Design and Displacement, the 2018 Design History Society Annual Conference, will take place at Parsons Parsons School of Design September 6th-8th, 2018. The conference examines displacement and attendant issues from a design perspective. In addition to the current displacement of people and populations, sessions will consider the theme more broadly and historically, including connections among the displacement of objects and styles, changing technologies, and broad geographies and histories related to landscapes and urban development.
The keynote speakers reflect a variety of methodological approaches and are drawn from a range of academic disciplines. The keynote speakers are: Paul Chaat Smith, Comanche author, essayist and curator; Lowery Stokes Sims, Curator Emerita, the Museum of Art and Design, New York; Tony Fry, designer, theorist, educator and author; and Mabel O. Wilson, architect and architectural historian.
In addition to the conference sessions, delegates are invited to an evening reception at Cooper Hewitt, Smithsonian Design Museum, as well as a choice of several conference visits including: Flushing Meadows Park, the site of the 1939 and 1964 New York World’s Fair; a curator-led tour of Cooper Hewitt; or a trip to the Paul Rudolph House. The conference gala dinner will be held aboard the “Spirit of New York”, a dinner boat that will sail past some of New York City’s most significant architectural landmarks. For more information please visit the conference website: http://www.designdisplacement.com/ or contact conference convener, Sarah A. Lichtman at email@example.com.
Thursday, May 3 1000 am – 5:00 pm
Friday, May 4 10:00 am – 5:00 pm
The Bark Room, Room M104
Sheila C. Johnson Design Center
2 West 13th Street
New York, NY 1001
The School of Art and Design History and Theory will sponsor a graduate student symposium as a part of the 2018 Parsons Festival. Planned by HDCS, MAFS, MADS students- the two day event will feature short presentations followed by a reception. All are welcome to attend.
ABOUT PARSONS FESTIVAL//
Parsons Festival is an annual series of art and design events in which cutting-edge student work is presented to the Parsons community and the public. The festival takes place at the end of each academic year and includes thesis exhibitions and critiques, thought-provoking public programs, interactive installations, gallery openings, workshops, and special events.
The New School’s Parsons School of Design, which was recently named the number one art and design school in the United States by Top Universities, has been a pioneer in art and design education for more than a century. Based in New York but active around the world, Parsons offers undergraduate and graduate programs in the full spectrum of design disciplines. Critical thinking and collaboration are at the heart of a Parsons education. An integral part of The New School, Parsons builds on the university’s legacy of progressive ideals, scholarship, and pedagogy. Parsons graduates are leaders in their respective fields with a shared commitment to creatively and critically addressing the complexities of life in the 21st century.
UNRULY DESIGN: MAKING, CHANGING AND BREAKING RULES
A colloquium in Design Studies, Fashion Studies, History of Design & Curatorial Studies
Friday, March 2, 2018
Opening conversation with Paola Antonelli, Senior Curator of Design and Architecture, MoMA, and Jamer Hunt, Vice Provost for Transdisciplinary Initiatives, Parsons School of Design, The New School
Theresa Lang Center, Arnold Hall
55 West 13th Street,
New York, NY 10011
Friday, March 2, 2018
Join us for an unruly feast
To RSVP CLICK HERE
Wollman Hall, Eugene Lang
65 West 11th Street, New York, NY 10011
The School of Art and Design History and Theory is pleased to announce its inaugural colloquium, scheduled to take place Friday and Saturday, March 2 and 3, 2018 at Parsons School of Design in New York City.
“Unruly Design” explores the rules that govern design concepts, acts of making and fashion practices both historically and in today’s context. Who sets the rules within a design field, designers, clients, consumers or end-users? How should designers engage the legal structures that bind production and consumption and/or respond to market forces? How might consumers and end-users rewrite explicit or implicit codes of use through practice? How are the rules of design made, changed or broken? Discussions will move across several fields of design— from design history to fashion studies; design studies to intersections of design with artistic practices—taking into account current historical and contemporary perspectives including policy making and service design. This two-day colloquium responds to current discussions on the inherent political and ethical implication of design practices, as well as an expanded cultural terrain where the idea of design has become mainstream. This series of interventions and conversations navigates the complex relationship of design with a certain sense of order—with ways of doing and modes of saying that frame design processes and their outcomes within more or less strict, often conflicting sets of rules. Is today’s design unruly or can it be?
Speakers: Paola Antonelli, Museum of Modern Art; Otto von Busch, Parsons School of Design, School of Design Strategies; Lily Chumley, New York University; Tracy L. Ehrlich, Parsons School of Design, History of Design and Curatorial Studies; Carma Gorman, University of Texas at Austin; Denise Green, Cornell University; Elizabeth Guffey, State University of New York at Purchase; Victoria Hattam, New School for Social Research; Jamer Hunt, Parsons School of Design, Transdisciplinary Studies; Charlene K. Lau, Parsons School of Design, Fashion Studies; Ulrich Leben, Parsons School of Design, History of Design and Curatorial Studies; Andrea Lipps, Cooper Hewitt, Smithsonian Design Museum; Lauren Downing Peters, Centre for Fashion Studies, Stockholm University; Nicole C. Rudolph, Adelphi University; Georgia Traganou, Parsons School of Design, Design Studies; McKenzie Wark, New School for Social Research.
Friday March 2, 2018
5:30 – 7:00pm Opening conversation with Paola Antonelli and Jamer Hunt
7:00 – 10:00pm Unruly Feast
Saturday March 3, 2018
10:00 – 10:30am Participants arrival & coffee
10:30am – 12:00pm Session 1 – RULE MAKING
Drawing Beyond the Academy in Eighteenth-Century Rome
Tracy L. Ehrlich, Parsons School of Design, History of Design and Curatorial Studies
The world of plenty or a headless chicken?
Dangerous Curves: Disciplining the Fat, Female Body Through Design Discourse
Lauren Downing Peters, Centre for Fashion Studies, Stockholm University
Design wants to be free: copying as democratic practice in the USA
Carma Gorman, University of Texas at Austin
12:00 to 1:15pm Lunch break
1:15 – 2:45pm Session 2 – RULE CHANGING
Robes of Resistance: Nuu-chah-nulth Declarations on Cloth
Denise Green, Cornell University
Making and Breaking Rules: Selwyn Goldsmith Designing for the Disabled
Elizabeth Guffey, State University of New York at Purchase
Rule-makers and Their Discontents: Who Changed French Postwar Housing?
Nicole C. Rudolph, Adelphi University
Border Rules: Design and Production across the Rio Grande
Victoria Hattam, New School for Social Research
Design in Autonomy
Jilly Traganou, Parsons School of Design, Design Studies
2:45 to 3:00pm Coffee break
3:00 – 4:30pm Session 3 – RULE BREAKING
Touching and Taking power: Hacking and DIY Activism
Otto von Busch, Parsons School of Design, School of Design Strategies
Joris Laarman Lab: Design in the Digital Era
Andrea Lipps, Assistant Curator, Cooper-Hewitt Design Museum, Smithsonian Design Museum, NY
The “Porn-Again Avant-Garde”: Transgression and the Contemporary Fashion Vanguard
Charlene K. Lau, Parsons School of Design, Fashion Studies
Design for Concepts
McKenzie Wark, New School for Social Research
4:30 – 5:00pm Closing Reception
Rosemary O’Neill, History of Design & Curatorial Studies;
Caroline Dionne, Design Studies;
Rachel Lifter, Fashion Studies
Jack McCollough and Lazaro Hernandez, founders and designers of Proenza Schouler join journalist Alina Cho for a fast-paced, insightful talk about fashion at the intersection of art and ideas.
Pioneers of style and craft since they launched their brand 15 years ago, the fathers of the perennial “It Bag” known as PS1 will chat with journalist Alina Cho about why they showed their most recent collection in Paris, how they manage their personal and professional relationship, and what inspires them. Named after the designers’ mothers, Proenza Schouler won the inaugural CFDA/Vogue Fashion Fund and has won five CFDA awards including Womenswear Designer of the Year and Accessory Designer of the Year.
Use promo code is STUDENTPS to secure your ticket for just $15.
Tell us about your career path from New Delhi to New York? Any advice for prospective Parsons ADHT students planning a move to the United States?
Before coming to Parsons, I was working in New Delhi as a journalist, writing for the weekend edition of a paper. I would write stories about people who were doing something new, making something interesting—maybe a beautiful chair, a bicycle of bamboo, setting up a whacky new office, a new clothing line of banana fiber and silk, and such. I never really called it design with a capital D. I had a cozy apartment and good friends. My family was in a city just a few hours away. I was settled and comfortable. There had been a breakup with a boyfriend, and that possibly had something to do with staying up late nights reading random blogs. That’s when I came across Susan Yelavich’s note on the MA Design Studies blog. I instantly knew I had to pursue it. I had to at least try.
However, I belong to that group of people who don’t believe that everything is pure coincidence. One thing leads to another, often over time and so subtly, and you connect the dots only much later. Anyway, I had been to New York a couple of years before I moved there for school. I had walked past The New School, down Fifth Avenue, and sat outside Bobst and watched the world go by. I had walked enough of the city as a tourist to know that if you walk slowly, you’re going to get grumpy looks. I didn’t mind it. I smiled back. And when I moved here, I walked faster myself. There was always somewhere to get to.
So I applied to Parsons—shot an arrow into the dark. After being accepted, I bought a one-way ticket from New Delhi to New York. I packed up my apartment, gave away most of my things, except those that could fit into two suitcases.
As much as my career path was about learning design, and about living in a new city—and exploring the world in general—it was ultimately about self discovery. To go from one city to another, from a job back to school, from a place of familiarity to the complete unknown—all of it is related to getting to know yourself better. To potential students of The New School, or any other school which is far from all that is known to them, I’d say, take a plunge. Do it. You’ll find out who you are.
Do you think of yourself as a New Yorker? If so, what are the terms? And did this identity form before or after graduating?
While I lived in New York I definitely felt a sense of belonging in the first few months. New York not only accepts you for who you are, it also embraces you and sucks you in and celebrates you for all your differences or unexpected similarities. No doubt it can be rough—and maybe I’ve been lucky—but I found friends who smiled a smile of knowing and understanding, who disarmed me with their honesty, who sat at the bar and talked of weird, dark politics of the world and made me feel right at home. Also, strangers. If it’s too much to say that most New Yorkers are friendly, it’s safe to say that they are straightforward and will do what they can to help you. When I was moving into an apartment, I found a bed to buy off of Craigslist. The owner—a slightly grouchy German gentleman—was shocked that I didn’t have any tools (to fix up the bed). “Not even a screwdriver?” he had asked, as if traumatized. I apologetically said I would buy one on my way home. While leaving, he gave me his pocket folding tool set. He said that it was old, that he had used it for a very long time—mostly on his bicycle. He said he wanted me to have it.
Hypothetically speaking, where does one in your field live and thrive outside of New York City?
While attending The New School, I learned a lot inside and outside the classroom. Needless to say, the city and its people are a tremendous influence. The city becomes a classroom. Other students come from worlds of their own and bring perspectives you don’t ordinarily consider. To be honest, I tried desperately to stay in New York after graduating from the program, to work for a couple of years simply because there is so much happening and there’s so much scope. But visa issues didn’t make it easy.
Returning home had its share of excitement. India has its own set of possibilities. Design is a field that’s everywhere and beyond borders and across cultures. The Parsons Design Studies Program gives you a very open-ended socio-political perspective of design. So even if I took electives as specific as Dutch Design or History of Modern Architecture or Socially Engaged Art Practices, it all essentially gave me an anchor to grasp what is going on in the world. Some people might prefer to learn specifics, to focus, to specialize—and you can do that. But for me, as a journalist, I was seeking coordinates, milestones, directions to navigate the world with a little more knowledge and understanding. When taking up an issue to write about, I want to come from a sensitive place of understanding. Which is also why I don’t find it imperative to be in one particular place or market hotspot suited to my field of work. An IDEO at San Francisco or Museum of Art+Design in New York would be amazing, but a weaver’s studio in rural Nepal that is collaborating with designers to contemporize their weaving traditions is equally fantastic to me. The world is my oyster.
How has life been post MA DS? How do you think the courses have changed your course?
I am back in India now. My central area of study during the program (including my thesis) and after the program has been about the relationship of craft and design. In India, you grow up in a significantly handmade culture. And yet it’s equally industrialized. So the lived experience of craft is very alive and thriving, rather than just a theory that existed pre-industrial revolution. It’s not a complete surprise to me that my research and interest lie in craft and design. Since my return, I have been traveling across India—Pondicherry, Cochin, Kutch, Kashmir—to centers of traditional crafts, to craft+design collaborative studios, to artisan workshops, to design schools. I’ve been doing this with the aim of putting together a travelogue of the craft and design landscape of India.
While I am from India and have lived here all my life, I don’t think I’ve considered and traveled through its length and breadth before, as I’m doing now. And it is certainly my period of study at The New School that has brought this on. Sometimes one has to detach and go away from the familiar, to look at it from a distance and return with a renewed perception and vigor. And it helps tremendously that while you’re away, you’re among a set of people who put you through painful projects of research and writing.
Next week I’ll be starting a new job: a writer at a newspaper, covering design and culture issues. I’ll be based in Mumbai, which is similar to New York—a fantastical, messy, churning pot. While I write short weekly stories, I hope I will be disciplined enough to continue working on my book and not lose the steam that MA DS and New York has built for me.
Do you think your writing, or your work in general, has changed after graduating from The New School? In terms of voice, insight, theory, and other writing skills, have you compared them with your journalism before Parsons ADHT?
Developing writing skills is a constant, persistent, unending process. And design knowledge evolves and expands as each day passes. While I admit and submit to that, I find that a graduate course really gives you an edge. It gives you the tools to hammer, chisel, crack open something with a little more sharpness and precision. It equips you with a way of thinking and approaching issues.
Having said that, I find that when I write an article and read it a few months down the line, more often than not I’ll be cringing at what I’ve done! But that’s just me and the ghosts I have to battle on my own. And it doesn’t stop me from writing at all. During school’s second semester, I interned at Metropolis Magazine, where I had the opportunity to write. The year after, I interned at Maharam, a textile design studio, doing writing work that was specific to the textile industry. Soon after school, I worked at Herman Miller’s editorial department, writing about their historical, as well as new, products. I think there’s something that has changed, though. I don’t find myself writing for the sake of filling newspaper space. I need to have an original idea, however small, and then build my language around it. I also think there’s more clarity in my narrative. I’ve realized that the more you know, the more there is to know. And that at some point you will miss out on something quite crucial. Yet an independent idea is invaluable. The authenticity of your voice will carry forth your argument despite its limitations. Which is why I want to reiterate that the most valuable thing about this MA program has been to help me develop a way of thinking. My teachers and peers are to thank for that.
To elaborate a little on your area of interest, how do you interact with a pre-modern idea of craft and a post digital state of design? What has survived from the old infrastructure that you find indispensable or, perhaps, unhelpful?
While in theory craft is pre-modern, to me the notion is timeless. It has existed throughout history, even at the heart of the Industrial Revolution, adapting to become part of the industrial model in one way or another. Whether as a division of labor or a specialization of skill, in small or big ways the notion of craft has existed. But yes, the industrial and digital modes of production change the definition and scope of craft quite significantly from its pre-modern conception. To my mind, it is an interesting moment for craft and its renewed relevance simply because the digital model allows for more freedom in conception and production. It gives the maker power over each individual piece, more than an assembly line industrial model has offered. I also see a u-turn in the values that we aspire to. For example, aesthetics like imperfections, unstandardized pieces, the qualities inherent in the handmade. However, there is a tendency to fetishize such qualities. I believe that craft has to be understood not as a category of handmade objects but as a way of thinking and making. Something that requires skill, work hours, material knowledge, and learning by doing. Craft has the capacity to intersect philosophy, social practices, technology, sustainability—in turn embedding a humanity into what we make. Most importantly, craft is about people. I was recently reading a book called Critical Craft, and the authors Clare Wilkinson-Weber and Alicia Ory DeNicola brought the discussion of craft down its expansive anthropological reach. “We believe that research on craft and artisanship has the potential to open up new and evocative questions about the ways that we construct some of anthropology’s most critical contemporary concerns: technology, access to markets, means of production, control over work practices, tradition and innovation, urban and rural spaces, human rights and the environment to name just a few,” they wrote. So yes, I think craft as a way of thinking-knowing-making is indispensable. But to look at it through a nostalgic lens of the beautifully handcrafted objects of yesterday—that’s unhelpful.
All are welcome to attend the annual ADHT Graduate Student Symposium, held May 11 and 12th, 2017 from 11am to 4pm.
Graduate students from MA Design Studies, MA Fashion Studies, and MA History of Design and Curatorial Studies will be presenting their work from the past academic year in the Bark Orientation Room at 2 W 13th Street.
For the full schedule of presentations, click here.
We hope to see you there!
Making Home in Wounded Spaces, an international symposium co-sponsored by the MA Design Studies program of ADHT, and its keynote speaker Lina Sergie Attar were recently featured on design and architecture blog Archinect!
As cities densify and the global population increases, much has been made of reclaiming physical spaces: but how does one reclaim a place that is bound up in tragedy, whether that tragedy was natural or man-made?
To continue reading about the symposium on Archinect, please visit their page here.
For more information on Making Home in Wounded Spaces, please see the The New School event pages for days one and two of the symposium.
Reminder: CALL FOR SUBMISSIONS open until Dec. 10th for
March 3 – 4, 2017
An international symposium co-sponsored by the MA Design Studies program, Parsons School of Art & Design History & Theory, The Transregional Center for Democratic Studies, New School for Social Research, and the Global Studies program at The New School.
Keynote speaker: Lina Sergie Attar
Join us on March 3 & 4 for a symposium that looks at the conditions and possibilities for “Making Home in Wounded Spaces: Design, Memory, and the Spatial.” See our new website https://woundedplacessymposium.wordpress.com for details on the conversations and register soon, as space is limited!
Jilly Traganou is an architect and Associate Professor in Spatial Design Studies. Her recent publications include a book titled Designing the Olympics: Representation, Participation, Contestation (Routledge, 2016). She is the author of The Tokaido Road: Traveling and Representation in Edo and Meiji Japan (RoutledgeCurzon, 2004), a co-editor with Miodrag Mitrasinovic of Travel, Space, Architecture (Ashgate, 2009) and a contributor to several books, most recently the Routledge Companion to Design Studies (2016). Professor Traganou has been Fellow of the Japan Foundation, the European Union Science and Technology postdoctoral program, Princeton Program in Hellenic Studies, and Bard Graduate Center, as well as a recipient of two Graham Foundation grants. She has most recently been the recipient of a Fulbright Scholarship and spent last summer in Rio de Janeiro conducting design research on the last Olympic Games.
The call for submissions for Plot(s) Volume IV is now open. Plot(s) Journal of Design Studies is an annual peer-reviewed publication produced and edited by the MA Design Studies program at Parsons School of Design in New York. As a multidisciplinary journal, Plot(s) attempts to articulate the ways in which design practices shape and transform the human experience.
Submissions are open to graduate students, recent graduates, design practitioners, and academics. Plot(s) accepts a wide range of formats including, but not limited to, academic essays, visual essays, design research, interviews, book/exhibition/film reviews, and design/architectural projects. In addition to this, our website allows for the submission of other multimedia formats such as video and audio projects. Attached below, you will find a detailed guideline for submissions. The deadline to submit forPlot(s) Volume IV is December 19, 2016.
Please send all submissions to firstname.lastname@example.org.
The Plot(s) Editorial Team
Jilly Traganou, ADHT Associate Professor of Spatial Design Studies, is releasing her new book Designing the Olympics: Representation, Participation, Contestation. (more…)
May 10th 2016, 16:15 to 18:00 hrs.
The New School – Wolff Conference Room
6 East 16th Street, Room D1103
Over the month of April, MA Design Studies student Laura Belik, in conjunction with the Design Studies Forum, organized the “Latin America Documentary Screenings: Discussions Of Space,” a series of film screenings and talks focusing on the spatiality and urban environments of the region. Each event highlighted different aspects of the topic of space, with discussion topics ranging from cities, urban democracy, and social justice to public spaces, the commons, and displacement.
VISUALIZING THE MIDDLE EAST & NORTH AFRICA
FILM, DOCUMENTARIES AND EXPERIMENTAL VIDEO SCREENINGS
ORGANIZED BY THE MENA WORKING GROUP AT TNS (SPRING 2016)
ROOM 1009, 6 EAST 16TH STREET
The MENA Working Group is an informal network of graduate students and faculty members working at The New School (NSSR, Parsons, Milano) and concentrating their research on the Middle East and North Africa (MENA), broadly construed. Launched in October 2015, the Working Group organizes a graduate student conference on April 22nd and hopes to serve the needs and interests of graduate students at TNS. With this series of films, the MENA Working Group offers a space of discussion open to all New School students, Lang and graduate researchers. The screenings are free and will generally be held Thursdays, 8-10p, followed by a peer-led discussion. Organizer: Salma Shamel Bakr Faculty contact point: Benoit Challand
This June, at the Milan Cumulus conference, I had the pleasure of speaking with colleagues from around the world about how literature—stories in which objects and places act as protagonists—can offer fresh perspectives on design. Mine was just one contribution to a larger discussion organized around the role of narrative in design for social innovation—a conversation organized by Elisa Bertolotti, Heather Dam, Francesca Piredda and Virginia Tassinari. All of them have become treasured colleagues and partners in future collaborations.
This summer, Elisa, Heather, Francesca, and Virginia will release their first collection of essays on design and storytelling entitled The Pearl Diver, published by DESIS Philosophy. (For a preview of my article in that collection, see: http://www.cd-cf.org/articles/the-literature-of-political-things-and-places/)
Our session on Storytelling and Design was just one facet of the conference theme conceived by conference chair Ezio Manzini. Ezio asked us to examine the dynamic between culture and design in light of the changes in practice today. Questions were raised by Manzini about issues of rupture and continuity with the past. He suggested that in rethinking the culture of design today, we might learn both from the individual genius of Leonardo da Vinci, and from the work of groups such as Collecting Cultures, whose impressive director Anna Detheridge was among the opening night speakers as well. (See: http://www.annalindhfoundation.org/members/connecting-cultures)
The introduction of the 15/16th-century Italian polymath into the conversation about the future and culture of design was startling (even in an Italian context). For surely, Manzini is not a traditionalist or remotely nostalgic. My own reaction (which may not or may not reflect the tenor of the conference) was that as design pursues its righteous and necessary ambition to address pressing social and environmental problems, the activity of private reflection has come to be tainted with elitism. Our urge to be social may be at risk of endangering the nurturing possibilities of retreat.
Clearly, the pendulum of design culture needs to oscillate between the two states. Moreover, some of us have greater affect working alone for long periods of time before joining the wonderfully messy fray of democratic exchange that is design for social justice. At least this is my defense as I begin my sabbatical this July and embark on the hermetic project of writing the book that the Storytelling and Design session took me one step closer to formulating—A Literature of Places and Things: Reading and Writing Design.
Register for Matter(ing) by Design at:
Join us for a special lecture:
“How Does Mapping Make Up the World?”
Visiting Professor Peter Hall
Design Department Head, Griffith University Queensland College of Art, Brisbane, Australia
Tuesday, February 10th @ 5:00PM
Hirshon Suite: Room 205 in Arnold Hall (55 W. 13th Street)
Please RSVP by contacting Jenn Soong (email@example.com)
By Mae Wiskin
The first thing I thought upon landing in Pittsburg was how much I wished I had packed gloves. I was freezing, but also completely enlivened by the fact that November had already come and it was finally time to participate in a symposium I had been looking forward to since the start of fall semester. From November 7 – 9, Parsons The New School for Design – Design Studies masters students collaborated with the doctoral candidates of Carnegie Mellon University’s School of Design on a workshop concerning ‘Mattering.’ More specifically, students from both Universities discussed and delved into the notion of “(How design makes) What matters (Matter for us).”
The one-day symposium explored the dynamic interactions between human behavior and information technologies, as well as the multidimensional relationship designed objects share with the concept of morality. Prior to arriving at CMU, each of us was asked to come up images of twenty things that “delegated morality,” things such as seatbelts, security devices, and automatic timers that regulate energy consumption. Once I was able to wrap my head around how we delegate our moral agency to things, I could not maneuver through New York City without constantly noting such objects. It became a sort of game and encouraged me to question what it means to be human in an increasingly monitored, digital world. The issues we explored over the course of the symposium paved the way for a larger scale design thinking conference that will be held at Parsons in March 2015.
Once the workshop ended, everyone slowly parted ways and disappeared into the cold Pennsylvania air to enjoy the pleasures of Pittsburgh on a Saturday night. The discourse presented at the symposium was intellectually rigorous; I left Carnegie Mellon feeling invigorated and excited to explore the notion of ‘mattering’ further.
The following morning, before returning to New York, our energetic director, Susan Yelavich, treated us all to a trip to visit Fallingwater (1934-39), a very rare home built over a waterfall by America’s most famous architect, Frank Lloyd Wright. It was a beautiful crisp autumn day and the modernist icon was absolutely awe-inspiring. We all left rejuvenated and ready to return to the city with a fresh sense of perspective and energy. The trip was really special and reminded me not only how lucky I am to be a member of a program that encourages disruptive and innovative thought, but also, that it was time to buy winter gloves.
Network. Collaborate. Learn.
1 Presentation + 1 Workshop + 1 Moderator
Design Forum Fall Sharing Sessions will provide a platform to present and workshop current student research. Graduate students from programs across all divisions of The New School are welcome and encouraged to participate and provide feedback. Join us at our first session to hear more about how to sign up to run a workshop, present your research, or moderate the discussion. While the task of the presenters will be to engage the group in a lively discussion on the subject matter, the forum will serve as a resource of interdisciplinary critique and debate of issues raised and topics addressed. Students are encouraged to share misunderstandings, confusions, and difficulties as well as working techniques and insights.
Join us for our first meeting!
Thursday, September 25th, 7:30pm
80 Fifth Ave., Room 802
Refreshments will be served.
About Design Forum
The purpose of the Design Forum is to convene graduate students across all divisions of The New School interested in furthering design discourses as they relate to design practice and the field’s social, political, and economic contexts. The Design Forum shall serve as a primary vehicle for actively facilitating interdisciplinary dialogue about design-related issues.
The MA Design Studies program welcomed its third cohort with a series of Orientation events designed to introduce everyone to Parsons, the New School, and New York City; and, most of all, to get to know each other a bit before diving into classes. The week began on Monday, August 18th, with official welcomes, followed by informal introductions, toasts, and a wide-ranging conversation with professors Clive Dilnot and Jilly Traganou at Director Susan Yelavich’s loft in Soho.
Appropriately for a program that explores values and ideologies embodied by design, on Tuesday we visited the Guggenheim Museum for a guided tour of Italian Futurism, 1909-1944: Reconstructing the Universe.
On Wednesday, Bodies in Balance: The Art of Tibetan Medicine at the Rubin Museum of Art offered a contemplative respite in the middle of a week of concentrated informational meetings with librarians, archivists and student services administrators.
The day after exploring bodily health at the Rubin, we shifted gears on Thursday and looked at how design can contribute to the health of the city and its residents. We were hosted at the loft of Marpillero Pollak Architects in Tribeca, by MAP partner Linda Pollak, who shared insights into how she and her partner Sandro Marpillero approach the design of urban open spaces in conjunction with residential architecture, museums, and cultural institutions. After a conversation that ranged from the efficacy of New York City’s project to plant a million trees to designing for differently abled bodies, we were treated to a tour of MAP’s live-work loft with its own unique network of open spaces.
Thoroughly saturated, but with a better sense of each other and the program they’ve embarked on, the Class of 2016 closed out a week by celebrating with all of the other new MA and MFA students at a reception on Thursday evening at Parsons—a reception that marked not just the end of Orientation but the beginning of a host of exciting new academic trajectories.
Opening on Saturday, March 22nd, “Thirst” is the second exhibition sponsored by the Proteus Gowanus gallery on the annual theme of “Water.” Curated by Lydia Matthews with a transdisciplinary group of New School graduate and undergraduate students as well as numerous collaborators, “Thirst” explores the uses and abuses of water in the local and global context. Though often taken for granted, water is a precious but disappearing resource, a biological necessity, an environmental concern and a metaphor for spirituality, purification and healing. This new exhibition asks us to consider our complex relationships with and need for water in provocative ways. “Thirst” continues Proteus’ laboratory-like, community engaged exhibition style including installation, practical workshops, roundtable discussions and tours around Gowanus. The model of engaging a curatorial theme through different exhibitions and various partners over the course of a year allows a long term and multi-faceted exploration.
It was a perfect fit for Professor Matthews and her “Curating as Social Practice” students who have been studying and developing experimental curatorial platforms. They will transform Proteus Gowanus into ThirstLab, a living laboratory with an evolving open archive, and will host a series of cross-disciplinary, hands-on workshops on topics as diverse as water-based crafts, the politics of fresh water access, hydroponic farming and liquor distillation, and therapeutic water sports. Juan Pablo Pemberty, an MA Design Studies student and member of the contributing curatorial Current Collective, explained, “Its not an easy thing to do; it’s not something you do in a month. It needs planning and investigation to fit the issues you want to show in an exhibition format. But I’m more than happy with the result of “Thirst”, it will be a show where our relationship with water is explored from very different realms, a mixture of ideas and conceptions.”
“Thirst” will be on view from March 22nd at Proteus Gowanus at 543 Union Street, New York, NY 11215. See the Proteus website for further description of events and activities: http://proteusgowanus.org/water/
If you missed the Narratives and Design Studies symposium, here are a few of the presentations for your viewing pleasure.
A Better World by Design is an internationally-acclaimed conference held annually at Brown & RISD campuses in Providence, RI. Connecting students, professionals, and individuals from different disciplines, it strives to build a global community of socially-conscious innovators. This year’s conference will be held from September 27 to 29.
Last Thursday, June 25th, we welcomed the incoming graduate students of the New School. The event was a wonderful opportunity for students from different programs to meet and socialize, ask questions, get advice, and learn about what it’s like to be a part of the New School. It was also a great way to usher us into the new school year, which is starting in less than a month!
In Design Practices & Paradigms, members of the inaugural MA Design Studies cohort at Parsons explored the scope and ambitions of design in the 21st century. Students interviewed designers and mapped their practices. They wrote about their approaches to production, collaboration, and authorship as well as the social and intellectual context that shape their respective projects and values. Featured here are three case studies from Design Practices & Paradigms.
Last November the Yale School of Architecture hosted a two-day symposium on the work of seminal architect, designer, writer and teacher George Nelson. Susan Yelavich was invited to attend and review the event for the School’s journal Constructs. (more…)
New dates: Friday, March 1, and Saturday, March 2, 2013
Friday: 66 West 12th Street, Room 407
Saturday: Wollman Hall, 65 West 11th Street, 5th floor
Free and Open to the Public
To mark the inauguration of Parsons’ MA Design Studies program, this symposium looks
at the intellectual currents that charge the growing field of design studies as a branch of
the humanities and the social sciences, and a critical force in industry. An international
roster of scholars, practitioners, and entrepreneurs will consider how design both shapes
specific experiences and embodies fundamental assumptions about our relationship to,
and with, the world and each other. Together, they will explore the unique potential of
design studies to operate between among the realms of research, analysis, and advocacy.
Friday, March 1, 5:00 to 7:30 pm
Welcome: Joel Towers, Dean, Parsons; Sarah E. Lawrence, Dean, School of Art and Design History and Theory, Parsons
Introduction: Susan Yelavich, Director, MA Design Studies program, Parsons
“Understanding and Designing the Morality of Things”
Peter-Paul Verbeek, Socrates Chair, Philosophy of Man and Technology, University of Twente, The Netherlands
Saturday, March 2, 9:30 am to 5:00 pm
9:30 am Breakfast
10:00 am Welcome
Tim Marshall, Provost, The New School
10:15 am – Noon Session I: The Values in (and of) Reflective Research
“The Present-day turn towards Design Anthropology”
Alison J. Clarke, Professor, Design History and Theory, University of Applied Arts, Vienna
“Design Studies: The Challenge to a New Field”
Victor Margolin, Professor Emeritus of Design History, University of Illinois at Chicago
Moderator: Clive Dilnot, Professor, Design Studies, Parsons
Noon – 1:30 pm Lunch Break
1:30 pm – 3:30 pm Session II: The Values in (and of) Applied Research
Introduction to the afternoon
“Everything You Always Wanted to Know About Design – But Were Afraid to Ask”
Jürgen Häusler, Chairman, Interbrand Central and Eastern Europe; Professor for Strategic Business Communication at the University of Leipzig
“Design as an Essentially Political Activity—Especially within Business”
Hugh Dubberly, Principal, Dubberly Design Office, San Francisco
Moderator: Cameron Tonkinwise, Director, Design Studies, Carnegie Mellon University
3:30 pm Break
4:00-5:00 pm Summary Roundtable: Design Studies Perspectives
Orit Halpern, Assistant Professor, Committee on Historical Studies, New School for Social Research
Aleksandra Wagner, Assistant Professor, Sociology, New School for Public Engagement
James Dodd, Associate Professor, Chair Philosophy, New School for Social Research
Moderator: Susan Yelavich, Parsons
Thursday, Oct. 25th, 9:30-11:00 am
Room 1200,12th Floor of 6 E 16 St.
On Thursday, Oct. 25th, designer Lorraine Wild will join MA Design Studies program director Susan Yelavich in an informal discussion about the various modes of practice she sustains: writing, teaching, designing, publishing and (most recently) rethinking communication strategies in the context of a museum. (more…)
The fifth Nordic Design Research Conference, Nordes ’13: Experiments in Design Research: Expressions, Knowledge, Critique takes place in Copenhagen/Malmö in 2013 June 9th – 12th.
Design is closely affiliated with the experimental, which is as an exploratory and probing undertaking. What does this mean in the context of design research? Today, design research relies on various and divergent notions of design experimentation and ideas about their value and use. In one corner, experimentation is conceived of as designerly exploration into, for instance, materials, technologies, and expressions. In another corner, design experimentation is shaped according to hypothetical-deductive models of knowledge production inherited from science and engineering. Yet, in a third corner, design experiments are explored as a means for promoting social change or as a critique of political and ethical values. For instance, this can take the form of critique through fiction and utopias. This raises a set of central questions for design research: How is design experimentation similar and different from experimentation in other research fields and areas? What is the relation of exploration vis-à-vis experimentation in design research? How is it possible, if at all necessary, to provide a consistent account of research methods underlying experimental design research? How can design experiments be staged other than as highly idealized probing situations? What is the role of design experiments as aspects of a critical aesthetic practice? (more…)
Monday, May 14, 2012, 7:00-9:00 p.m.
Toward a New Cosmopolitanism, an event at The Storefront for Art and Architecture with David Adjaye, Stan Allen, Anthony Appiah, Teresita Fernández, Enrique Walker and Sarah Whiting, will address themes from and celebrate the release of two books (From Rules to Constraints and Authoring: Re-Placing Art and Architecture). Toward a New Cosmopolitism presents 6 manifestos on contemporary understandings of art and architecture emerging between global and local contexts.
Barbara Penner, Senior lecturer, Architectural History, Bartlett School of Architecture
Friday, April 27th. 6:15. 25 East 13th Street, 2nd Floor
Parsons The New School for Design
A lecture series curated by Ioanna Theocharopoulou, SCE and Sarah A. Lichtman, ADHT
The Biennial of Design (or BIO, from its Slovene acronym) is an international design exhibition that, through its selection of well-designed works and emphasis on quality, originality, and innovation, presents current trends in contemporary design. The exhibited works are eligible to receive the Biennial’s awards for the best designs of the past two years.
With a tradition of 48 years, BIO is one of the world’s oldest international design events. With the publication of these Rules for Participation, the Organiser of the Biennial, the Museum of Architecture and Design, is inviting submissions for the 23rd Biennial of Design. At the same time we are announcing the appointment of Margriet Vollenberg and Margo Konings, from the studio Organisation in Design, as the curators of BIO 23. The curators have decided on the theme for BIO 23, namely, “Design Relations”, and they will select the works to be exhibited. In making their selection, they will be guided by the criteria of functionality, sustainability, commercial viability, cultural significance, social importance, the concept of the work, the use of materials, the production process, and aesthetics.
Bringing it Back is a symposium that looks at revivalist movements in the history of the decorative arts and design. The symposium examines design’s role as a cultural metaphor and as a mediator of sociopolitical perspectives. This event considers how design engages with the past and considers revivals from a variety of perspectives. Whether Egyptian, Greek, Gothic, Renaissance, Baroque, Rococo, Colonial, or Modernist, revivals can look back just a few decades or millennia. Revivals can be soberly archaeological or promote a historical fantasy. Some revivalist movements are primarily stylistic, while, for others, idealized notions of history are invested with social, political or moral meaning in the present. (more…)
The 8th ICDHS conference, “Design Frontiers: territories, concepts, technologies,” aims to discuss how design history and design studies may push the limits of design knowledge. The frontiers of design may be challenged by the exploration of new territories, by the establishment of new concepts, by the emergence of new technologies, as well as by rediscovering the past and by finding new ways of applying current wisdom. Paper proposals are being accepted until February 29, 2012. (more…)
The 2nd International Conference on Design Creativity will provide a forum to discuss the nature and potential of design creativity from both theoretical and methodological viewpoints. It will include panel discussions on the directions for design creativity research. The aim of these discussions is to develop directions for future research on design creativity. (more…)
The School of Art Design History and Theory at Parsons and the History Department at the New School for Social Research are sponsoring Design/History/Revolution: An Experimental Workshop at the Frontier of Art, Design, Politics and Historical Study on April 27-28, 2012. This conference explores the relationships between design, history and revolution and brings together scholars and practitioners from the humanities, sciences, social sciences, design, and art to consider how design acts as a historical agent, a contested category, and a mode of historical analysis. (more…)
The 8th International Conference on Design and Emotion, Out of Control, will examine how a world driven by uncertainty, crisis and chaos demands different responses from design (as a community, as a practice and as a process). Conference participants will consider how design acts as both a problem-solving activity and a springboard to a creative future. The emphasis is on the spectrum of human emotion experienced at the macro (socio-cultural), micro (personal), meta (philosophical), processural (methodological) and strategic levels. (more…)
Readers of the Design Studies blog might care to take note of the upcoming College Art Association Conference, which will be held in Los Angeles this coming February. Advance registration closes Friday, January 20. Be sure to attend Design Studies Forum: Design, Thing Theory, and the Lives of Objects. Details after the jump…