designing utopia – designers as catalysts for transformation...designing utopia – designers as...
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DesigningUtopia–DesignersasCatalystsforTransformationTomBieling
Itissaidthatif3.5%ofthepopulation,acrossallclasses,arepreparedtochange
substantialaspectsoftheirwayoflife,thiswillsetinmotionaprofoundchange
insociety.3.5%,thatdoesn'tsoundsomuch.Andthequestioninevitablyarises
astowhetheroneactually(already)belongstoit.Itisalltooclearthatinmany
respects it is now time to act. ThisNow is both a challenge and an excessive
demand, itsometimesputsus inastateofshockofhelplessness, inviewofthe
dailyunsolvable,fromchanginglabormarketstosocialinequality,fromTrumpto
climatecrisis(cf.WeiSraum2019).
Buthowcanthepressuretoact,whichtheconditionsinevitablyimposeonus,
becomeapositivecallfordeparture,aprotestagainstandvisionsforsomething?
And in the best case scenario,make uswant new utopias?What shape dowe
wanttogivetothefuture?Howcanwecreatetheworldinsteadofconsumingit?
And-howpoliticalcan,shouldormustdesignbe?Especially in times inwhich
complexityoftenseemsoverwhelmingontheonehand,and,asKrisKroisstates,
(false) simplification, fear and superficiality in hyper-acceleratedmedia on the
other,threatendemocracy?
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QuestionsliketheseareatthecentreofmyteachingforTransformationDesign
at the new design university (ndu) in St. Pölten, where the aim is to develop
conceptsforsustainable,resilient,inclusiveandsociallyequitableprocessesand,
at thesame time, tomake themaccessible, comprehensibleandexperienceable
(as prototypes or ‘real products’). For example,when it comes to how an eco-
socialchangecansucceedwithregardtolocalpotentialsandtheirdevelopment
inagloballynetworkedworld.
For behind the visible things that surround us there is an invisible, social
dimension(cf.Burckhardt2012),andweareinevitablyinvolvedinshapingthis,
too-whetherconsciouslyorunconsciously.Thus,wehaveamirrorsituation:On
the one hand, we have an effect on the environment. On the other hand, the
changed environment has an effect on us. Here, too, reciprocal processes of
transformationcanbeidentified.
TransformationDesignfocusesonrecentsocialdevelopmentstowardsamore
sustainable, socially fair and inclusive way of life, work and production. It
questions both the consumption and production patterns of late-capitalist
growthsocietiesfromacultural,social,technologicalandecologicalpointofview
and initiates corresponding processes of change from the perspective of
consumers or users. Transformation Design thus describes the search for new
waysofchangingbehaviourandthusprovokingachangeinsocietyonthebasis
ofnewformsofdesigndiscourseanddesignpractice.
Itshowsakindofparadigmshift:awayfromauser-(orworse:aconsumer-)
orienteddesigntowardsasociety-centereddesign.Designersplayacentralrole
here, not least mediating between different stakeholders. But what exactly is
beingtransformed?Andbywhom?Whoparticipatesintheassociatedprocesses?
Whoisexcludedandwhy?Whatdoes"social","sustainable"and"political"mean
in this context? Andwhat does all this have to dowith design? Togetherwith
NDUstudents,thishasbeenexploredtheoreticallyandpractically.
When considering transformations in societies, it is first possible to identify
overriding topics such as technology, politics, social issues, economics and
ecology.ChiaraWelter1pointsout,however,thattheconcreteproblemareascan
hardly be categorized by these abstract concepts. Rather, the transformation
design - understood as a form of reflection on social change - can reveal the
multiple interrelationships and dependencies of our reality(s). For example, a
transformation in the economic system through crypto currency can hardly be
1 c.f. her paper on Defensive Architecture in our upcoming issue.
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conceivedwithout the technological requirements and changes or the political
aspectsofthedemocratizationofpaymentsystems.Furtherecologicalandsocial
impactscanbethoughtofthatwouldbereflectedinthisexample.
Stadtfüralle?Participationdoesnotbecomelesswhenyoushareit.IsViennareallyaCityforAll?ChiaraWelterhasherdoubtsaboutitandwroteanOpenLetter to the city (soon to be published here). (Key Visual of the Project„MariahilferStraßeneu!DerProzesszurUmgestaltungundNeuorganisation.“©2015MagistratderStadtWien)
Itisinevitablethatdesignisorientedtowardsacertaincanonofvalues.Sucha
value-orienteddesignhasthepotentialforchange,whichseesitselfpreciselynot
as the executive branch of marketing (cf. Koop 2019), but as a motor for
transformationprocesses. Forutopia, as an idealized counter-image towhat is,
can be a strong motor for change. Positive perspectives are becoming
increasingly important as a counterpoint to the flood of bad news and
manipulativelyuseddystopias.Thecontributionofdesignerscanbetovisualize
analternativeworldandtomakethethoughtexperimentsofutopiastangible.
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top:Turningthebadhabitof ‘throwingaway’, intoa ‘creativeact’:Thesecigarettebuttscontainplantseeds,soyoucanactuallythrowthemawaylike little seed-bombs. “We don‘t smoke, we plant!” – ZIGGISEEDS byAlexander Guschelbauer, Gregor Sabitzer and Victoria Bersch.middle:Transforming Gender: Awareness campaign on menstruation issues byLucaHierzenbergerandHelenaZobl.down:Withtheir“Omnication”App,Bernd Reichl and Bernd Schallagruper are intended to create a barrier-free, universal form of communication. People, regardless of theireducational level, origin, age, gender and culture, should have theopportunitytoexchangeinformationquickly,easilyandcomprehensibly.
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Immortalorinhuman?Bytheimmeasurablestrivingforimmortalitymankindexceedsthelawofnatureandtriestoignorethefinitenessoflife.Newachievementssuchasmicrochipimplantsenableinteractionwithtechnicaldevices.Nowweareinastateofupheavalinwhichsupposedsciencefictionisbecomingreality.Arewegoingtobeimmortalbybecominginhuman?QuestionraisedbyAnnaLederleitner,PhilipHuterundKimberlyWaechter
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"Utopiasneed time, opportunities, the courage to experimentwith thoughts, to
try them out, to be creative, to be playful, even to be mistaken. Utopias must
remain open," says cultural scientist ThomasMacho (2017). 500 years ago the
English statesman and diplomat Sir Thomas More invented a new word by
describing the distant, ideal society "Utopia" (and by theway created aworld
classicinthefieldofsocialphilosophy):literallytranslatedas"non-place",inthe
figurativesenseitiswhatisnot,butshouldbe.
Sincethen,utopiashavehadtheirhighandlowphases,theyhavebeenabused
asideologiesandtodayareoftenreplacedbya"pragmatismwithoutalternative"
- and yet they are experiencing a revival. Current utopias want to counter
complexproblems,whicharemainlymetwithfearandexcessivedemands,with
positiveoptionsforaction.Thus,everydayutopias(cf.Bieling2020)areleftover
fromthelarge-scaleutopiasofthepast,whose"couragetofantasy"andcreative
approaches to action are intended to bring about a large-scale change in
consciousness.Creative-artisticdisciplinesbecomeanopenfieldforexperiments
withtheclaimtogiveutopianthoughtsaconcreteplaceandaconcreteform.(cf.
WeiSraum2019,17).
In urban contexts this can often be localized in public urban space. A space
thatcontinuestobethevenueforprotestsandthatiscurrentlyinanincreasing
hybridizationwithvirtualspace,whichinturnbringswithititsownmechanisms
fordisseminating informationandat the same timeadoptspracticedstrategies
andviewinghabits.
Protest,resistanceandpoliticalagitationarecentrallyrelatedtothepowerof
(notifrequentlyvisual)messages(cf.Bieling2019).Theylivefromsymbolsand
strongimagesthatconfront,appealandchallengeustoconfront.Fromresistance
towar, poverty, human rights, feminism and climate protection, to theOccupy
movement,theArabSpring,criticismofglobalisationandconsumption-subjects
havealwaysbeendeveloped to formulate resistance thathavesometimesbeen
deeplyimprintedinourcollectivememory.
Designanditsconceptual,functional,aesthetic,speculativeandinterventional
concepts can assert an oppositional public sphere (c.f.Hoffmann2014, 184), it
can actively interfere in common definitions, understandings and opinion
making, and it can create effective outrage through critical, alternative and
interrogativeconcepts,thoughts,andprototypes.
Here,itbecomesobvioushowmany(different)actorshavetositatthesame
table inorder to reallybeable to takeactionagainst themultiple crisesofour
time. Plus: It is not about style, not about typology, but about the general
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approach and attitude. The grassroots movement alone is not enough; new
alliances are needed. Bottom-up and top-down must cross. Municipal
governments,non-profitcompaniesandNGOsmustworktogetherwithcitizens'
initiativesandactivists.
DesignasCareforSkills(CriticalCare/ArchitekturzentrumWien.Foto:TomBieling)
Self-evidently, thedesignofproducts, technologies, services,systems,virtual
worldsandtangibleobjectsalways implicitly transmitsrolemodelsandvalues.
Design and the images it disseminates, often unreflectively, are hence
unavoidablypolitical.Thereisnodoubtthatthescopeofactionfordesignersalso
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involves increasing awareness of the sociopolitical dimension of their design
activities, in particularwhen it is a question of recognizing the power of their
designstoexclude(orinclude),andofcriticallyinterrogatingthispower(Bieling
2019a).
Thus, undoubtedly this is what design can do. It can “reconnect the
disconnectedandmakenewconnections.[It]canchallengetheunderlying,implicit
ethicsoftheexplicitformswecreate.[…It…]candisturbcurrentnarratives.[It]can
rupture the present with counter-narratives 2 [and] contribute to reformist
approaches.Ithastheabilitytocatalysesocietaltransformations.Designiscritical
imagining.” (Fuad-Luke 2009, XXI). It can communicate, make understandable
and is able to develop ideas and alternatives, and last but not least release
positiveenergies.Energiesthatcanhelptoopenyourmouth.
Andwhen3.5%opentheirmouths,itcouldgetprettyloud.
TomBieling,Mai2019
References
Bieling,Tom(Ed.)(2019):Design(&)Activism–PerspectivesonDesignasActivismandActivismasDesign.MimesisInternational,Milano.
Bieling,Tom(2019a):InklusionalsEntwurf.TeilhabeorientierteForschunguber,furunddurchDesign.B.I.R.D.–BoardofInternationalResearchinDesign.Birkhauser:Basel.
Bieling,Tom(2020):DesignandthePoliticsoftheEveryday.In:MichaelErlhoff&MaziarRezai(Ed.):DesignandDemocracy:NewCriticalPerspectives.Birkhäuser,Basel.
Burckhardt,Lucius(2012):Designistunsichtbar:Entwurf,GesellschaftundPädagogik.Schmitz,Berlin.
Fitz,Angelika&Krasny,Elke(Ed.):CriticalCare:ArchitectureandUrbanismforaBrokenPlanet.MITPress.
2 These counter-narratives might be a starting point to give rise to counterpublics (c.f. Michaelsen 2014, 394) and finally what Tim Gee describes as counterpower (Gee 2011). It can also foster the beginnings of a “counter-hegemony”, too, that is “the critical questioning of dominant norms as well as the formation of alternative political ideas and communal solidarity within civil society.” (c.f. Michaelsen 2014, 395)
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Fuad-Luke,Alastair(2009):DesignActivism:BeautifulStrangenessforaSustainableWorld.CSIRO,Routledge.
Gee,Tim(2011):Counterpower:MakingChangeHappen.London:WorldChanging;EditionUnstatededition.
Hoffmann,Anke(2014):TacticsofAppropriatingReality.In:DominikLandwehr(Hg.):PoliticalInterventions;EditionDigitalCulture1,ChristophMerianVerlag,Basel,176–185
Koop,Andreas(2019):Schönundgut.Birkhäuser,Basel.
Macho,Thomas(2017):WennmanAngsthat,verliertsichderMutzurFantasie.In:PsychologieHeute,4/2017,S.44.
Michaelsen,Marcus(2014):Beyondthe‘TwitterRevolution’:DigitalMediaandPoliticalChangeinIran.In:PeterWeibel(Ed.):GlobalActivism–ArtandConflictinthe21stCentury.ZKMKarlsruhe/MITPress,Cambridge,MA/London,England,384–395.
Weisraum(2019):Designforum,Tirol.
„Critical Care –Architecture and urbanism for a broken planet(Fitz/Krasny2019).TheExhibitionatArchitekturzentrumWientriggeredsome lively discussions amongst the student group (All Photos: TomBieling).
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TransformersonafieldtripinVienna.
©2019:TomBieling,DESIGNABILITIESDesignResearchJournal(ISSN2511-6264)
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CitationInformation:
Bieling, Tom (2019): Designing Utopia – Designers as Catalysts for Transformation. In:
DESIGNABILITIES Design Research Journal, (05) 2019. https://tinyurl.com/yyosmwn7
ISSN2511-6274