Laundry Narratives: Reflections on Design, Laundry Practices and Sustainability

laundry

28. Juni 2016, 19:00-20:30 Uhr
Emma Dulcie Rigby, Buckinghamshire New University, UK

Abstract
In this presentation I will discuss the key insights from my practice-led PhD.  Through re-examining laundry as a social practice the research develops a series of design provocations to challenge the organisation of laundry practices, and by extension the frequencies and processes in which laundry is carried out. It highlights that understanding laundry as a social practice opens a space to reconceptualise design, laundry behaviour and sustainability. This provides an alternative lens from which to view and develop design theories and practice for sustainability in fashion.

Biography
Emma is a senior lecturer of fashion design at Buckinghamshire New University.  (...)

26. May 2016 ·

Designing the Social-Material: Idea, Process and Challenge

Seravalli Lecture

Design for Social Innovation, Transformation Design or Transition Design are emerging design practice, research and study. In spite of the differences in the name, philosophy and mode of operation, they share the same ambition of applying design competence to co-create a more sustainable way of living. Thereby they expand the subject matter of design beyond the material to include the social. If traditional design creates new artefacts for particular social context, be it at work, at home, or in school; then these emerging practices are aimed to create alternative ways or conditions of working, living and learning with the support of new material and digital artefacts.

In Wintersemester 2015/16, we intend to look more closely at designing that reconfigures the social as well as the material in transdisciplinary codesign research and practice. (...)

26. October 2015 ·

“Research Practice Dialogue” – Guest Lecture Series

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“Research” and “Practice” were arguably the most important words in academic design discourse in the last 20 years. These were spoken often in
the context of developing design research at the University. Currently there are a number of models established: Research Through Design,
Practice-Led/Based Research, Project-Grounded Research, and Constructive Research. They all share the ideas that designing is a form of inquiry
which has its own particular methods that should be capitalized. Secondly, they see that designing should form a (major) part of design research and
should generate trustworthy knowledge to serve and renew practice.

In SS 2015, we intend to look more closely at designing that engages with specialised scientific knowledge or emerging technology in the context of
interdisciplinary research and development. (...)

5. May 2015 ·

What If There Were No Centre of Gravity? – Reflections on Decentralisation and Nonconformism

Ndikung

Of course I can’t write about flowers and beads and birds and trees. And lovers in the park and all of that stuff n dem. But what the use to write about them something dem, when you sit late in the park at night and a man comes and shoots you and take your woman and rape her. What the use to write about flowers, when the pollution will wither it up! You have to write about the reality or the different. You have to write about South Africa and the youths in the ghetto. You have to write about the England. You have to write about all these things.    Mutabaruka, Intro to Check It

Mutabaruka’s statement could stand as an epitome of the work we do at SAVVY Contemporary and my curatorial practice in general. (...)

21. April 2015 ·

In Focus

The main goal of the Muthesius University in Kiel is to promote art, design and spatial strategies via research and development projects as a focal point for work and intellectual debates. As the only art university in the State of Schleswig-Holstein, the Muthesius is not only a place to develop culturally relevant biographies but with its project studies also a place of particular experimentation and realisation.
 To a certain extent, the profile of the Master’s programme represents study courses and development possibilities for students unique in the Federal Republic of Germany.

“At the centre of the Muthesius University’s focus is art and design, the creative and productive. Around this centre there revolves the fundamental relationship between theory and practice. (...)

23. February 2015 ·

Next Generation Scientific Poster

Idea & Creative Direction: Konrad Rappaport
Technical Direction: Chris Engler
Software: Jonas Häutle & Hermann Hartung

Scientific Content: Dr. David Völker
Voice: Louise Dölger
Audio: Fabian Heinitz

Client: Future Ocean Cluster Kiel
a Muthesius Academy of Arts Project // Prof. Tom Duscher
bits and pieces by wirmachenbunt (...)

12. February 2015 ·

Bad News – A Media Fiction

Is it possible that the exclamation of the end of the world is able to provoke the apocalypse?

We are inside an american printery for newspaper in the 1950s now. A freshly printed newspaper comes to the fore. The headline proclaims the end of the world and pushes us straight towards the reports of the financial crisis of nowadays at the same time. The illustration of a comet, which is running down to the earth, intensifies the impression of the approaching end.

The film asks the question which consequences could be caused by information and news.
With regard to the financial crisis, the metaphor is a kind of an exaggerated persiflage: only the message of the apocalypse causes the end of the world – a self-fulfilling prophecy caused by the media! (...)

11. February 2015 ·

Visual Fundamentals and Graphic Design

Drawing is a complex notation. People who draw, document: the time which passes while drawing. The emotions which fill the drawer, the physical status of the drawer. Thinking about the object which is being drawn. Giving the object its outer form and inner constitution. The relationship of the drawer to the object. The drawer’s needs and expectations from his/her public . In addition to langauge, drawing is a basic tool of artistic self-comprehension in Communication Design. Those who draw must pause and reflect on their creations. Drawing with a fountain pen is a beautiful example: after several seconds the pen is empty and lifts off the page, the gaze goes to the glass with the ink, the pen is refilled, the gaze returns to the paper and searches for a new starting point, from where it continues. Even if it only concerns a few moments, decisions are taken on the completion of the form. To be able to draw, we must be able to see. We must be aware of the fundamentals of our perception, we must train and sharpen our perception, and this occurs in the reflective, practical drawing work, i.e. in a dialectic relatedness of graphic design and linguistic analysis. Additionally, in the studies of  “Visual Fundamentals and Graphic Design” the sign and its analysis should be considered together with the other fields of Communication Design. The knowledge of digital image processing gained in the basic courses in increased and tried out in practical exercises. As a rule, this means creating individual, small publications with the work done during the term. This includes a knowledge of the quality requirements of different printing techniques (offset, digital, silk-screen etc.), initially professional scanning of templates/documents, post-processing with Photoshop and then layouting in InDesign. An illustration should throw light on the object, it should make it light up so that its being or essence can be better shown. An illustration develops its own effect in a context which is narrower than a free drawing. The theme wants to be considered, but also the form of publication plays a significant role. What distinguishes an illustration in a daily newspaper from an illustration published in a children’s book? What distinguishes an illustration in digital media from one on a posterboard at the side of the road? Here, the link of graphic design to the other fields of CoDe becomes a central theme: the strategies of media which use images are different, and in the studies of  “Visual Fundamentals and Graphic Design”, such strategies are analysed and tried out using illustration as an example. The aim of the studies is to research new fields of work, to train creative thinking and technical abilities, to help students to find a personal, graphical form of expression of how intellectual and emotional content can be communicated by means of graphic design. This process should be set in motion during the studies, it never ends, it enables us to experience a wonderful paradox, namely to be able to surprise ourselves according to plan. Ideally, via or in conjunction with such an artistic practice, an attitude is created which is outwardly visible as a style.

Questions?

Prof. Markus Huber Tel. 0431 – 5198-485, markushuber@muthesius.de