Design Futures

The aim of this article is to explore the role that anthropology can play in designing participatory workshops, as a space to imagine possible futures. The article would like to shift the focus from the idea of a past oriented anthropology grounded on ethnography that informs design, to a future oriented anthropology grounded on participatory practices that is informed by design. The experimentation of anthropology in design will be explored through the project Spazi Neonati, a participatory workshop aiming to share experiences of a neonatal intensive care ward and create a space for co-ideation between mothers, nurses, doctors and architects. In this case participation is not a space where transformation is complete, but where a first step of encounter is made, and the future can be visualized. In the space of the workshop, the most desirable futures are not only the expected output but also the modality for engagement (Pink 2018). The role of workshops as methods for anthropological research has been little investigated by anthropologists and therefore, we refer to Pink and Akama's work (2018), in which they design anthropological workshops aimed at exploring future-making possibilities.

Today, along with the social and cultural changes which have led to the emergence of new needs, and regarding the new technological advancements, new products and methods have products in markets; one of these emerging phenomena is modular structure. The ability to choose and to diversify the range of desired products in the future is more after being supplied to the customer which allows the user in some cases to create the desired design at any moment in the future. In fact, consumers can get their desired products according to their tastes and requirements by applying functional properties. Most of the products, and some of them, are generally pre-designed and produced; however, it is possible to create various designs using some know-how and tricks. Such futuristic measures are taken at the design step and before production, i.e. they are within the framework of the action of futuristic designers. These new methods of designing building systems make it possible to provide certain flexibility. They provide usability for a longer time by making possible improvements. The benefits of this article are discussed. To provide flexibility in the space of architecture, it is essential that a smart planning system of futurism exists beside the pre-fabrication; modularity is one of them. This strategy will lead to increase the creativity and user-friendliness in the designs needed for daily life or products. This paper tries to explain the modular design strategy to provide an operational solution for the design of future human environments.

This presentation was designed for the EU's Joint Research Centre Knowledge for Growth (KfG) Unit. It provides an overview of recent foresight gaming projects undertaken by CPPFS and HRCFS in Hawaii, Singapore, Tonga, Macedonia, and Iceland.

It's difficult to know what the future holds. The future is by no means empty - it will be occupied by built environments, infrastructures and things that we have designed. It will bear the consequences of our histories, structures, policies and lifestyles, which we daily (re)produce by habit or with intent in design. The future is already loaded with our fantasies, aspirations and fears, by persuasively designed visions and cultural imaginaries. Design can be understood as a powerful practice that takes part in giving form to the future, or, as acceptera exemplifies, a possible or preferred future. Thus, the future, or futurity, in design may expose relevant issues for design research and design anthropology concerned with 'the possible'.


Contemporary philosopher Elizabeth Grosz, for example, poses a potential of futurity that is given precisely by the ontological assumption that the future is different. It is, categorically, not the past nor the present. Exploring notions of 'the possible' in Henri Bergson's philosophy, she queries the future as other than a 'preformed version of the real' (Grosz 2001: 12). From this perspective, futurity can be a conceptual modality through which it is possible to ask: How can things be different?
The future as different is a political as well as a philosophical question. The future exposes basic philosophical questions about our assumptions and worldviews. That things can be different also raises political questions about what can, or should, change and what difference that makes.

As design takes part in giving form to the future, to possible or preferred futures, we need more and critical ways of relating to issues of futurity. Asking How can things be different? raises philosophical and political questions. These are questions for design as we aspire and/or claim to 'make a difference' and go about 'changing existing situations into preferred ones' (Simon 1996), 'making things better' (to borrow the motto of Philips Design, Baxter 1996) or 'Massive Change' (as Bruce Mau proposes, Mau and Leonard 2004). But the future is not merely something that might be known and thus available for us to determine (or design), a destination that might merely be defined and reached with the right methods. Although the future is not empty, it is open, and this makes all the difference.

In this chapter, I reflect upon issues of futurity for design. I briefly characterize 'concept', 'critical' and 'persuasive' design practices, because they explicitly take on the future by formulating visions, speculating on alternatives and steering toward particular ideals. While important in my own work as a practice-based design researcher, these practices expose issues that I problematize here in terms of futurity. I have (re)positioned my own work over the years, and, increasingly, in relation to futures studies and philosophies of time as illustrated here through a description of the project 'Switch! Energy Futures'. Suggesting that futurity can be a philosophical and political modality for 'seeing and acting' differently in and through design, I frame two proposals to invite further work in design research and design anthropology.

In this paper I examine and present the role that cultural
interrogation can, and needs, to play in a contemporary design program. I make the case for an educational environment that interrogates and uses culture as a both an internalizing and externalizing focus. The integration of a cultural focus in design pedagogy creates opportunities for students to work with and design for the Other, and this empowers students to question, define, communicate, and design in and for their own culture. Projects are presented and analyzed—from a collaborative cultural identity brief that paired together North American and Asian design students to a study-abroad course where students had the opportunity of working with designers, design educators and design students while living in another culture.

Just over two hundred years ago, the visionary poet and painter William Blake warned: “May
God us keep from single vision and Newton’s sleep!”  Blake saw that the basis for our culture’s
decision- and meaning-making processes was narrowing down to rely almost exclusively on
dualistic logic, the measured, quantitative, and mechanistic epistemology of rational and
reductionist science.  Reason, though, is only one aspect of the fourfold vision humanity is
capable of according to Blake.  Human beings can perceive and make meaning based on: i) the sensuous and participatory experience of the senses; ii) the intuition that informs the poetic and
creative act, iii) the concepts, logic, and theoretical frameworks of reason; and iv) their ability
to en-vision a new and meaningful future, which can be collectively co-created through design.
As locally adapted communities, societies, and as a global civilization, we will have to
learn to make decisions and envision our future based on multiple perspectives and trans-
disciplinary – even trans-epistemological – dialogue.  The complex dynamic systems in which
we participate and that constantly transform through the effects of our actions cannot be
comprehended from a single point of view or through any one, exclusively employed,
epistemology.  We cannot predict the future, but we can co-create a healthier future thorough
appropriate design decisions informed by the integral wisdom of multiple perspectives.
The need for wise and sustainable decisions will require us to become more aware of
our participatory and co-creative involvement in reality through the fourfold vision of our
senses, intuition, reason, as well as our ability to envision a sustainable future.

The world cannot be thought of as ultimately meaningful unless the organisation of its parts is meaningful,
that is, unless there is some point to the way things are put together or, at least, to the direction in which
they are developing.  This would mean that we would have to attain a view of the world in which the
universe, per se, is not ‘value-free.’  Some intelligible directional lines must be thought to be operative in it.
Therefore, in order to find the world meaningful, it is insufficient to suppose it to be meaningful only in
terms of formulas that explain everything as resulting from orderly and “rational” interactions of forces
(Polanyi & Prosch, 1975, p.161).

Polanyi and Porsch argue: “Modern science cannot properly be understood to tell us the world is
meaningless and pointless, that it is absurd.”  They suggest:  “the supposition that it [the world]
is absurd is a modern myth, created imaginatively from the clues produced by a profound
misunderstanding of what science and knowledge are and what they require, a misunderstanding
spawned by positivistic leftovers in our thinking and by allegiances to the false ideal of
objectivity from which we have been unable to shake ourselves quite free” (Polanyi & Porsch,
1975, p181). The systems theorist and founder of the Club of Budapest, Erwin Laszlo explains:

Many scientists are highly conservative – actually they are just as conservative as their colleagues in the
academic world in general.  So it is a great challenge asking scientists to assume responsibility for
communicating knowledge that is meaningful to people and that at the same time opens up new
perspectives.  In the conservative tradition of the hard sciences there is nothing meaningful but mathematics and the readings on our instruments.  One does not care what it all means, as long as the equations work out
and check with observations and readings.  This has become a dangerously outdated attitude (Laszlo, 1999,
p.29)

This chapter returns to the theoretical framework introduced in chapter one.  It will revisit the
notion of meta-design – the design of society’s basic assumptions, the effects of changing value
systems.  While chapters four and five have provided a framework and strategy to engage in
practical salutogenic design within the material world, this chapter will return to discussing the
importance of appreciating and considering the internal and non-material dimensions of
consciousness and how they relate to and ultimately manifest in design.
Through how we think about ourselves, our families, our communities, our world, and
through the goals and aspirations that motivate us, and the myths and sciences that guide our
participation we create most of our experience of reality and we define what is meaningful to us. 
Here we return to the up-stream end of the river of conscious design, where the world as we
know it is coming forth into existence.
Here –in consciousness, in the noosphere - design is at its most powerful and most
consequential.  Here we design our sciences and our humanities, we define epistemologies,
shape ethical and aesthetic perception and profoundly affect how we relate to each other, the
natural world and our own interior dimensions.  Here design designates meaning and shapes
our interaction and relationships.
Effective salutogenic design for human and planetary health, or any other strategy for
achieving long-term sustainability, will have to address the all important role of the noosphere
in the transformation towards a sustainable human civilization.  This transformation is only
possible if a cooperatively united humanity makes a more or less conscious decision to embark
on a journey which future generations will be able to continue into a sustainable future.
On a fundamentally interconnected planet where the collective actions of 6.3 billion
human beings have already jeopardized systemic health and sustainability such a vision is not
an idealistic utopia.  Indeed, such global and local cooperation, synergy and symbiosis aimed at
improving health and resilience at all scales is the only attainable utopia which offers a future of long-term human and planetary health.  Sustainability requires all of humanity to engage in the
salutogenic meta-design of co-creating a meaningful vision of a sustainable future.
Subchapter one explores the critical role that vision plays in the design process.  It
describes the process of visioning and introduces a number of individual and collaborative
visions that have so far been proposed to describe a sustainable society and civilization.
Subchapter two discusses the role of meaning in the motivation of people to turn visions
into reality.  It explores how the natural design movement exists at a point of convergence of
ancient and new meaning; and briefly touches on the role of spirituality, religion and the sacred
in design.
Subchapter three introduces the concept of biophilia and explores how a love for life,
expressed through a careful re-inhabitation of our local bioregions and communities can
catalyse the transformation toward sustainability.  The task of developing bioregional sensitivity
and designing a meaningful and appropriate response to global and local challenges calls for a
‘cosmopolitan bioregionalism.’
Subchapter four revisits the notion of increasing quality of life in the context of social
equality, cooperation and salutogenesis through appropriate participation in natural process.  It
identifies ecovillage design and bioregional design as the most integrative, and holistic practices
within the natural design movement, since they are the scales at which scale-linking integration
can take place and sustainable lifestyles are created.

Society and how it functions is essentially a reflection of its dynamic nature as a continually emerging
process (Shannon, 1992).  The process of defining the networks of social, cultural, economic and political
boundaries is what creates the loose boundaries of social organization and community.  It seems that in
reality a continuous variety of interactions and change – up/down, horizontally and at multiple scales –
shapes society.  We all play some role in creating the social configurations within which we also live
(Brunckhorst, 2002, p.34).

Design education needs to recognise the changing world it services. The way that we live our lives is very different to that of our parents. No doubt the way our children will live their lives will be very different to ours. We exist in an ever changing world. Design education must recognise this constant change and develop long term strategies that enable designers to not only be aware of, but play a major role in this change. Futures thinking – the systematic study of the future – provides design with a structured approach to consider potential futures.

This was a draft chapter for an edited collection that was misdirected so a whole other chapter was written for that book. The chapter is a completed draft but without any references. I will likely not work it up for anything else so sharing here. It concerns Transition Design in the context of the transition to Distributed Energy Systems. The chapter explains what social practice based visioning entails and the difficulties for trying imagine, in desirable ways, what life will be like on the other side of a paradigm shifting Transition.

Scenarios for policy and the public are increasingly given form by designers. For design, this means ideas about the future-futurity-is at stake, particularly in genres of 'concept', 'critical' and 'persuasive' design. While critical approaches are present in futures studies and political philosophy, design assumptions and preferences are typically not explicit, including gender norms, socio-ecological practices and power structures. Calling for further studies of the politics of design visions, I outline possible approaches and elaborate through the example 'Switch! Energy Futures'. I reflect upon how competing visions and politics of sustainability become explicit through our process, aesthetics and stakeholders.

Dunne and Raby argue for the importance of ambiguous products exhibited in galleries as ways of fostering debate about futures. This review attempts to reconstruct their confusing and contradictory argument. It argues that the power of design futures is occluded by Dunne and Raby's determination to self-characterize their own particular style of work. The review ends by proposing how else the kind of work Dunne and Raby are inspiring might be both defended and directed.

The little interest that Architecture as a discipline shows towards dealing with the future, our own future, poses a remarkable paradox : the irrelevance of thinking about the future in a future oriented field. This "Design Paradox" obviously cannot and has not worked in our favor. As the role of anticipation becomes increasingly vital for responding to our fast changing civilization, "futuring" needs to be formally included within architectural practice and education. Paying attention to the future means at least two things for architectural education:

(1) It means to look at the future of our discipline without the
curriculum to inform the way we should be educating our students.
This is a top-bottom approach. Certain image of the future may
demand changes in our educational structure to 'produce' a particular profile of the future architect. The most clear example of this adjustment has been the incorporation of computing within the architecture schools. The top-bottom approach is conservative, reactive, slow, and does not include any action to incorporate futures thinking within the curriculum. Nevertheless, it is obviously a necessary approach.

(2) It means to look at the future of our discipline within the
curriculum. This is a bottom-up approach not very common. Most
of the discussion about the future has remained at the administrative or theoretical level and, with few exceptions, has not permeated into actual teaching. A bottom-up approach that considers and/or simulate future architectural practices and challenges may do more to point at the real future of architecture than any top-bottom approach constructed as response to the pressing needs of the present.

This paper explores this bottom-up approach
because it is an area that remains largely unattended by academia.

A disgruntled manifesto attempting to
a) clarify the difference between Design Futures, Design Fiction, Speculative Design and Critical design
b) argue that all these different modes of designing must be made to be part of professional designing rather than sectioned off as academic research, or worse art, projects.

How should humans live with animals and other forms of life? Could responses to this question improve the health and wellbeing of the biosphere? This paper argues that design researchers ought to engage nonhuman lifeforms as collaborators: informants and co-designers, or clients and users. Inspired by recent design challenges involving birds, bats and trees, this paper positions emancipatory multispecies cohabitation as a goal that can alleviate ongoing biodiversity losses and human-wildlife conflicts, in cities and beyond. It opens an interdisciplinary conversation by translating emerging scholarship in ethics, politics, and aesthetics to a narrative about desirable more-than-human cultures. This discussion has significant implications and can help to inform regulation, instrumentation, and pedagogies of future design.

Design Education: Approaches, Explorations and Perspectives documents diverse approaches and practices in design education situated in local, national and international contexts. Bringing together contributions from six design academics, researchers and graduate students this publication includes in-class case studies, long-term research
studies, and graduate research projects.

There is growing recognition from both within the field and from other areas of the unique and critical role that design can play in addressing major issues facing society. Design educators must take a leading role in pushing the field of design, through innovative thinking and action, to address these serious and substantial concerns. Design Education: Approaches, Explorations and Perspectives contributes to
the growing discussion on human-centred design education, research and practice.

Post-Anthropocentric Creativity; Call for Submissions, special issue of Digital Creativity, 27:1, January 2016; Guest editors: Stanislav Roudavski and Jon McCormack. This special issue aims to audit existing conceptions of creativity in the light of non-anthropocentric interpretations of agency, autonomy, subjectivity, social practices and technologies. Specifically, it seeks to explore how 1) the agents, recipients and processes of creativity and 2) the purpose, value, ethics and politics of creativity relate to phenomena of computation. The editors encourage innovative narrative or visual strategies that can express relevant scenarios better that more typical forms of academic writing. Dialogues, conversations, plays, scripts, instruction sets, games or visual essays (for example) might be suitable alongside logical arguments or formulae.

This publication documents an international exhibition and symposium that offer frameworks for examining linkages, experiences, visualisations and productive imaginings at the nexus of the health humanities, design and community engagement. 32 international designers and artists are featured with an introduction by Alan Bleakley.

Exhibition curated by Aidan Rowe, Bonnie Sadler Takach and Pamela Brett-MacLean.

This dissertation looks into the usage of Design Fiction as a research method to facilitate the creation of diegetic prototypes that explain a device that can detect and/or measure empathy in an individual. It attempts to examine and explore a potential fictional near future where such a device could exist, defining its boundaries in terms of creation, and the world it would occupy. The basis for this research is rooted in science fiction, a field having proven to blur the line between fact and fiction through technological advancements that don’t exist in the real world.

The term ‘design fictions’ is currently being used to discuss a specific format of everyday scenarios about the future, where technology plays a crucial role (Gonzatto et al. 2013). It uses that foundation of science fiction as a leverage to explore the potential of impossible scenarios as viable methods of creating future innovation through design. As a science fictional point of reference for the argument on empathy, this research looks at the Voight-Kampff machine from Ridley Scott’s Blade Runner and the possibility of envisioning it as a fact.

I walk through the process of creating a possible reality around a seemingly impossible problem by creating diegetic prototypes of an Empathy Engine SDK as a means of exploring and expanding on current and proposed ideas. I conclude by testing the creations using social media to understand the flaws and benefits of the proposed design for empathy detection, as well as future projections for design fiction as a research method.

This paper explores the powerful combination of graphic design and visual identity branding together with speculative design. Via discussion of three student projects the paper demonstrates how this combination can be used to comment on problems and current practices in western world societies. I argue that speculative scenarios often are influenced by the time and the society in which they are created. The student projects in this paper recognize the first-world issues of self-absorbency.

Özet

Hayali gelecek kurgularına yönelik tez çalışması, bütüncül biçimde ortaya serdiği zamansal devinimleri ve kuramsal kaynakları, mimari tasarımdaki konumunu ve potansiyelini sorgulayacak biçimde zamanlar arası söküme uğratır. Ağörgüsel ilişkileri ve temel yapılanması açıklanan hayali gelecek kurgularının örneklemler üzerinden sökümü; geçmiş pratikler için bir yeniden okuma ve (güncele yansımaları hakkında) farkındalık, güncel pratikler için ise eleştirel-yaratıcı bir irdeleme ve (gelecek tahayyüllerine dair) spekülatif yorumlama fırsatı sunar.

Serim yolculuğu, hayalin (ve imgesinin) öngörüyle karşılaştırmalı incelenmesi ve barındırdığı yaratıcı potansiyelin açığa çıkarılmasıyla başlar. Sonrasında hayali kurgulardaki zamansal devinimler, geçmiş-güncel-gelecek arasındaki triyalektik 'ileri ve geri atım hareketleri' üzerinden okunur.

Geçmiş durak noktasında konumlanan avangardlar ve Durumcular'ın kendi geleceklerine gönderdikleri ileri atım hareketinin dinamikleri incelenir. Geçmişten gönderilmiş ileri atımlar ve geleceğe yönelik tahmin edilen geri atımların güncelde kesişmesi, güncel durak noktasının zamansal bağlamda lojistik bir merkez olduğunu (Deleuze'ün güncelin epistemine dair tanımıyla örtüşen biçimde) kanıtlar. Gelecek durak noktasında ise, (gönderilmekte olan) ileri atımların oluşturduğu kurgusal gelecekteki edimsel ve sanal atmosfere dair şifreler çözülerek, güncele geri atımları yardımıyla spekülatif yorumlarda bulunulur.

Söküm altlığında, zamansal devinimlerin ve atım hareketlerinin göreli ve karmaşık yapısı, kolay anlaşılabilir ve örneklem sökümlerine uygulanabilir bir 'söküm diyagramı'na dönüştürülür. Söküm diyagramının iskeleti de, kendi zamansal sınırlarını eriten La Sagrada Familia'nın tasarlama ve inşa pratiklerinden yararlanılarak kullanıma hazırlanır.

Diyagramın örneklem sökümünde kullanımından önce son temel aşaması ise kuramsal kaynakların derlenmesidir. Geçmiş pratiklerden avangard hareket ilkelerini yansıtan tarihsel avangardlar, modernistler ve Durumcular; güncel pratiklerden ise kurgusal gelecek imgesini içeren Bilinmez Alanlar Birimi (Unknown Fields Division) gibi eylem ve söylem pratikleri söküm için hazırlanır. Hazırlık kapsamında, hem sökümün eleştirel-yaratıcı, sorgulayıcı, yabancı-tanıdık etkileşimi kurgulayan ve kümülatif biçimde üretken niteliklerinin sağlaması yapılır, hem de seçilen örneklemlerin hangi kurucu bileşenler aracılığıyla söküleceği belirlenir.

Hayali gelecek kurgularının söküm işleminin kurucu bileşenlerini, günlük yaşamı dönüştürme arzusu ve yeni küresel sistem önerileriyle politika; salınım, keşif seferleriyle yaklaşılan ve hatta tasarlanan kentsel/kırsal atmosferlerin değişimiyle ekoloji ve alımlayıcıyla doğrudan etkileşime giren imgesinin kullana(bildiği/madığı) potansiyeliyle temsili üretimler oluşturur.

Geçmiş eylem ve söylem pratiklerinin sökümünde ileri atımların dizimi oluşturulur, tekrar geçmişe yöneltilecek geri atıma yönelik ise şifre çözümü (tezin değerlendirmeleriyle) gerçekleştirilir. Güncel pratiklerin sökümünde ise ileri atımların şifreleri çözülür, gelecekten yönlendirilebilecek geri atıma dair spekülatif tahmin (tezin yorumlamalarıyla) yapılır.

Değerlendirme ve yorumların yöntemi ise, 'kaynak imge' olarak alınan hayali gelecek kurgularına dair eleştirel-yaratıcı-kümülatif 'ürün imge'ler oluşturmaktır. Bahsedilen tüm işlemler, zamanlar arası söküm diyagramına bütüncül biçimde dizilen verilerin triyalektik etkileşimleri sayesinde olgunlaşır. Bu sayede, kurucu bileşen özelinde geçmiş ve güncel pratiklerin hayali gelecek kurgusunu taşıma potansiyelleri arasında karşılaştırmalı değerlendirmeler de yapılabilir.

Sonuç bölümünde ise, karşılaştırmalar sonucu 'keşfedilen ve fark edilen potansiyeller'e ve mimari tasarım süreçlerinde daha etkin biçimde yararlanılmasına yönelik spekülatif çıkarımlarda bulunulur.

Abstract

Thesis study about the imaginative future speculations applies the intertemporal disassembly operation into the timewise actions and theoretical resources what are tried to explain as holistic in the thesis for questioning the position and potentials within the architectural design. Disassembly of imaginative future speculations what have explained their tracery-like relations and structure via samples; gives an opportunity about the past praxis for rereading and raising awareness (about its reflections into the present), present praxis for critical-creative examining and speculative interpretation (about the future imaginations). 

The inherent dynamics of push forward action are investigated by the avant-gardes and Situationists who located in the standing point of the past (sent into their own future). The intersection of push forward actions (sent from the past) and pull back actions (possibly speculate about the future) within the present, proves the logistical hub notion of the present in timewise context (also overlaps with the definition of the present episteme by Deleuze) In the future's standing point, the narrative sample inspires from the online role-playing games and transfer their avatar (player's virtual characters) notion to put inside the atmosphere of the future imagination. The standing point of the future decodes the actual and virtual atmosphere of the speculative futures (designed by ongoing push forward actions) and express (with the help of the pull back actions into the present) the speculative interpretations.

The last basis step before the usage of the diagram within the sample disassembly is the compilation of the theoretical resources. Some action and discourse praxis are got prepared for disassembly: historical avant-gardes (based on comparative considerations between Peter Bürger's strict and puritan theories and Hal Foster's moderate and inclusionary theories), modernists (established over the Sigfried Giedion and Manfredo Tafuri's theories about the holistic approach toward architectural actions and discourses) and Situationists (focused into the Constant's new system and even society definition through New Babylon megastructures and Guy Debord and Asger Jorn's new discovery approach of the urban lands and their transfer methods into the emerged representational materials) which movements internalize the principles of the avant-garde from the past praxis, praxis what impressively contain the image of the speculative future images as like Tim Maughan and Liam Young's narration or Unknown Fields Divison's collaborative discover and production methods from the present praxis.

The constituent notions of the disassembly within the imaginative future speculations are; politics with the desire of transforming the daily life and global system proposals, ecology with the change of urban/rural atmospheres where are discovered and even designed via psychogeographic detournements or expeditions, representative materials with the (un)used potentials of the image what directly interacts with the recipient.

Disassembly of the imaginative future speculations starts with the part of the politics. Revolutionary and radical transformation about the daily life cycle primarily appeared at the imaginations of the past praxis. Nevertheless, avant-gardes and Situationists could not spread their essence into daily life except art because of their belief what the art is sufficient to activate transformative dynamics. On the other hand, the present praxis creates more balanced imaginations with the help of the relatively rational considerations about the current politic dynamics.

In the second part of the disassembly, ecology illustrates the perceptional evolutions about the design environment via the past and present praxis. In modernist movement, a radical shift has happened from the individual architectonic object to total dissolution into the metropolitan atmosphere. Situationists prioritized the psychogeographic detournements to interpret their familiar urban parts and transfer the findings into the macro-scale interventions. As a last praxis, the present ones apparently recognizes the capitalist pressure over contemporary metropoles. Therefore, the Unknown Fields Division change their focus into the rural topographies to observe the tension between wild and build.

In the third part, representational materials reveal the convincing potential while the revolutionary idea is conveyed between the recipient and the source. From the past praxis, avant-gardes preferred to directly benefit from the images (artworks) as a stimulator for the radical transformation of the daily life cycle. Situationists applied the reversed tactic what is the chase for theoretical sources from the actual world, before producing the imaginative future speculations. The present praxis (Unknown Fields Division), is disassembled to reveal the critical-creative potentials on written and visual materials of speculative future comparatively.

The method of the considerations and interpretations is generating the critical-creative-cumulative 'product images' what is originated from the imaginative future speculations as 'source images'. All pointed out operations are accomplished thanks to the trialectical interactions of data what are placed as holistic into the intertemporal disassembly diagram. Therefore, comparative considerations about the handling potentials of imaginative future speculations also can be enabled between past and present praxis of specific constituent notions.

Finally, in the conclusion section, speculative implications are commented about 'discovered and recognized potentials' what emerged from the comparisons and how they can be benefitted more efficiently within the architectural design processes."

The Facette project was a direct answer to the results
of my thesis „Post-capitalist Design Aesthetics,
Speculative Design & Accelerationism“

After working out similar approaches to speculative
materialism & realism in accelerationist political
theory and Dunne & Rabys speculative design, I
proposed SD as a way towards an accelerated future
that is actually designed for humans. Similarly we can
see accelerationist theories as a speculative design
project on a grand scale.

To move towards a design discipline that can take this
role of a socially and politically disrupting force, we
need to look at the traditional design Industrie as just a
part of what we as designers can actually achieve.
Currently there are just a privileged few that can
participate in the debate wich is why moving design
education into a more diverse direction is a necessity.
Universities offer us a platform where we can design
without the pressure of an industry that needs to sell
products. We can open up this system, by fusing
research, practice, education and a link to the public.

Bu makalede tasarım-kurgularının hegemonik bir yönetim aracı haline gelmesi bir sorun olarak değerlendirilmektedir. Bu yüzden günümüzdeki tasarım-kurgusu çalışmaları arasında bir ayrım yapma ihtiyacı duyulmuştur. Makalenin ilk bölümünde bir endüstriyel tasarım ürünü olarak gelecek kurgusu başlığı altında tasarımın bilgi ve iktidar üretimiyle ilişkisi kurularak, başka bir bilgi ve iktidar b(ağ)ının nasıl mümkün olabileceği sorgulanmaktadır. İkinci bölümde ise sömürünün güncel bir b(ağ)ı olarak nitelenen hegemonik gelecek kurgusu tasarımına odaklanılacak ve bir bilgi ve iktidar sorunu olarak tasarım-kurgusunun gelişimi tarihsel bir perspektifle irdelenecektir. Son olarak, bir başka bilgi ve iktidar üretimine açılmanın nasıl mümkün olabileceğini tartışmak üzere “parataktik tasarım-kurgusu” kavramı önerilecektir. Böylelikle gelecek endüstri b(ağ)ına karşı ya da ona alternatif değil, gelecek endüstri b(ağı)ının taktiklerinden öğrenerek, bu taktikleri kullanarak ve onları ters yüz etmek koşuluyla hegemonyanın nasıl üretildiğini keşfeden ve açığa çıkaran bir başka tasarım ve bir başka bilgi-iktidar üretimi irdelenecektir. Sonuç itibariyle bu makale, bu araştırmanın 2015 yılından beri kaynak tarama ve katılımcı etnografik gözlemler sonucunda geliştirilen ilk evresini içermekte, “parataktik tasarım-kurgusu” ile ilgili kapsamlı bir betimleme yapmaktan ziyade araştırma bulgularından yola çıkarak spekülatif bir kuramsal yaklaşım geliştirmeyi amaçlamaktadır.

keywords With the increasing rate of change, using today's data in decision making processes is seen as insufficient by futurists. To keep pace with the change, having a future vision is an up-to-date topic. Thus in social, economical and political areas futurists are making studies to be ready to future. At Industrial Design profession the importance of future vision is began to be noticed as well. Designers are researching on usage of futures research methods within design methods. Normative methods are seen as compatible with design process. Analyzing future and study of foresighting it focuses on products and environments for designers. Marzano (2002) forecasts that todays technologies will disappear and timeless objects will remain in the future. G.Q. Maguire Jr. (1998) uses " disappearing object " definition in his study and makes a list of possible disappearing objects of the future. With analyzing of " disappearance " concept, future vision at industrial design can be formed. In order to analyze this hypothesis, " Disappearing Object-Radio Concept at 2020 " workshop was carried out by using qualitative and future research methods.

It is critical now that we direct all our efforts at transitions to post-carbon and sustainable futures. Currently, transitions are mostly handled by select expert groups who generate transition visions, scenarios and pathways, feed their findings into policy-making processes, thereby locking-in "futures" on behalf of the wider public. Scholars from a variety of disciplinary backgrounds are searching for more effective means to engage and empower citizens to effectively comprehend and actively take part in futuring processes. Experiential futures is an emerging field that connects experience design and futures studies. Experiential scenarios aim to create real memories of virtual events so that alternative futures can be understood and deliberated better by publics. This article maps contributions belonging to different disciplinary fields (including speculative design, literature studies, and psychology) to explore the means by which the everyday in futures could be virtually or vicariously experienced, aiming to contribute into the theoretical and methodo-logical base of experiential futures. Our findings suggest that people's ability for being immersed into a story is positively correlated with their empathic capacity. Immersion seems to be most successfully achieved when the experience shares some level of familiarity with people's everyday reality and when the narrative is logically convincing. In addition, our findings indicate that avid fiction readers are more easily immersed in alternative scenarios than those who are not. Our findings have significant implications for designing future experiences of the everyday, therefore, on theory and methods of sustainability transitions.

Scholars claim that futures and foresight science should overcome “confusion” regarding the definition of core concepts, for example, the scenario. Admittedly, defining scenario has been a challenge. Current practice, which results in repeated attempts to clarify said confusion with yet another new definition of scenario, has apparently not advanced the field. An alternative option is not to redefine scenario, but to, instead, create a shared definition composed of component parts of pre‐existing definitions. The result is an operant or synthesized definition based on analysis of claims indicating what “a scenario is…” and “scenarios are…” in the literature on scenario planning. The authors find that scenarios have a temporal property rooted in the future and reference external forces in that context; scenarios should be possible and plausible while taking the proper form of a story or narrative description; and that scenarios exist in sets that are systematically prepared to coexist as meaningful alternatives to one another. Despite claims to the contrary, the authors find that the academic community of futures and foresight science does not seem to suffer from so‐called confusion over the definition of scenario, and thus, it is time to sunset the use of claims to this end.

Competing historical trajectories of radical urban innovation and debilitating racial oppression can be vividly seen in the racial and economic disparity of contemporary American cities. As America's third largest and most segregated city, Chicago is a prime example. This paper documents the methodological contributions of design research, education, and practice to an interdisciplinary curriculum delivered over two summers to adolescents from Chicago's South Side. The interdisciplinary team worked with African American and Hispanic adolescents to share and practice methods from oral history, Speculative Design, and various forms of narrative and media production to address issues of race, health, identity, and individual and collective agency. In this configuration, History, Fiction (Literary and Media Studies), and Design came together to generate new perspectives on the past, present, and future of specific neighbourhoods, grounded in local history and politics. The twenty-three participating adolescents worked through the two summers of workshops to produce multimedia public histories in the first year and speculations for futures of healthier neighbourhoods in the second year. In this process, young people used various design methods to project themselves into their city's future, generating new social identities and new sites for discourse on forms of structural violence faced by residents of Chicago's South Side. By centring young people of colour in critical, creative practices of constructing future scenarios, their perspectives on issues of race, health, agency, identity, and social desires are cast in relief to join extant discourses on urban futures.

Relating the concepts of value-sensitive design to decolonial theory, we will describe our attempts to activate resistance to the foundations of modern technicity through a game called Reimagining the Now, which we designed for the Digital Democracies Institute in Vancouver, BC, Canada in collaboration with Dr. Garnet Hertz and the Studio for Critical Making. We argue that, as digital technologies become embedded in every facet of society, any hope of a digital democracy requires sustained public discourse, imagination, and action that goes beyond an understanding of how digital technologies work, towards a comprehension of the value systems, contexts, and consequences of their creation. To do this we devised a custom card set and large paper playmat as a speculative prompt to help participants rethink existing technologies through different value sets, to imagine with us what a digital democracy — and the world it brings with it — might look like. As part of a larger research endeavour, the game experiments with using speculative design methods as fertile spaces for generating a critical imaginary as a productive way to invite publics to think past taken for granted ideas of ‘what is’ towards ‘how what is’ and ‘what could be’.

This study explores the potential of digital ethnography and visual narratives in the film Paradise Paradigm to capture the interrelationship between fashion, travel, tourism, cultural diversity, environment, sustainable development and our own spiritual development in relation to Bali, Indonesia. If international tourism stakeholders, the community, and visitors to the island truly share a common interest for cultural and environmental preservation, new ways of understanding the impact developments are having must be sought alongside building community-based tourism.

Los cambios económicos, políticos y sociales ocurridos a nivel global han incidido en los mecanismos de vinculación y proyección mediante el trabajo colaborativo, en los cuales el diseño ha representado un factor importante para la integración de comunidades académicas y profesionales, promoviendo la interacción entre campos del conocimiento mediante proyectos inter, multi y transdisciplinarios. Esta ponencia se enfocará en identificar las fases de dicha interacción, así como los niveles de participación del diseñador en este proceso, con el fin de localizar nichos de oportunidad para potenciarlo a través de la implementación de estrategias de comunicación y la producción de diseños.

Since its inception the term 'design fiction' has generated considerable interest as a future-focused method of research through design whose aim is to suspend disbelief about change by depicting prototypes inside diegeses, or 'story worlds'. Plausibility is one of the key qualities often associated with suspension of disbelief, a quality encoded within the artefacts created as design fictions. In this paper we consider whether by crafting this plausibility, works of design fiction are inherently, or can become, deceptive. The notion of deception is potentially problematic for academic researchers who are bound by the research code of ethics at their particular institution and thus it is important to understand how plausibility and deception interact so as to understand any problems associated with using design fiction as a research method. We consider the plausibility of design fictions, looking at examples that are (1) obviously design fiction, (2) identified as design fiction, and (3) whose status is either ambiguous or concealed. We then explore the challenges involved in crafting plausibility by describing our experience of world-building for a design fiction that explores the notion of empathic communications in a digital world. Our conclusions indicate that the form a design fiction takes, and pre-existing familiarity with that form, is a key determinant for whether an audience mistake it for reality and are deceived. Furthermore we suggest that designers may become minded to deliberately employ deceitful strategies in order help their design fiction reach a larger audience.

Home can influence our happiness through the activities it affords. Furthermore, previous research has indicated commonalities between happy, and sustainable societies but many of current home practices are unsustainable. This research aims to explore design for happiness as a means to future sustainable, and happier domestic lifestyles. This paper discusses the first study in which photo elicitation method was used with home-owning families to locate home happiness triggers. This method elicited photography of two representative days of the participants’ home life. Participants were then questioned in follow-up semi-structured interviews. From this, happiness home needs were conceptualised and connections were drawn to happy sustainable societies. This paper discusses these results and identifies that strong family bonds, facilitated by time relaxing, socialising and pursuing interests together, are core contributors to happier, and sustainable homes. The implications for design fo...

Book Chapters. There is no slogan better known than the famous work by Adolf Loos: Ornament and crime. But the ornament is not the only crime attributed to the object since the advent of the industrial revolution. Too many, cold, pointless, inert, ephemeral, indigestible, mute: anonymous objects as the result of the uncontrolled replication of machines; kitsch or consumerist objects; indigestible to the ecosystem insofar as they are unable to biodegrade; ephemeral because they are disposable; mute because they are lacking in any meaning or interactiveness. The ideal trial to be conducted on the industrial object puts, sometimes randomly, a steel handle or plastic vase, a decorated chair, packaging or a neon bulb in the docks... deeming them to be severe indications of a crime against art or the soul, against ecology or civilisation, taste or imagination. Starting out from this critique, at times somewhat harsh, focused on the industrial product, the essay highlights crucial turning points in the design culture that, in particular as from the 1960s, looks to be busy rethinking its very object to transform it profoundly. A new scientific imaginary, the influence of art, the environmental issues and technological evolution come together throughout the twentieth century to mobilise the traditional concept of “things”, setting them out along the material/immaterial binomial. In this context, the discipline of design plays a major role, becoming the interpreter of the metamorphosis of the object that took place with the post-industrial age. Through twelve key words that encompass the response to a charge brought against the object, the book identifies a series of influential phenomenon that today characterize design and, finally, discovers the only true crime that design can commit.

Design is now seen as a strategic asset that can make a critical difference between success and failure of enterprises. In the innovation-driven global economies of today, the design is increasingly recognized as the core of the innovation process. And the design will be the driver of tomorrow's creative economies and their mass-customized markets. Design is now established as an independent discipline. Began with a restricted objective of beautification of objects, messages, and environment, design now deals with interactions, services, experiences, and strategies. With creative execution, design now encompasses creative definition. Today the designer deals with the challenges that are complex and exist within larger systems having their elements interconnected and in constantly changing relationships. The traditional product-centric design approach has changed to the human-centric design approach and further to the humanity-centric design approach. From design as an outcome, the profession has expanded to utilize the design process and design thinking to all spheres of economy and life. Started as a generalist discipline, design now encompasses a range of specialization within the discipline.

At the end of a year full of Covid-fuelled change and upheaval, a team of Communication Design staff presented an inaugural symposium aimed at graduating students. The one-day event – “Design Futures” – assembled and presented a variety of professional design approaches to practices experienced by our alumni – students who have completed our programme and are now working in the industry.

Times have never been bleaker for our graduating communication designers. Unofficial attempts at monitoring graduate employment outcomes lead us to believe that over the past 12 years most of our graduates (over 80 percent) have found design-related work within 18 months of graduation. More formal surveys produced by Otago Polytechnic support these figures. However, in 2020 we acknowledged that the Covid-19 pandemic had reduced opportunities for travel, and had created an employment-averse industry.