responses // studio

Critical Design FAQ

This was an interestingly effective format to introduce critical design as a concept – in very direct and concise sentiments. There was not a lot that was explored further than a brief mentioning, but there were still many cool concepts that stuck out and made me curious to learn more about.
Thinking the opposite of critical design is ‘affirmative’ design provides a somewhat good cushion to what may seem like a disappointing area of design. However, trying to consider the darker, complex emotions that are experienced in design is a truly positive, courageous and even empowering step.
The decision to embrace more ‘non-commercial’ forms of design is a rebellious and progressive one, which I see creating a much more substantial / all-encompassing approach to both designing, and thinking about design.
Clive Dilnot is a Design Studies professor here and also touches on the importance of being critical when designing. Critiques are such an integral part of being introduced to designing and talking about design, participating in a bigger discussion.
It is quite easy to get lost in the discourse, or begin to feel compelled to ‘forecast’ the future. This becomes easier once the implementation of new technologies comes into play too.
Considering the impacts of these new technologies on everyday life is what pushes design thinking forward. However, between climate change, overexposure to radiation, and social issues of incredible magnitudes, this way of thinking often leads to negativity or feelings of hopelessness.
Currently I work with research group VSOON, who focuses in especially to design. We often have coined the slogan ‘Optimism Only’ as a motivating force to steer away from the spiraling thought patterns of doubt…

Designing Capabilities

This reading hones in on the design of commodities, and how this has been something that the field of design has relied heavily on all throughout its history.

Rendering a ‘brilliant idea’ into a tangible object often becomes seen as the only translation a concept is able to take on. This author’s take on critical design argues that this object-based thinking forms a relation more to how the object looks over anything else, followed by the thought that objects are not what will make us free. It feels important to note that the act of buying a designed object does not really do much for anyone or anything but the economy, and that as designers we should be more concerned with the repercussions of our designs, and how they could relate to other people’s experiences. Translating an idea into an object is fun and quite enriching for a designer, but what happens after? I think this becomes Otto’s point:

“Having the possibility to buy a commodity, like a bicycle, does not actually mean you can use it, that you have learned to bicycle. Commodities may be good for the economy, but do not necessarily account for better-developed abilities and opportunities for the general population.”

Dilemma Works has an interesting prerogative, marketing their clothing as byproducts of the initial thoughts of making the item, and ultimately making in general. Taking our relation to all of these designed objects into consideration is what keeps this connection – between the designer and the user / viewer / buyer – germane.

So what do we really want to get out of designing? Some designers are satisfied simply with making. But what it really comes down to is understanding the true capabilities of a design, and much more valuable they can be, rather than the design’s grossing profit in Target or Ikea.

States of Design 04: Critical Design

Critical design can serve as exercises in utopia, a way of thinking forward about all kinds of futures – particularly those that are preferable.
Going along with the theme of turning against the Design World of Things, critical design rebells by relying primarily on film and performance.
The aforementioned ‘founders’ of the term Critical Design distinguish art from design in design’s role in everyday life. Rather than creating useful or shocking artifacts, it becomes food for thought that slowly infiltrates and overturns already existing and seemingly mundane daily routines, thoughts and actions.