Post By Elmer Atienza I recently discovered this website and webpage (http://www.engineeringchallenges.org/cms/8996/9221.aspx) that describes the “Grand Challenges of Engineering” as pronounced by the National Academy of Engineering (of the National Academies). The Grand Challenges of Engineering are, in the order of their poll results: Should we, as designers, have a similar list of “grand challenges” of our own, as pronounced by one of our representative organizations such as the IDSA, DMI, AIA or AIGA? Or could we, as designers along with our representative organizations, partner with engineers and the National Academy of Engineering to surmount these challenges since they can all be viewed as design problems that will require design thinking as much as scientific thinking to formulate hypotheses, research, conceive, test and evaluate, and reiterate possible solutions? Most of these grand challenges will require the design and development of objects and interactions that will manipulated by people for their effects, and will thus require the unique skill-sets and mind-sets of architects, product designers, industrial designers, interaction designers and graphic designers. For designers, here lies a fantastic opportunity to lose or gain ownership of the kinds of problems for which viable solutions will not only help the lot of humanity but will establish respect for design’s role in the improvement of our lives.
Posted by Thomas Gal:
I read an awesome post, which plugs indirectly, for biomimicry yet again! I read that the emulating the pattern in which swim could squeeze more power out of wind farms using vertical rotors. There are limitations to the caltech study (it is 2D) but it shows potential.
Fish can help consume waste, grow vegetables, AND produce more power with wind. Next thing I’m gonna hear fish oil is good for you…..err…wait…..
Also backs up my comment on Technology -vs- Design. They go hand in hand in any complete notion.
-Tom
Posted by Leslie Martickle
another quarter has commenced at SCAD. group projects emerge, and design thinking takes center stage. this winter, a group of fellow design management grad students and I, have developed a concept we believe has a lot of potential. playUP savannah is the result of creative brainstorming with endless opportunities for success within the savannah community.
our mission statement: to foster community interaction and raise awareness for a local issue through a site-specific installation and promotional campaign. our project aims to facilitate creativity amongst the savannah community. we will be designing an “installation” to communicate a social (welfare) message, urging for a better, quality driven community/society.
we are currently working to identify the issues/topics that are close to the hearts of native savannahians. we hope the playUP philosophy will resonate in cities around the country. local becomes global, think: playUP austin, or playUP cincinnati. making a difference, one city at a time…
please visit our website as the project continues to evolve:
By Thomas Gal
I just wrote an interesting post about an oft overlooked way to help the environment. I read a really good op-ed in the NY Times which got me thinking: Isn’t information, and maybe a little shame just as effective as fancy carbon prices, laws, and other top down methods?
Courtney E. Hurst: A Thesis Submitted to the Graphic Design Department for the Degree of Master of Fine Arts at The Savannah College of Art and Design
Abstract
In the 21st century, shifts in the large scope of the design industry demonstrate the need for graphic designers to adapt to an ecocentric model of creating systems before artifacts. Simultaneously, the significant environmental shifts of today require visual communicators to engage in the orchestrating of conversations between ecological concepts and human culture. Adapting to these shifts requires observation of methods, theories, difficulties and possibilities of integrative design teams in relation to the practice of graphic design. Future graphic designers further encourage the integrative nature of the discipline by minimizing insular design environments and encouraging team oriented activity. This thesis observes the changes in the practices of current designers and professional design methods, projecting how future graphic designers can embrace the system thinking approach for use in practice, individually and collectively.
1.0 Introduction
Shifts in design thinking, including an emphasis on systems thinking as well as the emergence of information technology, have changed the practice of design. The shifts toward ecoliteracy and interdisciplinary design demonstrate that the role of the graphic designer is expanding, confirming that the practice and discipline of graphic design is at a crossroad allowing for exploration into the integrative nature of service and concept design. An intimate understanding of the principles and practices behind shifts in the design industry prepares the graphic designer for future roles in the change toward the “organic-systems” methods (Dubberly 1). Systems theorists, including author Fritjof Capra, define systems thinking as the process of analyzing something in the context of the whole system. This encompasses the need to be fully aware of both the effect of designed work on the environment as well as changing trends within the marketplace. Most importantly, the shift in current practices facilitates the need for more in depth investigations into system thinking as it relates to graphic design.
In vol. 24 of Design Issues, Maggie Breslin, author of the article “ZIBA Design and the FedEx Project.” states that
“The nature of design is changing. We sense the shift in the products, people, and companies that surround us. We see traces in our language and processes. We feel that design is different, and yet the forces of change remain largely hidden and out of reach. How exactly are we designing differently, and why? The guiding principles behind change hold the key to harnessing it as a tool for the designer. Until we understand them, the change leads design rather than design leading the change” (Breslin 36).
This analysis brings the conversations surrounding the shifts in design thinking to the forefront. Therefore, past and present arguments and observations are important to examine when considering systems thinking in design practice. Throughout this investigation, Breslin’s question remains: How exactly are we designing differently and what are the principles behind the change?
Evidence of this expansion is in the emphasis on obtaining working knowledge of brand strategy, market research, project management and sustainable production practices. Additionally, positions in graphic design increasingly require skills in integrating principles of anthropology, psychology, marketing, and industry, a thorough understanding of observation of human interactions, and solving problems in dynamic ways. Also, it is well known that good design practice should include knowledge of sustainable materials and an understanding of the repercussions poor choices have on the environment and the efficacy of their end product in the marketplace. For many designers, this does not require making major changes in thinking or behavior, but rather subtle shifts that balance conceptual thinking, theoretical frameworks, and technical skill in planning and services. The ecocentric designer, as opposed to the egocentric designer, weighs all the factors when approaching a project. The main goal for a systems thinking graphic designer is to operate within and between the realms of design, culture and the natural environment.
This investigation defines the Age of Creative Adaptation as the age that encompasses several eras, the environmental movement of the 1980s and 1990s, the sustainability movement, and our current information era. Adaptation is a necessary component in life, exhibited in nature and immensely valuable to the prudent graphic designer who themselves must adapt to an ever-changing environment. Specifically, creative adaptation can be defined as the ability for design, designers, and businesses to evolve by updating skill sets and being open to constantly changing information. The Age of Creative Adaptation is not unlike Hugh Dubberly’s “Age of Biology” which discusses the shifts in design from mechanical-object ethos to an organic-systems ethos (1). Dubberly, a design planner and teacher, describes the shift from the industrial age to the information age as a mirroring of the shift from manufacturing economy to service economy where commercial products are considered as services (6). It is inevitable that not all graphic designers will welcome the service-based shift in graphic design. Dubberly concludes this can be attributed to the fact that form making remains a large part of design practice and design education (11). He continues by stating that a “schism is already developing both in design practice and design education, as individuals and institutions choose to focus on either form-giving or on planning” (Dubberly 11).
Along with shifts in design thinking, there have been serious and significant global shifts in the environment. Environmental factors including global warming, oil depletion, population growth, massive energy waste et cetera form the basis for the need to adapt. These factors must be in balance to have a healthy ecosystem. If one or more becomes disproportionate to the whole system, major shifts can occur. In natural systems, a point of increased energy or imbalance causes instability and sudden change; this change often fosters an entirely new state of existence where new structures and new forms of order emerge. The point of change in a system encountering increased energy flow is called a bifurcation point. Arguably, the current ecological and societal climate may be evidence that we have reached such a transition point. Amidst these shifts, an individual graphic designer’s ideas and beliefs are equally as important as the way they choose to operate in the larger framework of a design community.
Biological metaphors, in parallel to design, can foster a deeper understanding within the principles behind systems thinking in relation to graphic design. Biological metaphors can perhaps aid designers in making connections between themselves and the larger picture that necessarily includes continuous adaptation. For example, an ecosystem describes a flow of energy within a boundary; A biological cell is an autopoietic system, a self-organized structure that exists within an environment. The boundary protects the cells inner system, yet allows it to be connected directly to the outside environment. Much like a natural ecosystem, a design ecosystem can be defined as a system formed by the interaction of a community of designers within their environment. With the concept of the design ecosystem in mind, perhaps design can be re-imagined as an act of operating within a closed-loop system but circulating through a larger design environment. Design education might also be perceived in this manner. Students, though they are members of a specific department, have the opportunity to circulate among the various disciplines, adding to their knowledge base. Indeed, the analogy between the designer’s work environment and the ecosystem is apt; after all, the graphic designer often works within boundaries expending energy and thought on a given task. He or she is connected to the outside environment and is affected by what lies beyond the exterior wall of the design studio or classroom.
Visual Component: Ecollab Experimental Workshop
Date: Spring Quarter, April 22nd, 2009
Conducted by: Courtney Hurst, MFA graphic design, 2009
Participants: Graphic Design students: seniors of Studio II with Bob Newman and graduate students from Typography I with Zoran Belic.
3.1 Introduction
The systems thinking approach to design methods can be presented to a classroom in variety of ways. For example, group think activities can encourage collaboration in the creation of products and services emphasizing the importance of the communicative aspect of any given project. This approach requires improvisation, uncertainty, and experimentation. Many obstacles may occur including uninterested participants and unwillingness to share ideas for fear of valued ideas being stolen by peers. Any number of other variables can hinder the process. I intended to investigate these obstacles further by conducting an experiment among fellow graphic design students.
3.2 Objective
Based on the principles and practices outlined in this thesis, I proposed conducting a workshop involving an undergraduate and a graduate class. The objective was to explore ways in which graphic designers can collaborate to design products and services based on provided information of biological systems. This event was also designed to promote interest in ecoliteracy, systems thinking, and biomimicry as they relate to graphic design. Ultimately, this event was designed to determine the willingness of graphic design students to collaborate and participate in groupthink sessions. Through the opportunity to collaborate, this time spent provided students with the opportunity to question current insular design practices and encourage graphic design students to imagine not what style their work may make use of but what format it should take in the first place.
3.3 Hypothesis
I hypothesized that students would respond in a positive way to this experiment. I also believe that students can connect further with their departmental community through group-think projects, inspiring them to learn more because they recognize that the knowledge is essential to something they care about. Also they learn that each individual can make a difference, which encourages more participation, collaboration and conversation. When students acquire a deeper knowledge of a discipline such as graphic design, they develop a connection between its principles and the people involved. Upon understanding ecology and diversity, and intricate webs of relationships, students develop an appreciation for fellow students and their working environment.
3.4 Overview
The setting for this experiment was a classroom within the graphic design department. A room more conducive to collaboration was preferred, specifically one equipped with cork-board walls for push pinning ideas to the entire space. Fellow graduate students receiving their MFA degrees in graphic design volunteered to assist in the experiment. Colleague Jill Yoe Graves, an MFA graduate student in graphic design, volunteered to photograph the event. Each student received a small fourpage booklet outlining the information presented at the experiment. Photographs of the students, the space for the workshop and booklet are featured in the figures section of this thesis paper.
The experiment was divided into three sections:(1) Introduction, Slide Show, (2) Small Team Session, and (3) Large Group Session. These sessions were approximately forty-five minutes in length, bringing the workshop to a total of two and a half hours.
3.5 Conclusion / Analysis
As predicted, seniors and graduate students demonstrated an optimistic attitude toward participating in this experiment. It was expected that there would be conflicting ideas about the duration of the experiment and the amount of information provided. Most groups had trouble in the beginning during the concept mapping phase of the activity. This indicates a need for more time and consideration about how to encourage more group concepting. Sharing ideas through a mind map gets thoughts onto paper where all can visualize the connections between the various solutions to a problem. None of the groups were able to address the systems aspect of the assignment. This could have been due to the unclear nature of the questions provided or lack of examples in the presentation. Most were able to define a target audience for their product and describe how the product is used. However, none of the groups were able to clearly define how the product or service provided feedback. This is a clear indication that the feedback aspect of systems thinking was not emphasized nearly enough in the introduction of the experiment. As a whole, the experiment was successful in that several students were inspired by the presentation to use the principles behind systems thinking in their own projects for other classes. Overall, the group was enthusiastic and provided valuable feedback for improvement of future workshops. Other graduate student workshops can use this experiment as an example for how to engage students in collaborative investigations.
Further Development
This experiment provided a framework as to how the Ecollab workshop series can be organized and conducted in the future. This workshop can be expanded to become a class offered in a graphic design department. Upon further investigation, the principles and objectives behind the workshop can be refined to offer students an interdisciplinary elective in collaborative projects based on systems thinking. Future endeavors will require refining of the details and length of the presentation as well as the timing between the activity in groups and the final presentations. In the future, students would sign up for the two and a half hour workshop. This would allow interested students to come and participate as they choose. An interactive poster design* as the sign up emphasizes the design community idea and the interconnectivity between students. Based on the received feedback from students and professors, those interested in the subject matter and the collaborative nature of the event would find this a valuable experience.
For more info and images from the workshop, please see http://courtneyhurstdesign.com/EcollabWorkshop.html
*Interactive Poster for Workshop
- Amit Bapat
I’d like to share with you, the topic for my thesis that I have been working on for the past 2 years now. I am currently looking for sponsors to fund my research trip to Uganda, so if any body knows anyone who is interested, please feel free to contact me at amit.s.bapat@gmail.com.
Thesis Abstract
This ongoing MFA research project is being conducted in collaboration with a Non Government Organization (NGO), Hope to One life in Uganda. The Bio-sand filter (BSF) is a primitive and inexpensive form of water filtration that uses beneficial bacteria and sand to remove contaminants from water. The filter has been in use for twenty years and is innovative in its functionality and technology. However, the bio-sand filter fails to address issues of ergonomics and usability.
More importantly, its diffusion into the African community has reached a saturation point that is well below its potential. It is the purpose of this study to reveal the limitations in the design of the filter unit toward the end of creating a redesign that fosters a new production and service model. This model would increase the potential for diffusion of this important invention throughout non-developed countries.
This thesis project is very different from the other projects that SCAD usually teams up either with the industry or with the local community. Also, it is first of its kind to tackle a ‘real world crisis’ at an international location, dealing with an unusual target market. Usually designers and design in general are used at the end to make things pretty or attractive. This project emphasizes- why designers should be at the forefront of the design process and not at the end. Also, good design can be used to bring down the cost of innovation and make it affordable for the poorest of poor people in the world. Ultimately, good design can embody a combination of social, economic and environmental capital.
The Bio Sand Filter (BSF) is one of among thousands of products which have a potential of not only improving these poor people’s condition of living but also transforming into a tool of empowerment. Furthermore, this diffusion of innovation does not rely on the product itself but also in the system in which it is placed in. Here we see Non Governmental Organizations (NGO’s) playing a vital role in bringing true empowerment to these people. The existing model of NGO’s is flawed and for all these years, they have been in fact creating a greater dependency on the western world. Part of the problem lies with this broken system and necessitates a change along with the redesign of the product.
Designing for the other 90%
Of the world’s total population of 6.5 billion, 5.8 billion people, or 90%, have little or no access to most of the products and services many of us take for granted; in fact,
nearly half do not have regular access to food, clean water, or shelter. Designing for the other 90% explores a growing movement among designers to design low-cost solutions for this “other 90%.” This concept is further popularized by C.K. Prahalad in his book, The Fortune at the Bottom of the Pyramid. Their huge volumes and aggregate spending power is substantial to bring in a cultural change in the way traditional products and services operate. For more info:Desinging for the other 90%
The Approach
The goal is to decentralize the current NGO model from a star to galaxy pattern where participants are interconnected through a network of users, change agent and the local providers and manufacturers, businesses and entrepreneurs. This will not only ensure that entrepreneurship and innovation are driven to a grass root level but more importantly give a sense of ownership and pride amongst locals which is imperative to thus attain true empowerment of the Ugandan community.
In order to do so, the NGO must transform itself and involve the local population in the co-creation of products and services. The NGO must shift from the current manufacturing and distribution level to the innovation/ diffusion management level.
Furthermore, this transformation will take place with the NGO redesigning its organization and operations to be more in line with for-profit business models.
Other Components
Some other important areas of this thesis revolve around:
1. Entire product lifestyle: What happens when a BSF is broken. Where does it end up? Is there a way to bring back a broken filter back to the manufacturer and create a new one thus achieving a partial closed loop system?
2. Awareness Campaigns: Effective awareness campaigns will educate the locals about the importance of clean drinking water. For e.g cleanliness is not only limited to the Bio-sand Filter but also to sanitized storage containers and clean environments in which the filters are placed in.
3.Brand Identity: Brands such as these not only give an option to the people but also become a tool of empowerment. Effective Advertising and communication in
conjunction with the new service model, will maximize user participation as well as attract patrons and volunteers to support the system.
From a Design Management standpoint, this project also emphasizes the vital role of ‘facilitators of collaboration’ in any design project which give the required push to keep the ball rolling over obstacles. In this case, Dean of Graduate studies, Edward Dupuy has relentlessly been working to involve the upper management of SCAD and multiple graduate departments for this project. We soon shall have a graphic design team working on the branding of the NGO. On the Industrial Design side, Professors like Robert Fee have had the vision to extend this as a class project where 6 more graduate students along with Bob and myself are currently working on the redesigning of the filter and mold. It is rare in any institution, to have such a strong support of faculty in student projects which definitely brings such projects one step closer to realization.
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Amit Bapat is an Industrial Designer+Design Manager, exploring the combination of social, economic and environmental capital with good design. His well balanced perspective in Industrial Design results from a multidisciplinary approach to problem solving. He is currently pursuing his MFA in Industrial Design from the Savannah College of Art and Design, Savannah, GA. He previously earned a BE in Electronic and Telecommunications from India.
Check out my other design blog where my friend, Brandy, and I post things we are working on and things we like. 
