Top Banner
dinsdag 6 september 2011
44

How Public Design? Richard van der Laken

Sep 05, 2014

Download

Business

MindLab

 
Welcome message from author
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
Page 1: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 2: How Public Design? Richard van der Laken

What Design Can Do

A conference about the impact of design

dinsdag 6 september 2011

Page 3: How Public Design? Richard van der Laken

On 26 and 27 may 2011 What Design Can Do (WDCD) took place in the Stadsschouwburg theatre in Amsterdam.

WDCD is initiated by De Designpolitie and realised in close collaboration with a dedicated group of designers, business leader Lisette Schmetz, producer Chris van Bokhorst and editor Bas van Lier.

dinsdag 6 september 2011

Page 4: How Public Design? Richard van der Laken

What Design Can Do is about the impact of design on society. Design as a catalyst of change and renewal. This impact is shown and discussed with international speakers and very tangable cases.

dinsdag 6 september 2011

Page 5: How Public Design? Richard van der Laken

Every edition of WDCD has an editorial theme. For 2011 the theme was ‘Access’. ‘Access’ is a meta theme. Abstract enough to look at it from different angles and simple enough to explain the audience in a few words and examples.

dinsdag 6 september 2011

Page 6: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 7: How Public Design? Richard van der Laken

Liu Xiaodu (China) M.P. Ranjan (India) Scott Stowell (USA)

The ‘activist’ character of the conference was very well illustrated by the WDCD 2011 catalogue that was edited, designed and printed on the site.

The book contains 4 essays, 4 interviews, all the speakers, a report of the two days and a wrap up of all the break outs.

dinsdag 6 september 2011

Page 8: How Public Design? Richard van der Laken

Design, visual communication, identity, stage design, motion graphics, signing and so on were developed from one strong concept in collaboration with dedicated designers.

This created a coherent, communicative and very clear visual identity, supporting the message about what design can do.

dinsdag 6 september 2011

Page 9: How Public Design? Richard van der Laken

All these aspects led to an energetic, urgent, relevant, busy and in the media very positively criticized event.

Per day 750 people visited WDCD, 1.000 unique visitors over the 2 days. Visitors were designers, students, companies, governments, nationally and internationally.

dinsdag 6 september 2011

Page 10: How Public Design? Richard van der Laken

WHAT DESIGN CAN DO FOR ACCESS 10 WHAT DESIGN CAN DO FOR ACCESS 11

of encouraging it, are paradoxically responsible for working against the very same economic interests they say they defend.

BURNING LOGO ON OUR BRAINSo most of the communication, like most of products, looks alike. It is branded and conditioned by marketing that makes us feel part of the herd, the vast global flock of livestock, where to be different means to be alienated. Branding means exactly that, a burning logo of ownership stamped forever on our brain.No one wants to be a black or a lost sheep, so we are all lambs in the slaughterhouses of communication, and especially that of the multinational brands. Brands do not nourish society; brands are nourished by society.We think that the future is a place where scientific and technologi-cal evolution, combined with branding and marketing, will give rise to a guilt-free, trouble-free, pain-free, shiny, sterilized virtual world – a world in which everything that is potentially ugly about human reality is excluded for fear of turning codes upside-down. While we try to reduce all of life to a set of patented codes, the worst risk is that of natural evolution. Difference becomes the enemy of the state of things.

ARTISTS SHOULD BE FREEToday communication feeds on the people that it should feed, in-stead. Originally, it was thought to be a public service, the voice of production and consumption the voice of culture. But now it has degenerated, becoming an instrument of economic manipulation. Intellectuals, creative people and artists who produce communi-cation are in the front line of this army of collaborationists. Artists should have the power finally to free themselves of their fears. The future needs to allow the artist real power and responsibility in the world of communication.Creative people should break these bonds and destroy these codes, and help encourage free thought.It has never been in marketing’s interest that we artists and con-sumers should be able to think, because anyone who thinks can be creative, and creativity is always subversive. It’s about time to revolutionize this situation. We need creativity in communication. There have been and there still are instances when expression has had the courage to risk being different: communication that takes risks and dares to go beyond profit and the requirements of the clients.Creativity is a surplus of intelligence and sensitivity. It is the op-portunity that potentially lies between our heart and our brain. Creativity has to be always subversive. Unless it encounters an intelligent patron or institution, it is destined to remain outside pre-established plans and bureaucratic authorizations.To be creative means to have no securities, it means doing the

AA’VK A \ G\\A E\GAE\OG \AE G\AE AE G\PO

A MANIFESTO FOR TRUE AND UNRESTRAINED CREATIVITY Creativity is a surplus of intelligence and sensitivity. It is the op-portunity that potentially lies between our heart and our brain. The human race is divided into two classes, people who are crea-tive and people who are not. Truly creative people are rare. They are a tiny minority, op-pressed by false proponents of creativity and by everyone else. Only truly creative people have no fear of creativity. Everyone else is afraid of it. They, the non-creative people, oppose it and try to curb it because they know that creativity gives rise to new ideas that sooner or later they will have to come to terms with.The army of non-creative people is huge. It includes a mass of bureaucrats who claim that their positions of power give them the right to block creative processes. They exist to cut down to a level of mediocrity every idea that is not stupid enough to gain consen-sus. That’s why all newspapers are alike, all automobiles look like one another, television programs are interchangeable, different brands of clothing propose an identical style. The economy is a pretext. Power’s lack of culture and lack of cour-age to invest in ideas is a clear and undeniable sign of the agony of creativity. Paradoxically and ironically, creative people must con-stantly defend themselves from the bureaucrats of power, those who never need to defend their own lack of creativity and courage, but seem to identify solely with their role as accusers and censors.

FEAR CREATES MEDIOCRITYArt is the highest expression of human communication. And by Art I don’t mean only painting or sculpture or the ancient and traditional arts, but above all the modern, mass arts, like: photog-raphy, design, fashion, architecture, cinematography and so on. Communication, like art, has always been at the service of one power or another – religion, politics, industry and production, or as a counter power, but still a power.But today the creativity of communication is conditioned by an ob-sessive search for consensus, in the false belief that consensus is success. Fear of failure always produces mediocrity, because the chosen solution will always be the least risky and the most banal. Modern creativity has been stripped of ideas and individual pas-sions. It has been relegated to the role of a company servant. It has to be a vehicle for strategies that focus solely on raising the market price of the company’s stock.

CONDEMNED TO COMMERCEThe raw material of art are the artists, the communicators, the photographers, the designers, the writers, authors, musicians, ac-tors, the image-creators; good sense would tell us they should be protected, handled with the same care with which bakers handle flour. But this is something that is becoming more and more rare. The artist who clings to his intents, his sensitivities, and his inspira-tions, to his visions rooted in his own insecurity – the essential requisite for producing creativity – risks seeming narcissistic, hysterical, or even presumptuous.Creative people now are condemned to serve and work in terms of finance success and the stock exchange, while communica-tion concepts, ideas and scenarios are conceived and decided on by specialists in communication and in marketing, by market researchers, and by levels upon levels of managers who make sure the result is banal and stupid enough to satisfy the public that they call the Target.Commercial success, not creativity, is what counts. Doing so most of the images on medias are stupid, flat, costly, repetitious and useless. Communication is a means of delivering messages produced by an institutional and corporate power that is polluting our lives with this miserable level of culture and creativity. In the world of communication – and not only in that world – the people who manage creativity, limiting and restraining it instead

Creativity in communication today condi-tioned by an obsessive search for consen-sus, leading to the most banal mediocrity, Oliviero Toscani says. At What Design Can Do! the Italian photographer, famed for his provocative advertising campaigns, condemned commercially driven fear and pleaded for creative freedom. ‘We have the creativity to change the messages, rear-range the entire image.’

BY OLIVIERO TOSCANI

contrary of what every pre-established system wants you to do. To be creative means to try to do something that has never been done before, to build out of nothing something that can have an enormous value. Creativity requires a state of non-control, of lim-itless courage. And that is why conformism is creativity’s worst enemy. Anyone who doesn’t have the courage to be able to take risks cannot be creative.

WE CAN CHANGE THE MESSAGECommunication in all it’s forms could really be at the service of humanity. It could be a creative means of research into the new language that we are searching for to symbolize and identify the human condition and the exertions of society, to understand and explain the new world that is racing towards us with the speed of a meteorite. It could be utilized to help enrich humanity in the labo-rious task of expressing itself better in this world, to connect with the rest of society and permit a better future. This kind of media and communication could challenge and provoke debate about ideas, it could break the rules, destroy the preconceptions and the conformism that rule and condition us. This could give rise to true beauty, and give us the opportunity to create in a condition of free expression, communicating true and profound beliefs to the world around us without being conditioned by profit.We have the creativity to change the messages, rearrange the entire image. We must have the courage to risk being different. No one should be culturally, physically or spiritually starved. Channels of distribution do exist. Creative people, and providers and creators of content, may have the keys to unlock real commu-nication, communication of real meanings that could change our lives and the lives of others with creativity and respect. We need to create a dialogue, not a monobrand, a monothought, a mono-logue, a monoculture. We should not only be survivors as a species, but we should prosper creatively and evolve dynamically, we must recognise the whole human race as a brand, with all of it’s diversity, ethnics and colours, it’s differences and sometimes it’s limits and vetoes. A human brand based on respect, not on power; possibility, not uniformity. Love, not fear.

Creativity is a surplus of intelligence and sensitivity. It is the op-portunity that potentially lies between our heart and our brain. Our spirit needs that kind of creativity in modern communication.

OLIVIERO TOSCANI TELLING THE AUDIENCE HIS TRUTH.

IT HAS NEVER BEEN IN MARKETING’S INTEREST THAT WE ARTISTS AND CONSUMERS SHOULD BE ABLE TO THINK.

This is a shortened version of Oliviero Toscani’s speech at What Design Can Do! The entire text can be found at www.whatdesigncando.nl

WE MUST HAVE THE COURAGE TO RISK BEING

DIFFERENT

(1) (2)

(3) (4)

WDCD also has an ‘afterlife’. De website (1) is regularly updated, 1.000 copies of the book (2), a 16 pages report of the event in design magazine Items (3) and a media partnership with Design Indaba in South Africa (4). Design Indaba interviewed 6 speakers and shared these talks with their 30.000 mail contacts.

dinsdag 6 september 2011

Page 11: How Public Design? Richard van der Laken

VisualizingDemocracy

dinsdag 6 september 2011

Page 12: How Public Design? Richard van der Laken

Europe

dinsdag 6 september 2011

Page 13: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 14: How Public Design? Richard van der Laken

ANYBODY WANTS TO MAKE A WISH?

Gorilla

dinsdag 6 september 2011

Page 15: How Public Design? Richard van der Laken

Solidarity?

dinsdag 6 september 2011

Page 16: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 17: How Public Design? Richard van der Laken

Populism?

dinsdag 6 september 2011

Page 18: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 19: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 20: How Public Design? Richard van der Laken

I think that as designers we have a responsibility in translating

genuine stories from politicians and political movements into clear

and honest messages to the people of our countries.

dinsdag 6 september 2011

Page 21: How Public Design? Richard van der Laken

Groen Linksand the VVD

Two Dutch political parties

dinsdag 6 september 2011

Page 22: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 23: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 24: How Public Design? Richard van der Laken

GROENLINKS HET ANTWOORD OP DE RECHTSE WINTER

dinsdag 6 september 2011

Page 25: How Public Design? Richard van der Laken

Eenkredietcrisis

los je niet op met nog

meerkrediet

NEDERLAND OPNIEUWZEKER NU

Regel 1:MinderRegels

NEDERLAND OPNIEUWZEKER NU

dinsdag 6 september 2011

Page 26: How Public Design? Richard van der Laken

17 17

Rationale Basis Kantoor Communicatie Campagne

Statements

Lettertype: Antique Olive BlackLettergrootte: 100 ptRegelafstand: 135 pt (135%)Kleur: VVD-Blauw

Lijndikte: 28 pt(28% van corpsgrootte)Afstand: 32 pt(32% van corpsgrootte)Kleur: VVD-Oranje VVD

D

Hiërarchie

Statements

Het Nieuwe HuisstijlhandboekTYPOGRAFIE

Rationale Basis Kantoor Communicatie Campagne

Typografie GA NAAR STATEMENTSGA NAAR HIËRARCHIE

TERUG

Verhoudingen, een stuk tekst over de standaard font-sizes:

Op A4 gebruikt men voor de broodtekst doorgaans een corpsgrootte van 14, met een interline van 16.

Op A5 en kleiner gebruikt men voor de broodtekst door-gaans een corpsgrootte van 10, met een interlinie van 13.

De Antique Olive voor de VVD velesecte min hendre er alis augue feu feumsan ero dolore tio cor sisi bla commy nim nississim diamet dolor ad el iliquat.

Dipissit pratie ming esed modolent illuptat. Senit, quat. Pis nit ulla consed tio odoloreet la facilluptat. Em ilit ero dit vel ulput num quis nulla augait amet, quipit ut luptat lore minim elit wis nim ilit vent exero odiamcon eliqua-tionum veniam dolobor erostrud et ullandigna commy nosto exerat init iriliquisim dolent lan volore min henis alismod minim enim zzrillaor sumsandre faccum quam-core tem velis nostio consequ

amconum modionu lputatin ulla acip eraessim zzrit wisi.Iquat duisseq uisisisi enim volore veraesto del iustrud ex eum dolor secte magna facin henit, volestrud molore te elit accum doluptatummy nibh ex enit eliscidunt ipsus-trud tem zzrit amcorperos exerili quatum ipsum dolobor sis numsandio eugue tie molobor sum delendionsed magnis dunt praestrud dolorer iuscing eugue vulla consed duis acilla ad tio consendit nim velenibh enismod olorero consequ atumsan hent irilism olenismod te tet,

TERUG

De Antique Olive voor de VVD velesecte min hendre er alis augue feu feumsan ero dolore tio cor sisi bla commy nim nississim diamet dolor ad el iliquat.

Dipissit pratie ming esed modolent illuptat. Senit, quat. Pis nit ulla consed tio odoloreet la facilluptat. Em ilit ero dit vel ulput num quis nulla augait amet, quipit ut luptat lore minim elit wis nim ilit vent exero odiamcon eliqua-tionum veniam dolobor erostrud et ullandigna commy nosto exerat init iriliquisim dolent lan volore min henis alismod minim enim zzrillaor sumsandre faccum quam-core tem velis nostio consequ

amconum modionu lputatin ulla acip eraessim zzrit wisi.Iquat duisseq uisisisi enim volore veraesto del iustrud ex eum dolor secte magna facin henit, volestrud molore te elit accum doluptatummy nibh ex enit eliscidunt ipsus-trud tem zzrit amcorperos exerili quatum ipsum dolobor sis numsandio eugue tie molobor sum delendionsed magnis dunt praestrud dolorer iuscing eugue vulla consed duis acilla ad tio consendit nim velenibh enismod olorero consequ atumsan hent irilism olenismod te tet, quam quisl iure feugiametum iliquis augiam, voloreet, vullam eu faccum ver sum verillam iliquissi.

DOWNLOAD TRUETYPEDOWNLOAD OPENTYPE

ABCDEFGHIJKLMN OPQRSTUVWXYZabcdefghijklmn opqrstuvwxyz1234567890/[}+)%

ABCDEFGHIJKLMN OPQRSTUVWXYZabcdefghijklmn opqrstuvwxyz1234567890/[}+)%

ABCDEFGHIJKLMN OPQRSTUVWXYZabcdefghijklmn opqrstuvwxyz1234567890/[}+)%

ABCDEFGHIJKLMN OPQRSTUVWXYZabcdefghijklmn opqrstuvwxyz1234567890/[}+)%

ABCDEFGHIJKLMN OPQRSTUVWXYZabcdefghijklmn opqrstuvwxyz1234567890/[}+)%

Antique Olive Light

Antique Olive Roman

Antique Olive Italic

Antique Olive Bold

Antique Olive Black

EenStreep

er onder

Letter100 pt (100%)

Regelafstand135 pt (135%)

Afstand32 pt (32%) Lijndikte

28 pt (28%)

Lettertype: Antique Olive BlackLettergrootte: 100 ptRegelafstand: 135 pt (135%)Kleur: Blauw

Lijndikte: 28 pt(28% ten opzichte van de lettergrootte)Afstand: 32 pt(32% ten opzichte van de lettergrootte)Kleur: Oranje

De Antique Olive voor de VVD velesecte min hendre er alis augue feu feumsan ero dolore tio cor sisi bla commy nim nississim diamet dolor ad el iliquat.

Dipissit pratie ming esed modolent illuptat. Senit, quat. Pis nit ulla consed tio odoloreet la facilluptat. Em ilit ero dit vel ulput num quis nulla augait amet, quipit ut luptat lore minim elit wis nim ilit vent exero odiamcon eliquationum veniam dolobor erostrud et ullandigna commy nosto exerat init iriliqui-sim dolent lan volore min henis alismod minim enim zzrillaor sumsandre faccum quamcore tem velis nostio consequ

WWW.AMCONUM MODIONU LPUTATIN.NL

magnis dunt praestrud dolorer iuscing eugue vulla consed duis acilla ad tio consendit nim velenibh enismod olorero consequ atumsan hent irilism olenismod te tet, quam quisl iure feugiametum iliquis augiam, voloreet, vullam eu faccum ver sum verillam iliquissi.

Kop / Titel Black 45underlined

Inleidende tekstBold10Niet meer dan 5 regels.

BroodtekstRoman10

HyperlinkRomanAllcapsBroodtekst -1 (9)

Citaat, belangrijk stuk in tekstBoldWit op oranje vlak

Dippissitdinsdag 6 september 2011

Page 27: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 28: How Public Design? Richard van der Laken

Gorilla

A visual column

dinsdag 6 september 2011

Page 29: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 30: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 31: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 32: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 33: How Public Design? Richard van der Laken

Designpr R'dam Gorilla.indd 9 05-09-2009 07:46:24

dinsdag 6 september 2011

Page 34: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 35: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 36: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 37: How Public Design? Richard van der Laken

‘The Daily Gorilla’ / BIS - A selection of international Gorillas

Designpr R'dam Gorilla.indd 19 05-09-2009 07:48:48

dinsdag 6 september 2011

Page 38: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 39: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 40: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 41: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 42: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 43: How Public Design? Richard van der Laken

dinsdag 6 september 2011

Page 44: How Public Design? Richard van der Laken

ANYBODY WANTS TO MAKE A WISH?

Gorilla

dinsdag 6 september 2011