Final Documentation
http://www.pdf-archive.com/2016/06/01/ccdn331-documentation-cyma-parbhu/
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Today's Document
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Final Documentation
http://www.pdf-archive.com/2016/06/01/ccdn331-documentation-cyma-parbhu/
Creation of additional info
Labels for baskets (Promotional Material)
Stickers for rice packets (Promotional Material)
Inspiration Installations
Hirschhorn, Thomas. Outgrowth. 2005. Centre Pompidou, Centre Pompidou.Centre Pompidou. Web.
Kehres, Rainer, and Sebastian Hungerer. Globe. 2009. ZKM, Pinakothek Der Moderne. Bellerby & Co Globemakers. Web.
Iteration Three
This is a development or another idea for what I can create from iteration two. There will still be 10 hanging globes however 9 of them will all be around the same level, solidly hanging. The other one will be placed in the middle lowered down. All 10 globes will have holes in them and only the middle globe will be full of grains.
The aim is for the viewer to interact with the installation and to spread the grains to the other 9 globes. Hopefully by the end of the exhibition, the middle globe’s grains would be spread to the other globes and lifted up to the same level as the others.
For my promotional material, I wish to continue the same idea as mentioned before and give the viewer the choice of taking or giving.
Iteration Two
My second idea is to create an installation where there are 10 hanging globes, 9 representing the 90% of the world who do not receive sufficient or necessary design. They will be covered in a dark, trash-like cover to show the darkness and the other globe will be the 10%, in a bright colour.
Below the hanging globes will be a table with two boxes, one with objects such as cans of food or along similar lines, and the other empty. My aim is to give the person the power to choose what is necessary. They can either choose to take the object or give it to a chosen charity. I don’t want to create unnecessary junk. Give or take? Do you need it?
Iteration One
My first idea was to have different boxes or layers filled with different ‘needs’ such as: money, insulation, technology, food, water, etc. The person interacts with the creative installation by stacking the different layers in a hierarchy of needs, which they think is more important.
The different needs came from Maslow’s Hierarchy of Needs “Maslow wanted to understand what motivates people. He believed that people possess a set of motivation systems unrelated to rewards or unconscious desires” (McLeod, 2007). However, looking closer to this theory, I noted it was quite outdated and from 1943/57.
McLeod, S. (2007). Maslow's Hierarchy of Needs. Retrieved from http://www.simplypsychology.org/maslow.html
Design for Necessity Manifesto
DESIGN FOR NECESSITY MANIFESTO
Contemporary social concerns are in need to be addressed and solved. The design for necessity has never been stronger. Design is an instrument of organisation, a medium for persuasion, a means of relating objects to people, a method for improving safety and efficiency, and a way of coping with the complexity of contemporary conflicts.
DESIGN FOR NECESSITY
The absence of design by necessity is a hazardous kind of design. Not to design is to suffer the costly consequences of design by default. There is a cry for a change in the way we design, design think and sell design. A cry to designers for a better understanding of the differences between needs and wants in design.
NEEDS
Design for those in need, not just the big man corporations. Large corporations are only looking to make a dollar. The needs are incorrectly addressed and the solutions are ineffective.
Design is an urgent requirement, not a cosmetic addition. Design can address and solve social conflicts. Design is not all about being an aesthetically pretty product.
Design for impact Design to make a difference. Whether small or large there is a need for a design that relates to people(s) through the instrument of design.
CULTURE
Culture is unique to each community. Understand and embrace it (DAM, 2001). Not one culture is like another. Each community and each culture is different. They require different needs and have different ideas and beliefs. Identify, understand and embrace these cultures to better apply them to your design. Find ways to marry ancient religious beliefs with contemporary mores.
Consider impact on the community’s cultural identity. Once you as a designer have an understanding, consider the impacts of your design on their cultural identity. Have you considered how it will work seamlessly into their everyday lives?
You should implicate these found cultures in your designs. Address complex cultural developments, identify their needs in their culture and apply to your design.
COMMUNITIES
Consider impact on the community’s environment. The need to incorporate environmental responsibility into everyday life has never been more important than now. A community’s environment is vital to the way we design as it receives the consequences.
Design with others. Social design. Work on the premise of understanding the need for certain communities, the creative processes to go forth and design solutions for a social change and how these situations correlate with the human-centered design (Janzer & Weinstein, 2014).
Design for others. Design for those who need it. Design not for the niche but for the necessity. Be less selfish.
Goals and means come together in the design process, a remarkable synthesis in which the outcome—the object—is always much more, in significance, functionality, innovation, and elegance, than the sum of its parts.
As a society of designers, together we can SUCCESSFULLY design for a change. Design not for design-sake. Design for others. Design for necessity.
Word count: 483
DAM. (2001). DAM - Designers Against Monoculture. Retrieved from http://spacepirate.org/alrdesign/dam.html
Janzer, C. L., & Weinstein, L. S. (2014). Social Design and Neocolonialism. Design and Culture, 6(3), 327-343.
Designing for a culture manifesto (draft)
CCDN331_P3_Parbhu_Cyma.pdf - PDF document download ccdn331-p3-parbhu-cyma.pdf (PDF 1.3, 7014 KB, 4 pages) | PDF-Archive.com
DESIGNING FOR NEEDS, NOT WANTS
CYMA PARBHU
Designing for the other 90%
Contact Sheet - compiled together to easily view colour combinations and cohesion of images. [all edited images]