The lecture on decolonization by Elaine is a thought-provoking discussion on the challenges facing the design industry. She emphasizes that decolonization should not be a mere metaphor for the changes required in the industry, but rather an active process of embracing diverse cultures and ideas. She poses a compelling question about how to remove certain aspects of design without alienating individuals in the process. Elaine's work focuses on the intersection of culture, identity, equity, and risograph printing.
Through her projects, she aims to share stories that have long been neglected. This lecture shed light on the challenges facing the design industry in embracing diverse cultures and identities. Her work is a testament to the potential of design to explore and celebrate cultures, and her call to action to colonize design by incorporating diverse cultures and ideas is crucial in expanding the field of design.
The lecture discusses the design strategy, concept, and development of the multi-disciplinary design studio, Dome with the co-founder Lynn Kiang. She introduces some environmental design projects and how they are conceptualized by designers and produced throughout the concept design process.
The project “Seat at the Table'' from Dome provides an insightful understanding of the interplay between environmental design and social issues, specifically women’s suffrage, and promotes gender equity in leadership. The exhibit uses various methods, such as interactive touchscreens, infographic furniture, environmental statistics, and printed brochures to highlight the current status of women. Lynn shares how the investigations and explorations of the specific idea can be produced in design which helps me enhance a deeper understanding of the effects of each different method used in the design processes.
Moreover, the way the project “Revealing Krishna: Journey to Cambodia’s Sacred Mountain” combines motion graphics, film, interactive media, and mixed reality stood out to me because it successfully creates a unique experience for the viewers by interacting with the sculpture both physically and digitally.
The lecture led by designer and media artist, Pascal Glissmann reviews his research-driven practices in which the concept delves into the convergence of organic, the synthetic, and the hypothetical. Pascal’s approach to design is multifaceted, as he sees it not only as a means of exploration and community-building but also as a framework for categorizing his work. He identifies three distinct categories that his design practice falls under, including clients and products, artistic and research endeavors, and ecologies and knowledge. By organizing his work in this way, I realized that it is easier to understand the impact and purpose of his designs, as well as communicate their significance to others.
Overall, his emphasis on design as a mode of inquiry highlights the importance of thoughtful and intentional design practices in creating meaningful and impactful experiences. I was impressed with the project “Observational Practices lap Atlas of Looking at Water” as it aims to investigate observation as a set of comparative methods and contingent practices, fostering a non-hierarchical engagement with diverse modes of observation.
During the lecture, E Roon Kang and Andrew LeClair present projects from their research initiative, 908A, which focuses on design practices aimed at shaping instructions. In this context, I had the opportunity to peruse various publications, including the physical catalog of the Communication Design exhibition and "1, 10, 100 Years of Form, Typography, and Interaction at Parsons" from the Parsons School of Design, which are specifically designed to showcase artwork and process demonstrations.
The publication, "1, 10, 100 Years of Form, Typography, and Interaction at Parsons," is notable for its unique relationship between the meaning of its title and the structure of the book. The book is divided into three distinct sections, each representing a different time period. The first section, "1," features student work from the past years, while the second section, "10," presents a retrospective of the last decade of the communication design curriculum. The third section, "100," symbolizes the broader history of the institution. Along with these contextual and structural aspects, the gradient on the front cover of the book serves as a visual element, providing an interesting tactile sensation for the reader. These design features of the publication promote interaction and engagement with the content, enhancing the reading experience for individuals such as myself.
In the lecture, the founder of Bright Polka Dot, Kelly Walters shares her ongoing projects along with her art, design research, and practice which concentrates on the intricacies of how identity is shaped, the frameworks of beliefs and principles, and the common language used in and surrounding visual expressions of black culture. Walters visualizes the representation of black women during a particular period of time in her typography design and she remixes and reassembles images and text in her posters. Her experimental approaches in the design of the interplaying language and archival graphics give thoughtful insight into diversity in visualization and conceptualization of design as she demonstrates the significance of integrating social context and visual elements.
Throughout the lecture, I could learn that the designers are responsible for creating work that is inclusive and representative of diverse perspectives as the design has the power to shape our world, and therefore, it is essential that the designers embrace diversity and use their platforms to amplify underrepresented voices. Overall, Walters’s lecture is an inspiring and insightful presentation on the importance of representation and creativity in design. Her personal journey and experiences provide valuable lessons for aspiring designers and her advocacy for diversity and inclusion in the industry is a powerful reminder of the impact that design can have on society.