Share:

11 Jul 2018   admin

Designing by Algorithm

by Ingrid Leujes, Greenside Design Center

“Design is the medium between people and technology”
Carrie Chan, 2017

Minding the Digital, a current design exhibition at the Art and Design museum in Shenzhen, China, clearly portrays the excitement and fascination that current designers and artists have with the creative possibilities of the digital medium. Not only does digitisation allow for innovative manipulation and use of materials but it also has the potential for changing the interaction between people and objects, spaces and society at large. This in turn changes perceptions and emotional responses and therefore the significance of encounters. Most notable is how the digital can create objects and spaces that respond to people’s behaviour. Designing for the end user’s needs is a fairly new but not an unknown concept. Designing a product or space that Interprets users’ needs from their behaviour and then responds to their needs instantaneously is, by contrast a futuristic concept. What this exhibition illustrates, is that this has already been achieved but has not yet hit mainstream consumption.

How designers conceive of and develop their solutions to design problems generally involves both an analytical approach, research, and a creative development. This exhibition reveals another approach. By collecting data digitally (research), the algorithms created can be moved from one media to another, thereby providing algorithmic data for generating a new design. For example one can collect audio data and translate it into two dimensional visual data or three dimensional form and then proceed to develop the design to meet functional, expressive and production requirements. Computers are no longer simply a tool for communication of design ideas, they can now interact with human users and human designers to develop previously unthought of possibilities. An interview with Michael Young, a British designer, put forward the idea that “generative software makes it easier to produce dramatic shapes, but that ‘it remains crucial for designers to infuse emotionally compelling elements’ – a part which cannot yet be done by machines” (Carrie Chan: 2017)

 

Polythread
, 2016, Jenny Sabin, Jenny Sabin Studio
Sabin, and architectural designer, combines insights from biology and mathematics in this technologically knitted inhabitable form. In this installation, Polythread responds to movement through the space and alters the lighting effects.



Damestop
, 2011, Iris van Herpen and Isaie Bloch |  Escapism, 2011, Iris van Herpen and Isaie Bloch
Van Herpen and Bloch use selective laser sintering (a 3d printing process that uses heat and pressure to solidify powders into solids) to create fashion that moves beyond traditional handcrafted garments and also beyond machine mass production. The age of customized design may well be returning, with digital fabrication facilitating an integration with the arts and culture without having to meet the constraints of corporate production and marketing.



Incertitudes
, 2013, Ying Gao
Incertitudes is part of a responsive dress series. The images show two versions of the same dress that changes in response to the facial expressions of the viewer.



Maker Chair (Puzzle 3d)
, 2014, Joris Laarman |  Maker Chair (Hexagon), 2014, Joris Laarman
These chairs result from a crosspollination of handcrafted techniques and digital technology, allowing for free forms (such as the puzzle piece) and the diversity of production materials in terms of porosity and flexibility etc. The Maker Chair poses the question of who the maker is; the designer, the computer, or the assembler? Again the complex relationship between human design and intelligent technology is illustrated. What is also illustrated, is the exciting potential of the new creativity that is made possible by the interaction of technology and humans co-creating. We are definitely already living in the 21st century. Are our education institutions preparing students for this century?



15 Sep 2016   admin

10 Percent 2016

GDC’s vision is to be leaders in design higher education to nurture innovative and responsible designers for the greater good of humanity. Responsibility and sustainability (for the social, economic and environmental world) are core values that underpin all curricular. They are values we expect our graduates to embrace and further in their careers. One of the key strategies to cultivate these values is our Community Engagement Initiative, the 10Percent Initiative. For four weeks of the year (roughly 10Percent of the academic year), all undergraduate students from all programmes and levels fo ...

14 Oct 2016   admin

The Principles of Good Multimedia Design

It is often overlooked just how important design is when it comes to multimedia as not all multimedia is effective. Design plays a massive role in the user experience from navigation to seamless use across the multimedia activation. If the user can browse and navigate easily as well as enjoy the process, then the design has been effective.Often when it comes to multimedia it is not just about how the end product looks but also the ease of use and overall user experience. If the experience is seamless and fun that will keep them coming back for more.Similar to the software development life cycl ...

Graphic Design Courses Graphic Design BA Degree Graphic Design Honours Degree Interior Design Courses Interior Design BA Degree Interior Design Honours Degree Multimedia Design Courses Multimedia Design BA Degree Multimedia Design Honours Degree