"Design Indaba invited five designers to look beyond the possibilities and predictions currently in the public domain. Futurefarmers, 5.5 designers, Dunne&Raby, Revital Cohen and Frank Tjepkema each created a unique vision of the year 2050 with increased urbanisation and population, limited natural resources, climate challenges and digital–biological integration. Defining farming as the sustainable cultivation of a renewable resource, Design Indaba presented Protofarm 2050 at the ICSID World Design Congress in Singapore from 23 to 25 November ."
"New Designers will bring you face to face with the next generation of design leaders. Every year it helps thousands of graduates to launch their career at the spectacular Business Design Centre in London, the world's capital of design.
With its longstanding reputation for bringing young design talent and business together, New Designers works with prestigious, forward thinking, innovative companies and organisations.
New Designers takes place at the Business Design Centre, a venue with rich history and a strong connection to the design world. It has launched over 100,000 New Designers into the professional world, with many becoming world famous design icons."
"1962. A group of designers and art directors come together to celebrate creative communication and raise standards within their industry.
Amongst the group are David Bailey, Terence Donovan and Alan Fletcher (yes, it was that cool). They call themselves British Design & Art Direction and the following year they organise their first Awards event. And they are picky. From 2500 entries they select just 16 pieces of work to receive the soon to be coveted Yellow Pencil.
2011 and British Design & Art Direction has grown mightily, but slimmed down its name. Now D&AD, its members represent the creative, design and advertising communities, not just in Britain, but worldwide."
CHARACTERIZED Kuala Lumpur 2013, Tuesday 30 April 2013, 7:00pm, MAPKL, Black Box–Publika, Dutamas, Kuala Lumpur, Malaysia.
"Over the past few decades, Malaysia has been bearing a rapidly fast changing landscape within the creative industries. As Malaysia establishes its national creative policy to be at sync with the heartbeat of the emerging global creative economy – there has been nationwide expansion of creative establishments, particularly in graphic design, motion, product and web design. From here numerous surfacing of young budding talents and self initiated art collectives – all adhere with a single aspiration – and that is to create a vibrant and energetic design scene that is not only modern but also infused with a rich cultural heritage."
"DESIGNERS ENJOY DESIGNING
The practicalities of the design–based Ph.D (or Ph.D's generally in the creative arts) often fails to recognise the wider needs of the researcher who would typically have bachelors and masters degrees in their field and where the structure of their degree programme(s) would have been practice–based i.e. they have considerable prior history of creative practice; they enjoy creative practice; and they may well miss the fulfilment of creative practice if none was undertaken during a three to five year full time Ph.D.
STUDENTS NEED TUTORS THAT CAN DESIGN
Practice–based learning at undergraduate and masters level requires a significant taught input by competent practitioners. It is all too common for academics to loose or fail to develop capability in practice as they move through an academic career that is based on teaching and research. The typical route by which full–time academics with a practitioner background acquire a Ph.D is through part–time study. In order to maintain competence as a practitioner for the benefit of students, there is a case to encourage the use of practice in staff Ph.D's.
RESEARCH OUTCOMES NEED DESIGNING
An unexpected outcome from the author's experience of Ph.D supervision in creative disciplines has been the scenario where professional practice was necessary for the progress of the research. 'Tools' are a popular and relevant outcome from design–based Ph.D's and situations arise where the tool itself must be designed in order to facilitate its validation. It is therefore necessary to consider the use of researcher–practice where practice is not a direct means of the data collection but a process by which research outcomes can progress to validation."
(Mark Evans, p.75, 2009)
Evans, M. (2009). "Creative professional practice in methods and methodology: case study examples from Ph.D's in industrial design". EKSIG 2009: Experiential Knowledge, Method & Methodology, Experiential Knowledge Special Interest Group.