Alice Rawsthorn on Good Design

Ahead of her secular sermon for The School of Life on Sunday June 28, International design critic Alice Rawsthorn, puts out a call to arms for young designers.

 

The numbers seem nutty. There are 6.5 billion people on this planet, 90% of who can’t afford basic products and services. Half of them, nearly 3 billion people, don’t have regular access to food, shelter or clean water. Yet whenever we read, or talk, about design, it’s invariably about something that’s intended to be sold to one of the privileged minority – the richest 10%.

 

The £1 million chaise longue. The super-smart phone. The fast car. The beautifully bound book. The elegant typeface. The cute digital device.  Museums, books, magazines, and blogs are stuffed with them. Tens of thousands of designers devote their working lives to producing more.

 

It’s not that there’s anything wrong with that. No one forces billionaires to pay £1 million for chaises longues at gunpoint, and I can’t pretend to feel the least bit guilty about loving beautiful books. But when you look at the bigger picture, doesn’t it seem odd that so much time, energy, talent and resource should be devoted to creating luxuries for relatively few people, when so many more people are in desperate need of designers’ skills and ingenuity?

 

More and more designers, mostly young ones, are addressing that need by designing everything from emergency housing, water purification devices, cheap forms of transport, educational resources, to new business initiatives for “the other 90%”. They are also tackling the problems of mature economies like our’s by working in collaboration with other disciplines such as anthropology, economics, ethnography, psychology and the social sciences to develop new solutions to acute social problems in areas like crime, education, healthcare, housing, joblessness and ageing.

 

At the same time, the combination of the economic recession and environmental crisis is prompting designers to re-assess the value of their conventional projects. Many of the values that underpinned design in the 20^th century are now redundant. Technology is no longer seen as a panacea. New things aren’t necessarily better than old ones. Big isn’t always best. Why buy something when you can borrow it for a time, before passing it on? Then there is the realisation that most designers’ work will end up rotting – or worse, failing to rot – in landfill sites? And that the design phenomenon of this year, iPhone apps, was dreamt up by amateur designers, not professionals.

 

If you look back historically, design has always flourished in periods of change. It is an agent of change that can help us to understand the changes in the world around us, and to interpret shifts in science, technology, culture and the economy into things that can help to make our lives more efficient and enjoyable. This is a time of unprecedented change, when those shifts are accelerating as are the extremes of speed and scale that confront us daily, while the social and political systems that once ran our lives are collapsing.

 

All of this creates extraordinary opportunities for designers, if they embrace a new approach to design – one that is more fluid, responsive, collaborative and inclusive. They will have to win over an increasingly demanding and knowledgeable public. They will have to design intangible formulae, as well as things, and then devolve responsibility for how them. Designers will also have to accept responsibility for ensuring that their work can be disposed of as responsibly as it should have been sourced, manufactured, sold and shipped. And they must focus on the needs of the under-privileged 90%. If they succeed, we will have a new definition of “good design” – one that has less to do with chairs, and more with the aspects of design that really matter.

 

To book tickets for Alice Rawsthorn's sermon on June 28th, click here.

 

Comments

[Grow Taller 4 Idiots Review]

Among other things, Rawsthorn pointed to the disconnect between what she calls "making things look good" and what could essentially be termed "making this do good."

Rawsthorn is not alone. Just last Friday, Alissa Walker, who writes for FastCompany and GOOD Magaizine, penned a poignant and passionate opinion piece titled Why I Write About Design Now (a play on the title of Cooper Hewitt's 2010 National Design Triennial, Why Design Now?), partly in response to this rather short-sighted critique of the Cooper Hewitt show by The New York Times' Holland Cotter.

[Kate Andrews]

Looking forward to this sermon.

[Pom Pom]

Smart, Alice. There are so many possibilities for innovation and the human spirit CAN do it. So many astonishing and original designs occur privately - in the African squatters villages, downtown Cebu City, Bangalore (the colorful saris - wow) and the people continue to create. Design is a rather arrogant word, isn't it?