promotional CCDN 331

manifesto

https://www.vitsoe.com/gb/about/good-design

http://en.wikisource.org/wiki/Manifest_I_of_The_Style_1918

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manifesto

For the manifesto I will look at how design should be interactive and fun. I strongly like push for designs to interact with the use in a fun unique and interactive way. I have a strong outlook on mechanical toys as I love the interactiveness to them and and I feel that with the joy the users encounters with it, it creates an innocence towards the design. mechanical designs are simple but so intreating with how they push, improve and adapt from past designs to find new ways to interact with the user in a new way. I feel that thought the simple yet effective movements it not only creates joy and fun interaction but also as interactive designs are ever adapting there is an innocence in imperfections, they create a story and a life behind the object, there is aways room for improvement and can find new ways to push the interactive experience. considering designing toys for children they are made to be interactive and playful, deigns aimed at adults should do the same. i am always interested in the unique way the children interact with design particularly mechanical designs as they have their own scene innocence and naïvety to designs, the embrace the toys in a different ways to adults as they are still learning movement, interaction, mechanics and designs. but I don't feel that we should stop finding new fun interactive designs for the older users. everybody needs fun in there lives and I feel that with mechanical movement it is a simple but yet effective way to create some joy in peoples lives. If you even thing of people in everyday lives they fidget and fiddle with all sorts of object such as rattling keys or rotating and moving jewellery. we are always finding ways to keep our hands moving and interacting with moveable objects. even think of the Greeks and Turkish with their preyer beads they are always moving them and playing with them all day long, their sole design if for religious reason rather than physical designs but it is an interactive object they embraces their religious culture. its human nature to interact with movable designs so we should embrace it and keep pushing this style of design as even though technologies advance and we rely on entertainment from our phones we still need new ways for ourselves to interact with the physical world. I feel that design should be intuitive and simple and I feel that mechanical designs are a perfect example of this, most often it is obvious on how an mechanical object should move and be interacted with, there is no fancy buttons or instruction books. design should be accessible to everyone, no one should benefit more over a interactive design then an other due to different demographic reasons. they should be easily accessible so everyone can appeciate the fun and interactive designs.

1. design should be interactive 
2. should create joy and be fun
3. mechanical toys are a perfect example of interactive, fun designs
4. they have a scene of innocents to them
5. design should embrace past designs as precedents 
6. it should evolve, and adapt from part designs 
7. with ever evolving designs their is aways a scene of imperfections. 
8. designing for children 
9. difference between children and adults
10. we are always using interacting with moveable designs 
11. design should be intuitive and simple
12. design should be accessible to everyone

• Bekker, M., & Markopoulos, P. (2003). Interaction design and children: IDC 2002. ACM SIGCHI Bulletin - a Supplement to, 2003, 6-6. doi:10.1145/601798.601806
• Druin, A., & Hourcade, J. P. (2005). Interaction design and children H.W. Wilson - Applied Science & Technology Abstracts. 
• Kolko, J., Connors, C., & Ebooks Corporation. (2011). Thoughts on interaction design: A collection of reflections. Burlington, MA: Morgan Kaufmann.

for the object I want to show how you can interact with mechanical design. i am paling to have a object that is buildable and ice you have put all the compensates together they will work as one to create a unique interactive experience. i feel that the user will have the joy of making the object and also finding out/learning how it works. 

Manifesto idea

I am not sure if I have got the right idea on what a manifesto is but i decided the first thing I should to is outline different parts of industal design influences me;

Toy- I have a fascination with toys mostly mechanical toys as I love the movement and interaction you can create and also the innocence and joy that toy design embraces 

Designing for children- I am always interested by designing for children I like the physiology of children and their differ reation with designs than what adults would encounter with the same product. 

Technology disconnecting us with the physical world- products like mobiles and iPods I am interested on how these designs the effected our socal perspective on our world, such as in intersection in public places but also how we get this blunt image on how we view the world though technologies as we only see a selective view on the world. 

And the history of design- Don't forget the past designs they are the reason you are standing here today, embrace them and learn from their achievements and mistakes. Every object has a designer behind them and a reason for every component, take the time to analyse why? You can learn so much from past designs and they have learnt from the designs before them. The history can help your designs move forward. Keep moving forward. 

ccdn 331

Modern New Zealand design culture is precedented from globalization rather then the New Zealand heritage.

Globalisation was a new concept that developed since the middle of last century and has accelerated in the last 25 years. This evolution of change has seen to increase interdependence between the global societies (McLennan, McManus & Spoonley, 2010) and in my opinion; it is precedential and influential on the modern design industry in our country. The New Zealand design culture has benefitted from globalization, as it is a positive precedent for helping the design culture and industries onto the world stage with technology advances, the internet, marketing opportunities and mass production manufacturing. Throughout the world, New Zealand has been associated with commodities such as wool and wood for decades and this positively enhances our clean, green, out door positive stereotype that enhance the marketing and influences on the design industry. Globalisation plays a huge part in world today; this is due to international trade and the subsequent influences on the economy and advancing technologies also play a big part in the design industry. Manufacturing, mass production, the internet, computer based technologies and the global markets are just some factors that make globalisation a major section of the modern design culture.

I feel that design has its only visual language that shouldn’t be isolated to separate counties and cultures and globalization has provided and will continue to provide a positive way to break language barriers across our developed world. It is a positive benefit in bringing the global design together, to extend technologies and future design paths.  Mass production manufacturing processes were developed in the early 1900’s and at that time, most factories where located in the country where the product was designed in, such as America and the United Kingdom. Over time this pattern has changed and today most of the worlds design products are mass-produced in China and India (Bryson & Rusten, 2010). This change has evolved due to cheaper labour and the space and resources to produce a wide variety of products in the Asian counties. When discussing the progression of change towards globalization, Van Deursen (1995) said that as the manufacturing of design changed from domestic to international to multinational to full globalization; the changes in product perceptions must also have the ability to communicate to the broad international consumer mix.

Global manufacturing is seen to have been used to increase global value chains, to increase the rate of technology extraction, to increase the acknowledgment in people and skills and to move to a low-carbon economy (Bryson & Rusten, 2010). Within this I consider that technologies are also always advancing and in the global design industry companies need to be aware of the new technologies entering the market and know how it could either benefit or affect their companies. In the modern design culture the new technology of 3D printing is a growing part on modern designs and designers are faced with considering how to make new ways to incorporate this new technology. The Internet is a large part of modern design globalization as most information is accessible all over the world and with this designs published and showcased on the internet can be easily used as precedents for global designers. Prior to the Internet with very accessible information and international concepts, New Zealand based designers were not so influenced by designers in foreign countries. Without such a high speed internet based communication that is available these days, there wasn’t such a vast and broad based selection of design projects and plans available as part of the precedents that local designers can now develop their work from.

In modern design marketing emphasizes the Global Market, Bryson and Rusten (2010) indicated that even though design is the main role in the product and the consumption; marketing and brand creation is how a brand creates and manipulates customer demand not the design of the product. I consider that this concept needs to be a paramount factor in the design culture of New Zealand.  Globalization means that we now live in a thoroughly interconnected world, this means that what happens in other parts of our world, has a deeper and faster impact on what happens at ‘home’ than previously. With this interconnected world and constant and greater international influences via the Internet on how we design; globalization is seen to even blur the boundaries between ‘home’ and ‘elsewhere’ (McLennan, McManus & Spoonley, 2010)

Design is such a broad industry with a wide variety of specialties, which include computer fields linked with graphic or game design, electronics linked with lighting or constructing 3D printing devisers, through to workshop tools such as lathes, routers and laser cutters. Industrial design includes ergonomics, product performance, aesthetics and the relationship between the product and the consumer (Bryson & Rusten, 2010). I consider that today’s design culture is influenced by both past examples of global designs and our countries’ culture. New Zealand is known for its kiwi ingenuity and innovative thinking; we also take pride in our clean green image. But as New Zealand is still seen as a relatively ‘new country’ we are more open to adopting other cultures and designs into our work. New Zealand is a multi cultural country integrating a lot of European and Pacific customs and social norms into our culture. In the design industry we use our New Zealand commodities to help promote our designs such as New Zealand woods and merino wool to create our high-end design products even though the designs themselves have be adapted from past precedents of global designs.

As part of the research for this assignment I have considered the history of design from Greek Neo Classism, Italian Renaissances, Art Nouveau, Bauhaus, Art Deco and Pop Art. These designs did not originate in New Zealand but in my opinion they still all interrelate and act as precedents for the New Zealand design culture. When considering the Greek designs such as Acropolis and their temples these were built around 500BC, which was thousands of years before people settled in New Zealand. However, I think that they are an example in history where people copied and developed designs from these monumental architectural buildings, and these can be seen in the design of buildings and monuments throughout our country. These simple geometric designs are still incorporated today throughout the developed world due to the strength and aesthetics these design appeal. Archeologist have found clay bowls and plates from ancient Greece dating back to around 100BC still similar shapes and sizes that are used today, it shows how some “classic” designs haven’t changed over time, but the using new materials has developed as technologies have advanced.

Over time styles have developed and changed around the world. In my opinion these changes have been due to social and economic changes in the different cultures and sub-cultures and this has influenced the appearance and technique used to make the design. Examples of these are the Bauhaus design, which is reflecting, in pre-war Germany or how the Pop Art reflected the changes in social norms, protocol and freedom. Like most aspects of the developed world, design is ever changing with the expression on the world and the sub cultures of the designers.

Taylor (2010) stated in a New Zealand Herald interview  "Understanding the different historical elements that are built into something gives you different references to choose from when you are deciding how to use it - whether it is a piece of furniture, a textile or whatever" (cited Telford, 2010) I have noticed that some small things in the New Zealand design culture that most people wouldn’t even notice are a form of globalization:  An example of this is with “Citta Designs”, a New Zealand furniture and home wear design store, that seasonally brings out a new line of products that have been inspired by a different part of the world such as Greece, India or New York. Mixing the New Zealand design culture with other cultures of the world through imaging, colours, textiles and patterns (Citta, 2014). This mix of cultures targets the New Zealand market which helps indicated the multi cultural aesthetic of the New Zealander perspective.

I consider that most New Zealand designs aren’t based on historical references, but they are more seen as novelty art pieces. In my opinion this is because design based around New Zealand heritage wouldn’t have a high chance of being showcased on a global scale. As noted before marketing plays a large roll in the global market of design; even though this could cause some controversy within the design industry this does need to be a factor of consideration as marketing doesn’t identify the designers of the product, but the brand behind the product. This market and brand focus is the way the modern world is currently organised as the economy and income are deemed essential, and seen as a higher focus than who designed the item or concept in the more economically developed countries. “We now have an economy powered by human creativity, in virtually every industry, from automobile to fashion, food products, and information technologies itself, the winners in the long run are those who can create and keep creating” (Florida, 2002: 5).

New Zealand still has its own style in design but it still looks to globalization for input on where and how to move forward and analyzing how other countries are finding new ways to push the boundaries and create attention. As out lined previously we are known for using our commodities for creating our design for example the ZESPRI and Scion spife that is made from bio plastic material that incorporates kiwifruit residues, this is not only a new breakthrough material but it help represents the positive stereotype that New Zealand is ‘Clean and Green’ by making environmentally friendly deposable spife (The ZESPRI biospife, 2013). While in fashion design, New Zealand designers are using merino wool as material, helping to promote the New Zealand sheep and wool industry as a world-renowned diverse fabric with such companies as “Ice Breaker”. The design of these clothes may be similar designs to other global outdoor and sport clothing brands, but its advantage on the global market is the use of New Zealand merino wool (Icebreaker, 2014). 

Design and other Visual Media should enhance and promote the idea of globalization in their communication; as they have their own language that can be expressed between different countries, cultures and languages, as there are no verbal barriers with design as it is an interesting mix of different materials, aesthetics, manufacturing types and product purposes that are used as communication. Through globalization it increases interdependence between the global societies. As part of this assignment I have considered websites that share designs on its database such as the Shapeways Market Place where different users can upload their 3D printable files onto the database and other users can pay for them to be printed. This process is a positive outlook on the benefits of globalization and one aspect as to how the Internet can help countries with language barriers communicate through design. Shapeways is a company that allows people from all over the world to upload their 3D printable designs and offer 12 different material options such as sandstone, plastic and sterling silver to print your designs (Shapeways, 2014). Companies like Shapeways help demonstrate the positive effects on globalization in the design culture as anyone around the world can use the facilities and can see what other users have produced and subsequently extend their personal design concepts and projects. When considering a New Zealand company SketchChair I learnt that this organization has created a website that allows people the independence to design a digitally fabricated chair to fit their personal ergonomics and personal preference. (SketchChair, 2011), this is another example of positive globalization in the New Zealand design culture.

Globalization is such a dominant focus and integral aspect in the modern developed world and it is only increasing with the use of new technologies and the creation of new internet interacting sites and in my opinion this brings people from all over the world closer. Current New Zealand designers are more influenced by the global market with the high-speed access of information on the Internet than previous generations that were more influenced by verbal communication, photos, books or television. Future designers will have an even greater influence from globalization as the technology is further developed and I consider that this will be a more influential precedent in design throughout the future decades. New Zealand is a multicultural society and seen as a “new country” when compared with European or Chinese cultures. With this limited wealth of heritage in the design culture the introduction and subsequent growth in globalization over the last 25 years, this has been very influential for New Zealand designers and added to how we promote our designs the global market. I consider that this has enhanced New Zealand branding internationally and added to our economy. I believe that the New Zealand design culture should continue to embrace globalization as a way of advancing knowledge and extend the limitations on a global scale, as it provides a wonderful medium to connect with other countries where language is not a hindrance and the various aspects of each culture contributes to the precedents for our future designs.

Bryson, J. R., 1963, & Rusten, G. (2010). Industrial design, competition and globalization. Basingstoke, UK; New York: Palgrave Macmillan.

Citta Design. (2014). Our story. Retrieved from http://www.cittadesign.com/our-story

Florida, R. (2002). The Rise of the Creative Class and how it’s Transforming

Work, Leisure, Community and Everyday Life. Basic Books, New York.

Icebreaker. (2014). Icebreaker New Zealand merino wool clothing and apparel. Retrieved from http://nz.icebreaker.com

McLennan, G., McManus, R., Spoonley, P., (2010). Exploring Society (3^rd ed.). Auckland, New Zealand. Pearson.

Sciences Learning. (2013, May 20). The ZESPRI biospife. Retrieved from http://www.sciencelearn.org.nz/Innovation/Innovation-Stories/Biospife/Articles/The-ZESPRI-biospife

Shapeways. (2014). About us. Retrieved from http://www.shapeways.com/about?li=footer

SketchChair. (2011). About Us. Retrieved from http://www.sketchchair.cc/about.php

Telford, D. (2010, September 10). History in the making. Retrieved from http://www.nzherald.co.nz/lifestyle/news/article.cfm?c_id=6&objectid=10671935

Van Deursen, G. (1995). The globalization of design. Appliance Manufacturer, 43(3), 10.

An observation I uncounted when roaming this city was the patters it creates not only though the use of structures and the design of the spaces in Wellington but also the city patterns in a wider scene. The place where I witnessed the most obvious and strongest structure and patterns was along the waterfront. the space is designed to with wide range structures to enhance the point of direction in which the people a expected to move, but true to the wellington culture it offers more of a creative spin on the constructive structures. I fell that in a way it reflects a enclosure type setting through the use of linear patters that subconsciously direct the guided direction of movement with only offering two directions of movement (north or south). but I don't feel that these repeating patterns are bad, to reinforce the direction of the movement, I feel it helps to engage with the relationship wellington people have on the space. I really enjoy this place in wellington as the whole area juxtaposes the rest of the city, its a space escape the uneven flow of the city and the people acting within it and can have a structural way of movement, with contrasting views of; the tall man maid structures embossing on one side of the path and the vast organic harbor on the other side. I feel that thought patters on linear structures this space gives the wellington people the freedom to run free in such an open space and though creative designed spaces they can subconsciously know where to be directed in the right direction with not overpowering there kingdom and freedom in our city enclosure.
I tried to represent this in my photos thought the structure and patterns in the set up of photos, they all show a wider variety of different structural patterns to enrapture the space with a variety of subtle and more extrusive forms. I tried to distance my self from the space by giving a straight view on the structures dominating the area. also the adding of the people helps to indicate the only two directions the people move in but I made sure they were not in focus as they were more used to create life and symbolise the use of the patterns. As a whole the photos all together crate a structure and patterns together to help enhance the theory I am trying to portray.

Roaming our Domain

Mirroring the Exposed Clone

Spill Through our Habitat 

• City patterns. (1947). Economic Geography, 23(4)

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