DOCSLIB.ORG

Design Thinking in Organisations: a Practice-Based Approach

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Design Thinking in Organisations: a Practice-Based Approach DOCTORAL SCHOOL UNIVERSITY OF MILANO-BICOCCA Department of Educational Human Sciences PhD program EDUCATION AND COMMUNICATION - Cycle XXIX Curriculum in ORGANISATIONAL STUDIES DESIGN THINKING IN ORGANISATIONS: A PRACTICE-BASED APPROACH Surname: PRUS Name: IRYNA Registration number: 733935 Tutor: RAOUL NACAMULLI Co-tutor: ALESSANDRA LAZAZZARA Coordinator: LAURA FORMENTI Academic Year 2016/2017 ABSTRACT The concept of Design Thinking (DT) has emerged in business and management discourses as a promising approach to innovation. Numerous organisations start to apply DT practice on different scale for the purpose of the strategic renewal. Despite the growing popularity of the phenomenon in practice, there exists no coherent conceptualisation of DT in theory. The field of DT is young, full of contradictory statements and ambiguities, especially for what regards DT outcomes and benefits. Hence, this dissertation aims at consolidating the field by advancing knowledge on how DT is understood and practiced in organisations. For this, a practice-based approach was selected as a research perspective for gaining theoretical insights based on empirical findings. Moreover, this dissertation aims at explaining the relationship between the DT practice and innovation processes in organisations, so that to establish a dialogue between the two fields. For pursuing these goals, the literature on DT and innovation has been comprehensively reviewed for identifying existent problems and challenges of both fields. The empirical part of the research is developed according to an interpretative philosophical position and a qualitative approach. A single case study of the IBM Company was selected as a research strategy. The primary data were collected by a combination of three ethnographic methods (interviews, mobile ethnography, digital ethnography), and blended with secondary data from the desk research. In the analysis phase, a grounded theory approach and the narrative analysis were used to process the data. Research findings provide a historical context of the IBM Corporation and the IBM Design Company. Then, the IBM DT framework is analysed, and compared with how it is put in practice by IBMers in Italy. The IBM DT practice revealed to be constituent of three main components (mindset, agency, tools) that are orchestrated by DT principles. It was possible to find sub-dimensions and main characteristics for each constitutive element. Specifically, 3 sub-dimensions of mindset (learner, inventor, doer), 4 working modes associated with agency (explorative, sensemaking, imaginative, generating), and four typologies of tools (methods, techniques, frameworks, digital software). Moreover, six DT principles were identified, namely: humanocentrism, focused improvement, diversity- driven collaboration, holism appreciation, continuous learning, and multimodality. It was possible to observe how DT practice contributes to the innovation process in four different innovation phases: identification of the opportunity for change, strategy formulation, roadmap planning, crafting the final output. Finally, the role of contextual factors in the DT practice is discussed. Based on findings, some insights are drawn about the characteristics of the DT practice, and some ideas are advanced regarding the nature of the phenomenon. Finally, possible ways to contribute further to the field development are discussed, together with practical implications. Keywords: design; design thinking; innovation; strategy; practice; IBM. ii ACKNOWLEDGEMENTS One bee won’t collect enough honey (Ukrainian proverb). Doing the research at the intersection of more disciplines was very challenging for me, therefore I am happy of not having been alone in this journey. Even if this initial acknowledgement is not essential to science, for me this personal note is very important, it is my tribute to all people who directly or indirectly helped me to arrive to the level of consciousness that permitted me to produce this final work. I would like to name all, taking the risk of forgetting someone, but I hope they will forgive my memory. First of all, I would like to thank my supervisor Raoul Nacamulli for supporting my experiments, permitting me to seek my authenticity, and sharing enthusiasm for my work. I am deeply indebted to Alessandra Lazazzara for her pragmatic and generous support, and for showing me the way even in the most tragic moments. I am grateful to Barbara Quacquarelli for encouraging me on academic challenge and helping me in finding my professional identity. I am also thankful to scholars and fellows of the research centre “Bicocca Training & Development Centre” for building for inspiring discussions, workshops, and conferences. My gratitude goes also to all scholars from the Department of Educational Human Sciences, in particular to Laura Formenti and Guido Veronese for their encouragements, Alessandro Pepe for methodological discussions, not forgetting Francesco Paoletti for his punctual annual feedback on my research. Of course, I am thankful to all my PhD colleagues for their moral support, for sharing the same passion, and for being great friends. The moments we’ve passed together are precious: courses and conferences, summer schools, common library work, cafeteria talks. In a particular way, I would like to thank Silvia, Camilla, Roberta, and Marika for always granting me with their support and for showing their interest. I am also grateful to all colleagues from the English Group for nice and insightful debates. I want to thank all people who inspired my research interest toward design: a talented graphic designer Stefano Novajra, professor Francesco Zurlo, and all my friends from Giorgetti and Shoto who gave me the long-lasting opportunity to observe and get closer to their design practice. I thank Naiara Altuna for being my research angel, sponsoring my research, discussing the early results and improving them. I thank all IBMers, who dedicated time to my research project and were so generous and open with me, along with other experts on topic that I interviewed. I thank to all people whom I met during my academic travels in Finland, Norway, Sweden, Germany, France, and Italy. Those moments of confrontation with scholars and fellows from iii Euram, Egos, Itais, Esrea and Desma communities were the most useful and powerful motivational engines, permitting me to do great leaps in my research. A special thanks to Anna and Thomas for hosting me in Paris, and to the University of Agder for offering me a free course on methodology. I am also particularly grateful to Eusebio Scornavacca for providing me with useful feedback and suggestions. Thanks to everyone who helped me to destroy previous (raw, unattractive and ridiculous) versions of my work. I also express my sincere gratitude to Simona Marchesini, who has always been my personal coach and helped me to stay focused on my authentic passion. I thank to Ingrid Hollweck for being my model of persistence and entrepreneurship. I am also thankful to all colleagues from Coachpeople for inspiring me with insights from their professional practice. Of course, I am also thankful for outside of the academic microcosm that have stimulated my curiosity: all the members of the European and Italian Design Community, especially Milan Service Design Drinks, for making me believe in interdisciplinarity and contaminating me with their dynamism; the network of Global Service Jam for meeting enthusiastic social entrepreneurs. A sincere thank you to all my friends for helping me to build the courage to face the biggest challenges, for sharing my small achievements, and giving me the days of rest. I am particularly grateful to Sara, Nataliia, Kirsten, Oleksandr, Maria, Viktoriya, Yaryna, Ilenia for their kind interest in proceedings of my work and their suggestions. My deep gratitude goes also to my Italian families, for giving robustness to my fresh roots: MariaRosa, Marta & Co, Silvia T. & Co, Lucia & Co, Luigi, Silvia C. & Co. Finally, I express my gratitude to the most important people of my life: my mom for her immense love and support; my dad for remembering me the real value of things; my sister for always being there and transmitting me her nerdy enthusiasm; and Alberto for sharing every moment and for growing together. I also express my profound gratitude to my Ukrainian countrymen. My phd journey has started concurrently with the war in my homeland. It was horrible staying distant from the battle that my relatives and friends were - and unfortunately still are - bringing on. I decided to do my "battle" in the only place I could be useful - in my work. Thinking of my countrymen has always given me courage, saved me from making discounts to myself, and always helped to dream in big. My motto was the phrase of Phil Ochs "In such ugly times, the only true protest is beauty". During the writing phase, I reflected a lot on the academic habit of using “we” instead of “I”. I felt more comfortable with using the first person, because this work is pretty much expression of me, because in some cases I dared with hazardous styles (and I hope that people devoted to traditions won’t take it for arrogance), and also because I see this dissertation as my dialogue with the reader. So, please, mind that using the first person is just my sincere attempt to “humanize” your reading experience, make it more engaging, and not a symptom of exagerated self-confidence. Iryna Prus iv Table of Contents INTRODUCTION .......................................................................................................
Load more

Recommended publications
  • Exploring the Design Potential of Wearable Technology and Functional Fashion Design
    Wearable Technology and Functional Fashion 1 Exploring the Design Potential of Wearable Technology and Functional Fashion Design By Jensin Wallace BFA, Textile Design, Rhode Island School of Design Submitted to the Graduate School of the University of Cincinnati Masters of Design School of Design, Art, Architecture and Planning 2014 Wearable Technology and Functional Fashion 2 Phyllis Borcherding Abstract Wearable technology is a growing field at the intersection of fashion and technology. Apparel and technology designers are unsure of how best to merge the strengths of their independent fields to create products that can be easily integrated into an individual’s lifestyle. The aim of this research is to create a conceptual framework that combines functional apparel design values with interaction design values in a model that could theoretically be used inter- disciplinary for the future development of wearable technology products. ProJect-based research was conducted to create a wearable technology prototype that explored the potential of a multifunctional and technologically enabled knitted garment. The framework was developed using the findings from this process with an emphasis on user centered design techniques. Wearable Technology and Functional Fashion 3 Table of Contents Introduction…………………………………………………………………………………......................................………4 Methodology……………………………………………………………………………………………………………………….......5 1 Interdisciplinary Boundaries………………………………………………………………………….……………………….7 1.1 Technology in Everyday Life 1.2 Knitwear:
    [Show full text]
  • The American Lawn: Culture, Nature, Design and Sustainability
    THE AMERICAN LAWN: CULTURE, NATURE, DESIGN AND SUSTAINABILITY _______________________________________________________________________________ A Thesis Presented to the Graduate School of Clemson University _______________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Landscape Architecture _______________________________________________________________________________ by Maria Decker Ghys May 2013 _______________________________________________________________________________ Accepted by: Dr. Matthew Powers, Committee Chair Dr. Ellen A. Vincent, Committee Co-Chair Professor Dan Ford Professor David Pearson ABSTRACT This was an exploratory study examining the processes and underlying concepts of design nature, and culture necessary to discussing sustainable design solutions for the American lawn. A review of the literature identifies historical perceptions of the lawn and contemporary research that links lawns to sustainability. Research data was collected by conducting personal interviews with green industry professionals and administering a survey instrument to administrators and residents of planned urban development communi- ties. Recommended guidelines for the sustainable American lawn are identified and include native plant usage to increase habitat and biodiversity, permeable paving and ground cover as an alternative to lawn and hierarchical maintenance zones depending on levels of importance or use. These design recommendations form a foundation
    [Show full text]
  • Communication Design: Material Artefact, Immaterial Influence Culture–Practice–Discourse: a Theoretical Framework for A
    Volume 15 Paper 04 SMT VOLUME 15 ASTRACT KEY WORDS Communication Design: Material Communication design is a purposeful activity that and culturally produced it can also be conceived as a Communication Design, Artefact, Immaterial Influence involves human subjects and relations, is tied to action, discourse. This paper considers the relationship between Practice, Culture, Discourse, representation and is context-bound. Furthermore, design culture, practice, and discourse and proposes an PAPER 04 Production, Critical ‘effective’ communication design can be understood as emergent theoretical framework for critically reflecting on Culture–practice–discourse: Practice, Theory accomplishing its purpose in having a desired influence on communication design as a discursive practice—a practice a theoretical framework an individual’s belief, values, behaviour, or action, and is that both shapes and is shaped by culture and wider for a critical approach a basic concern of the design practitioner. In this regard, discourses, that is both regulated and has the potential to to communication design design practice knowledge—‘practice’ meaning both transform its operations. professional situations and preparing for such situations AUTHOR Veronika Kelly by increasing expertise—can be conceived as being created in and by a particular culture, at the same time that it also creates culture. As design practice knowledge is socially Culture–practice–discourse: a theoretical framework for a critical approach to communication design Volume 15 Paper 04 INTRODUCTION world’. As ‘culture’, ‘practice’ and ‘discourse’ can be understood differently, taking into consideration 1 – In this paper the terms Communication design1 that is ‘effective’ in achieving the scholarship of Michel Foucault, Donald Schön, ‘communication design’ and its purpose can be conceived as having a desired and Norman Fairclough helps inform examination ‘design’ are used interchangeably.
    [Show full text]
  • Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles
    This is a repository copy of Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles.. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/89265/ Version: Accepted Version Article: Shin, MJ, Cassidy, T and Moore, EM (2015) Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles. Fashion Practice, 7 (2). 175 - 198. ISSN 1756-9370 https://doi.org/10.1080/17569370.2015.1045354 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Design Reinvention for Culturally Influenced Textile Products: focused on traditional Korean bojagi textiles Meong Jin Shin, Tom Cassidy and E.M. Moore Dr. Meong Jin Shin is a researcher working with Tom Cassidy who is a professor in the School of Design, University of Leeds and Edel Moore is a lecturer in the same department.
    [Show full text]
  • Graphic Design in the Postmodern Era
    Graphic Design in the Postmodern Era By Mr. Keedy This essay was based on lectures presented at FUSE 98, San Francisco, May 28, and The AIGA National Student Design Conference, CalArts, June 14, 1998. It was first published in 1998 in Emigre 47. Any discussion of postmodernism must be preceded by at least a provisional definition of modernism. First there is modernism with a capital "M," which designates a style and ideology and that is not restricted to a specific historical moment or geographical location. Modernist designers from the Bauhaus in Germany, the De Style in Holland, and Constructivism in Russia, share essentially the same Modernist ideology as designers like Paul Rand, Massimo Vignelli, and Eric Spiekermann. Its primary tenet is that the articulation of form should always be derived from the programmatic dictates of the object being designed. In short, form follows function. Modernism was for the most part formed in art schools, where the pedagogical strategies were developed that continue to this day in design schools. It is a formalist, rationalist, visual language that can be applied to a wide range of circumstances. All kinds of claims can and have been made in an effort to keep Modernism eternally relevant and new. The contradiction of being constant, yet always new, has great appeal for graphic designers, whose work is so ephemeral. Then there is the modern, with a small "m." It is often confused with Modernism with a big M, but being a modern designer simply means being dedicated to working in a way that is contemporary and innovative, regardless of what your particular stylistic or ideological bias may be.
    [Show full text]
  • Culturalistic Design: Design Approach to Create Products
    CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Except where reference is made to the work of others, the work described in this thesis is my own or was done in collaboration with my advisory committee. This thesis does not include proprietary or classified information. Brandon J. Allen Certificate of Approval: Bret Smith Tin Man Lau, Chair Professor Professor Industrial Design Industrial Design Tsai Lu Liu George T. Flowers Assistant Professor Dean Industrial Design Graduate School CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen A Thesis Submitted to the Graduate Faculty of Auburn University in Partial Fulfillment of the Requirements for the Degree of Master of Industrial Design Auburn, Alabama May 9, 2009 CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Permission is granted to Auburn University to make copies of this thesis at its discretion, upon request of individuals or institutions and at their expense. The author reserves all publication rights. Signature of Author Date of Graduation iii THESIS ABSTRACT CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Master of Industrial Design, May 9, 2009 (B.I.D., Auburn University, 2005) 93 Typed Pages Directed by Tin Man Lau Designers have a unique process for solving problems commonly referred to as design thinking. Design thinking, especially on a cultural level can be used to tackle a wide range of creative and business issues. Design thinking with true cultural infusion is known as “Culturalistic Design”, and can have profound and varying effects on product designs.
    [Show full text]
  • Collaboration Design: Impact Factor of Cross- Culture
    Collaboration Design: Impact Factor of Cross- Culture A Case Study of Design Background Student and Handicraftsman of Taiwan Indigenous Tien-Li Chen *, Man- Li Huang** * College of Design Graduate Institute of Design Doctoral Program NTUT, [email protected] ** College of Design Graduate Institute of Design Doctoral Program NTUT, [email protected] Abstract: This article looks at impact factors of cross culture in collaboration Design. The collaboration of 7 students with design backgrounds and 7 handicraftsman who have knowledge of production to develop cultural goods, cultural elements applied to the design mode. Taiwan in recent years has actively promoted cultural and creative industries in various places with Taiwan Indigenous Peoples, especially the most notable achievement is the Paiwan craft art. The team in July 2012 through a participatory design process, and cross cultural collaboration produced 10 works. These will be the study sample for in depth analysis of the collaborative process mode. This study adopted the methods such as documentary analysis, in depth interviews and participant observation that attempt to construct a model of cross cultural collaboration and cultural elements applications. Lastly model as cross cultural collaborative design interactive reference. The research significantly provides the lessons and suitable models emphasized on the transformation and development of cultural and creative industries especially for aboriginal craftsmen and government. Key words: Collaboration, Cross- Culture, Taiwan Indigenous, Cultural Product, Impact Factor 1. Introduction In traditional design education, students tend to achieve their goals through the design process, with a lack of understanding of the culture. There needs to be respect for the point of view of the cultural and ethnic culture as value-added elements, you need to be more careful with the use of culture.
    [Show full text]
  • Exploring Design Dialogues for Ageing in Place Adam Drazin And
    Exploring Design Dialogues for Ageing in Place Adam Drazin and Simon Roberts ABSTRACT: Ethnographic work conducted by the Digital Health Group, Intel Ireland, explores the questions of how concepts of health and independence relate to peoples’ lives in later life. This paper serves to present artistic approaches to the design of the material culture in elderly homes in Ireland, and aims to highlight and discuss the merits and problems of such approaches. Through writing ‘in miniature’ about specific experiences and homes, we propose that it is possible to develop explorations of material objects in the home which, rather than presenting material contexts as ter- minal ‘conclusions’ to the research process, use them as provoking and questioning resources for engaged dialogical encounters with informants. KEYWORDS: ageing, design, the home, Ireland, anthropological praxis, applications of anthro- pology, material culture Pru is 90 years old. We spent two days with 38). Pru looks for affirmation that her strategic her in her home in County Cork, Ireland, and placing of the television is a good idea, as if in asked her about the various material objects anticipation of some unspecified concatena- around her home, including the small TV in tion of health crises or slow deterioration of her bedroom: the body. This is a field that is currently receiv- ing immense attention by design and ethnog- Anthropologist: ‘Do you watch a bit of TV up here?’Pru: ‘Not TV. I haven’t connected it yet. raphy, as a part of a project of independent Much like the walking stick. That’s when I won’t living in later life, through deploying the ma- be going out so much.
    [Show full text]
  • Values in Architecture a New Design Paradigm: Monist Submission 8Th April 2008 Ian Ritchie
    VALUES IN ARCHITECTURE A NEW DESIGN PARADIGM: MONIST SUBMISSION 8TH APRIL 2008 IAN RITCHIE INTRODUCTION I will try to explain why I believe we are at the beginning of new design paradigm – an important new movement in urbanism and architecture whose visual aesthetic will be multifarious – yet derived from a creative synthesis of science, ecology and ethics. This opposes recent architectural ’isms’, especially superficial and selfish architecture that gratifies itself on hyperbole to gain media self-aggrandisements. Intelligent, social and selfless architectural expression capable of the most marvellous and spiritually uplifting engineered structures must challenge turn-of-the century stunt-making architectural gymnastics. I will address five questions, 1. How does our intellectual heritage shape our actions? 2. What are we thinking about today? 3. How are we behaving as designers? 4. How should we design today? 5. How should we make things? HOW DOES OUR INTELLECTUAL HERITAGE SHAPE OUR ACTIONS? I want to step back 2,500 years to hint at the origins of our present discomfort of having to live with apparent contradictions, and in particular how homo sapiens sapiens has to face up to and find ways of taming a rampant homo faber and homo consumeris. The Greeks sought to reconcile the idea of ‘perpetual change and eternal becoming’ put forward by Heraclitus with that of the ‘unchangeable being’ of Parmenides. The outcomes were to have a profound impact upon the development of our western society. The paradox was resolved when the Greeks thought of the atom as the inert fundamental unchangeable ‘being’, yet which, moved by undefined forces (spirits) could combine with other atoms to generate change.
    [Show full text]
  • Design Culture and Dialogic Design Ezio Manzini
    Design Culture and Dialogic Design Ezio Manzini The question of culture is virtually absent from the debate on contemporary design and especially from what in this paper I refer to as emerging design: a problem-based, solution-oriented design, the defining characteristic of which is not the products, services, and communicative artifacts it produces, but the tools and methods it uses.1 The discussion on it dutifully covers envi- ronmental, economic, and social issues, together with those of participation and the environmental, economic, and social effects of its results. Certainly all these aspects are very important, but the absence of a debate on emerging design’s cultural dimension is a serious limitation that prevents it from becoming the agent of (cultural and therefore also social and environmental) change that it could and indeed should be. Meanwhile, although rarely dis- cussed, emerging design also has its own culture—a culture that is rather limited and limiting precisely because of this lack of debate. In this paper I call this culture solution-ism and participation-ism. To go beyond this somewhat reductive culture, we need to return to the discussion on issues that are or should be typical of design: from the criteria by which to orient and assess the quality of local solutions, to the broadest visions of the world toward which we work. This discussion must be undertaken through a dia- 1 A very clear statement on the nature of emerging design, and of its present lim- logic approach, in which the various interlocutors, design experts its, was proposed in 2014 in a manifesto included, interact as they bring their own ideas and define and titled “DesignX,” collaboratively authored accept their own responsibilities.
    [Show full text]
  • Culture and Concept Design: a Study of International Teams
    INTERNATIONAL CONFERENCE ON ENGINEERING DESIGN, ICED11 15 - 18 AUGUST 2011, TECHNICAL UNIVERSITY OF DENMARK CULTURE AND CONCEPT DESIGN: A STUDY OF INTERNATIONAL TEAMS Andrew Wodehouse1, Ross Maclachlan1, Hilary Grierson1 and David Strong2 (1) University of Strathclyde, UK (2) Queens University, Canada ABSTRACT This paper explores the relationship between culture and performance in concept design. Economic globalisation has meant that the management of global teams has become of strategic importance in product development. Cultural diversity is a key factor in such teams, and this work seeks to better understand the effect this can have on two key aspects of the concept design process: concept generation and concept selection. To this end, a group of 32 students from 17 countries all over the world were divided into culturally diverse teams and asked to perform a short design exercise. A version of the Gallery Method allowed two kinds of activity to be monitored – the individual development of concepts and the collective filtering and selection of them. The effect of culture on these processes was the focus of the work. Using Hofstede’s cultural dimensions, the output from the sessions were reviewed according to national boundaries. The results indicate that individualism and masculinity had the most discernable effect on concept generation and concept selection respectively. While the work sets out a methodology for applying cultural dimensions to concept design work, limitations and future work that more carefully consider the role of personality and individual variations are also described. Keywords: Concept design, culture, national characteristics, teamwork, creativity 1 INTRODUCTION While there are many forms of globalisation, including political, cultural and social, it is economic factors which are driving continued integration and inter-connectedness across geographical boundaries [1].
    [Show full text]
  • Neri Oxman Material Ecology
    ANTONELLI THE NERI OXMAN CALLS HER DESIGN APPROACH MATERIAL ECOLOGY— A PROCESS THAT DRAWS ON THE STRUCTURAL, SYSTEMIC, AND AESTHETIC WISDOM OF NATURE, DISTILLED AND DEPLOYED THROUGH COMPUTATION AND DIGITAL FABRICATION. THROUGHOUT HER TWENTY- ECOLOGY MATERIAL NERI OXMAN NERI OXMAN YEAR CAREER, SHE HAS BEEN A PIONEER OF NEW MATERIALS AND CONSTRUCTION PROCESSES, AND A CATALYST FOR DYNAMIC INTERDISCIPLINARY COLLABORATIONS. WITH THE MEDIATED MATTER MATERIAL GROUP, HER RESEARCH TEAM AT THE MIT MEDIA LAB, OXMAN HAS PURSUED RIGOROUS AND DARING EXPERIMENTATION THAT IS GROUNDED IN SCIENCE, PROPELLED BY VISIONARY THINKING, AND DISTINGUISHED BY FORMAL ELEGANCE. ECOLOGY PUBLISHED TO ACCOMPANY A MONOGRAPHIC EXHIBITION OF OXMAN’S WORK AT THE MUSEUM OF MODERN ART, NEW YORK, NERI OXMAN: MATERIAL ECOLOGY FEATURES ESSAYS BY PAOLA ANTONELLI AND CATALOGUE HADAS A. STEINER. ITS DESIGN, BY IRMA BOOM, PAYS HOMAGE TO STEWART BRAND’S LEGENDARY WHOLE EARTH CATALOG, WHICH CELEBRATED AND PROVIDED RESOURCES FOR A NEW ERA OF AWARENESS IN THE LATE 1960S. THIS VOLUME, IN TURN, HERALDS A NEW ERA OF ECOLOGICAL AWARENESS—ONE IN WHICH THE GENIUS OF NATURE CAN BE HARNESSED, AS OXMAN IS DOING, TO CREATE TOOLS FOR A BETTER FUTURE. Moma Neri Oxman Cover.indd 1-3 9.01.2020 14:24 THE NERI OXMAN MATERIAL ECOLOGY CATALOGUE PAOLA ANTONELLI WITH ANNA BURCKHARDT THE MUSEUM OF MODERN ART, NEW YORK × Silk Pavilion I Imaginary Beings: Doppelgänger Published in conjunction with the exhibition Published by Neri Oxman: Material Ecology, at The Museum of The Museum of Modern Art, New York Modern Art, New York, February 22–May 25, 2020. 11 West 53 Street CONTENTS Organized by Paola Antonelli, Senior Curator, New York, New York 10019 Department of Architecture and Design, www.moma.org and Director, Research and Development; and Anna Burckhardt, Curatorial Assistant, © 2020 The Museum of Modern Art, New York 9 FOREWORD Department of Architecture and Design Certain illustrations are covered by claims to copyright cited on page 177.
    [Show full text]