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Prospects of Design Education Cultural Spaces and Design Regine Halter, Catherine Walthard (Eds.)

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Prospects of Design Education Cultural Spaces and Design Regine Halter, Catherine Walthard (Eds.) Cultural Spaces Regine Halter, and Design Catherine Walthard (eds.) Prospects of Design Education Cultural Spaces and Design Regine Halter, Catherine Walthard (eds.) Prospects of Design Education Contents Imprint Regine Halter, Preface 7 © 2019 LIBRUM Publishers & Editors LLC | Basel | Frankfurt am Main Catherine Walthard Editors: Regine Halter, Catherine Walthard for HyperWerk HGK FHNW Matthias Böttger How can we live together 12 Design: Katja von Ruville Layout: Lukas Oppler Experiencing the Foreign 17 Text editors: Regine Halter, Ralf Neubauer Richie Moalosi, Cultural memory: An asset for design-driven Image editor: Catherine Walthard Keiphe N. Setlhatlhanyo, innovation within the creative industries: Oanthata J. Sealetsa Lessons for design education 18 Translations: Peter Barton, Ralf Neubauer (German-English) Proofreading: Ralf Neubauer, Peter Barton Leyla Belkaïd Neri Educating the liminal imagination of the designer 36 Print: Memminger MedienCentrum, Memmingen Bettina Köhler On the audacity of fashion in an age of globalisation 48 Paper: special white, Fly® 06, 130g/m2 + 300g/m2, FSC® certified Richie Moalosi, Keiphe N. Co-created design solutions Fonts: Montserrat + Montserrat Subrayada, Julieta Ulanovsky; Nordvest, Nina Stössinger Setlhatlhanyo, Oanthata J. to mitigate human- elephant conflict in Botswana ISBN: 978-3-906897-31-8 Sealetsa, Odireleng Marope 62 DOI: 10.19218/3906897318 Jilly Traganou Learning from the Standing Rock as a site for transformative inter cultural pedagogy 76 This book is licensed under a Creative Commons Attribution-NonCommercial 4.0 Carlos Montana-Hoyos, Cross-culturality, inter disciplinarity, and globalisation International License. www.creativecommons.org Lisa Scharoun in design education 92 International Workshops Cultural Spaces and Design 111 Open-access available at www.librumopen.com Anka Falk, Tatiana Tavares Crafts and Design Cultures – Banasthali, India 112 The publication is supported by the Institute HyperWerk HGK FHNW, Himadri Hiren Ghosh Educating an awareness of the impact of Indian lifestyles Academy of Art and Design, University of Applied Sciences and Arts on craft traditions 118 Northwestern Switzerland Regine Halter Water – Gaborone, Botswana 128 www.fhnw.ch/hgk/ihw www.hyperwerk.ch Christian Holliger Experiencing Botswana and the project week Water 136 Tosca Waeber The attraction of water 144 Catherine Walthard Points of view – Canberra, Australia 152 Gilbert Riedelbauch Connotations in material (cultures) 158 4 5 Reflecting the Foreign 171 Anka Falk Telling the foreign. The Designer‘s Travel Kit 172 Lea Leuenberger On being on the move 190 Nora Fankhauser Colour travelogue 196 Franziska Schüpbach Mateland 200 Noemi Scheurer Impressions from Nigeria 204 Amardeep Shergill The Cultural Spaces project as a practical learning resource 208 Andrina Stauffer Between things 214 Preface Projects abroad 221 Lukas Oppler Building community 222 The present crises of civilisation are expressions of a crisis of thinking and of acting. Manuel Wuest Tools for emergency humanitarian aid 230 The ecological, economic, and social problems show that, obviously, customary patterns of thought and action are not capable of designing thrivable problem-solving Anna Studer Searching for life commuters 236 processes. Gabriel Meisel rén – Institute for the analysis of flight, borders Neither is there a lack of qualified root cause analyses nor of global networks and hope 240 communicating their findings. What is missing, however, are concepts, methods, and Niku Alex Muçaj Converscene/ Konverskenë 248 practices putting conceptual acting in the context of global trouble. Realisations 253 At this point, the publication Cultural Spaces and Design. Prospects of Design Éric Simon Eau! Wasser! Acqua! Water! Agua! 254 Education unfolds possibilities and ways that may counter a blind spot in design education. This blind spot is the concern with the topic of globalisation and design. Natalie Robertson Para-whenua- mea – Muddy-soil-of-Mother-Earth. 264 Already in the thematic constellation – globalisation and design –, two diamet- Tatiana Tavares Ko Wai Ko Au Ko Au Ko Wai – I am water, water is me 276 rically opposed dynamisms seem to confront each other. The concept of globalisation, Jessica Kate Tweed Raranga 288 on the one hand, bears something almost fateful, as if it were something that is Fiona Amundsen, The One and the Many: Connecting with coming over us and develops way beyond our influence – an erratic block, like an alien Dieneke Jansen, and caring for each other excessively growing by itself. This is not much of a surprise since digitalised socie t ies Catherine Walthard 294 produce complex arrays of dynamically interacting effects that, in their turn , generate Himadri Hiren Ghosh The experimental Cultural Spaces 302 processes of structural changes. This gives rise to a feeling of powerlessness. Design, on the other hand, as an in principle intentionally directed action, Redesigning Design Education 307 Regine Halter Educational scenarios 308 embodies the exact opposite – provided that it is not reduced to the design of phys- ical objects but rather implies the design of structures, forms of communication, Anka Falk Multiplying worlds in design education. Perspectives on coaching and supervision 316 social relations etc. It always strives to cut aisles into what seems inevitable, makes suggestions, intervenes, alters, and thus pursues a conception of itself as conceptual Globalisation is a design issue. Concluding remarks 322 Regine Halter acting. Of course, design is not able – or not able by itself– to solve the current crises Appendix 224 but it is always a special place for debating issues regarding civilisation. And today, Authors 224 these issues cannot be comprehended without considering the specific dynamism of Acknowledgements 229 globalisation. Quotations 230 If globalisation and design shall be put into a critical and thus productive connection, then this connection cannot be frozen into a hierarchical power structure Abbreviations 230 in favour of globalisation. Therefore, the question arises how a chaotic whole (world, society, so-called nature) and its equally chaotically behaving subsystems can at all be influenced by 6 7 design. The old concepts of causality no longer suffice, and design moves away from With this project, the project team granted special value to the working experi- the product and redirects its attention to social, cultural, economic, and ecological ences of students in new, foreign life-worlds. Therefore, students’ experience should processes. Within the framework of an unstable whole it works on intervening into be documented, evaluated, and analysed with regard to new contents for design processes: it works processively. Thus, processiveness and self-organisation are education, and made available to design education for further discussion. With the es s e­­n tial factors for an understanding of design as intervention. Travel Kit, an important prerequisite for the production of these documentations was If design education attends to options of how to alter global developments – developed. Anka Falk explains this in depth in this publication. and today, this should be one of its main tasks – it would have to reposition itself in As is reflected in the title Cultural Spaces, the educational perspective we this paradigm shift and apply it to its own questions, methods, and structures. envision focuses on the interactive concern within a particular milieu, a concrete One of the most powerful implications of globalisation is the levelling of cultu- life-world, as well as on the needs of those who are involved in these activities. The ral­­ peculiarity and idiosyncrasy. This observation led to a kind of discontent with ­­the local level is appreciated as the actual hot spot of globalisation. (present) culture of globalisation and was the decisive factor for the research project In place of the current homogenisation of cultural particularity and practices preceding this book under the same title: Cultural Spaces and Design. Prospects of and without signing up to an ideology of a global happy family, the Cultural Spaces Design Education.1 and Design. Prospects of Design Education project focuses on a concept of design This project was the last stage of a concern since 2009 with the alteration of education which understands the interactive communication and collaboration of design education against the background of globalisation. Initially, focused on change all participants – designers and users – as well as the different modes of perception of environment and thus change of perspective under the title Travel Trains Talent, of various milieus, life-worlds and places as a significant challenge for the work of the annual topic at the Institute HyperWerk was, under the title Upstream. Prospects design in our time. through Design, dedicated to the perception of the foreign. It follows that the students’ change of environment and their confrontation The project Cultural Spaces and Design. Prospects of Design Education was situ- with life-worlds unknown to them plays a significant role in the educationalcon cept ated in the field of applied intercultural design research. The project team – Regine we are favouring. This book contains reports on some of these changes of en- Halter, Catherine Walthard, Anka Falk – focused on the impact of the processes of vironment. globalisation on design and examined their consequences for design education. The leitmotifs of the research
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