In the literature metadesign is intended as a design process that precedes further design processes. Metadesign is often translated as the "design of design" (giaccardi, 2005; Celaschi, Deserti, 2007; de moraes, 2010; vassao, 2010) some questions emerge: is metadesign an essentially different process from the process of design?
In the literature metadesign is intended as a design process that precedes further design processes. Metadesign is often translated as the "design of design" (giaccardi, 2005; Celaschi, Deserti, 2007; de moraes, 2010; vassao, 2010) some questions emerge: is metadesign an essentially different process from the process of design?
In the literature metadesign is intended as a design process that precedes further design processes. Metadesign is often translated as the "design of design" (giaccardi, 2005; Celaschi, Deserti, 2007; de moraes, 2010; vassao, 2010) some questions emerge: is metadesign an essentially different process from the process of design?
Carlo Franzato METADESIGN LETTING THE FUTURE DESIGN Prof. Carlo Franzato | cfranzato@unisinos.br METADESIGN. LETTING THE FUTURE DESIGN 2 Carlo Franzato 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 metadesign as the first term of the expression an essentially different process from the process of design as the second term? Is a further design process indispensable to the metadesign one? Is metadesign really previous to design? METADESIGN. LETTING THE FUTURE DESIGN 3 Carlo Franzato 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 METADESIGN. LETTING THE FUTURE DESIGN 4 Carlo Franzato 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. METADESIGN. LETTING THE FUTURE DESIGN 5 Carlo Franzato 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 like conducting an orchestra. Basically, [that is] working with other authors, well known or unknown, on a precise, strong metadesign, leaving big gaps in which the authors could find space to express themselves freely. I often had these experiences, in different fields and I continue to have them. They give the pleasure of suspense, of how the design will turn out, 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). METADESIGN. LETTING THE FUTURE DESIGN 6 Carlo Franzato 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. METADESIGN. LETTING THE FUTURE DESIGN 7 Carlo Franzato METADESIGN IN INTERACTION AND OPEN DESIGN John Maeda, reactive graphics, 1995. ( John Maeda) Maedas metadesign technique allows generation of visual experiences that involve the viewers in the creation of the form by responding to their inputs in real time (GIACCARDI, 2005, p. 343). METADESIGN. LETTING THE FUTURE DESIGN 8 Carlo Franzato 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 METADESIGN. LETTING THE FUTURE DESIGN 9 Carlo Franzato 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 design that can support new modes of human interaction and sustain an expansion of the creative process, metadesign is developing toward new ways of understanding and planning with the goal of producing more open and evolving open systems of interaction (Giaccardi, 2005, p. 348). METADESIGN. LETTING THE FUTURE DESIGN 10 Carlo Franzato HOW USE CONCEPT CHANGES FACING NEW TECHNOLOGIES: LEVY
Technology, even the more advanced, is bricolage, re-use and deflection. It is not possible to use without interpreting, metamorphosing. The being of a proposition, an image or a material device is determined only by its use, by the interpretation of who brushes against it. [] No technical advance is determinate a priori, before to be tested by the heterogeneous collective, by the complex network in which it has to circulate and that eventually it should be able to reorganize someday (Levy, 1992, pp. 203-204, authors translation). METADESIGN. LETTING THE FUTURE DESIGN 11 Carlo Franzato HOW USE CONCEPT CHANGES FACING NEW TECHNOLOGIES: CASTELLS
What characterizes the current technological revolution is not the centrality of knowledge and information, but the application of such knowledge and information to knowledge generation and information processing/communication devices, in a cumulative feedback loop between innovation and the uses of innovation (Castells, 2010, p. 31). METADESIGN. LETTING THE FUTURE DESIGN 12 Carlo Franzato 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 rhythm, and becomes arranged in time sequences depending upon the social context of their utilization. Thus, it is a culture at the same time of the eternal and of the ephemeral. It is eternal because it reaches back and forth to the whole sequence of cultural expressions. It is ephemeral because each arrangement, each specific sequencing, depends on the context and purpose under which any given cultural construct is solicited. We are not in a culture of circularity, but in a universe of undifferentiated temporality of cultural expressions (Castells, 2010, p. 492). METADESIGN. LETTING THE FUTURE DESIGN 13 Carlo Franzato 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. METADESIGN. LETTING THE FUTURE DESIGN 14 Carlo Franzato 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 metadesign as the first term of the expression an essentially different process from the process of design as the second term? Is a further design process indispensable to the metadesign one? Is metadesign really previous to design? METADESIGN. LETTING THE FUTURE DESIGN 15 Carlo Franzato 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.
Metadesign as the first term of the expression design of design could 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 strictly related to design as its propulsion. While design is for the future, metadesign is for letting the future design. METADESIGN. LETTING THE FUTURE DESIGN 16 Carlo Franzato THANK YOU Prof. Carlo Franzato | cfranzato@unisinos.br https://unisinos.academia.edu/CarloFranzato https://www.researchgate.net/profile/Carlo_Franzato