Adolf Loos’ “Ornament and Crime” is still regarded by some as an important manifesto of modernist architecture. But it has been strangely overlooked that it was also a manifesto for a dangerous notion of “cultural superiority”.
President Trump recently tweeted about allegedly photoshopped pictures of Melania. It shows that in our social media age, the task of editing images becomes increasingly important. The current market leader in image manipulation is Adobe’s Photoshop, namesake of the now common verb “photoshopping”. Photoshop is part of Adobe Creative Cloud, a subscription service for image software which generated a revenue of over 1 billion US$ in 2017.
The playing field is changing with a new breed of image software powered by Generative Adversarial Networks. Photoshop features intricate workflow processes, making it useful only for trained specialists. AI-powered image manipulation is however capable of much more, with the potential for a much larger market.
In European living spaces, the classical credenza was an important interior object full of meaning. Depending on the household, it was in the the kitchen or in the dining room, containing objects which could reveal the status, memory and history of a family – plates, cutlery, candlesticks.
For the event FUTURE CITY at MAK Vienna, I invited three creatives to collaborate and show perspectives for the future of cities. I asked: In the not too distant future, how will we get from home to work? How will we dress and express ourselves? How will we nourish ourselves?
Form follows function: The most famous slogan in design. First formulated by Louis Sullivan in the late 19th century, it became a basic principle for rationalist design in the sixties of the last century. With machine learning, ‘form follows function’ turns to ‘form learns function’.
The Emotibot concept by Mario Gagliardi was published in Green Newspaper, the leading Technology News in Korea.
4 interactive environments by Mario Gagliardi to experience in your browser.
Digital machines such as smartphones frame behavior and instill new cultural and social practices. ‘Liking’, ‘sharing’, ‘following’ are relational activities which have been defined by social media and established as new normal in the shaping of human relationships. The phenomenon of communication devices prompting new behaviors and expressions is not new: for instance, the word “hello” did not exist until the development of the telephone.
Carbonara has become a global phenomenon and at the same time a very misunderstood work of culinary art. We perhaps need a new cookbook which lists all the ingredients not to use.
Company structures changed dramatically over the course of the last century. The structures and processes behind the production of goods evolved, and with these also the relationships of products and their users.
Three ideas for digital fashion:
Until the late 20th century, the process of design was mainly top-down: design was being made by designers, produced by manufacturers, and branded by corporations. In the 21st century, these processes of production and consumption are being rethought. The design process has to become circular.
The design process as it is usually taught and applied at the beginning of the 21st century is concerned with goals, aims and targets. It is dealing with business and industry, target groups and financial targets. It is looking at the often “wicked” problems found in all areas of life. It is, in general, working with – or trying to work with – the world, its structures and problems, including its systems, its territories, its politics and power struggles. But is this the only way the design process can be approached?
Four collections of Design Principles: “It is right that we should stand by and act on our principles; but not right to hold them in obstinate blindness, or retain them when proved to be erroneous.”
Korea’s strength in the creative industries, together with the strength of their multinational brands, is regarded as a model by other Asian countries. How did this model come about?
Since the first introduction of CAD and 3d modeling systems, code is behind most products. With generative design, the code becomes the design itself. Big data about user behaviour in combination with machine learning and adaptive production methods (Industry 4.0) will make highly personalized and adaptive design solutions the new normal. To master code, designers should be able to write it.
With the Internet of Things, the division between interaction design and industrial design is about to disappear. A designer should know how to code, prototype, and build intelligent products with embedded applications. Starting points are the Raspberry Pi, Arduino or Nanode.
Global economic, technological, social and environmental issues are getting increasingly intertwined. There are no simple solutions to complex problems. The ability to navigate complexity will be a key skill for the designer of the future.
In a world of limited resources, knowledge of recycling technologies, biodegradable materials, and the ability to design for a circular economy – by considering disassembly and recycling already during the design process – becomes increasingly important. Designers should be able not only to conceive new products, but to plan the way these products are made, unmade, and recycled. What comes around goes around.
This post was originally published in February 2014.
In his 1957 book „Mythologies“, Roland Barthes analyses the Deesse (The nickname of the Citroen DS car, “goddess” in French) as a mythical object, and plastic as a mythical material. Plastic interests him because of its transformability, the metamorphoses it contains, being able to imitate everything. He finds it remarkable that plastics are given mythical names of Greek shepherds (Polystyrene, Polyvinyl) and writes: “The public waits in a long queue in order to witness the accomplishment of the magical operation par excellence: the transmutation of matter.”