The Culture Of Design By Guy Julier

But in contemporary society, there is no single definition that covers design completely, or even fields of professional practice as graphic or industrial design that adequetly cover the diversity of ideas and practices as once existed. (pg3 wicked problems in Design thinking book THE IDEA OF DESIGN)

The document is officially published on October 14, 2015 and posted on the LinkedIn blog page. The discipline of this document would be used in a journal that is related to any field of design. Design students and professions would use this document for building self-esteem and the inspiration for understanding designers’ difficulties in the reality.

A designer based in New York called Andrew Shea, interestingly converses about the building responsibility and obligation that designers have in the book ‘Designing for Social Change’,

Design influences our lives in an unseen yet valuable way. However, original designs are frequently imitated, the law has developed to prevent this. Is this protection adequate? Or, in part due to EU law, has the protection of designs become so complicated that it is unfit for its purpose. In order to assess this, it is important to assess the methods of protecting designs and the interaction between the UK and EU law. There are two ways in which both UK and EU law protects designs: Through registered design rights and unregistered design rights. It is clear that there are multiple ways of protecting rights. What is left to be seen is if this is superfluous, or an adequately nuanced approach to the complicated matter of design law.

The history of design can teach contemporary designers about the achievements and mistakes of the past. Such examinations of history show that lessons can be learned from the varying disciplines focused on the forms and functions of designs; where different designers take different standings on what is the appropriate form for the desired function. Burkey Belser, an information designer, discusses contemporary design, and that “The mirror has shattered and fragments of design movements are now strong, moving in parallel streams”. (Belser 2002) This statement shows the drift caused in design through history and the increase in individualism that now exists. Examples can be seen in all aspects of design, where

There is a strong relationship between human material culture and the development of human cognitive abilities. Around the 2.0 Ma period there was a widespread of evolutionary change across a vast range of mammals (Foley, R. and Gamble, C. 2009), one of the largest factors contributing to the growth of cognitive abilities is a larger brain size (Delagnes, A.and Roche, H. 2004). A larger brain allowed for humans to expand their thinking which enhanced their lives. A significant step in the history of humans and technology is when they started using tools (Wynn. T. 2009). "The enhanced working memory that appears to have accompanied the evolution of modern humans enabled much higher levels of innovation, thought experiment, and narrative complexity" (Wynn, T. and Coolidge, F.L. 2004). The changes in human cognitives abilities can be reflected by changes in human material culture.

Today, people can feel the changes that have happened to the design, and how the design is different from what we used to know. The design is not merely about how the product looks, but also it is about how the product works. The success of the design process depends on new and creative ways of thinking. In her article " ZIBA Design and the FedEx Project," Maggie Breslin describes the changes in thinking and working ways that being done by ZIBA design, which is a product design company that provides consulting about design and innovation. The article relies on the FedEx project as a case study on ZIBA design to illustrate the idea that design process might shift. The change in the design process periodically focuses on three major subjects:

It will consider the influence and power designer possess, the negative outcomes of bad communication, and how designers can do good. This research is significant because the world today needs to be accountable for the issues it has caused, one designer at a time, one person at a time.

A design process is more experimental rather than technical, the insights that are reflected in the journey of design or research leads to transformations in the behavior of the practitioner. The possibility of outcome can be influenced either in positive or negative ways as it generally develops from the current issues in the society. This affects the whole process and choices a designer make, it can be related in terms of cultural, economical, global, political or environmental issues they can be considered as the contemporary influence.

This design-thinking course is available to student to prepare them for the future obstacles that we might face as designer. It’s purpose to get students thinking about their careers and interest. This course is a great opportunity to have guests speakers who are already employed as designer come in and inform us about the life after college. The professor searched for designers mostly one that graduated form our program to explain what it is that they had to do in order to be successful. Every single speaker was unique in his or her own way. The last speaker we had was Manfred Westreicher who talked about his experienced, his freelance work, and gave tips to improve our designing skills. Even though these designers are different in their own way Manfred had similar ideas as Mary Beth Backman and Jon Worlery.

The phrase "what is design" has been contemplated constantly. Walking down the street, people see cars, buildings and advertisements; piece of artwork serving purposes in the daily lives. Throughout society, people are bombarded by a verity of designs captivating the users and manifesting itself within cultural space. It is a broad definition and this may be due to the existence of art, with the two forms sharing such similarities yet different quite distinctly. Designers create to capture users attention, but ‘what is design?’ When the term ‘design’ comes to mind, it could be difficult to define and is often misconstrue as a term for art, however they have two entirely different meanings.

On the basis of my self-analysis as delineated below, I have derived the following ethos statement: As a designer, I strive to create works that resist concealing the wicked problems faced in today’s society. The designs that I have produced question the viewer to reflect and engage upon the themes I have presented by virtue of generating a personal connection. Furthermore, my works investigate the fact that various stakeholders have unique objects that create value and meaning in their lives, in addition to how these can be transformed based on a variety of circumstances. Ultimately, through my design practice, I aim to empower others by providing them with a voice, focusing on the ideas of creativity and a sense of community.

The role of the designer has also evolved with technology. With an abundance of softwares available, it is necessary for designers to constantly update their skill sets. These tools have altered the expectations of the designer, we have become polymaths, expected to be well versed in various subjects and equipped with a large skill set. Hyper Island’s MA in Digital Experience Design03 course page describes its aims to equip its students

"Each particular creator, each novelist or composer or computer programmer, is sped along through Design Space by a particular idiosyncratic set of habits known as style. It is style that both constrains and enables us, giving a positive direction to our

Meredith Davis’s book “Graphic Design Theory” was published in September 2012 by Thames & Hudson. This book blends a study of historical thinking of design with contemporary / modern approach to it. It also suggests students to critically analyse their work and asks them to adopt the design theories to embellish their practical design work as it will help them construct better work. This book also helps in understanding the consumers and the history of Graphic Design and also talks about a range of theories and introduces a collection of concepts and sources for future use and reference. In this book, Meredith Davis talks about the relationship of visual representation to the contexts of design. It talks about focusing on the broad and long term aftereffects of design and not to design only for the moment and responding to prompt needs.