design, the future & the human spirit victor margolin
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Design, the Future & the Human Spirit Victor Margolin. Designers can work for the Public Good Designers ‘ responsibility to contribute in constructive way Ways designers can contribute ? Prescriptive Scenarios. Design for Socially Responsible Behavior Tromp, Kekkert , Verbeek. - PowerPoint PPT PresentationTRANSCRIPT
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Design, the Future & the Human SpiritVictor Margolin
1. Designers can work for the Public Good 2. Designers ‘ responsibility to contribute in constructive
way3. Ways designers can contribute?4. Prescriptive Scenarios
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Design for Socially Responsible BehaviorTromp, Kekkert, Verbeek
Principle argument: Designers can facilitate Individual concerns to align with Collective concerns to act based on the larger Public Good
• Intervention methods: Can change, User determines category 1. Coerce2. Persuade3. Seduce4. Decisive
Strategies Based on Individual Concerns- pp 13-17
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“In the 1960s I saw graphic design as a noble endeavor, integral to larger planning, architectural and social issues.
Aspen Design Conference1966, Paul Rand
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What I realized in the 1970s, when I was doing major corporate identity projects, is that design had become a preoccupation with what things look like rather than with what they mean.
Citicorp, Citibank Identification Program,Anspach Grossman Portugal1975
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What designers were doing was creating visual identities for other people - not unlike the work of fashion stylists, political image consultants or plastic surgeons.
Eye Bee M posterPaul Rand1981
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We had become experts who suggest how other people can project a visual impression that reflects who they think they are.
P Rand 1956-1985
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And we have deceived ourselves into thinking that the modernization service we supply has the same integrity as service to the public good. Modernism forfeited its claim to a moral authority when designers sold it away as corporate style.
http://www.designhistory.org/Post_mod.html
P Rand, 1985
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“He invented the term Radical Modernism to distance himself from both the formal constraints of Modernism and the post modern label.”
http://www.designhistory.org/Post_mod.htmlTM Magazine Cover
DF, 1972
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”a reaffirmation of the idealistic roots of our modernity, adjusted to include more of our diverseculture, history, research, and fantasy."
1994, D Friedman
House Interior, DF @ 1978
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“His approach is eminently reasonable and certainly responds to the mix of tastes, styles, and ethnicities, that have asserted a presence within ouremerging vision of global culture.”
V Margolin
House Interior, DF @ 1978
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“…design was in crisis and urged designers to see their work in a larger cultural context…”
3 Mile Island, painted lamp w found objects, DF @ 1985
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PROJECTS OF OPTIMISMDan Friedman*
• Live & work with passion & responsibility.
• Try to express personal, spiritual, & domestic values even if our culture continues to be dominated by corporate, marketing, & institutional values.
• Choose to remain progressive; don’t be regressive. Find comfort in the past only if it expands insight into the future, & not just for the sake of nostalgia.
• Embrace the richness of all cultures; be inclusive instead of exclusive.
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• Think of your work as a significant element in the context of a more important, transcendental purpose.
• Use your work to become advocates of projects for the public good.
• Attempt to become a cultural provocateur; be a leader rather than a follower.
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• Engage in self-restraint; accept the challenge of working with reduced expectations & diminished resources.
• Avoid getting stuck in corners, such as being a servant to increasing overhead, careerism, or narrow points of view.
• Bridge the boundaries that separate us from other creative professions & unexpected possibilities.
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• Use the new technologies, but don’t be seduced into thinking that they provide answers to fundamental questions.
• Be radical.
*p 209, Radical Modernism
Logo for exhibit: Radical Modernism, Moore College of Art & Design, 1994, Philadelphia
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“Premature specialization in schools perpetuates a similar isolation in practice and works against the hybridization that is increasingly desirable in real professions.”
Does it Make Sense, Design quarterly. April Greiman, 1986