Showing posts with label London Design Festival. Show all posts
Showing posts with label London Design Festival. Show all posts

Friday, 13 July 2012

Is Design just about rearranging the Cushions...?



Heading north in the Quiet Zone of the 18.30 out of London Euston is an ideal setting for reflecting on the days activities. I was on my way back to Kendal after attending the British Design Summer Reception at the House of Lords. 

Organised by the Associate Parliamentary Design and Innovation Group, it brought together many leading and influential designers, along with MPs, members of the Lords, journalists and representatives from the various organisations that sponsored the tables. Being on the Crafts Council table, I was pleasantly surprised to find myself seated between Tristram Hunt, MP for Stoke-on-Trent and Michelle Ogundehin, editor of Elle Decoration. 

Speeches by both Sir John Sorrell and Lord Bichard championed British design, and stressed the need for a strong united voice to convince Parliament that design is more than just making things look pretty, but something that should be at the core of business thinking. 
Apparently the Financial sector spent £92 million lobbying the government last year and that has appeared to have paid off. Design doesn’t have that sort of money, so we are going to have to use some of our creative thinking if we want to be heard. 
However, it seems to me that 'design' is one of those shape shifting words with a different definition according to the context in which it is used. 
My definition is something along the lines of 'the creative application of materials and/or processes.' That's probably over simplistic, but to make an impact surely that's the sort of definition required, as it not only covers making stuff, but can be applied to systems and services.     
And it's inclusive, so the Crafts Council shouldn't feel left out. 

OK, so we can dress that up with great examples, lots of lovely images, but what are we asking for? 
For me it would be some joined up thinking in government, where the Chancellor of the Exchequer doesn't stand at the dispatch box going on about how he “want(s) the words: Made in Britain, Created in Britain, Designed in Britain, Invented in Britain to drive our nation forward. A Britain carried aloft by the march of the makers" to be the battle cry that will save the economy, when down the road Education are undermining or should that be destroying Design and Technology in schools.  Where do they think the next generation of makers and creative thinkers are going to come from?
And I would also ask that there should be far more support for research that brings together art and science. There are so many great examples where collaboration has benefitted both camps.  

Vince Cable has been busy with his Made by Britain and Make it in Great Britain campaigns, with an exhibition starting in London’s Science Museum on the 24th of July. But as Michelle Ogundehin points out in her blog, why doesn’t the government recognize the central role that design plays in the success of companies like Apple, Dyson etc etc? And ‘why is it taking government so long to catch on when the UK’s design sector could be such a spur to economic growth?’


A poorly advertised exhibition in the Science Museum is not enough, what we need is a new Festival of Britain, an event that will clearly demonstrate the wealth of great design that we have in the UK, demonstrate how companies will benefit by embedding design thinking into their core activities, demonstrate to parents that Art and Design are relevant subjects for their children to choose at school and if the government would put some money into apprenticeships, give some disaffected young people a place in society. (That last bit might be going too far, but we can dream…)

Friday, 27 June 2008

20.06.08 – Still crazy…

I thought that things might have eased off a little after the show and my exam, but the absence of updates to my blog testifies to how busy things have been.
The aftermath of the show has involved responding to a flow of enquiries from magazines from various parts of the world, arranging for collection of work sold and continuing to put together a research project for next year. I have had to delay the Wedgwood work, as my trip to France meant that I couldn’t meet one of the people that I need to see in order to finalise things.
My examiners had asked for a small revision to the Introduction of the written report, so that went backwards and forwards between Martin, Alison and myself during the early part of the week. It was a pleasant feeling to hand in a final printed copy to the research office on Tuesday.
In the evening I had been invited to the Design London networking evening at Imperial College. Jeremy Myerson from InnovationRCA was there and told me about the Materials Innovation Fellowship sponsored by the London Design Festival. The deadline for applications is Wednesday next week, with interviews on the Friday. So short notice!
I also met the Waribashi group from Imperial who have developed a way of converting previously un-recyclable waste into a very useful material. I was interested to have a conversation with them about using the non-fired ceramic coating with their product. They are interested and willing for tests to take place.
On Wednesday morning it was up and off to Standsted for my flight to Limoges where I was visiting the company who produce the materials used in my Wedgwoodn’t project. At the College (ENSCI) I met Youssef, their new director of research who has been undertaking some very interesting experiments, but more of that at some later stage.
On Thursday we took a trip to Moulins-Yzeurre in the Auvergne to visit a Lycee with an amazing glass department. They become the official French National School of Glass in September and wish to form links with the RCA. They run technically based courses with strong links to industry but need to develop their design and innovation side of the teaching.
I managed to get a WiFi connection whilst in Limoges and download the Innovation Fellowship form, so spent some time thinking about that.
On Friday I actually got home for the first time in 4 or 5 weeks, it was a beautiful evening, the low light bringing out the folds in the land below our house. The garden had grown, (surprise, surprise) and was looking great.
My brother, sister-in-law and nephew were across from Austria for a few days and on Saturday I cooked lunch for them. Vicky unfortunately had to work, but we went round to my parents in the evening for a glass of wine with them. The weather over the weekend was terrible, cold, wet and very windy which didn’t help especially as I realised that I was absolutely knackered from all the activity of the past few weeks.

Thursday, 27 September 2007

28.09.07- Craft and the Computer

Last week was a busy one, on Monday I went down to London for the Craft Council’s ‘Craft, Creativity and the Computer Controlled Age’ event.
It was one of the many London Design Festival attractions held between 15 – 25 September. Chaired by Sir Christopher Frayling, it brought together makers involve or interested in the application of digital technology in their practices. The presentations were followed by a debate that ranged from the negative through scepticism to the enthusiastically positive.
This event linked in nicely with ‘Manufacturing Reinvented- additive manufacture and the second industrial revolution’ held at the RCA on the 25th September.
The speakers came from a spectrum of backgrounds- engineering, design, biomimetics, cultural and ‘outside the box’ in the case of Max Comfort.
As the conference chair, designer Geoff Hollington put it when talking about Rapid manufacture- ‘if this is the next industrial revolution then we are at about the year 1800 in its development’.
In many respects the technology is sophisticated, though it is still at an early stage in its evolution and has a long way to go. Technical problems will be ironed out, 3D CAD software will improve and I foresee a place for digital craft where knowledge of materials and processes can be part of the creative digital process.
There are many C21st Luddites out there who fear the death of skill, but they are wrong. CAD/CAM, rapid manufacture and the other new technologies are additions to the creative industry’s toolbox. Letterpress isn’t extinct even though it’s a far more laborious process than typography on the computer. My eldest daughter Rowan, brought letterpress and digital typography together in work for her degree and the results were stunning.
For me, the creative process is about the communication of an idea and I will choose whichever tool in the toolbox is the most appropriate for its realisation.

Last Wednesday evening we drove to London to deliver my youngest daughter Grace to Middlesex University for the start of her first term as a fashion student. Once she was unloaded and settling in I caught the tube from Oakwood to South Kensington to drop some stuff off at College then checked back in with Ray & Jeannette in Chiswick.
On Friday it was off to 100% Design at Earls Court, a busy show, the most interesting parts for me being the Lighting and Futures sections. I came across Earlsmann, producers of Light-Tape electroluminescent film, which I think looks to be the perfect light source for my cone pieces. There was also a sample of film from Elumin8 whom I must also speak to. Earlsmann produce a wide range of colours and the wiring and fitting looks really simple.

I found the most stimulating shows over in East London; Designersblock in the beautifully decrepit Nicholls & Clarke building was a treasure house of boundary-crossing creativity. I took my daughter Grace there and she also loved it Tent was a younger, livelier show than 100% Design, with a good number of last years RCA Ceramics & Glass graduates showing.

Back in College I’ve been sorting out my new space, following up some of the leads I made at the various shows and generally preparing myself for a busy term.