Book Research
Design Futuring - Useful Notes/Extracts
Futuring against sustaining the unsustainable Chapter:
-The initial response to environmental damage from utopians such as Robert Owen and Charles Fournier was ‘solutions’ offered by the creation of a culture and economy of escape from the imperfections of the world, instead of fixing it. However later on Utopianism was modified from being a politically idealised vision of a redeemed society to a belief in technological redemption and expansion with the idea of ‘techno-fix’. This way of thinking was support by Buckminister Fuller’s description of the planet as spaceship, to steer, manage and repair.
-This technological redemption is found in all forms of ‘sustainable technology’, despite the questionable value of these technologies, they feed illusions of transformative agency and power. Tony Fry agues that enlightening governments about environmental issues is not enough to solve the problem and other problems will continue to arise as long as the idea that the global energy supply has to continuously grow. He points out that the starting point would be to demand reduction by eliminating the need of so much energy. He uses an image made by NASA of the world at night to support his view, the image highlights that richer nations are more unsustainable because of the high intensity of the lights while poorer nations are dark.
-Our limited awareness of how unsustainable we are makes us dangerous since we fail to realise how we are unknowingly postponing problems into the future rather than dealing and preventing them in the present.
-In the past technological progress was celebrated and romanised. Today it is totally naturalised and part of our everyday life, we cannot live without it but too much of it is harmful therefore their needs to be balance, less technology does not mean no technology. We need to critically assess what technology is, does and the roles we play as their creator. Tony fry argues that the challenge we face is aiming to maintain enough ‘alienation’ from technology by creating a new more sustainable relationship with it. In order to do this its is more than just creating new environmental technologies instead it is the “arrival of a level of technological literacy within a regime of ‘design intelligence based on responsibility…without (this) the ability to redirect anything technological … would be very limited”.
-Tony Fry uses the example of ‘Green Buildings’ which he points out are ‘unquestionably superior’ to other buildings who do not consider energy and environmental impact of the design. However measuring a green building’s sustainable efficiency needs to take into account not only the buildings design, but it’s purpose and use and how well it’s users fulfil it’s sustainable capability. In terms of users Tony Fry argues that “People can make a green building unsustainable and (…)an unsustainable building can contribute to sustainment”(p188) supports this by identifying two potential reactions a person may have which are passivity or resistance to, for example an electronically controlled building management system that takes away the users ability to switch lights on or off, alter room temperature etc voluntarily is as Tony puts it, ‘not exactly win(ning) people over to ‘sustainability’. It may cause a resistance in terms of it not being practical and allowing users to tailor the system to fit their irregular needs. On the other hand allowing them to control everything also causes a problem in terms of how appropriately they can use this technology in order to make it ‘work’ in a sustainable way.
-Most ‘advanced’ model of eco-design is the ‘cradle to cradle’ approach which imitates the cycle of nutrients in organic systems to create a cycle of material metabolism. This involves an object that is no longer usable, being traded for a new one, grounded up and sent back to its manufacturer once it accumulates to a large amount. This material is then used to reproduce identical copies of the original. However despite this method encouraging reuse, reduce and recycle of materials Tony Fry warns of how this can potentially fall into ‘sustaining the unsustainable’ because of how it favours a more ‘short-life’ approach to products rather than an ‘eternal’ since it applies less to the latter, additionally it does not limit the amount of products produced and the energy consumption of that product. (supports the importance of raising aware new amongst people.The human factor).
Consumption as an economic category is incommensurate with it as an ecological category. No matter the way in which products are acquired and used or whether consumption is thought and theorised as an economic activity, the fact is that all durable products at the end of useful of have not been consumed. The residue materials of landfills, waste dumps, junks years, plus the content in our house which is store and hoard away all testify to the truth of this claim.(waste resources)
-What designers do is destroy value at the same times they create it ( a new style product is launched as ‘the latest’ thus rendering previous versions ‘dated’).This means that while it is acknowledged that artefacts can prompt the creation of others objects (such as systems elements and accessories) and delivery experiences( e.g pleasure and the use of new skill) what they equally destroy (craft practise, knowledge etc) is mostly unnoticed.
-In many respects, the debate on sustainable consumption do not contest the capital logic of perpetual growth— thus the rhetoric of sustainable consumption either knowingly or unknowingly legitimates the unsustainable.
Futuring against sustaining the unsustainable Chapter:
- Technology and technological salvation
-The initial response to environmental damage from utopians such as Robert Owen and Charles Fournier was ‘solutions’ offered by the creation of a culture and economy of escape from the imperfections of the world, instead of fixing it. However later on Utopianism was modified from being a politically idealised vision of a redeemed society to a belief in technological redemption and expansion with the idea of ‘techno-fix’. This way of thinking was support by Buckminister Fuller’s description of the planet as spaceship, to steer, manage and repair.
-This technological redemption is found in all forms of ‘sustainable technology’, despite the questionable value of these technologies, they feed illusions of transformative agency and power. Tony Fry agues that enlightening governments about environmental issues is not enough to solve the problem and other problems will continue to arise as long as the idea that the global energy supply has to continuously grow. He points out that the starting point would be to demand reduction by eliminating the need of so much energy. He uses an image made by NASA of the world at night to support his view, the image highlights that richer nations are more unsustainable because of the high intensity of the lights while poorer nations are dark.
-Our limited awareness of how unsustainable we are makes us dangerous since we fail to realise how we are unknowingly postponing problems into the future rather than dealing and preventing them in the present.
-In the past technological progress was celebrated and romanised. Today it is totally naturalised and part of our everyday life, we cannot live without it but too much of it is harmful therefore their needs to be balance, less technology does not mean no technology. We need to critically assess what technology is, does and the roles we play as their creator. Tony fry argues that the challenge we face is aiming to maintain enough ‘alienation’ from technology by creating a new more sustainable relationship with it. In order to do this its is more than just creating new environmental technologies instead it is the “arrival of a level of technological literacy within a regime of ‘design intelligence based on responsibility…without (this) the ability to redirect anything technological … would be very limited”.
- Design for sustainability:
-Tony Fry uses the example of ‘Green Buildings’ which he points out are ‘unquestionably superior’ to other buildings who do not consider energy and environmental impact of the design. However measuring a green building’s sustainable efficiency needs to take into account not only the buildings design, but it’s purpose and use and how well it’s users fulfil it’s sustainable capability. In terms of users Tony Fry argues that “People can make a green building unsustainable and (…)an unsustainable building can contribute to sustainment”(p188) supports this by identifying two potential reactions a person may have which are passivity or resistance to, for example an electronically controlled building management system that takes away the users ability to switch lights on or off, alter room temperature etc voluntarily is as Tony puts it, ‘not exactly win(ning) people over to ‘sustainability’. It may cause a resistance in terms of it not being practical and allowing users to tailor the system to fit their irregular needs. On the other hand allowing them to control everything also causes a problem in terms of how appropriately they can use this technology in order to make it ‘work’ in a sustainable way.
-Most ‘advanced’ model of eco-design is the ‘cradle to cradle’ approach which imitates the cycle of nutrients in organic systems to create a cycle of material metabolism. This involves an object that is no longer usable, being traded for a new one, grounded up and sent back to its manufacturer once it accumulates to a large amount. This material is then used to reproduce identical copies of the original. However despite this method encouraging reuse, reduce and recycle of materials Tony Fry warns of how this can potentially fall into ‘sustaining the unsustainable’ because of how it favours a more ‘short-life’ approach to products rather than an ‘eternal’ since it applies less to the latter, additionally it does not limit the amount of products produced and the energy consumption of that product. (supports the importance of raising aware new amongst people.The human factor).
- Sustainable consumption and design:
Consumption as an economic category is incommensurate with it as an ecological category. No matter the way in which products are acquired and used or whether consumption is thought and theorised as an economic activity, the fact is that all durable products at the end of useful of have not been consumed. The residue materials of landfills, waste dumps, junks years, plus the content in our house which is store and hoard away all testify to the truth of this claim.(waste resources)
-What designers do is destroy value at the same times they create it ( a new style product is launched as ‘the latest’ thus rendering previous versions ‘dated’).This means that while it is acknowledged that artefacts can prompt the creation of others objects (such as systems elements and accessories) and delivery experiences( e.g pleasure and the use of new skill) what they equally destroy (craft practise, knowledge etc) is mostly unnoticed.
-In many respects, the debate on sustainable consumption do not contest the capital logic of perpetual growth— thus the rhetoric of sustainable consumption either knowingly or unknowingly legitimates the unsustainable.
Visual Research:
campaign + Print examples
M&C Saatchi created an illustrated campaign for a new mental health charity MindFull, with an animated 30-second TV and cinema commercial directed by th1ng’s Will Barras and Shay Hamias. This charity, by The BeatBullying Group, offers young people 11-17 access to online professional counselling and advice.
The ad visualises some of the anxieties young people may suffer such as body image problems, depression, loss of control and anger, which are demonstrated through an animated head that experiences the emotions. The idea is based on the feedback of the charity’s target audience towards how it is to feel worried about something for them. When it came to the print and online ads M&C commissioned around 40 arts to express what “having a full mind” means. This included Will Barras,Denis Carrier and Sam Brookes. The use of animation and illustration was decided because of the visual impact they have. "The reason we went for an animated/illustrative approach is because it's a visually interesting way to bring to life the emotions we feel," he says. "Animation allowed us to be more metaphorical about feelings.”- Orland Warner associate creative director at M&C Saatchi. |
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Advertising Agency: Ogilvy, Beijing, China
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Advertising Agency: Ogilvy, Mumbai, India
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Advertising Agency: DDB New Zealand
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Advertising Agency: Ogilvy & Mather, Hong Kong
http://adsoftheworld.com/media/print/sour_marbels_really_sour
http://www.versacreations.net/advertising/265/great-ad-17-durex-extra-safe-stork-ads/
http://www.bhatnaturally.com/advertising/bros-mosquito-repellant-ads-with-bite/
http://www.bhatnaturally.com/advertising/25-print-ads-with-great-illustration-styles/
http://www.versacreations.net/advertising/265/great-ad-17-durex-extra-safe-stork-ads/
http://www.bhatnaturally.com/advertising/bros-mosquito-repellant-ads-with-bite/
http://www.bhatnaturally.com/advertising/25-print-ads-with-great-illustration-styles/
The Gunn Report held an online exhibition “The Art of illustration”, of 50 award-winning press and poster advertising campaigns that incorporate illustration from the last 15 years(2014) including work from 21 different countries.
“In the past, illustration was the norm. Advertising art in the 1880's consisted mostly of engravings of products in black and white on wood. By 1900 advances in photo-engraving and printing made full-colour art feasible and advertising as an art form blossomed,” the Gunn Report said in a press release. “Now 90 percent of ads use photography, therefore the use of Illustration is already a way to be different or intrusive.”
“But, illustration, when used appropriately, becomes more than just an executional option. It becomes intrinsic to the creative idea. It can make comical ideas even funnier. It can make scary messages even scarier. It can make fantasy more fantastic,” the press release said. - See more at: http://adobomagazine.com/global-news/gunn-report-celebrates-illustration-50-award-winning-print-campaigns#sthash.PTqY9g4R.dpuf
Art director Neil Dawson said: “This selection of work uses illustration not for its own sake but because it is exactly the right medium and style for the message and brand. These ideas simply wouldn’t work with photography.”
http://www.theguardian.com/media/gallery/2014/nov/27/the-art-of-advertising-illustration-in-pictures
“In the past, illustration was the norm. Advertising art in the 1880's consisted mostly of engravings of products in black and white on wood. By 1900 advances in photo-engraving and printing made full-colour art feasible and advertising as an art form blossomed,” the Gunn Report said in a press release. “Now 90 percent of ads use photography, therefore the use of Illustration is already a way to be different or intrusive.”
“But, illustration, when used appropriately, becomes more than just an executional option. It becomes intrinsic to the creative idea. It can make comical ideas even funnier. It can make scary messages even scarier. It can make fantasy more fantastic,” the press release said. - See more at: http://adobomagazine.com/global-news/gunn-report-celebrates-illustration-50-award-winning-print-campaigns#sthash.PTqY9g4R.dpuf
Art director Neil Dawson said: “This selection of work uses illustration not for its own sake but because it is exactly the right medium and style for the message and brand. These ideas simply wouldn’t work with photography.”
http://www.theguardian.com/media/gallery/2014/nov/27/the-art-of-advertising-illustration-in-pictures
Good examples of Print ads
http://www.creativebloq.com/inspiration/print-ads-1233780
http://www.fubiz.net/en/2013/06/13/stop-treat-your-dog-like-a-trashcan/
http://www.fubiz.net/en/2013/06/13/stop-treat-your-dog-like-a-trashcan/