk at the University of Art in Poznań and teaches drawing and painting at the New Media Arts Faculty at the Polish-Japanese Academy of Information Technology in Warsaw.

Martin Van Djik

executive director

342

He has been working in the field of Polish-Dutch cultural relations for over 25 years. His passion for Polish visual art brought him to Poland where he is currently working as cultural attaché at the embassy of the Kingdom of the Netherlands. The cultural department of the embassy of the Netherlands acts as liaison between Polish and Dutch professional arts organizations, media and policy makers in Poland and their counterparts in the Netherlands in order to promote Dutch art and culture in Poland and to strengthen the international cultural infrastructure. The IF – Social design for sustainable cities is the fourth conference that he is co-organizing on behalf of eunic-Warsaw in cooperation with pjait.

bios


Johan Vandebosch

pxl-mad school of arts and hasselt university Johan Vandebosch is a senior lecturer and coordinator of the Graphic Design course at pxl-mad, School of Arts in Hasselt. In 1994, he started his own graphic studio ‘ziezo’. He designed the identities for numerous companies, as well as books. In 2001 Johan was selected to be part of ‘Design Flanders’, the Flemish Government organization that promotes contemporary design. In 2009 he received the ‘Plantin-Moretus Prize’ for the best-designed book in Flanders. He curated art and design exhibitions, such as ‘ReCraft – Old and new, an exciting dialogue’. From 2014 on, he forms an artistic duo called ‘Le Prince-Évêque’ with Dr. Tom Lambeens.

workshop leader

Nadiia Velichko

kharkov academy of design and arts Nadiia Velichko works as a graphic designer since 2006, and since 2017 she has been a lecturer and graduate student at Kharkiv State Academy of Design and Fine Arts. Since 2014 she is a volunteer and participant of the International Triennial of Environmental Poster 4th Block. She is working on her dissertation "Interactivity as a Factor in Forming the Design of Children's Educational Books" (scientific adviser Professor Sbitneva Nadiia), participates in forums, discussions and conferences, has articles in professional publications in design and art. Participant and winner of many national and international competitions.

tutor

Michael Walczak eth zurich

Since 2017, Michael has been working on his doctorate between eth Zurich and the Angewandte in Vienna, and is responsible for digital technologies and decision making at Urban-Think Tank Next. Michael is teaching at the University of Applied Sciences Northwestern Switzerland in Basel and completed his studies in architecture at the Bern University of Applied Sciences, Stanford University and the Bremen University of Applied Sciences.

t–w

tutor

343


Gosia Warrink

berlin university of the arts

tutor

Gosia Warrink studied linguistics in Warsaw, followed by visual communication at Berlin University of the Arts. She founded the design studio amberdesign and the publishing company amberpress. Warrink is author and designer of icoon, the bestselling picture dictionary. In 2015, she launched the charity project icoon for refugees – a free dictionary book & app for refugees and helpers. Since 2016 she teaches design at Berlin University of the Arts, researching for her PhD on "Universal language".

Thomas Wedell

rhode island school of design

tutor

Thomas Wedell works with his wife Nancy Skolos to diminish the boundaries between graphic design and photography. They create complex graphic design that is influenced by modern painting, technology, and architecture. The two have spent decades analyzing the unique characteristics of words and images, setting them in motion to fuse narrative with sensation. With a home/studio in Providence, Rhode Island, they balance their commitments to professional practice and teaching at the Rhode Island School of Design. They have authored two books: Type, Image, Message and Graphic Design Process.

Rupert Weinmann

executive director

344

Rupert Weinmann studied law at the Universities of Vienna and Dijon and acquired a management degree (mba). In 1999, he entered the Austrian diplomatic service, and had many postings including at the Austrian embassies in The Hague and Berlin. In 2017 he was appointed Director of the Austrian Cultural Forum Warsaw. As President of eunic Cluster Warsaw in 2020, he initiated and co-organized the if – Social Design for Sustainable Cities conference.

bios


Yadzia Williams Yadzia Williams is a Senior Lecturer in The Faculty of Art, Science and Technology at Glyndwr University in North Wales. She studied Communication Design at Canterbury College of Art and has been an educator for 45 years and now works on both the ma Art and Design and the ba Illustration and Graphic Design Programmes. Yadzia was born in a Polish Camp in North Wales to Polish and Czech immigrants. She is an Illustrator and image maker, interested in narrative and story-telling, working mainly through the medium of Printmaking with a passion for creating handmade books.

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workshop leader

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Partners schools Aalto University Academy of Fine Arts Lubljana Berlin University of the Arts EASD Valencia ELISAVA Barcelona ESAD Porto

ETH Zurich Glyndwr University Wrexham Helen Hemlyn Institute RAA London Hochschule Mainz Hogeschool PXL Hasselt IADT Dublin Kharkov Academy of Design and Arts


Massey University College of Creative Arts Namseoul University School of Arts, Design and Architecture PJAIT Warsaw RANEPA Moscow RISD Providence Sint Lucas Antwerp

Stellenbosch University UMPRUM Prague Università degli Studi di Firenze University of Applied Arts Vienna University of Cyprus University of Nis UNIWA Athens


Conference Talks Rafał Trzaskowski | Keynote https://youtu.be/IwhN0gfvUhU Marek Prawda | Keynote https://youtu.be/0eO3qF1-jI0 Gerald Bast | Keynote https://youtu.be/SVAslTpmplQ Gerald Bast, Iwona Kurz, Witold Naturski | Opening Panel https://youtu.be/p2ntykr6V6c Seppe de Blust | Safe Ground for Learning https://youtu.be/ZyqV9quAhxQ Rama Gheerawo | Inclusive Design: Five Things Every Designer Should Know https://youtu.be/Sa-Duunor04 Pedro Aibéo | If You Want to Change Society, Don’t Build Anything https://youtu.be/WFDbFANdxpY Joanna Murzyn | Digital Ecology https://youtu.be/RcPSwjHVTlE

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Roger Paez | Ephemeral Architecture and Social Purpose https://youtu.be/XzbCa-lFRDI Martin Ponec, Jan Stuchlík | Atelier 304 and Missing Studies https://youtu.be/-anwoIGbzac Sara Dang | Understanding City Through Motion https://youtu.be/GYgu_RrVLpg Brigitte Felderer | Social Design is Invisible https://youtu.be/yOD_PkaZl4I Michiel Hustinx | Nijmegen: European Green Capital 2018 https://youtu.be/z52h6reaPR8 Clyde Doyle, Shirley Casey | Design for Change https://youtu.be/YnH2Dk5ESU8 Léone Drapeaud, Manuel León Fanjul, Johnny Leya | Panel: Earth https://youtu.be/py7ZI4XjdGg


Ruedi & Vera Baur, Esteban Gonzales Imagine a Possible Future https://youtu.be/3KjQwH6pv-I Peter Andreas Sattrup | Be smart. Create Value by Intelligent Design https://youtu.be/bNjI4NMlWNs Dan Bugariu | Why and How Should We Co-create Balanced Ecosystems https://youtu.be/bNjI4NMlWNs

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Publisher Polish-Japanese Academy of Information Technology in cooperation with EUNIC Warsaw

Gallery PROM Kultury

Editors Ewa Satalecka Jan Piechota Marjatta Itkonen

Conference organising committee Ernestine Baig, José Carlos Albuquerque Costa Dias, Martin van Dijk, Marjatta Itkonen, Jan Piechota, Ewa Satalecka, Rupert Weinmann

Proofreading Fundacja Sztuki Nowej ZNACZY SIĘ: Beata Czajkowska, David Skully

Curators Marjatta Itkonen, Jan Piechota, Ewa Satalecka

All publication, reproduction and adaptation rights reserved © 2020 · Polish-Japanese Academy of Information Technology First edition · Warsaw 2020

Executive directors Rupert Weinmann, Martin van Dijk

Layout and Typesetting Maciej Jakóbczyk

Visual identity Maciej Jakóbczyk

Printing and Binding Drukarnia Akapit Sp. z o.o. Węglowa 3, 20-481 Lublin Printed in Poland

Promotion team Marta Myszewska, Vladyslav Boyko, Aleksandra Weyna

Set in Pionek by Maciej Połczyński, Neue Haas Unica by Toshi Omagari Print run 500 copies

isbn: 978-83-66831-00-1

Senior event coordinator Dominik Neubauer

IT experts Marcin Wichrowski, Dominik Kozieł


Thank you To our friends with whom we organize international cultural events: José Carlos Albuquerque Costa Dias, Linda Marchetti. We address our thanks to head of the art gallery PROM Kultury Ms Maria Juszczyk and Mr Rafał Nowakowski. Thank you to all who have contributed to IF: Olga Rafalska, Marcin Wichrowski, Dominik Kozieł, Maciej Jakóbczyk, Aleksandra Weyna, Marta Myszewska, Dominik Neubauer, Jakub Pełka (eventowi.waw.pl). We would like to thank also volunteers: Kinga Ostapkowicz, Jan Moskal, Kaja Modzelewska, Anna Kalmus, Natalia Opalińska and Vladyslav Boyko. IF – Social Design for Sustainable Cities is a project by eunic Warsaw and pjait, the Polish-Japanese Academy of Information Technology. eunic – European Union National Institutes for Culture – is Europe’s network of national cultural institutes and organisations, with 36 members from all eu Member States. Please visit our website: www.if.pja.edu.pl

Partners EUNIC Global PJAIT NeMa City of Warsaw The European Commission Representation in Poland Austrian Cultural Forum Warsaw British Council Camões Institute Czech Centre Warsaw Danish Cultural Institute Embassy of Ireland Embassy of the Kingdom of the Netherlands Instituto Cervantes Institut français de Pologne Romanian Cultural Institute in Warsaw The General Representation of the Government of Flanders in Poland and the Baltic States General Delegation Wallonia-Brussels in Warsaw Element Talks Integral Designers Radicalzz


IF – Social Design for Sustainable Cities is a project by eunic Warsaw and pjait, the Polish-Japanese Academy of Information Technology. eunic – European Union National Institutes for Culture – is Europe’s network of national cultural institutes and organisations, with 36 members from all eu Member States. www.if.pja.edu.pl

Profile for IF-SocialDesignForSustainableCities

IF – Social Design for Sustainable Cities  

IF – Social Design for Sustainable Cities is a project by EUNIC Warsaw and PJAIT, the Polish-Japanese Academy of Information Technologies. E...

IF – Social Design for Sustainable Cities  

IF – Social Design for Sustainable Cities is a project by EUNIC Warsaw and PJAIT, the Polish-Japanese Academy of Information Technologies. E...

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