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Which clippings match 'Sustainable Design' keyword pg.1 of 1
12 OCTOBER 2013

The Designers Accord 2007-2012

"The Designers Accord was created in 2007 as a five–year project to mainstream sustainability in the global creative community. Formed as a distributed knowledge network of design firms, universities, and business leaders, the Designers Accord has helped advance the conversation around the ethics, practices, and responsibilities of the creative community.

The next phase of the Designers Accord will shift from community building to carrying out selective projects. The transition to project–based interventions reflects the current needs of our community, marketplace, and culture in engaging richly in the topic of sustainability."

Fig.1 infographic of the Designers Accord activities and progress from 2007–2012.

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TAGS

2007community buildingcreative communitydesign responsibility • Designers Accord • distributed knowledge network • ethical practices • global creative community • infographics • mainstream sustainability • project • project-based interventions • sustainability • sustainability principles • sustainability thinkingsustainable design • sustainable design standards • sustainable products

CONTRIBUTOR

Simon Perkins
04 OCTOBER 2013

Meredith Davis: A Call to Action for Design Educators

"I believe that design education, at the most fundamental level, views complexity as a problem to be overcome through reductivist artifacts, not as an inevitable and pervasive attribute of life in the post–industrial community. So if the future is about an ever–expanding web of connectedness, how are we preparing students for meaningful work in this complex world? I'd like to suggest that we're not. Despite the obvious emotional impact of Glaser's poster, he belongs to a generation in which the goal of design was to make things simple. Negroponte, on the other hand, is a technologist for whom the design goal is to render the complex manageable and to make complicated things meaningful.

Almost everything about today's graphic design education is matched to Glaser's worldview. We structure both curricula and projects in craft–based progressions from simple to complex, from the abstract to the contextualized. In typography classes, for example, we begin with the letter, and then advance to the word, sentence, paragraph, and page. Sequences of typography courses are built on this simple to complex progression, when opening InDesign demands that students address the formal and interpretive issues of publication design simultaneously; how do you defer a discussion of leading, of column width, of the modernist preconceptions of software, of language? The only option is default, and what kind of typographic lesson is that?

The reality is that our strategy for teaching typography is residue from how students could comp type in predigital times; by drawing. It is the organizational structure for every type book since James Craig's 1970 Designing with Type, but it holds less relevance for what students need to know about communication in a digital world. Typography today is a complex relational system that depends on the interplay of formal, technological, linguistic, and cultural variables. Yet we persist in teaching this progression of scale, isolating such variables within their own distinct conceptual frameworks and rules.

The same strategy exists for how students progress in other studies of form. Foundation lessons begin with abstraction: point, line, and plane; color wheels; and paper–folding exercises. We defer discussions of meaning and context until later levels of the curriculum and beginning students learn these abstraction principles only through patterns in what makes their teachers smile. Nothing about these studies resembles what students know about in the real world, and as a colleague recently suggested, what the clients of design see in our work. So what if we begin with the familiar and complex?"

(Meredith Davis, 4 April 2008, AIGA Boston Presentation)

Presentation made at W/Here: Contesting Knowledge in the 21st Century, Emily Carr University of Art+Design, Vancouver, Canada, 7–9 December 2011.

CONTRIBUTOR

Simon Perkins
13 JANUARY 2012

Cultivating Communities: shifting from a material to a people-focused society

"The context of Cultivating Communities is the transition towards a sustainable society. Because of several environmental issues this is one of the biggest challenges that our and future generations are facing. I am convinced that this implies a shift from a material–focused society to a people–focused society. During my PhD research I will explore how design can enable people to become part of this transition. Experimenting with designing scenarios executed as creative contexts, engaging toolkits and community platforms will be a central part of the research. I believe that scenarios can be powerful instruments in enabling people to contribute to sustainable development. The potential of these enabling scenarios will be tested during the cultivating communities project. The goal of this project is to develop an education toolkit and platform focused on sustainable development for elementary schools. Together with some local schools in Limburg (Belgium), I will develop a sustainable scenario around several vegetable–like characters."

(Ben Hagenaars)

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TAGS

agricultural produceBelgiumchallengescivic engagement • community platforms • creative contexts • Cultivating Communities • cultivating communities project • design scenarios • education toolkit • elementary schools • enabling scenarios • engaging toolkits • environmental issuesfuture generations • Genk • Limburg • material-focused society • people-focused society • PhD researchresearchscenariosshared interestssocial spacessustainabilitysustainable designsustainable development • sustainable scenario • sustainable societytransition • vegetable-like characters • vegetables

CONTRIBUTOR

Simon Perkins
25 MARCH 2011

Digital Prototyping: 3D product design and simulation

"The Autodesk solution for Digital Prototyping enables manufacturing workgroups to create a single digital model in Inventor for use at every stage of production – bridging the gaps that typically exist among conceptual design, engineering, and manufacturing teams. With Digital Prototyping, you can get more innovative products to market faster and increase your competitive advantage."

(Autodesk, Inc.)

3). Raymond Kurland (August 2010). 'Comparing the Capabilities of Autodesk Inventor Professional 2011 and SolidWorks Premium 2010 Using TechniCom's Delphi Expert Technique', A TechniCom Group LLC whitepaper.

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TAGS

3D3D modelling • AutoCAD • Autodesk • Autodesk Inventor • BIMBuilding Information ModellingCAD • California Academy of Sciences • competitive advantagecomputer aided designconceptual designconceptualisation • Delphi Expert Analysis • digital model • digital prototype • digital prototyping • engineeringindustrial designinnovationmanufacturingmanufacturing prototype • Marin Bikes • modelmodelling • modelling software • planningproduct designsimulationsoftware • SolidWorks • SolidWorks Premium • solutionsustainable design • TechniCom Group LLC • technologyvirtual model • virtual prototype • virtual prototyping • visualisation

CONTRIBUTOR

Simon Perkins
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