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AUTOPROGETTAZIONE possible origins of DIY

This project, led by Enzo Mari, exhibited for the first time in 1974 at the Galleria Milano, under the title Proposta per autoprogettazione , is a veritable manifesto for revolutionizing worldwide distribution.

He proposed to allow individuals direct access to constructive plans a series of furniture easily achievable by anyone, using standard boards and craft materials usual (hammer, saw, nails and glue). These plans, free distribution during exposure, were then combined book form.

Anyone could, for his personal use, and ownership of these drawings-it-yourself furniture at minimum prices. In two days, it could well furnish an apartment with tables, chairs, benches, cabinets, bookcase, desk and bed.

The simplicity of constructive freedom allowed the user to modify the original plans for its convenience and Enzo Mari encouraged this process by asking individuals to send comments and photographs of furniture, once made and personalized.

Autoprogettazion e thus proposed to introduce a new more direct relationship between the creator and the buyer and democratize the creation bypassing the various industry players and distribution.

Enzo Mari and wanted to make the user some control over the design of its environment, almost unilaterally supported by the "consumer society".

"I thought if people were encouraged to build a table of their hand, they were then able to understand thinking hidden behind it. "Enzo Mari

If Enzo Mari offered through Autoprogettazione , anti-industrial design heavily influenced by the Marxist current of the time, this radicalism is now somewhat tarnished following the recovery of his work by the auction houses. The attraction for collectors and design license to one of "his" chair to be awarded 4,957 euros recently. We are far from the democratic ideal that motivated this project, now definitely relegated to the heritage.

Enzo Mari has itself precipitated this museumification, performing in 2007, the gallery Demisch Danant New York, new pieces of his own hands, according to the original plans.

We discuss in a forthcoming article, other more recent initiatives relating to "do it yourself", motivated by a different media environment, economic and ecological.

Piercing Studio In Manlia

SLOW DESIGNERS

"Slow Design is evident in every object, space or image that promotes the slowing of metabolism human in the economic, industrial and urban. "
Alastair Fuad-Luke

Slow Design not practical or recruitment, or excommunication, as has been underway in the vanguard of the last century.

Building on its platform slowlab , he opted instead for a collaborative strategy, bringing together actors from different fields (art, industry, humanities, applied sciences) who are actively involved in the speech training by their debates and practices.

is an open source movement ", like free software, which is enriched by the contribution of each contributor, through conferences, exhibitions, online sales platforms.

This horizontal movement structure explains the extreme diversity of approaches identified.

Here are two which show the extent of this diversity ...

Thorunn Arnadottir designer after the Icelandic Academy of Arts in Reykjavik, is located within a certain tradition of European design, as practice individual, in dialogue with art history and design. It invests very different media (products, performances and installations) to support his remarks on the subject.

Clock his diploma project is emblematic of a Slow design approach, which consists in representing the difference between the slow human metabolism and hyper-fast pace of the consumer society.

The clock is thus an object paradigm. It presents both sides of our modern societies: tails, symbol of the mastery of man over his environment and himself and face side, produced by a powerful anxiety-man architect of his own alienation. For if it is the source of many scientific discoveries, if it allows to organize human work, it is also, for these reasons themselves a source of stress that affects our societies since the worker to big boss.

The clock, as we know, has so far scored and a uniform time, but also produced the conditions of his immediate apprehension. Whence, indeed, whether we are capable of a quick glance to track us so precisely in time. In fact, the metric intériosation this time could be achieved through the extraordinary system of representation offered the position of the needles, and more recently through the digital representation of the time (liquid crystal, LED, .. .). The designers have also been unable to offer a better representation of time and are usually content to play with.

The originality of Clock is precisely not to do better, but do less well than the clock type. It consists of two parts, firstly the clockwork wall, the same as the clock type, and secondly a string of beads driven by it. Every 5 minutes a pearl drop notched plate and hits the previous bead. The cycle of day and night and materialized by a gradient of blue beads, while hours are indicated by red beads. The string of pearls can be worn as a pendant.

For Thorunn Arnadottir, Clock allows you to change the quality and speed of time. It is less accurate (unit: 5min), certainly less readable, but the existence of a rhythm more soothed, as shishi-odoshi, fountains of Japanese gardens. When worn as a pendant chain, it is litteraly the time it takes its time.

Thorunn Arnadottir Africa and evokes a different apprehension of time, made the relationship one has with others. His clock is "an island in a sea of slow speed" because it can not claim to unilaterally subsistuer our clocks, not the world as it is.

Design that Matters (Editor's note: the design that counts) is an NGO based in Cambridge, Massachusetts. It is a collaborative network of several hundred people, professional experts in various fields, students from MIT, working to improve living conditions in developing countries through the design. Their goal is to reach 1 million people by 2012, through their various projects.

These are primarily engineers, who define themselves as expert advice to social entrepreneurs. Their commitment and their mode of action is reminiscent in many ways the movement Saint-Simonian obtained from the École Polytechnique in 19th century.

Their expertise in design extends to the field survey, through to production of the products until the formation of populations.

Among their many projects, the best known and best documented is called Kinkajou.



Sponsored by World Education, an NGO working in Mali, Kinkajou is a revolutionary tool for literacy adapted to the rural adult population, 75% illiterate. Under current conditions, adults wishing learn to read through evening classes, their progress slowed in the low illumination of classrooms (1 or 2 kerosene lamps for 40 people!) and the high cost of textbooks. The Kinkajou , named after a local animal nyctalopic is a projection system for projecting onto any surface an educational document among the 10,000 available on microfilm ... which costs only $ 12. It is manufactured using low cost components and powered by solar energy. It is currently being tested in 41 villages in Mali and allows access to reading more than 3000 people.

This is a design team (sometimes more than 100 people contribute on a project), immédiatemment efficient and pragmatic. By its willingness to bridge the gap between the north and south, to help the poor to provide for themselves, pulling them out only to the imperative of survival, Design that Matters is also part of the Slow Design movement.

Although far apart, their goals and their methods, Thorunn Arnadottir Design that Matters and share the same goal: the welfare of man and his environment.

sources:
http://www.designthatmatters.org/
http://www.slowlab.net/
http://www.thorunndesign.com/

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SUGI, HIDA

Region Hida Takayama in central Japan is famous for its large forests populated sugi, a variety of Japanese cedar. In the Nara period, this tree was widely used in the construction of temples, houses, canoes, we appreciated his qualities hygroscopic, fineness of grain and its pleasant smell. A whole Handcraft developed around these forests, making this region during Fieret the golden age of Japanese architecture.

After the Second World War devastated many parts of Japan were replanted with sugi, because this species grows easily and Quickly.

Unfortunately, with economic expansion, inflation of the yen and the Westernization of the building, the Japanese neglected their trees, preferring cheaper imported wood and harder. The deterioration of the management of forests, resulting from this disaffection, causing an imbalance of the ecosystem, the extinction of some species and others such as the proliferation sugi.

This neglect is currently a serious ecological problems such as landslides, avalanches, destruction of streams and increased allergies due to pollen of sugi ...

However many companies operating timber remained located in this region. One of the oldest and famous, Hida furniture company, founded in 1920, specializes in bending wood, a technique developed by Michael Thonet. Originally, the company works mainly beech and not sugi, whose wood is too soft and filled node is unsuitable for the manufacture of furniture.

In December 2000, when Sanzo Okada became director of Hida, he noted with astonishment that 90% of wood used in manufacturing is imported, while the forests around the reservoir is important. He therefore decided to find a solution to use the sugi sake.

He hopes to participate in safeguarding the environment while using a cheap raw material, as devalued. The economy is on the raw material will keep wages honorable craftsmen, whose skill and expertise are required in the transformation of sugi wood.

"It's easy to understand now that the ecology is also important for men than for the forest."

Enzo Mari.

To succeed in this endeavor, Osaka Sango is confrontré two obstacles: the return node in the tradition of the timber industry as a capital gain rather than as aesthetic defects, and secondly to make the wood sugi harder.

Convinced that can make the knot the appearance, by the uniqueness of his "drawing" natural, he exhibited in 2001 a first series of furniture called Voice of the Forest. This series invites contemplation and meditation, we are making this story of the life of wood. Like rocks in a rock garden, the nodes can take on a cosmic dimension and bring it to the inside of the house. The exhibition was a real success and shows that attitudes have changed: the Japanese, more environmentally conscious, are willing to adopt the sugi.

Bolstered by this success, it only remains to solve the problem of hardness. He developed a compression technique based on the control of the bending of the company and opens a whole field of new possibilities for exploitation of sugi wood.

Samples compressed wood

from left to right: an original plate, a plate compressed to 30% usable for the manufacture of furniture, 50% quality similar to that of beech, 70% wood quality is lost.

Wood can be bent and compressed into an infinite number of shapes in the same operation. We may also use a mold, form and compress the wood, while reducing cuts and increasing the design possibilities.

"Companies will not change as easily without the economic activity" Sango osaka

In 2003, Osaka Sanzo decides to appeal to Enzo Mari, Italian designer international reputation, to give substance to this technology in a set of furniture. Their collaboration began after a series of reading by Enzo Mari Takayama and organized by the Institute Oribe involved in economic revitalization of the region. Mr. Osaka was immediately captivated by the personality of Mari, and practitioner théoricen design, sensitive and connoisseur of art and traditional Japanese architecture.

Enzo Mari, this collaboration is an ethical position that has always imposed, namely priviligier quality and reflection of the project design rather than simple marketing logic.

"The form can not be the only factor that gives elegance to an industrial product. "

Enzo Mari

Although the scope of the designer is quite limited, it can still make choices of economic and ecological significance.

Wendy Calio En Pelota

HUSBAND & THE SLOW DESIGN

Slow Design is a new approach to design and theorized spotted by a British academic, Alastair Fuad-Luke, 2004. It brings together under this name, all practices from different fields creation, breaking with the logic of consumerism and keeping the center of their concerns, the balance of man and his environment. Given the climate emergency and the decay of our mass societies, it offers nothing less than a civilizational shift and how to get there. This exceeds the views technicist and limitations of eco-design, to an anthropological dimension. The consistency of his theoretical apparatus actually probably the most ambitious collective adventure in the field of design in this new century. Slow design means in effect, through its manifesto to support simultaneously all aspects of human existence and thus places both in form and in content, some affiliation with the avant-garde artists of the 20th century.

Andrea Branzi in U do ecology artificial universe, however, had diagnosed their death. If they played between the second and the third industrial revolution, the role of "recovery room", allowing the culture to absorb technological innovations, it no longer necessary in the digital society because, we said it, the computer adjusts to man, not vice versa, and does not recquiert new anthropology.

Branzi is it wrong? In fact, the Slow design, perfect to the Futurism of Marinetti celebrating modernity by an aesthetic of speed, not as a vanguard, a rear-guard. This does not imply that it is reactionary, but simply that his anthropology based on observations of traditional ways of life, prior to or outside the consumer society, because they are the custodians of anthropological markers required (eg the rituals), that contemporary societies have lost.

This is not the 20th century, marked by modernism, the Slow design also draws its source, but more likely from the 19th century, struck by the first two industrial revolutions. His critique of mass production, his fight for and appreciation of the craft, are indeed reminiscent of the socialism of William Morris, now recognized as one of the fathers of applied art.

Slow Design, as its name suggests, intends to oppose the speed that marks our highly industrialized societies. Our environment artificialised to the extreme, registered in renewal cycles becoming shorter, disrupt our metabolism, set to the rhythm of nature. This phase shift between the biological and technological, will double from inattention to the future and the past, we are entertained by this fast. Hence the need to slow the human resource use and economics.

The record that made Alastair Fuad-Luke in the state of the world is not new. It has been theorized in other fields and proposed remediation such as sustainable development (Report Brundtland) and decay (Nicholas Georgescu-Roegen) will owe him nothing. Then brings the Slow design?

Its principal merit is to address this talk to designers, who have so long been the natural allies of the industry and society of convenience (See: Ugliness does not sell Raymond Loewy). Alastair Fuad-Luke points to the prominent role played by the sight still in the design (shape, color, style) and recalls that most often leads to a strategy of planned obsolescence ... called aesthetic fashion.

Instead, the design fits Slow in view of the long term and emphasizes sustainability, quality, satisfaction of real need, the contemplative attitude.

If the current design is therefore involved in the excitement of the capitalist machine and serves as a foil to the best of bond, it is further away from decision-making structures, and therefore has , a small leeway. . The modern movement and even post-modern one nothing done, he said, to oppose the evils of capitalism and were easily assimilated by the industry body, sometimes of their own will, like Alessi Now dedicated to the gadget industry.

The picture is clear: the designer, if he wants to be in capacity to reform the world must get out of what Peter Hall calls "infrastructure", ie the consumer society. The use of crafts, poly-sensory objects produced, work with local communities in a closed circuit, self-production, are all ways of replacing the current structure of work around capitalism globalized. The design should at least allow themselves to imagine a future beyond the objects of the system economic, technological and political context out of the crisis of meaning through which it passes (since the end of the movement of the modern movement!). It should even imagine beyond its own perpetuation, because everyone should be able to shape itself to his desires and needs and not necessarily by the mediation of an object. In an article slow lab, Peter Hall describes the mass-customization, developed by designers as the ultimate avatar of a consumer society, seeking to give us the illusion that it fills our desires for individuation .

Alastair Fuad-Luke's force the designer to leave his role as an expert technician and artist-led him to occupy a political position decisively. He also cites Thomas H, historian, for whom the history of design is the embodiment of all forms of life and therefore dominates all other aspects of the development of civilization whether technical, economic, aesthetic, sociological, psychological or ecological

If Marx said that the good is the reification of social relations, Alastair Fuad-Luke supports him, that social relations can be modified by design. We see, the responsibility is Slow design weigh on the designer is overwhelming.

Slow Design is not utopia yet. He did not propose an alternative future, but a necessary counterweight to the speed that characterizes our society. The slowness only meaningful in relation to speed and vice versa, the "slow life" can not entirely replace pace of progress. Slow Design simply asks apparently coexist with the current life forms as we need "of islands in a sea of slow speed" in the words of Ezio Manzini.

sources:

http://www.slowlab.net/

http://www.slowdesign.org/

http://blog.bientotdemain.com/index .php/2006/11/14/57-le-slow-design

http://theslowhome.com/blog/index/