01 14 presentation

Design Advocacy

Greg Riestenberg | DES 658 | Prof. Gala Narezo |

Course Introduction Presentation | 14 Jan 2013

Projects:WTFairFirst Things First 2010DC Design Conference[ ] boxPratt Free LibraryPsychological Warfare FilterColombiaLand

WTFair




An undergraduate project, this was an exploration into what methods of communication are optimal in terms of raising awareness to a cause. Part of the process included a survey about effectiveness taken from the targeted “Gen Y” demographic.

official maintainer of genocide.

according to blooddiamondaction.org

§

go to www.fairtrade.org.

the legitimate

diamond trade annually§

$23 million of conflict

diamonds are entering

WTFair





is world trade fair?

the world market price for coffee

is around 60¢–70¢ a pound

an average coffee farmer needs

$1.26 a pound to sustain a family§

go to www.fairtrade.org.

according to FLO international§

WTFair





First Things First 2010



Projects:WTFairFirst Things First 2010DC Design Conference[ ] boxPratt Free LibraryPsychological Warfare FilterColombiaLandTHINGSFIRSTFIRST

“…in 1964, twenty-two visual communicators signed the

original call for our skills to be put to worthwhile use. with

the explosive growth of global commercial culture, their message

has only grown more urgent. today, we renew their manifesto in expectation that no more decades

will pass before it is taken to heart”from First Things First 2000: a Design Manifesto

As the spectre of graduation, and thus, professional life, manifests itself, ques-tions about the impact of my career on the rest of the world become more au-dible. Fortunately, this conflict, having been recognized by designers through-out the history of the profession, has been articulated most clearly twice in th last century through the First Things First Manifestos. The purpose of my thesis is to explore these ethical dilem-mas and the way their relationship to the design world has evolved over the last several decades since the inaugu-ration of First Things First.





WHAT’S ALL THE F U S S ABOUT?

WHAT’S WRONG WITH

THE QUALITY ARGUMENT

When design is controlled by a force that looks to maximize profit, the integrity of the design itself can become compromised. This challenges the notion that design is a value-free force and that designers should not concern themselves with the political and economic contexts of their work. And while there are many exam-ples of beautiful advertisements, their are also many that have been dumbed-down to appeal to both clients and consumers. Ask any designer if he or she has ever felt that a client chose a weaker design because they felt that it could reach a broader audience. This kind of interaction, especially when repeated over time can become very trying to the spirit of even the most enthusiastic and experienced designer.

THE SOCIAL ARGUMENT

When design is controlled by a force that looks to maximize profit, the integrity of the mes-sage and the products or services it pushes become compromised. This is where many have voiced that the graphic designer is not responsible, and therefore has no business sticking his or her nose. The fact is, however, that the designer is an integral part of the success or failure of what a com-pany produces or sells. Hence, if the designer actively participates in a project that is based on rep-rehensible intentions and fails to raise objections, the designer is a willing participant in social irre-sponsibility. This tugs at the heart of any professional who wishes to contiribute to a sustainable society, rather than contribute to destruction and wastefulness.

DESIGN?

WHAT’S WRONG WITH

The most reactive counter-claim to both First Things First manifes-tos is the notion that these are a group of spoiled mid-level profes-sionals trying to make something more out of their profession by essentially biting the hand that feeds them.

There is something inherently condescending about a small group of designers trying to cate-gorize certain projects as “worthy” or “unworthy.” What seems to have happened is that many of the pioneers of modern design had already laid much of the ground-work for where the profession would go, and this second wave, in 1964, was uncomfortable taking the role of followers. This inferior-ity complex had only multiplied by the the turn of the century. The resulting protest, as voiced in the

two manifestos, while voicing legitimate concerns about the so-cial value of their work, takes on a sort of victim mentality that points the finger at clients and consum-ers, when much of the problem lies within.

As for the claim that “there are pursuits more worthy of our problem solving skills,” many they have listed contribute, and in some cases escalate, the problem of overconsumption in Western societies. How many magazines, newspapers, films, television pro-grams, and even educational aids are fraught with messages, both hidden and obvious, that encour-age audiences to spend money on things they do not really need? The argument against the increas-ing shallowness of design ought to be much more concise.

FIRST THINGS FIRST ?






WHAT’S N E X T ?

When the authors of the original manifesto admit, “we do not advo-cate the abolition of high pressure consumer advertising,” they really second guess themselves. They claim it is “not feasible.” What they really mean is that they aren’t willing to put themselves or their firms in finan-cial jeopardy. This is a reasonable desire, but in order to make the kind of changes advocated in the mani-festos, some sacrifice will ultimately be required. It is healthy to talk and theorize about what kind of design is contructive for society, but until de-signers actively challenge clients on the social value of their projects, the cycle will continue unabated.

And what about the proposals put forth, that designers work on feats more “worth using our skill and experience on”? The fact is there are products worth buying, and there-fore worth advertising. And there are some informational pieces (which they seem to hold in high esteem) that are complicit in the consumer-ist system the manifestos claim to be fighting. There are socially responsi-ble and irresponsible examples within each category. The deciphering factor should not be whether the nature of the project itself is enough of a self-validating exercise for the designer, but how the project effects consum-ers, workers, and the environment.

The only way for designers to confront their status as “cogs in the machine” that drives consumerism is to actually refuse to perform work we don’t agree with. Granted this is a lot to ask, especially of newer designers struggling to find a place in the field. But, regardless of the fact that any job that pays enough will find a willing designer, someone has to take a stand somewhere. A collective effort would be the most effective deterrent to “the high pitched scream of consumer selling.” If we are truly serious about challenging what many have come to believe graphic designers do, we will stop doing the kind of work that proves them right.

Ken Gerland, master of First Things First 1964, with cohorts.

The late Tibor Kalman, who inspired a group to revive First Things First in 2000.

THINGSFIRSTFIRST2010

We, the undersigned, are graphic designers, digital de-signers, and other creative professionals who have been brought up in a world in which the techniques and ap-paratus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents.

While the means to reach an ever more skeptical and conscious consumer have largely been determined by marketers and salespeople,

designers have provided the creative energy to execute these endeavours into con-sumer psyche, and therefore shall assume part of the re-sponsiblity for the onslaught of camera-phones, plasma screens, gas-guzzling vehi-cles, body sprays, fast food, ugly shoes, poisonous toys, and overwhelming debt.

We have also errantly tried to place ourselves as vic-tims of a system that crush-es creativity in the name of profit and attempted to find

solice in magazines, books, films, educational aids, tele-vision, design competitions, and charitable campaigns, which typically allow for and demand a purer application of creative design princi-ples, yet are not an end in themselves.

We will take a more decisive role in the shaping of future society by challenging any manipulative and dishon-est means by which our cli-ents wish to utilize our talent and intellect.

and we will collectively refuse work, no matter how

“creative,” if it leads to the deterioration of society through the promotion of impulsive consumerism or dangerous and destructive production practices.a d e s i g n m a n i f e s t o


DC Design Conference




CONNECT IT USE IT OWN ITThe southeast side of the Anacostia River gets a bad rep. Some of it is perceived, some of it is true. We have an opportunity to provide a real asset to some of the city’s most historic yet long neglected communities.

Existing or planned waterfront developments in the district tend to cater the visitor rather than the resident.

While the RFK/Armory facility is owned and operated by the Washington Convention and Sports Authority, it is surrounded by a cluster of neighborhoods which will be affected by any development that occurs on or adjacent to the site.

The RFK site is situated in DC’s Ward 7, an area largely disconnected from the city physically by the Anacostia River, and socially by acute income inequalities.

Many neighborhoods near the RFK site have been classified as “distressed.” *

*source: DC Planning Commission

BLACK

CRIME

violence

POOR

poverty

blight

abandonedsubsidized

welfare

organic food

DIVERSE

worldlyWHITEPRIVILEGEDeducated

DOG PARKS

young

bike lanes

transient

POWERFUL

affluent

connected

INFLUENTIAL

MONUMENTAL

sustainable living

urban renewal

smart growth!

NEW URBANISM!

Employees from all offices were chal-lenged to come up with a solution for what to do with the slowly deteriorating Robert F. Kennedy Stadium, and assess its effect on the surrounding community and environment. Our team proposed a revamped community market and activ-ity center with enhanced connections to local assets and more pedestrian access to the adjacent Anacostia River and National Park. Solutions were presented to a panel of judges including a local developer, the director of the DC Office of Planning, and academic and the president of RTKL.





A newly renovated stadium turned community sports center will be the center of a sustainable site with a holistic vision of active living and ecological renewal.CONNECT IT

0 200 400 600 800 1,000100

Feet

0 200 400 600 800 1,000100

Feet

TO ARBORETUM

TO NAVY YARDTO HISTORIC ANACOSTIA

TO KENILWORTH GARDENS

TO ARBORETUM

proposed benning rd streetcar line

RFK

str

ee

tca

r li

ne

TO NAVY YARDTO HISTORIC ANACOSTIA

TO FORT DUPONT PARK

TO H STREET ATLAS DISTRICT

TO CAPITOL HILL

TO LINCOLN PARK

TO MINNESOTA AVE CORRIDOR

TO BENNING RD CORRIDOR

TO KENILWORTH GARDENS

RFK ACTIVITYCOMPLEX

DC ARMORY

AQUATICCENTER

Currently, there exists vehicular access to the site, however the general public is barred from walking the RFK grounds if there are no events taking place.

The plan for breaking down the barrier of the river includes continuing some of the main boulevards across the water, extending

There is a metro station servicing the site. There are sparse opportunities to cross the river at a pedestrian level.

the original street grid closer to the riverfront, and adding a grand gesture of connectivity that ties the renovated structure of the stadium with

the opposite bank of the river and adjacent development sites.

LINCOLN PARK

ELIOT RECCENTER

ROSEDALEREC CENTER

RFKSTADIUM

KINGMANLAKE

LANGSTONPLAYGROUND

FORT DUPONT PARK

ANACOSTIA PARKSECTION F

ANACOSTIA PARKSECTION F

ANACOSTIA PARKSECTION E

ANACOSTIA PARKSECTION G

CONGRESSIONALCEMETARY

ARMORY






Instead of demolishing the stadium, repurpose it. Make it more accessible and tie it into the surrounding environment. USE IT

EXISTING STRUCTURE EXPERIENCE ZONE

ACTIVITY ZONE COMMUNITY ZONE

EXPERIENCE ZONE: The building is opened up and connected to the land to allow for an unhampered flow of both users and passers by.

ACTIVITY ZONE: These areas are designated to physical activities of all sorts for users of all ages.

COMMUNITY ZONE: Outer levels of the stadium are opened up to local businesses and community members for entreprenuership with a DIY emphasis.






OWN ITA destination for visitors but with priority given to the needs of the surrounding neighborhoods. By promoting civic engagement and vitality, encouraging health, safety, and ownership, the goal is to foster existing communities, rather than imposing new ones.

AQUATIC CENTER: An aquarium or nature center provides an educational experience and serves as a destination for visitors. It helps preserve Anacostia’s legacy as a National Park.

SURROUNDING NEIGHBORHOODS: The purpose of this plan is to enhance quality of life for existing residents, rather than provide another monument for tourists.

RIVER’S EDGE: A more welcoming waterfront will encourage cleanup efforts.

STADIUM COMPLEX: A re-purposed structure that encourages activity around the clock.

PEDESTRIAN BRIDGE: A large gesture that connects the stadium to the land and water.

URBAN SPORTS VENUE: Transitioning RFK to an urban setting


[ ] box




In collaboration with members of Architecture for Humanity and the DC-based artist collective, Albus Cavus, this community engagement project has been in conception for a few years. It intends to reuse materials such as shipping containers to create a com-munity resource space.

http://boxcollective.org

Pratt Free Library



Projects:WTFairFirst Things First 2010DC Design Conference[ ] boxPratt Free LibraryPsychological Warfare FilterColombiaLand Fiction

NonfictionPromotional

Zines

LocalBy creating a structure that exists immediately juxtaposed to that gate we will create a free book exchange that can be housed within the private property of the institution, but only physically accessible from the public street outside of it.

Pratt Free Library




By creating a structure that exists immediately juxtaposed to that gate we will create a free book exchange that can be housed within the private property of the institution, but only physically accessible from the public street outside of it.

Psych Warfare Filter




A interactive concept mockup of a plug-in or app that scans text on a media website to detect the emotion-ally loaded words in a piece. By drawing from a database that connects which parts of the brain these words are meant to stimulate, it gives back a visual analysis of the affective intent of the article to the reader.

http://gregrie.net/augmented/augmented_trial7.html

ColombiaLand




orgorg

Pistol drawn on the road to a Biodiversity Zone where farmers cultivate subsistence crops.The locals do not know who drew it.

An advocacy project to give a voice to communities in rural Colombia that are often ignored or maligned. It intends to draw attention to issues of land restitu-tion and community intimidation. The design role was not only to rebrand the site and visual resources themselves but to create a “tool-kit” for outreach and exposure.

http://colombialand.org

01 14 presentation

Documents

Transcript of 01 14 presentation