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ANDCULTURE University of the Arts London. interests focusoncritical and Dr MattMalpassisaLecturer Saint Martin’s CollegeofArts and Design,Universityofthe a Research FellowinCritical on MAIndustrialDesignand core memberofstaff within [email protected] Arts London.Hisresearch Design withintheSocially Innovation HubatCentral the DesignAgainstCrime socially responsive forms social innovation.Heisa of designanddesign-led Responsive Designand Research Centre atthe PP 333–356 VOLUME 5, ISSUE 3 Matt Malpass Practice Critical Designin Speculative, and Associative, Reason: Defining Between Wit and the field,aiming insteadtolegitimize and counters hegemonic,optimistic notionsof Thisinterpretationconcerns. ofdesign to thosedrivenbytechnological andfiscal present roles alternative forproduct design discourse, institution,episteme, and critical designerschallengeestablished objects tomobilizedebate.Indoingthis, ability toconstructpublicsonandaround product designinsociety, recognizing the share acriticalperspectiveontherole of scientific andsocietalframes.They critique andspeculationwithindisciplinary, employdesignasaformof Abstract PUBLISHERS DIRECTLY FROMTHE REPRINTS AVAILABLE A growing numberof LICENSE ONLY PERMITTED BY PHOTOCOPYING PRINTED INTHEUK PUBLISHING PLC2013 © BLOOMSBURY

333 Design and Culture DOI: 10.2752/175470813X13705953612200 334 Design and Culture Matt Malpass Why StudyCriticalPractice? design, criticalsatire, taxonomy Keywords: criticalpractice,associativedesign,speculative analyze anddiscusscriticalpracticesindesign. This taxonomyprovides theoretical apparatusto by attendingtothesatiricdevicesusedineach. design. Theyare structured intoataxonomicspace the articleasassociative,speculativeandcritical types ofcriticalpractice.Theseare definedin design. Theyalsohelpdifferentiate betweenthree audiences andestablishthecriticalmovethrough of criticalpracticesindesign.Theyengageuser are identifiedassalientconceptsintheoperation From thisanalysis,satire,rationalityandnarrative the participants’perspectivesoncriticaldesign. interviews were analyzedtoidentifysaliencein development andtheorizationofthepractice.The designers. Eachhasplayedapartinthe conversational interviewswithexpertcritical the discourse. to furtherengagethedesignstudiescommunityin aim ofdevelopingtheoretical apparatuswithwhich article addresses design’s criticalpracticeswiththe problematize formsofdesignwork.The alternate There are already utterances of being little more than undermined. is project disciplinary larger a of part way,as usefulness this its in operating By community. closed a in exchanged and practiced, sustained, introverted, and self-reflexive overly becomes intel their lose to destined are practice credibility.critical lectual that is danger more,the Moreand they else or own their of stance than ever, critical practices in design need to establish an intellectual more now, that argued be can it hindsight, of aid the with Indeed, was written more than ten years ago, it continues to have resonance. Fiona and Dunne Anthony Although The articledrawsonasetofin-depth an agentofcapitalism.(DunneandRaby2001:59) as credibilitysimply intellectual viewed all and lose to destined is profession design the or own, its of stance intellectual an establish to needs It itself. for roles alternative develop to and values. Design needs to see this for capitalist global what reinforces simply it design is, product worst just its one At industry. possibility, of servicing of ways constraints find tight and the outside mature operating to needs profession design The R aby’s prescription for design design for aby’sprescription - commentators andpractitioners. into the disciplinary orthodoxy through the shared efforts of be theorists, to assumed are absorbed been have They discourse. disciplinary progressivewithin they today, practice critical unlike role. However, designers’ the of perceptions common challenge least at or of large groups of people; they imply a critique of mainstream design, they reflect instead a move towards the acting as facilitator objects, of production the on focusing from deviation their In cerns. con societal complex address to used and policy informing tices, prac motivated politically and intellectual as established are They development. technological or gain fiscal by set conditions beyond communities that are being designed for, and, or with. They operate the and design between relationship the upon reflect modes These practice. critical to parallel in emerged have codesign and design, on othermarginalizedpractices. cially when compared to the amount of scholarly writing that focuses espe- notable practice, critical addresses specifically that research fields of ideation and making. This is evident in the lack of exogenous other on focuses which on that to compared focus limited is practice studies critical design the writing, of time the At itself. practice the of problematization and critique through about come must tion in disciplinary and to professional contexts. Increasingly, this legitimiza- is, community it that design productbroader of a form vital the of as practice the input legitimize constructive the for need a is there Thus, doors. gallery through public viewing the get to or hits, accumulate magazines, sell to arguably is agenda primary whose curators and bloggers, journalists, design to left is documentation zines, niche is publications and gallery showcases. Its theorization and It design. of form maga- design to limited discourse closed serious somewhat a in a sustained as viewed been not has practice critical point, reference a as essential is grounding theoretical and rule bases ideological where research, design In practices. critical have been. It does this by providing contextual tools and tools providingcontextual by this does It been. have practices marginalized once these that way same the in practice cal here strives to call on a community to engage with criti- response to complex social problems. Thus, in the research presented approaches design product through change affect and agency social the extend to intereststrive and that practices design other in disappear,growingprominenceto the it of cause light in particularly represented and lacking scrutiny.lacking and represented mis cases some in and captions digestible is short, with work presented where contexts magazine and gallery in dissemination of and oversimplify the movement. This oversimplification is a symptom appropriately, “designforcriticaldesigners.” more perhaps or designers,” design’sfor for “design “design sake,” Moreover, fields such as , socially responsive socially design, Moreover, participatory as such fields its and design into inquiry of field the to contributes article This The problem with analysis of critical design is the tendency to limit 2 3

A lack of in-depth analysis might analysis in-depth of lack A 1

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335 Design and Culture 336 Design and Culture Matt Malpass Alternately, speculative design specifically focuses on science science on focuses specifically design speculative Alternately, a taxonomyofcriticalpracticeindesign. towardfield’s work the and study nuances to us allows it all, Above field. the of understanding colloquial the beyond work of acteristics char the discuss and organize, differentiate, analyze, to which by framework a provides it practice, critical of operation and form the how we perceive and evaluate the field. If this discussion focuses on changes operates practice critical how understanding Instead, field. entire the in conditions contemporary of representative completely Mazé and and Mazé art. conceptual in experimentation and subversion of mechanisms on draws and tions as design, speculativeand critical design(Malpass2012b). presented and differentiated be further may these but design, of practice” “critical rubric overarching the under fitted be may All today. practice critical of types distinct three for dence evi- provides practitioners with interviews and field the of survey A design.” “critical of understanding colloquial the problematizing also in the field, noting differences between forms of critical practice while nuances important explore to aims investigation This definition. row nar its challenge ways similar in practice problematic. who Moreover,designers is association common this explains, Pullin Graham Toward aTaxonomy ofCriticalPracticeinDesign and Dunne of work practice in design – that is the critique commonly critical associated with of rationality. the form one and that idea the narrative, challenges conceptualization This satire, of ideas traditional to relation in rather but arts, the of terms in not practice critical understand and practice anditsreflection inavarietyofdesignprojects. apparatus that acts as a point of access into the discussion of critical department at the the at department and Critical design is often understood in relation to the practice of Dunne The first, associative design, emerged from designer-maker tradi- In proving its continuing importance, it is essential to examine examine to essential is it importance, continuing its proving In 2010: 324) (Pullin though. yet definition alternative an compelling as with practitioners. its by such as associated with critical design by observers, but not thought of Research Gaver’sBill Interaction of work the with parallels many as see the at I futures. course technological of visions dystopian, often subversive, Interactions Design the with associated so is term to The days. design these work critical own my term define the use to whether sure never am I R aby and activity carried out within the Design Interactions Interactions Design the within out carried activity and aby R Studio at Goldsmiths – another group whose work is edström (2007), (2007), edström S R aby at the at Raby uch practice has been discussed at length by by length at discussed been has practice uch oyal College of Art in London. in Art of College oyal W R oyal College of Art in London – is – London in Art of College Royal obach (2005), and and (2005), obach e haven’t managed to come up come to haven’tmanaged e R CA, and its its and CA, 4 4 R However, as as However, ossi (2013). (2013). ossi associative associative - - Gamper uses burlesque afforded through methods of “cut-up,” “cut-up,” of methods through afforded burlesque uses Gamper In making. and design of processes the of collapse the and spontaneity by characterized is example, for sign, de- Gamper’sassociative Martino use. of conventions and context their or objects of subversion throughthe works It and language. design typology, form, with familiarity user’s a on rely these objects; and theirenvironment. objects designed in values and traditions dominant rethink to users and designers both for means presents approach this of aim The leaning toward artistic speculation rather than design for production. today.practice to design nent practice, of design form laconic a is It perti- issues visualizing while meaning cultural on reflecting playfully ded narrative, objects of associative design act as a critical medium, verts expectations of the ordinary and the everyday.sub design associative content, disciplinary on focusing Primarily Associative Design ( studies technology and science a to has It relationship 44). 2011: (Hunt future present’s that to up us speeding anthropolo Paul social gist the reflecting it emerging, use; is of what visible scenarios makes projecting and establishing technology, and and technicalfunction. view that needs to be grounded in need, efficient use Redström 2002). Crampton 1999; Dunne 1997; Dunne and Gaver 1997; (Agre interaction object context, it challenged conventional approaches in designing human–­ that In design. interaction later and interaction human–computer of field the in developments from emerged however, design, Critical 2012; Michael 2009; (Kerridge Associative design is based on conventional understandings of of understandings conventional on based is design Associative R abinow’s terms by both slowing down the present and and present the down slowing both by terms abinow’s Associative design.MartinoGamper, 100Chairsin Each of these practices challenges the essentialist mith 1994; Smith W ard and ard edström 2008; Hällnas and Hällnas 2008; Redström 100 Days,2007. W 100 Chairs in 100 Days, 100 in Chairs 100 ilkie 2009; ilkie Figure 1 S W T S ith an embed- W ) discourses discourses ) eago and Seago ilkie 2010). ilkie - - Between W it andReason

337 Design and Culture 338 Design and Culture Matt Malpass objects. Latenthumoranddrywitcharacterizethe the to meaning conceptual rich add contradictions selective These 41) are used to intervene in concepts and behaviors engaged in use. cholz in Brandes, in (Scholz hybridity and transfer context cut-up, of Methods styling. product to resistance a typically and methods, and processes fabrication to approach materials, inventive an to attitude straightforward a employ designers design, associative In design. critical and speculative in those than rational” “more objects its make design associative characterize that lighting and tables, chairs, The design. the furniture by work, dominated is Gamper’s practice Like archetypes. familiar through typically – conveyed form object the into embedded is narrative critical The and Ball what or Naylor describeas“correspondence andcontext”: context of ambiguity as outline (2003) Benford conventional disciplinaryframestoassertandsubvertnorms. of use making products, of assumptions subversions. embedded these challenges It of because object the is question user to the and prompted established is move critical a design, associative to explore ethical and societal implications of applied science. It It science. applied of implications societal attempt and that ethical explore statements to challenging pose The subtext. dystopic a technology,with and often science new of potential and role the questions therefore technology.It of view substantive a as carried outinlaboratoriesand showthemineverydaycontexts. technology. It aims to broaden the contexts and applications of work research. It is characterized by its inquiry into advancing science and contexts. It is linked to futures, scenario building and technoscientific use new in roles product of scenarios developing trends, technical and applied technology. with the projection It is concerned of socio- cuses on the domestication of up-and-coming ideas in the sciences fo- typically it ; ambivalent an in operates design speculative Situated between emerging scientific discourse and material culture, Speculative . this driving in plays profession design the that role the and obsolescence on critique a as found read be can project of the objects, appropriation the Through seats. unique of series a into chairs ­“hybridity,”existing of recombineelements to “bricolage” and sion. (2006:56) dimen- one than more have must it dimensions, three in thing a is, that object, an as speak really to idea an For achieve. to tory issues which pragmatic and pedestrian delivery often fails contradic- and overlapping to shape way.give holistic They a can work to reveal and illuminate, and to reconcile opposites in Paradoxically, paradox and ambiguity used in the right context and Beaver, Gaver, what through works design Associative peculative design often takes what Feenberg (1999) describes (1999) Feenberg what takes often design Speculative tich, and Stich, W ender 2009: ender

In In themselves. themselves. ers work with scientific practices, materials, concepts, and scientists robotics as and falling within product biology, design’s remit. Typically,synthetic the design- nanotechnology, biotechnology, considers work, and in some examples, the process of doing science itself itself science figures asthe designprocess. doing of process the examples, some in and work, The results generated in scientific practice are taken up in the design tissue cultures, MRIs and thermal imaging become part of the work. Speculative design.JamesAuger, Smell+:DatingandGeneticCompatibility S cientific instruments or materials like the petri dish, dish, petri the like materials or instruments cientific Smell BlindDate,2009.Designprobes forPhilips. Figure 2 Between W it andReason

339 Design and Culture 340 Design and Culture Matt Malpass is concerned with new theoretical and applied technologies, its its unfamiliar. often technologies, are applied propositions and theoretical new with it Because concerned is information. of ambiguity as describe (2003) Benford of this include “realcontext. a world” in technology realizationthis the of The project challenges sociocultural embargoes that exist and inhibit diagnostic tools to measure potential partners’ genetic compatibility. domestic and social contexts. of Auger speculates with objects range and probes used a in smell, research of scientific sense the contemporary of applying potential experiential human the explores Date Blind Smell Compatibility Genetic and science perceptible in different ways. James Auger’s often depicted through film, image and other documentary material; documentary other and through image depicted film, often are address they that science and objects the where 2013) (Auger histories counterfactual and technocratic of methods through typified is This use. design’s the depicting narrative scenarios external and an of construction the on dependent is design forms liveinexhibitionandpublicengagementcontexts. as situated consumer products intended for mass production, these work. the with interaction and form objects. As a result, speculative designs express knowledge through material through findings research channeling by strategies existing to alternative an as serves It directed. and developed is technology It future. the reconfigure and science how into discussion open and democratic a advocates to chance the have might “futuring” we is how present and the how reconsider to user the encourages today and how they may proceed into the future. made decisions design of implications the on reflecting by theories and technologytoberealized insuchaway. science the for order in change to need might values our how and values our question to us requirepropositions These meat? neered engi- synthetically with comfortable we Are living? is technology the when change technology support life to relationship our does How it necessary or ethical to culture bone tissue for aesthetic purposes? exist to the application of these scientific methods and techniques; is and around these designs brings into the light the barriers that might the application of the science in new contexts. The discourse built on lover.question froma designers taken the tissue case bone each In living from produced jewelry shape and grow to cultures cell bone looks at the potential aesthetic and applications ornamental of using Nikki and TobieKerridge and food, of type this consume to willingness our and take might petri-dish-culturedmeat this that form the and meat grown synthetically of design the plores dialysis machines. James King’s she proposes the use of genetically engineered sheep to act as living The aim is to make scientific theories and the cultural implications of S social and scientific questions others and Auger of practice The peculative design works through what Gaver, Beaver, and and Beaver, Gaver, what through works design peculative Revital Cohen’s Life Support: Dialysis Sheep, in which Dressing the Meat of Tomorrow ex- W ather than being represented being than Rather ork produced as speculative speculative as produced ork (2009), for instance, instance, for (2009), Scott’s Speculative design Smell +: Dating Jewelry Bio Examples of defamiliarization and estrangement, designers such as Dunne Dunne as and such designers estrangement, and defamiliarization of experiment commissioned by the Their 2004 work socio- concerns. psychological and cultural, current political, economic, technical, on comment striking make they doing, so in user; exaggerated in a way that is defamiliarizing. These mechanisms mechanisms These promptrealityour in change to need would what we question of the defamiliarizing. is that way or a in introduced are exaggerated barriers right; quite not something is there but real seem They fiction. and reality between uncomfortably user the suspend designs such forms, and colors, shapes, familiar employ produceenergy.to labor child using suggests it often they Although piece, for instance, works through understatement and obscenity as and Dunne This embargoes. cultural or social of because tion consump- of models normal in exist cannot they if even proposed, Like examples of critical design often depict fictive scenarios. Objects aremessage. the convey to designer for the order in intellect and imagination inten audiences’ The engage to is interpretation. tion of burden a of something carry to and culture jamming. and activism design with traits shares design critical , Future? Your as such projects In design. associative and speculative than tone its morein much polemic often projectmoreand the is diverse design, critical much Like providers. energy to consumers fuel from case the implication that human beings can or might be transformed designer’sthe of this articulation in the – by viewpoint characterized scenarios The createdbiofuel included from approachcritical The waste. human is changes. technological as well as social by driven values of set futures. a communicate to used energy were scenarios Photographic different of impact social and cultural ethical, the and (Dunne 1998; Hällnas and and Hällnas 1998; use (Dunne of the and para-functionality are core its At exists. already what of critique a offering today, horizon cultural designers the Its scan theory. social critical in grounded is It practice. and objects design of implications ethical and cultural, social, present on focuses design critical then technology, future applied of potential applications the and science on focuses design speculative If Critical Design part ofalargerdesigndevice. one but often constituting contexts, or are narratives larger within subsumed themselves but prop or gesture a as function therefore encourage reflection on the information inherent in the work. Objects and science applied of impact the exaggerate that contexts mestic do- quotidian in positioned adopted typically are Objects it use. everyday into imagining by technology emerging contextualize they In critical design, it is vital for the user to experience a dilemma a experience to user the for vital is it design, critical In R R aby extend the critical distance between the object and the the and object the between distance critical the extend aby aby present a collection of hypothetical products to explore explore to products hypothetical of collection a present aby Is This Your Future?, for example, is a critical design R edström 2002). Through mechanisms mechanisms Through 2002). edström 5 Science Museum, London. Dunne Is This Your Future? Your This Is Is This Is Raby - , Between W it andReason

341 Design and Culture 342 Design and Culture Matt Malpass sequence of events that prod us to interpret its significance. As with through a synthesis of object and media that record it and provide a relationalas outline ambiguity.(2003) developed is move critical The to exposeassumptions,provoking actionandstirringdebate. is aim The encouraged. is debate that prohibited is what and reality between tension this in is It energy? for children of waste bodily the At what point might our insatiable need for biofuel cause us to collect to enable these products to exist in a normal model of consumption. Critical design works through what Gaver, Beaver, and Benford and Beaver,Gaver, what through works design Critical Critical design.DunneandRaby, Is ThisYour, 2004.EnergyGallery, Future? Science Museum,London,2004.Photographer:JasonEvans. Figure 3 esis, obscenity and violence. and obscenity esis, throughworks it antith- pointed; of and techniques savage narrative the of work the by terized practice: design critical in employed aresatire of forms major two terms, classical In Horatian andJuvenalianSatire ing individuals,thediscipline,orevensocietyitself. sham- of intent the with done is this strident, most its At conditions. thodox product design, sociocultural while challenging “concerning” or in found shortcomings and abuses vices, the highlights design way,critical this society.In profession’sin the role reassessing with concerned is design Critical contexts. quotidian in technology and science emerging of appropriation and domestication the exploring concerns. disciplinary to relates typically critique of focus the design, associative In humor. ment to afford critical reflection and engage a user audience through instru- an as wit use designers the this, achieving In criticism. social constructive design’sas In functions satire practices, critical various towardsit. indignation or scorn, contempt, amusement, of attitudes theoretical established foundation, diminishes a subject by its making it ridiculous and evoking with satire, Literary practice. forms design’s critical of examine to which by lens provocative a provides S Design PracticeasSatire a narrative, namely photography and film and pseudo-documentary. such contextualization is established through media that can convey speculative design, objects must be situated in a context; moreover, work of the of work ism, exaggerationandanticlimax. colloquial - burlesque, of techniques paradoxical through works and were initially criticized for only having three legs on their base. common desk chair. Although ubiquitous today, similar chair designs and Maxine Naylor’s seriously.subject frivolous a or treatedfrivolously be may subject serious A exaggeration. ridiculous by characterized satire of or comically inappropriate subject. It is a variety of burlesque, a form the distinctive style of its maker. It or then applies work, the the imitation particular to a a lowly of imitates features characteristic that and manner serious composition a is Parody criticism. design construct parodies to work The used. be might it which in context the forms, remaking it by using inappropriate materials, or by subverting with presentingby achieved is inappropriateThis in ideas. it incongruous it infusing by ridiculous look work the makes then and istics, character reputable with object an or purpose, serious a with ated cre- was that work existing an either takes designer the approach, atire has long been used as a device to offer critique, but it also also it but critique, offer to device a as used been long has atire Associative design works throughworks design Associative satire.Horatian Horatian the In oman satirist Horace is less savage as it identifies folly identifies it as savage less is Horace satirist Roman and Juvenalian 24-Star Generic Office Chair (2003) satirizes the peculative design looks beyond the field, the beyond looks design Speculative oman satirist Juvenal is often political, often is Juvenal satirist Roman 7 Horatian satire characterized by the by characterized satire Horatian . Juvenalian satire charac- satire Juvenalian Horatian. 8 alph Ball Ralph Shortly - - 6 Between W it andReason

343 Design and Culture 344 Design and Culture Matt Malpass the application of new science. This satire is achieved by changing by achieved is satire This science. new of application the and products technological around use of narratives constructs ter affordedis throughdesigner’s the lat- the allegory; of understanding recognition must precede correction. however,satire, of use allegory.this and In distortion, exaggeration, tion inthemindofuser. indigna- righteous and shock, contempt, evoke thinking; to tries or satire such logic in errors perceived attacking by work her or his approaches designer Juvenalian the respect, this In satire. Horatian than “darker” is satire Juvenalian violence, and obscenity, tithesis, an exaggeration, allegory, of forms narrative through working By Juvenalian Satire Speculative andCriticalDesignWork through be usedtoridiculeaweightysubject. may be used for nonsensical matter, or a style very nonsensical may ordinarilydignified style a is, That style. and matter subject between absurdum of mechanisms employ they approach, Horatian the In obsolete the of function. status following form of example extreme an is the This chairs. office elevating literally by obsolescence of culture a of criticism making while history chairs’ the articulate they adding four five-legged bases to the original four. Thus in the design form, chair a in criticisms these preserve Naylor and Ball obsolete. This in turn made many office chairs with a three- and four-star base Later secretarial chairs were required to have five legs on their base. after its production, the design was modified to make it more stable. Accordingly, speculative design works through mechanisms of of mechanisms through works design speculative Accordingly, . The essential quality of burlesque is the discrepancy discrepancy the is burlesque of quality essential The . 24-Star GenericOfficeChair,2003. Ralph BallandMaxineNaylor, Recognition on the users’ part Figure 4 reductio ad reductio - suggest genetically digestive tracts and other devices devices other and tracts digestive engineering genetically suggest they tactics, guerrilla bottom-up with biology synthetic and genetics in place taking cur ideas of the Combining application developments. scientific exaggerated rent an and problem the to solution understated offeran foraging with associated practices humble and propositiontechnologies, The situation. this controlof take can we how imagining molecular and processes solution, evolutionary a at look Proposing they signs. warning ignoring and resources up next the in food more However,using years. planet, forty the overpopulate to continue we percent 70 produce to need we United Nations, the to according that states account allegorical Their tion. overpopula- by dominated world a anticipates it fields, the lab into and the of out activity scientific taking Foragers By distortion. of techniques Impossible: the and Reality Between and Dunne understatement. or exaggeration methods of through others down some plays and problem emphasizes the of design aspects speculative context, ordinary its from the perspective on a condition or situation. By separating something Dunne andRaby, designsforanoverpopulatedplanet. Between RealityandtheImpossible:,2010. Foragers Commissioned byConstanceRubiniforthe2010 St EtienneDesignBiennale,BetweenRealityandthe aby’s 2010 work, Raby’s2010 , works through through works , Impossible. Photographer: JasonEvans. - Between W it andReason Figure 5

345 Design and Culture 346 Design and Culture Matt Malpass liberties, street protest, and CCTV surveillance through the design. the through surveillance CCTV and protest, street liberties, addressedcivil and safety consideredpersonal designers the 1995, in political Introduced London. and 1990s in needs generation urban the practical of concerns the both meet to parka Vexed the conceived Hunter and Thorpe practice. design through surveillance of culture a on commented Generation, Vexed partnership the design of Hunter, Joe and Thorpe Adam way, this In (2009). economic reality as in Jon Arden and Benedict in does Dunne as ideologies technological dominant challenging example for terms, material in understood and articulated be can world the of view or positions alternative that that way a such in alternatives present to establish a counterfactual position on the status quo. They are used narratives These violence. and obscenity of forms employing ratives nar polemic humor,using dark while evoke designers Critical tives. - alterna visualizing to means a as scenarios depict here developed relying on antithesis, counter-proposition and allegory. The narratives the story makes use of physical realities in quotidian systems of use. of vehicle the because narrative allegoric the in remembered be to likely more is message satiric the design, speculative of forms other in As insects. and fish, birds, mammals, other of digestion the copy that devices eating develop even might Humans inedible. previously deemed sources from nutrition find to humans allow might that Finally, critical design works in a somewhat different manner, manner, different somewhat a in works design critical Finally, Adam ThorpeandJoeHunter, Vexed Generation. (1998), or projecting an alternative alternative an projecting Talesor Hertzian (1998), Vexed parka,1995. Singleton’s Figure 6 ARK-INC - understand and engage with the design and further its satiric forms. to user the allows that context use a in product Narratives the situate use designing. of of actions the through inquire or comment fundamentally, essential: it describes the use of storytelling techniques always to pass is narrative of quality a practice, critical satiric In The UsesofNarrative and responsive totheminthefeatures designedintothegarment. strategies these of study detailed a by informed is design The tors. of the body against heavy-handed police strategies to detain protes- parts protectsvulnerable and obscuresidentity that parka a of form Violence and understatement are used in their satiric response in the Embedded narrative.MartíGuixé,Lima SkipFurniture,2004,Milan. Photographer: Imagekontainer/Knölke. Figure 7 Between W it andReason

347 Design and Culture 348 Design and Culture Matt Malpass designer desires that it should reach. This is expressed through through expressed is This reach. should it that desires the that designer standard some of short falls it because a criticized however, is Here, topic use. of contexts establish an to narrative establishing thus extrinsic naming, narrative and photography, film, of textualizing material. con- and objects of synthesis a through established is critique the external all respect,this In performance, objects. these contextualize and supplement media, and photography, film, of use the too, Flypaper example for names, descriptive with objects unusual assigning by narrative shape also can unfamiliar the But devices. made specially through constructed R and Dunne example for visualization, technocratic through and use, scenario through of contexts in aresituated technologies and whereobjects building, established is This nar use. their supporting establish to detailed rative a require design speculative of objects understanding. collective and typology familiar of subversion the of because sible pos- is narrative embedded An takes. object the form the and used materials the through object, the in embedded is commentary The film. and images, supporting writing, as such medium, external an by contextualized rarelyare and alone stand objects context, this In criticism. laconic a offers object The narrative. embedded of form Narrative waysofnaming.Auger–Loizeau, FlypaperRoboticClock:carnivorous aby’s Critical design operates in a similar way, by also making use use making also by way, similar a in operates design Critical Because of their provisional and unfamiliar characteristics, many characteristics, unfamiliar and provisional their of Because R elying on a subtle form of satire, associative design uses a uses design associative satire, of form subtle a on elying Foragers project (Figure 5), where narrative meanings are are meanings narrative where 5), (Figure project obotic Clock (Figure 8). (Figure Clock Robotic domestic entertainment robots, 2009. Sometimes, Figure 8 - as objectrationality. material of that external makes sense of its use context is described use the without understood be can object an which with ease The information. supporting with contextualizing require and unfamiliar are objects proposed The allegory. through constructed narratives satire – and therefore speculative and critical design – works through user’sthe of because Juvenalian objects objects. the with familiarity the in embedded be can critique The subverted. and parodied are erates through narratives constructed through parody: familiar forms tion thatcritiqueisestablishedanddebateprovoked. conven- societal and differenceproposedscenario the between in is It worth. and value instill actually might harming how imagining challenges such assumptions through juxtaposition, tension, also and contradiction, it But wrong. is self-harm that on relies understanding design the The self-worth. feel to order in self-harm to user lover. invented an by back the on Affair Imaginary conditions presented attacks Franke Björn 2006 In otherwise reformation. needing or ridicules that narrative critical a Horatian satire – and therefore associative design – primarily op- primarily – design thereforeassociative and – satire Horatian , a device that could imitate scratch marks made made marks scratch imitate could that device a , Narrative ways of naming. Björn Franke,TracesNarrative waysofnaming.Björn Affair , 2006. ofanImaginary S uch an object might allow the the allow might object an uch Traces of an Tracesof Between W it andReason Figure 9

349 Design and Culture 350 Design and Culture Matt Malpass The less rational an object is, the more there is a need for an extrinsic satire. Horatian through established is move critical the critique: the laconic more the is, object an rational more The space. taxonomic a into design critical and speculative, associative, fit to capacity the R Toward aTaxonomy ofCriticalPracticesinDesign allegory. and storytelling narrative of mechanisms through context in placed other chemicalscents. pheromonesrecentof and on discoveries capitalize might that uses for example, reminds us of current research on the role and potential design. Auger’s the of sense making of work the in join to people compel seem mysterious or impressionistic, but more importantly it can also design. The purpose of this may be merely to make the design work product of object an as it positioning time same the at while rative, nar supporting its and design the throughdeliveredabout information the uncertainties creating on is design speculative in focus the debate. provoke to order in necessary still is ambiguity of some object, the of sense make to is narratives constructed of aim use. of context its and object the of sense make and it dependent on the fabrication of an external narrative to contextualize or assimilated into the collective imaginary; the object and its use are its understandable immediately this, not are they of – non-rational are objects Because life. everyday into appropriated be innovations to these yet are Often possibilities. project simply and science chair orotherobjects. the about hold may they assumptions the question to them get to approach a particular design with an open mind, and more generally, remain functional. This form of critique is useful in spurring people to ac also they but of seats, unique of series parts constructs He chairs. cessible using seats remakes example, for Gamper, Martino context. of ambiguity an creates strange objects these making and and familiar are they typologies familiar subverting But right. own their in understandable rational; are design associative of Objects Rationality andAmbiguity belief systems. own our through imagining such pass also must consumer we But products. domestic power to waste human using of possibilities Future? Your This and Dunne activities. and values their question to them pushing people, mirrorsfor psychological become to objects allows This design. a onto values and imagination of projection personal for a conditions create design the of aspects relational The titudes. at own her or his question ultimately and values, and beliefs new ationality, narrative, and satire interlink. These conditions afford afford conditions These interlink. satire and narrative, ationality, Critical design objects are also non-rational. Here the object is is object the Here non-rational. also are objects design Critical S peculative design is concerned with developing technology or or technology developing with concerned is design peculative Smell +: Dating and Genetic Compatibility Smell Blind Date, Blind Smell Compatibility Genetic and Dating +: Smell R elational ambiguity is used, leading the user to consider consider to user the leading used, is ambiguity elational forces us to imagine tapping into the technical technical the into tapping imagine to us forces W R aby’s hile the the hile So Is Is - - - self-initiated studio projects – designer-initiated or commissioned commissioned or designer-initiated – projects studio self-initiated as: described and analysis from identified were contexts operating salient Four out. carried are projects where i.e., context, operating the is here outlined taxonomy the of element final The 10. Figure in illustrated space taxonomic a into structured are These Table1. in summarized are classification of methods the and practice design critical in used methods design the plotted; be may practice sign de critical of types the between relationships The satire. of forms ­allegoric narrative: the critical move is established through Juvenalian and criticaldesignstructured intoataxonomicspaceusingconcepts ofsatire, Matt Malpass,2012a.Taxonomy ofcriticalpractice;associative, speculative ambiguity, andobjectrationality. Figure 10 - Between W it andReason

351 Design and Culture 352 Design and Culture Practice Table 1 Matt Malpass Note: For definitions and discussions on the type of satire, see design Associative design Speculative design Critical Taxonomic matrixforcriticaldesignpractice. Method: definition and givenewmeaning reassembled toexaggeratetheirproperties When oneormore objectsare cutupor Cut-up: is placedinaquotidiansetting. technology thatexistsinalaboratorycontext objects butalsopractices.Forexample, archetype. Thismighttaketheformoftwo One archetype integratedwithanother Hybridity: placed intoanother When oneobjectistakenoutofcontextand Context transfer: through theobjectandits narrative ofuse. between “reality” andthematerialityproposed object. Questionsare raisedinthedifference A narrativeisestablishedtosituatethe Extrinsic narrative: the proposition. scientific expertise.Thesciencerationalizes that islegitimizedbyspecific reference to Technocracy isawide-rangingvisualsystem Technocratic visualization: to engagewith thefieldofcriticalpractice. apparatus theoretical presentstherefore taxonomy The trajectories. their chart and practice of examples between relationships view to us allowing practices, critical map to ways of number a in used can be model this out, carried was it which in context the identifying in and design, critical or speculative associative, as categorized be can project design a whether funded considering By partners. and industrial by commissioned context, work institutional – an in out para-academic carried research; as framed context institutional an in out carried work – research of design academic pursuit qualification; the a in out carried – projects student educational work; Simpson (2003) and Connery and Combe (1996). mechanism satire: satiric Type of absurdum Reductio ad Burlesque Parody Horatian: Anticlimax Allegory Exaggeration Distortion Narrative Juvenalian: Horatian into Prolepsis Antithesis Obscenity Violence Allegory Juvenalian: ambiguity Type of context Ambiguity of information Ambiguity of ambiguity Relational rationality Object archetype Familiar Rational archetype Unfamiliar Nonrational of “designfordesign’s sake.” speculative or critical, we can, and must, move beyond accusations By considering whether a project can be categorized as associative, better. language its understand must we credibility,” intellectual all lose to “destined be not reason,and and wit remainarebetween to object is, and how it contains a narrative. If design’s critical practices an rational how understand us helps also it extension, By practice. critical of types three the of each in used ambiguity of type the to relate can design in satire how examined has article social This concerns. or scientific, disciplinary, to responds design how perceive own,” we must explore more its critical turn fully; above all, we must as Dunne and in thework. and questions to be asked of the design and the contexts addressed son that resonates with the user, causing a dilemma of interpretation rea- and wit of marriage uncanny the in established is move critical The use. of narrative a with rationalized and contextualized always objects of critical the practice as objects of design. reading These are, therefore, on contingent is critique this But engagement. of tool critical affect reflection. There to is no satire without critique,instrument and humor an is a powerful as wit using criticism, is constructive satire of function the with concurrent design critical of purpose The critique. offer and engage to narrative rationality,and satire, of use the is field the to Common operate. practices these which by of interviews with expert designers. The article has outlined methods and literature focusing on critical practices in design, and an analysis projects of review contextual extensive an by grounded is This tice. prac- design critical of types specific three defined has article This Between Wit andReason examples of such theoretical 2. focus are illustrated by the 1. Notes 4. 3. Critical practices in design today are in flux. Moreover, if design, Moreover, if flux. in are today design in practices Critical Conference heldattheUniversity ofMontreal in2010. Design Practice 1 thread at the the Design and in Complexity Design made specifically were comments These for popularizing critical design through their design practice, practice, design their research and teachingactivityattheR oyal Collegeof Art. through design critical popularizing for and Dunne Issues review oftheexhibition. her in (2009) Cogdell by challenged astutely was which the and Design exhibition the during work Zurr’s and Catts of account Antonelli’s Paulo in exemplified was This design are yettoemerge. critical on focusing platforms theoretical Arguably,dictated such innovation. -led of field the in out carried activity on and participatory cocreation problematizing in design, and DESIS, an and international project focusing disseminating journal, Raby claim, “must establish an intellectual stance of its R aby are London-based designers widely credited credited widely designers London-based are aby Research E lastic Mind, Mind, lastic CoDesign Society Design Design Between W it andReason

353 Design and Culture 354 Design and Culture Matt Malpass Agre, Philip. 1997. Bibliography e 7. 6. 5. ue, ae. 03 “ 2013. James. Auger, 8. Brandes, Uta, Uta, Brandes, Ball, Cambridge UniversityPress. Introduction toDesignPoetics. London:BlackDogPublishing. diss., RoyalCollegeofArt,London. Ph.D. Future.” ConsideredTechnology the of and Domestication Use: The Everyday MetamorphosisofThings. Basle:Birkhauser.Use: TheEveryday be abletoimagineitinausecontext. or design as it see not might audience an strange, too is object an if debate; initiate might that objects ambiguous designing in see challenge the outline they paper this In (1997). 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