Global design F

Global design futures_ anupa.002By using the metaphor of an iceberg, I want to define the visible tip as my theme, the hand made artistry in Uk while using the remaining  submerged region as the global trend. This presentation aims to correlate the two to visualise probable future. Hand made artistry is the physical craftsmanship of three dimensional object. Will this change in the future?

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Why it important? The crafts council director, Annie Warburton calls its makers or crafters” hidden heroes of society- aiding to the world of science and technology. Design we see has been shaped by  the William Morris’ s arts and  craft movement and today this industry constitutes of the socio-culture makeup of a society. How would be understand it?

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3. We see the major global trends – indicative towards the handmade artistry

1. Climate change and environment will need consideration as material resource are an inherent facets.

2. Technology – Digital – physical, ‘phygital’ are emerging spaces.

3. New Business Models

4. Adaptability and meaningful experiences.

5. The age of smart lifestyles and cities

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To further gain clarity. this is a SWOT analysis of hand made artistry shows us how to extract and enhance the possibilities, challenges and successes with this area. There are clear evidences of adaptability, focus on multi directional and skill sharing. There are weaknesses like low appeal and less political backing  however opportunity for collaborative, social change and development can be initiated.Global design futures_ anupa.006

Inspired by Manzini’s Model, this is a method to understand how the hand made artistry functions. Starting with individualistic approach, it turned collective as opportunities and recourses changed, the aid of social, technological and political scenarios can help made a multi disciplinary and fourth stage is open for exploration.

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Through secondary research, Social exchange is more about circular economy of skills haring . Technology  transformation is adding digital creativity and smart usage. Connectivity vs non education is the engagement with craft in makers but less engagement with users. Preservation and sustainable is material resources, positioning and value of the handmade artistry and identity. Mass customisation aids the nature of the craft and fits against mass produced machine made objects. Micro concepts into macro-innovations  from biotechnology to wearables to robotics.

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Using an example of its form, we can set a scenario of how individual and single material centric process, through time, turned to collaborations of people . The involvement is getting more complex as the nature is involving social spaces, business needs, pestle  factors and smart lifestyle.

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How do we illustrate these situations. How can be forecast what the approach would be? Design research through practice does-not limit us to certain reality or viewpoint.

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Intended experiments: Experimentations using the qualitative methods helped define and create speculations. Role playing probes the construction of unrealistic realities which act as cues for  potential narratives This form of participatory behaviour helps draw a parallel between the “ logical” present self and the future image of yourself.Global design futures_ anupa.012

Done experiment with myself: These are experiments which are using associative meanings to future scenarios. By identifying objects of significance . By using this associative approach, I wan hand made objects and creating probable scenarios of how they could be used in the future. This is a hand crafted organic fibre pouch. 3d object can be connected to technology to show adaptability, easy customisation and skill sharing probabilities.

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Building a prototype meant using a future scenario which had ways that help understand how a global trend would work. This would a method that would use technology to create instant outcomes and collaborative creation to promote skill sharing. It evaluate the product to create customization, preserve information for share and create meaningful experiences.

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Designing future concepts largely create fictional spaces. The use of creating situation out of  imaginary possibilities is a way build a bridge between assumed reality and suggested future. By being able to digitally  analyses an artifact can address re define of a object, initiate immediate conversations amongst the makers, and give social presence which can create access.

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This scenario is allowing  makers to co create through “smart centric technology. There is co creation, skill sharing and  creates a sense of publicness and identity.

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The future of the hand made industry is highly depended on the viability.  Creating adaptable ways of utilisng business models makes the makers more self sufficient, encourages more collective spaces and builds system that are sustainable and  strong.

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These are five probable trends: Global design futures_ anupa.018

Service design has to be more prominent in the artistry area. It has to be adaptable to the business of the crafts. The form of the artistry is inevitably changing but the context it is set in has to be more educative. Service design has to make it more adaptable but tangible.

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The future of service design has to work within the set of process – production and representation.  This model looks at correlating various aspects within these given themes to build a comprehensive future.

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The role of the designer is to create seamless through all aspects of the hand made industry. It is an area that is human relational, design centric, natural resource driven and mostly organic. The role is adaptive towards change, understanding the necessities of the context and creating towards it and forecasting for the changes of the future. This can be done through awareness and consciousness.

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