Daniel Charny

>hello

Wednesday, 6 November 2013

REQUIEM OR RENAISSANCE?


Learning to teach design since 1992


Commissioning new work, talks, participative installations and events.


Experimenting with blended media: The Incidental a usg map-magazine for British Council (2009)


Gallery for contemporary design: a lab for experimenting with formats (2002-10)


Focus on Prototypes & Experiments: sketches, studies, mockups, feasibility, components...


At the heart of the exhibition were fifteen commissions by David Adjaye, Ron Arad, Barber Osgerby, Neville Brody, Nigel Coates, Paul Cocksedge, Tom Dixon, El Ultimo Grito with Urban Salon, Kit Grover, Zaha Hadid, Industrial Facility, Thomas Heatherwick, Wayne Hemingway, Ross Phillips and Paul Smith.

Commissions drive new work. SuperContemporary (Design Museum 2009)



V&A + Crafts Council = Inspire future makers


ON THE ONE HAND...

Distance from productionReduced knowledge of materialsDiminishing culture of mending Skills deterioration Craft knowledge erosionMass customisation Abusive productionEntrenched attitudes

ON THE OTHER HAND...

Renewed interest in makingIdentity & belonging through participationSocial & civic awakeningEntrepreneurship Viable sustainable applicationsPost-disciplinary practiceNew modes of production & distribution

BIGGER PICTURE...ATTITUDES TO MAKING


Cargo Ships Main containers shipping routes 2008Vegetables from Kenya in Tesco

Attitudes to MakingON THE ONE HAND...



Cargo Ships

Main containers shipping routes 2008

Vegetables from Kenya in Tesco

“Fast’Oyster”, “Quick’asparagus”: Are you ready to eat anything ?French Sugar Campaign, 1990s

Thomas Thwaites, Toaster Project

Nuclear Clothing Explosion - Guerry de la Paz

Primark - £1 Clothing Nike

Dell Design Studio

Attitudes to Making


Thomas Thwaites, Toaster Components “Fast’Oyster”, “Quick’asparagus”: Are you ready to eat anything ?French Sugar Campaign, 1990s

Thomas Thwaites, Toaster Project




Nuclear Clothing Explosion - Guerry de la Paz

Primark - £1 ClothingDiscarded Sofa




ON THE ONE HAND...


Cooper LacemakerDry Stone Wall Builder

Attitudes to Making


Lack of control over labour conditions

Losing Elements to Mobile PhonesPacific Trash Vortex




ON THE ONE HAND...


The Glass Ceiling: Sexism in the office Hierarchical Divisions and Free LabourGender and Class Division

Attitudes to Making


Maker Camp at Maker Faire Fab labsTinker Space at Power of Making

Attitudes to Making


Renewed interest in makingIdentity & belonging through participationSocial & civic awakening Entrepreneurship Viable sustainable applications Post-disciplinary practiceNew modes of production & distribution


Dala Street Initiative Karo Open Air Library The Mobile Fab Lab

Attitudes to Making


Renewed interest in makingIdentity & belonging through participationSocial & civic awakening Entrepreneurship Sustainable applications following years of discussionPost-disciplinary practiceNew modes of production & distribution


Urban Picnic, Gareth Neal ColaLife Kit YamoyCreative Little garden NYC

Attitudes to Making


Renewed interest in makingIdentity & belonging through participationSocial & civic awakeningEntrepreneurship Viable sustainable applications Post-disciplinary practiceNew modes of production & distribution


Formlabs on kickstarter Little Printer BErg CloudSugru

Attitudes to Making


Renewed interest in makingIdentity & belonging through participationSocial & civic awakening Entrepreneurship Viable sustainable applications Post-disciplinary practiceNew modes of production & distribution


Fairphone

Attitudes to Making


Renewed interest in makingIdentity & belonging through participationSocial & civic awakeningEntrepreneurship Viable sustainable applicationsPost-disciplinary practiceNew modes of production & distribution

DIY bio WetlabWikihouse


Tool-less production with 3d ARDUINO Shapeways

Attitudes to Making


Renewed interest in makingIdentity & belonging through participationSocial & civic awakening Entrepreneurship Sustainable applications following years of discussionPost-disciplinary practiceNew modes of production & distribution



KEY MESSAGES

1. Global nature of making

2. Stimulation

3. Wide ranging abilities & skills

4. Crossing disciplines

5. Continuum of knowledge

6. The value of making


Early research


Steering committee 02 meeting 11.8.10

Techniques and skills by ways of making

SHAPING

Metal SpinningPressingEmbossingMouldingIroningHammering BeatingMarbellingFoldingBradingKnittingKnottingThrowingGlassblowingCastingForgingStampingRolling

SUBTRACTING

CuttingCarvingWhittlingWood turningMillingPolishingSculptingLathingEngravingShearingSanding FilingTappingSawingRoutingTrimming

ADDING

Building LayeringWeavingBindingRivetingSolderingBeadingBasket weavingChiselingMarquetryFretworkHedge layingDry Stone walling3D PrintingWeldingLaminating


Steering committee 01 meeting 29.06.1029

SKILLSStages of developing skills (Dreyfus Model)1. novice2. advanced beginner 3. competent, 4. proficient 5. expert

“In the novice stage, a person follows rules as given, without context, with no sense of responsibility beyond following the rules exactly. Competence develops when the individual develops organizing principles to quickly access the particular rules that are relevant to the specific task at hand; hence, competence is characterised by active decision making in choosing a course of action. Proficiency is shown by individuals who develop intuition to guide their decisions and devise their own rules to formulate plans. The progression is thus from rigid adherence to rules to an intuitive mode of reasoning based on tacit knowledge“

Note on sophistication in makers skill:1. Situational (in reference to the field/technique/activity)2. Holistic 3. Intuitive4. Absorbed


”The creative thinker has to make a decision about their route without having the full information they need for the choice. This dilemma belongs to the essence of creativity.”

ANTON EHRENZWEIG

“Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.”

ALBERT EINSTEIN

”Design concept of thinking is about hypothesis, about looking at situations in a different way...time and again you see that success comes to those that are willing to look for new ideas.”

EDWARD DE BONO

IMAGINATION


IMAGINATIVE USE OF SKILLS


EXPLORING THE EXHIBITION


Power of Making is an exhibition about the breadth and depth of craft’s presence in modern life. The featured objects have been selected to highlight both age-old skills and contemporary techniques, from traditional stone walls to machines that can make other machines. Each exhibit demonstrates refined craftsmanship, meticulous control or ingenious application.

The exhibition is structured in groups of objects that share certain attributes. Some have been created using related techniques or materials. Others are connected by their appearance, or by their makers’ motivations. There is no set path to follow. Power of Making is intended to encourage exploration and imagination, in the open-ended spirit of the works on display.

EXPLORING THE EXHIBITION


METICULOUSEXPRESSIVEINGENIOUSWednesday, 6 November 2013




Most people can make something, at least at an amateur level, and many reach a professional standard. But there are many layers of expertise beyond that. It may take years to attain complete mastery. Too many people never get a chance to experience this level of making.

At every stage in the learning process, a maker’s relationship to materials and tools changes dramatically. What may at first have been frustrating becomes pleasurable. Makers start to think through their materials and skills, almost unconsciously. Once they learn how to use and care for a tool, makers might start modifying it, or even invent a new tool to replace it. In all these ways, learning a skill is a way of opening up future possibilities and challenges.

LEARNING A SKILL


SKILLED MAKING BENEFITS SOCIETY IN WAYS NOT OFTEN ACKNOWLEDGED IN THE MUSEUM




Makers use numerous different skills and techniques to shape their materials. All these techniques may be considered as falling into one of just three types.ADDING techniques connect, layer or combine materials. They include welding, veneering, weaving, embroidery and painting.SUBTRACTING techniques remove materials. They include cutting, carving, engraving, drilling and grinding.TRANSFORMING techniques alter materials them-selves. They include throwing clay, blowing glass, forging metal, and baking. The transformed states may be temporary or permanent. Irreversible transformations occur in processes like vacuum forming, stereolithography and casting.Every object in the exhibition was made by adding, subtracting or transforming material, or by combining these processes.

TYPES OF MAKING





All knowledge about making was once new. Someone, sometime, had to formulate it. But there is a big difference between established, ‘traditional’ forms of making and those which are innovative. Both are crucially important, and both can be expressive, but they serve different purposes. Traditional ways of making have accumulated over generations. They are passed down from person to person, often through apprenticeships, and learned through repetition. Innovative making is less rehearsed, and may be less reliable. But it is more exploratory, with the potential to open up dramatic new directions. This can involve redirecting existing skills, or creating new ones from scratch. All knowledge, even the most traditional, can be new for any individual. But some knowledge is new to us all.

MAKING NEW KNOWLEDGE


DATA > INFORMATION > KNOWLEDGE


DATA > INFORMATION > KNOWLEDGE > WISDOM




Many people think that craft is a matter of executing a preconceived form or idea, something that already exists in the mind or on paper. Yet making is also an active way of thinking, something which can be carried out with no particular goal in mind. In fact, this is a situation where innovation is very likely to occur.Even when making is experimental and open-ended, it observes rules. Craft always involves parameters, imposed by materials, tools, scale and the physical body of the maker. Sometimes in making, things go wrong. An unskilled maker, hitting the limits of their ability, might just stop. An expert, though, will find a way through the problem, constantly unfolding new possibilities within the process.

THINKING BY MAKING







Essays:

The Power of MakingDaniel Miller

ʻWe must all turn to the craftsʼProfessor Sir Christopher Frayling

Action Not WordsMartina Margetts

Social MakingEle Carpenter

The Making RevolutionProfessor Neil Gershenfeld in conversationwith Daniel Charny

The Future of MakingBruce Sterling

Caption PoemsPatricia Rodriguez


All knowledge about making was once new. Someone, sometime, had to formulate it. But there is a big difference between established, ‘traditional’ forms of making and those which are innovative. Both are crucially important, and both can be expressive, but they serve different purposes. Traditional ways of making have accumulated over generations. They are passed down from person to person, often through apprenticeships, and learned through repetition. Innovative making is less rehearsed, and may be less reliable. But it is more exploratory, with the potential to open up dramatic new directions. This can involve redirecting existing skills, or creating new ones from scratch. All knowledge, even the most traditional, can be new for any individual. But some knowledge is new to us all.

IN THE ZONE



http://livepage.apple.com/

http://livepage.apple.com/


Power of Making, V&A Museum, London, 2012



http://vimeo.com/groups/pomopensub/videos/sort:plays

http://vimeo.com/groups/pomopensub/videos/sort:plays







Access > Engagement > Experience > Confidence


example > principle > example> principle > example


Text


http://www.fixperts.org/



MAKING & OPEN DESIGN?


Pilots: Navigating Next Models of Design Education

Curated by El Ultimo Grito and David Falkner at the Stanley Picker Gallery, Kingston Univesity April 2013


Text

Pilots: Navigating Next Models of Design Education / Daniel Charny

AAUTHENTICITY

AUTHORITY AUTHORSHIP

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Text

Pilots: Navigating Next Models of Design Education / Daniel Charny

AAGENCY


Making is the most powerful way that we solve problems, express ideas and

shape our world.

What and how we make defines who we are, and

communicates who we want to be.

WHAT IS THE POWER OF MAKING?


>thank you



Documents

Daniel Charny