The Elastic Octopus: A Catalogue of Failures for Disrupting Design Eduction

Elastic Octopus was inspired by a perceived increased reluctance in student attitudes towards taking risks and failure in design innovation. In particular, recent trends in funding and risk-aversion in earlier phases of education where failures are discouraged has limited the potential for ground breaking innovative thinking. This experimental design project was conceived to tackle the failure reluctance trend by developing a team based cross-disciplinary masters level design innovation studio module where students would succeed in relation to their capacity to demonstrate failure. Principally this involved creating a permission giving process where ambitious design experiments are developed in order to encourage the transgression of edges and boundaries. This was achieved by adapting a number of creative design methods including blue-sky thinking, back casting and design exorcisms to challenge and de-programme failure aversion. Succeeding through failure involved transitioning from meta-themes through to experimental contexts where failures could be attempted as a way of exploring the limits of technologies, structures, mental models, human engagement and other factors critical to success. We hope that insights gained from this disruptive educational module can offer unexpected benefits for students ranging from increased failure resilience, through to narrative generation and context forming skills while at the same time providing wider value in discussing how designers deal with failure.

Are we asking the right questions? Rethinking post-graduate design education towards sustainable visions for the future

Our society is currently facing complex challenges, such us climate change, loss of biodiversity, ageing population, unemployment, to name but a few. This has created growing expectations on designers and engineers to explore, experiment and implement innovative solutions to such issues. At this critical time, if we want design to be part of the solution, we need to wonder whether we are asking designers suitable and sustainable questions. Both in post-graduate design education and in business, the brief still overwhelmingly requires designers to follow a linear problem-solving approach that focuses on product rather than strategies, services and systems. Traditional design briefs result no longer appropriate to face the challenges of our unsustainable world, as they relate to market, growth economy and human needs rather than society, business models and the needs of nature. Instead, we need to be asking questions about, for example, how we create sustainable business opportunities, how we overcome the barriers for change, or how we facilitate the process of innovation through design methodology. If the role of design is to create new visions and outline strategic directions towards a sustainable future world - for policy makers, businesses, communities and individual citizens – we need those stakeholders to create briefs for designers that allow them to do that. This paper will explain how the reframing of questions has been embedded into SustainRCA’s teaching practice in post-graduate design, art and engineering, leading to the development of new tools and methods, as well as some innovative outcomes

Graphic design and modernisation in Greece, 1945-1970

The primary aim of this work is to give voice to the silent history of graphic design in Greece, long uncharted and undocumented in both the international forum and the local design community. This study focuses on the professional modernisation of graphic design and its role in providing the means for change in Greek society. The research is supported by interdisciplinary analysis of commercial advertisements, posters, leaflets and magazines, as well as other supporting documentation, in the historical and cultural context of Athens, Greece from 1945 to 1970. The time examined was a transitional and vociferous period in the history of Greece, one of intense and rapid economic modernisation during the post-Second World War decades from the mid-1940s to 1970. This was a time when, along with broader changes in the social, economic and political life of Greece, important developments in design education, print technology, and professional organisation marked a new age for graphic design, as a profession emerging from the broader ‘graphic arts’ field (inclusive of both technological and creative processes) and claiming autonomy over the more established fine arts sector. All four chapters deal with modernisation in relation to the assumed divisions of traditional/modern, continuity/change, centre/periphery. Main areas of investigation are: trade organisation, graphic design education, advertising and urbanisation, electricity and tourism promotion. This research offers a view of the ways the ‘modern’ and the condition of modernity were experienced in the case of Greece through certain applications of graphic design and its agents of influence: graphic designers, artists, managers, publishers, the state and private entrepreneurs. The research benefited significantly from a number of interviews with design professionals and related individuals. The present endeavour has a modest aim: to enable understanding of how and why Greek graphic design at the time came to be, and to stress the validity of the visual as a means of historical documentation.