Relative Opacity

BIPOC run design collective

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Haleemah Interview

How would you describe what sustainability in design is? 

I borrow my definition of design from Herbert Simon, where he says, "to design is to devise courses of action aimed at changing existing situations into preferred ones." And within this definition of design, sustainability becomes the conditions by which we meet our needs to create the 'preferred situation' without compromising the needs of future generations in a just and equitable manner. 

In this current state of the world, why is sustainability in design an important topic in the field of design?

Designers are expected to design with an awareness of the changing social, cultural, economic and political contexts in which the product’s life cycle operates. Sustainability is inextricably bound to all of these factors. It is becoming more and more impossible to separate economic issues from environment and socio- cultural issues. It is no longer an additional factor, or a ‘nice to have’ feature in design. It is a world view through which we must design to build our way out of the complex issues facing us today. By having systems thinking mindset, designers can help to build effective resilient solutions that can help our people, planet and economy. 

What is a great and often overlooked example of sustainable design?

I absolutely love Apple's buy-back schemes and refurbished products. It creates a huge circular loop for the flow of materials that are very commonly used and would be improperly disposed of otherwise. It's one of the biggest examples of commercial material management that I think doesn't get enough credit. But of course, we have Patagonia and Loop (Terracycle) who are doing wonderful work in this space. 

What are the ways in which designers (and non-designers) can contribute to sustainability in design?

We all have a part to play, sustainability and design need collaboration and plurality for innovation and resilience. I'd encourage everyone to be aware of the system in which they operate and exist in and to be mindful of the impact that they have. Just by being a little more mindful and open to change, we can identify an abundance of opportunities for sustainable solutions. I like to conduct a design post-mortem of my projects, where I evaluate the project to see if there are things I would have done differently or any unforeseen consequences that I can learn from so I can do better next time.

Between studying in India and the United States, did you see a big difference in the way sustainability is treated ? And did this multi-cultural experience impact your going into studying sustainability as a design practice?

Oh yes, my approach to design in India was very siloed and aesthetically influenced. Design education in India espouses a certain romanticization of India’s craft. As designers, we are expected to step in and save our rich national heritage by designing products that can be sold in global markets. For me, this was a very shallow understanding of the artificial. The products around us shape our stories and our identity. Not only that, but the difference between artisan and designer is very stark in terms of power, access to resources, knowledge. It was an awareness of this imbalance that helped me realize the need for sustainability in design. I truly believe that an approach to design that facilitates conversations between all stakeholders can lead to the discovery of effective, responsible solutions that raise the agency and resilience of our communities. At the Design for Sustainability program at SCAD, I have learnt that designers must walk between cultures, societies, people, and disciplines to create inclusive systems.

What advice would you give to designers interested in going into sustainable design but have no idea where to begin?

Be curious. Always stay open to collaboration and feedback. Pick up new skills, learn to think critically and be open to unlearning and re-thinking all of your beliefs. I'm currently reading this book called, 'Think Again', by Adam Grant which gives us excellent practical tips on how to re-think our beliefs and I think that is a very important skill for designers interested in sustainability. 

Website: https://www.haleemahsadiah.com/

Instagram: https://www.instagram.com/haleemahsadiah/

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Another recorded Cafe con Leche with Kim Bariring

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Newest Cafe con Leche Interview today :) 

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Tuca & Bertie

Typographic Appreciation by Leyla Gokcek

Imagine a show where you watch animals talk about themes of trauma and friendship in an imagined world. Now add another layer of bright colors and drawings that revisit a lost time period of cartoons where messiness is the style. In the beginning of the show Bertie moves in with her boyfriend Speckle, while Tuca moves out of the apartment and lives a floor down. Taking place in New York, this show is about two friends who conquer the realities of adulthood. We continue to see the relationship between Bertie and Speckle unravel. And then we see how Tuca and Bertie accompany each other throughout their emotional endeavours in finding out who they are and they reconquer past traumatic memories. Their friendship is one that I admired throughout the plot. (For more information on the plot of the show visit Kate Abbot’s article on the Guardian)

In the first episode of Tuca and Bertie, typefaces created another layer of expression. Animated cartoon shows don’t use a lot of typographic expressions when a character is directing a thought. However, I appreciate Tuca and Bertie’s versatile hand drawn letters that represent the character’s thoughts. For example, when Tuca is first introducing Bertie’s personality (episode 1) she talks about how Bertie is a “people pleaser”. In that frame, Bertie is posing next to words saying “people pleaser”, with an added smile below. I admired the added expression the words represent when talking about the character’s personality traits. 

The style of the hand drawn letters reminded me of lettering I would doodle in my old composition books. I felt a new layer of intimacy when words would pop up in a frame with a cartoon character. The intimacy I’m describing are old notebooks that would become personalized with someone else’s art style. Almost like you’ve entered someone else’s world and their art is what encompasses another expression of their personality.

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3D logo designed by @closeisnthome About: Close isn’t Home is a website and social media platform that provides space for sharing narratives, information, and resources for intersectional, black, indigenous, and people of color identities. The website consists of an interactive game and a commenting section that prompts online discussion. Close isn’t Home records culturally specific objects as points of empathy, normalizing their definitions and connotations beyond the label of “cultural object”. It is a collaborative virtual space that is also a space of accessibility, familiarity, and reflection. Their Instagram (@closeisnthome) has consisted of digital art skillshares and collaborations, an open-source 3D object library, and inspirations all catered towards creating accessibility of digital art for BIPOC experiences.

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Listen to our interview with Lauren Jackson on SoundCloud :) We will be posting audio files of interviews on our Soundcloud. 

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Listen to our interview with Anjali on SoundCloud :) We will be posting audio files of interviews on our soundcloud. 

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Manifesto 2

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Manifesto 1

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“Each generation must discover its mission, fulfill it or betray it, in relative opacity” - Frantz Fanon How can we create a new precedent in design? How can we dismantle what we were taught and build something new from the ground up. In other words, setting a new “staple” that isn’t based in eurocentric white male minds. Welcome to Relative Opacity :)