METADESIGN. LETTING THE FUTURE DESIGN – 1 Carlo Franzato METADESIGN LETTING THE FUTURE DESIGN Prof. Carlo Franzato | [email protected]
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Carlo Franzato
METADESIGN
LETTING THE FUTURE DESIGNProf. Carlo Franzato | [email protected]
mailto:[email protected]:[email protected]5/19/2018 Metadesign. Letting the Future Design
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RESEARCH PROBLEM
In the literature metadesign is intended as a design process that precedes
further design processes.
It is frequently translated as the design of design (Giaccardi, 2005;
Celaschi, Deserti, 2007; De Moraes, 2010; Vasso, 2010).
Even if this expression appears efficacious, it demands for explanations to
avoid the risk of becoming a sibylline aphorism.
Some questions emerge:
Is metadesignas the first term of the expressionan essentially
different process from the process of designas the second term? Is a further design process indispensable to the metadesign one?
Is metadesign really previous to design?
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STRUCTURE OF THE PRESENTATION
1. Metadesign in the Latin tradition
2. Metadesign in interaction and open design
3. How use and time concepts change facing new technologies
4. Consequences on the concept of metadesign
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METADESIGN IN THE LATIN TRADITION: MENDINIS 100% MAKE UP
On the left, sketches for the100% Make Up collection, developed in 1992 by Alessandro Mendini for Alessi.
On the right, one of the 100 interpretations of the same vase: the version with special decoration by Philippe Starck.
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METADESIGN IN THE LATIN TRADITION: MENDINIS 100% MAKE UP
My experience editing magazines gave me an interest in seeing design and
architecture as a bit l ike conduct ing an orch estra. Basical ly, [ that is] wo rking
wi th other authors , wel l known or un know n, on a prec ise, strong metades ign,
leav ing big g aps in w hich the authors co uld f ind space to express themselves
freely. I often had these experiences, in d ifferent fields and I contin ue to have
them . They give the pleasure of su spense, of how the design w il l turn ou t,
because I dont always hold the last card, the cards are held by a lot of
different people (Mendini apud Appiani, 2007, pp. 25-26).
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METADESIGN IN THE LATIN TRADITION: MENDINIS 100% MAKE UP
100% Make Up is useful to stress some characteristics of metadesign in the
Latin tradition.
It is speculative, deriving from a deep reflection that evokes new
opportunities for designing.
It is interpretative, since that reflection has to be discussed and evolved
with the contribution of other actors within an organization, the creative
system or the society;
It is actually designed, resulting in propositions expressed with the
idiosyncratic design language. It is open, letting and fostering other people to design.
It is unpredictable, being not known its design consequences and cultural
resonance.
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METADESIGN IN INTERACTION AND OPEN DESIGN
John Maeda, reactive graphics, 1995. ( John Maeda) Maedas metadesign technique allows generation of visual experiences thatinvolve
the viewers in the creation of the form by responding to their inputs in real time (GIACCARDI, 2005, p. 343).
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http://www.copenhagensuborbitals.com/is a non-profit suborbital space endeavour based entirely on sponsors, private donors and part
time specialists. Since May 2008 they have been working full time to reach our goal of launching a human being into space and to show the
world that human space flight is possible without major government budgets and administration.
METADESIGN IN INTERACTION AND OPEN DESIGN
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METADESIGN IN INTERACTION AND OPEN DESIGN
Metadesign represents a cultural shift from design as planning to design
as seeding. By promoting collaborative and transformational practices of
des ign that can sup por t new modes of hum an interact ion and susta in an
expansion o f the creat ive process, metadesign is developin g toward new
ways of und ers tanding and planning with the goal of produ c ing more open
and evolving open systems of interaction (Giaccardi, 2005, p. 348).
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HOW USE CONCEPT CHANGES FACING NEW TECHNOLOGIES: LEVY
Technology, even the more advanced, is bricolage, re-use and deflection . It
is no t poss ib le to use withou t interpret ing, metamorpho s ing. The being of a
proposit ion , an image or a mater ial device is determin ed only b y its us e, by
the interpretat ion of w ho b rush es against i t .
[] No technical advance is determinate a priori, before to be tested by the
heterogeneous co l lec t ive, by the com plex network in wh ich i t h as to c irculate
and that eventually it should be able to reorganize someday (Levy, 1992, pp.
203-204, authors translation).
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HOW USE CONCEPT CHANGES FACING NEW TECHNOLOGIES: CASTELLS
What characterizes the current technological revolution is not the centrality
of knowledge and informat ion, but the appl icat ion of such know ledge and
informat ion to kn ow ledge generation and inform ation
process ing/communicat ion d ev ices, in a cum ulat ive feedback loop between
innovation and the uses of innovation (Castells, 2010, p. 31).
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HOW TIME CONCEPT CHANGES FACING NEW TECHNOLOGIES: CASTELLS
Over the classical view of the time as a succession, new technologies impose
the virtual time, a time of the now and of the eternity, disconnected from the
space.
The whole ordering of meaningful events loses its internal, chronological
rhy thm , and becomes arranged in t ime sequences d epending upon the soc ia l
con text of their ut i l ization . Thus, i t is a cultu re at the same t im e of the eternal
and o f the ephemeral. It is eternal because it reaches b ack and fo rth to the
wh ole sequence of cu ltural expressions . It is ephemeral because each
arrang ement, each specif ic sequenc ing, depends on the con text and purposeunder whic h any given cu ltural constru ct is sol ic i ted. We are no t in a cultu re
of circu lar i ty , bu t in a univ erse of und if ferent iated tempo ral i ty of c ultural
expressions (Castells, 2010, p. 492).
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HOW TIME CONCEPT CHANGES FACING NEW TECHNOLOGIES: LEVY
Levy goes beyond, foreseeing a knowledge era that abolishes the time delay
(2011, pp. 155-157). Levys collective time has no objective references, such
as the clock or the calendar: new technologies allow assuming many
subjective time references that collective time composes. Each individual has
his or her time reference and, consequently, his or her velocity, without being
isolated since asynchrony is a property of collective time.
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CONSEQUENCES ON THE CONCEPT OF METADESIGN
In the literature metadesign is intended as a design process that precedes
further design processes.
It is frequently translated as the design of design (Giaccardi, 2005;
Celaschi, Deserti, 2007; De Moraes, 2010; Vasso, 2010).
Even if this expression appears efficacious, it demands for explanations to
avoid the risk of becoming a sibylline aphorism.
Some questions emerge:
Is metadesignas the first term of the expressionan essentially
different process from the process of designas the second term? Is a further design process indispensable to the metadesign one?
Is metadesign really previous to design?
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CONSEQUENCES ON THE CONCEPT OF METADESIGN
Metadesign is not a present and finite process, but a continuous and restless
one.
Metadesign is a speculative and interpretative design process that opens new
opportunities to design with unpredictable consequences.
Metadesignas the first term of the expression design of designcould be
interpreted as the projection of design. It does not lie in the same layer of
design and so neither in the same time reference system, even if it is strictlyrelated to design as its propulsion.
While design is for the future, metadesign is for letting the future design.
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THANK YOUProf. Carlo Franzato | [email protected]
https://unisinos.academia.edu/CarloFranzato
https://www.researchgate.net/profile/Carlo_Franzato
mailto:[email protected]://unisinos.academia.edu/CarloFranzatohttps://www.researchgate.net/profile/Carlo_Franzatohttps://www.researchgate.net/profile/Carlo_Franzatohttps://unisinos.academia.edu/CarloFranzatomailto:[email protected]