It finally arrived at my doorstep! The incredible Atlas of Furniture Design, published by the Vitra Design Museum, was decades in the making, and I was proud to contribute an extended essay with Avinash Rajagopal that anchors the contemporary design section of the book. I also contributed several biographies of Italian designers, joining a stellar group of contributors that worked in this encyclopedic effort. Congratulations to the editors and all the team for a fantastic result!
Tag: Avinash Rajagopal
Atlas of Furniture Design
The Atlas of Furniture Design, published by the Vitra Design Museum. Photo byÂ Kobi Benzeri Studio.
This November marks the release of the Vitra Design Museum’s Atlas of Furniture Design,Â a comprehensive overview of the lastÂ two centuries of furniture design. I was happy to contribute to this volumeÂ with an extensive essay co-authored with Avinash Rajagopal, focusing on the last forty decades of the design discipline and its developments during that period. Looking forward to holding this important tome in my handsÂ later this year!
The Unmaking of Autoprogettazione
Enzo Mari sitting in the Sedia 1. Photo by Juoko Lehtola/Artek.
“The Unmaking of Autoprogettazione”, aÂ paper Avinash Rajagopal and I wrote together for the Design History Society 2017 conference, gained a new life as part of the excellent The Culture of Nature in the History of Design, edited by Kjetil Fallan. The book demonstratesÂ that the deep entanglements of design and nature have a deeper and broader history than contemporary discourse on sustainable design and ecological design might imply, this book presents case studies ranging from the eighteenth to the twenty-first century and from Singapore to Mexico. Furthermore, itÂ ventures into domains as diverse as design theory, research, pedagogy, politics, activism, organizations, exhibitions, and fiction and trade literature to explore how design is constantly making and unmaking the environment and, conversely, how the environment is both making and unmaking design.
In the last decade, amidst social and economical complexity that echoes the context of its original making, Autoprogettazione has resurfaced as a touchstone project that adds to the contemporary discourse. From Artekâ€™s 2010 re-edition of Sedia 1 to Cucula, a Berlin-based non-profit, producing Autoprogettazione for and with refugees in 2015, the many ways in which the project has been quoted, echoed, repurposed or copied have shifted, altered and reinforced its original meaning.Â OurÂ paper traces the making and unmaking of meanings in Autoprogettazione, analyzing the context that lead to the projectâ€™s inception and exploring its comeback in the last decade, whether as a platform for art and design exhibitions, a vehicle for do-goodism in times of humanitarian crisis, or as a propaganda tool for companies and their marketing agencies. Scrutinizing these instances, and exposing the shifts and appropriations the project has been subjected to, reveal how the original aim to critique the design industry has been appropriated and made part of the design industry itself, in varied and at times perfidious ways.
The Unmaking of Autoprogettazione
For Making and Unmaking the Environment, the 2017 Design History Society conference, Avinash Rajagopal and I wrote a paper titled “The Unmaking of Autoprogettazione”.Â I had the pleasureÂ to present it at the University of Oslo last 8 September, and was delighted to discuss this and many other topics with the scholars attending. An abstract of the paper below:
In 1974, Milanese designer Enzo Mari shocked his contemporaries with his Proposta per unâ€™Autoprogettazione, a set of rudimentary furniture pieces sold as cheap instruction manuals rather than physical objects. Anyone with a hammer, nails, and timber could build the pieces for themselves. The project commented on the overlooked social responsibilities of the designer and critiqued the passive role imposed on consumers by the 20th-century design industry. In the last decade, amidst social and economical complexity that echoes the context of its original making, Autoprogettazione has resurfaced as a touchstone project that adds to the contemporary discourse. From Artekâ€™s 2010 re-edition of Sedia 1 to Cucula, a Berlin-based non-profit, producing Autoprogettazione for and with refugees in 2015, the many ways in which the project has been quoted, echoed, repurposed or copied have shifted, altered and reinforced its original meaning. This paper traces the making and unmaking of meanings in Autoprogettazione, analyzing the context that lead to the projectâ€™s inception and exploring its comeback in the last decade, whether as a platform for art and design exhibitions, a vehicle for do-goodism in times of humanitarian crisis, or as a propaganda tool for companies and their marketing agencies. Scrutinizing these instances, and exposing the shifts and appropriations the project has been subjected to, reveal how the original aim to critique the design industry has been appropriated and made part of the design industry itself, in varied and at times perfidious ways.
#SociableMuseum at MuseumNext
The #SociableMuseum panel at MuseumNext Geneva, April 2015
As part of Superscript, I had the opportunity to co-moderate the #SociableMuseum panel at the European Museum Conference MuseumNext in Geneva, Switzerland. In the midst of one of the most significant gatherings of museum professionals in the world, the panel reunited Alin Tomacov, experience designer and associate partner at C & G Partners in New York, Seb Chan, Director of Digital and Emerging Media at the Cooper Hewitt in New York, and Viviane Stappmanns, Head of Communications at the Vitra Design Museum in Weil am Rhein, Germany, to talk about how can museums go from being “social” to becoming “sociable”.
Drawing from extensive research by Superscript co-founders Molly Heintz and Avinash Rajagopal, the panel advocated that while many museums today consciously use technology to become more social and open to the communities around them, there is a need for a further step, where these institutions become sociable â€” willing to actively engage with other people â€” creating conversations that forge true connections with their audiences. It was a pleasure to listen to such meaningful insights as the discussion unfolded: the panel (as it was recorded by Twitter users) can be seen here.
Profile Picture: Digital Design from Africa
A detail of the Mathare Slum as seen in theÂ MapKibera initiative. Image Â© MapKibera
Avinash Rajagopal and I, as part of Superscript, contributed an analysis of contemporary digital design in Africa to the accompanying catalogue of Making Africa.Â The natural culmination of our role asÂ Consultants for New Media and Technology, and members of the Advisory Board, the essay was a pleasure to write and research, and wouldn’t have been possible without the invaluable assistance of Dalia Ohtman, a Research Fellow at the Berkman Center for Internet & Society at Harvard University and a Visiting Scholar at theÂ MIT Center for Civic Media. An excerpt of the essay can be read after the jump.
Continue reading Profile Picture: Digital Design from Africa
Making Africa: A Continent of Contemporary Design
Making Africa: A Continent of Contemporary Design, published by the Vitra Design Museum accompanying the exhibition of the same name. Photo by Double Standards
As part of Superscript, Avinash Rajagopal and I served as Consultants for New Media and Technology and members of the Advisory BoardÂ ofÂ the most recent exhibition at the Vitra Design Museum, Making Africa: A Continent of Contemporary Design. Curated by Amelie Klein and born out of three years of research, this ambitious exhibition seeks to change perceptions on what the continent is and can be, presenting Africa as a hub of experimentation generating new approaches and solutions of worldwide relevance â€” and as a driving force for a new discussion of the potential of design in the 21st century. The exhibition focuses on a new generation of entrepreneurs, thinkers and designers from and within Africa, who â€“ as “digital natives” â€“ address a global audience and provide the world with a new vantage point on their continent.
Avinash and I further contributed an essay to the catalogue andÂ assisted the editingÂ of the English edition of the Making Africa catalogue. It was a pleasure to work with Amelie and the Vitra Design Museum team in this fantastic project.
The Collective Story
Unfold’sÂ Stratigraphic Manufactury, part of Adhocracy. Photo byÂ Benoit Palley
In order to celebrate the opening of Adhocracy at the New Museum, in New York, below is the essay Avinash Rajagopal and I wrote for the exhibition’s catalog, introducing the volume’s intentions and structure. The catalog is available at the New Museum store. Make sure to visit the show, which will be on through 7 July at Studio 231 at 231 Bowery.
The Collective Story
Avinash Rajagopal, Vera Sacchetti
At first glance, what does a film about superannuated gardeners in Barcelona have to do with 3-D printed ceramics from Antwerp, or an open-source tractor built on a farm in Missouri? The many manifestations of adhocracyâ€”the conviction that societal change can come out of small interventions, little subversions, and closely-knit communities working without the aid of the powers-that-beâ€”can be surprisingly, and affirmingly, diverse. If only all these local agents who create tirelessly within their own online and offline communities could speak to each other, then a powerful new mode of creativity could take over the worldâ€”or at least that is the dream.
The Adhocracy Reader
The Adhocracy Reader, page detail. Photo by Ethel Baraona Pohl
During the summer of 2012 I was lucky enough to be involved in the preparation of Adhocracy, an exhibition curated by Joseph Grima with Elian Stefa, Ethel Baraona Pohl and Pelin Tan for the 1st Istanbul Design Biennial. My collaboration with the team materialized in the exhibition catalog, which I co-edited with Avinash Rajagopal and Tamar Shafrir. The Adhocracy Reader was designed by Folder (Marco Ferrari and Elisa Pasqual), and in its 400 pages we tried to push the concept of a standard catalog and create a reader, evoking a standard college reader â€” a compilation of pre-published material. A series of introductory essays frame the exhibition’s premises and the catalog’s intentions, followed by a carefully curated selection of material on the projects on display in the exhibition, alongside a series of pre-existing essays. The whole catalog can be consulted on Issuu, and a Flickr photoset by Ethel Baraona Pohl can be seen here.