Innovative research commissioned by the Western Development Commission (WDC) and carried out by researchers at NUI Galway has highlighted the potential for a doubling of the workforce employed in the Creative Sector over the next 10 years. Additionally this could lead to up to €150 million in additional exports per annum from the sector – a key area of growth identified. The report is a follow up to the WDC’s much heralded Creative West report (PDF Download) published in February 2009, which in itself established the creative economy in the Western Region as being internationally significant with 4,775 businesses employing 11,000 people directly.

The follow up analysis entitled –“Creative Sector in The Western Region – Future Growth Trajectories” (PDF Download), was published this week by the WDC. Complied by a research team led by Dr. Patrick Collins of NUI Galway’s Centre for Innovation and Structural Change (CISC) the report maps out the future growth scenarios for an industrial sector that has been bucking international trends in terms of growth.

In Dublin, nature meets future – an excellent basis for sustainable design, Dublin, with its visionary talents across all fields of design is growing the potential to be a model for a bridging cultures and connecting the world by design.

- Prof. H.c. Helmut Langer, Past President International Council of Graphic Design Associations

DUBLIN’S BID FOR WORLD DESIGN CAPITAL 2014

Rising to several centimetres thickness, each copy bearing one of 30 different covers submitted by 30 different designers, comprising a staggering 416 pages of dense research and vivid imagery and accompanied by a specially made film – Dublin’s bid for World Design Capital was submitted for the end of March deadline to the competition agency ICSID. Entitled “PIVOT Dublin – Turn Design Inside Out”, the bid celebrates ambiguity, diversity and difference.

Dublin is a paradox (…) it is not about dour perfection or monotony. It’s about everything that’s possible when people, relationships, creativity and culture collide.

The bid is a collaboration between the four Dublin Municipal Authorities and has National Government support. Irish Prime Minister (Taoiseach) Enda Kenny, considers participation in the World Design Capital project a significant contribution to his Government’s ambitions for Ireland as a creative and innovative economy: In his letter of support for Dublin’s bid he says “this designation if awarded would provide a valuable opportunity for us to showcase Irelands vibrant design and creative industries while the invigoration provided by the proposed programme of events and projects would bring a renewed excitement and vibrancy to the city building on our experiences as City of Science 2012”.

The design and delivery of the bid document and associated film was undertaken by an interdisciplinary consortium of Red & Grey Design; Emma Curley Architect and Areaman Productions (film). Using material gathered from a year of exploratory workshops and conversations facilitated by the co-ordination team led by the Dublin City Architect, they have produced a document that arguably represents the most comprehensive research into a wider Irish design culture since the pioneering report Design in Ireland, which led to the establishment of the Kilkenny Design workshop in 1965. It is hoped that Dublin’s bid will act as a similar catalyst towards developing a shared understanding of the benefits design thinking can bring to economic, environmental, social and political challenges.

This ambition is encapsulated in the bid title ‘PIVOT Dublin – Turn Design Inside Out’ a response to Dublin’s unleashed potential to use design as the vehicle to turn things inside out; to adapt, innovate and grow. A key strength in Dublin’s bid lies in its diversity. Alongside the more established design disciplines such as product, craft, fashion and graphic design, it features architecture and urban design, as well as the new digital design cultures and reflects Ireland’s recent success in animation, film and the gaming industry. Overwhelmed by a plethora of design events that take place in the city, the biggest challenge for the bid team was in the editing of the information. To tell Dublin’s story, the team focused on a few key projects that have transformed the city – including the landmark new bridges that link north and south along the River Liffey, the community connections made by the Special Olympics in 2003, and the international outreach of a Digital Hub project that redesigns computers for schools in Africa.

The Pivot Dublin bid strategy identifies an opportunity to use Dublin as a test bed for new ideas which address local need yet have global relevance. The bid explores these challenges and opportunities under four themes, which represent issues that face all cities; ‘Connecting Cities, ‘Making Cities Lighter’, ‘Making Cities Flow’; and ‘Making Cities Smile’. These themes are being explored through the development of ‘seed’ project collaborations between the public sector, business and design communities. Central to the bid strategy is that the seed projects start in as soon as the bid is submitted and this work is now underway.

The PIVOT Dublin team hopes that the bid will convince an international audience that Dublin is a repository of much talent and a solid tradition of great Irish design. Above all, the bid conveys what a “cool city” Dublin is. Perhaps it does not tell a conventional story but it’s a fascinating one – a story about a very sociable city for an extraordinary design experience. The Dublin design community agrees; as is evident in this testimonial by graphic designer David Smith of Atelier, the first Irish Designer to be elected to the AGI (Alliance Graphique Internationale):

That is what I would love to emerge from it; the legacy. That we use design to make a difference. If that came out of it at the end – win, lose or fail – that would be the best thing that we could have gotten for our city and the bid certainly presents that opportunity.

More information on Dublin’s bid for World Design Capital 2014, is available from www.pivotdublin.com

I have always loved minimalist design. It has a beauty about its simple forms and clear lines that appeal to me. I came across this bin design by Grace Youngeun Lee and I liked it so much I began to visualize where I would put her design in my own home. That’s when I began to run into trouble. I live in your average apartment with the standard features, two bedroom, kitchen / living room combo, bathroom. Even though I thought the design was beautiful, I could not think of one place I could put such a distinctive item. It hadn’t really occurred to me before, that all the minimalistic items I love so much would struggle to work in your average home. The qualities that make the design striking cause it to sit uneasily in a mainstream context. Its clean aesthetics clash with your standard mass-produced product.

Does this mean a minimalist design can only work when surrounded by other minimalist products? Or the opposite, a lack of other products and just shear, clean space that allows it to be appreciated for its aesthetic beauty? If this is the case, where is the line drawn for its range of influence? Is the only true home of a minimal piece a modern residence, where clean lines and crisp aesthetics were at the front of the architects mind?

Perhaps the piece is intended to sit in contrast with the relative chaos of mass production? That this contrast serves to highlight its simple beauty.

I guess until I can figure out where to put my beloved Grace Youngeun Lee bin, I’ll just have to stick with my mass produced swing top. Function over form anyway, right?

Here is a good example of a design which looks beyond the simple functions of the product to the emotional perceptions and requirements of the user.

The Playpump is used to pump water in schools in such places as South Africa, Mozambique, Swaziland and Zambia. It is essentially a windmill on its side. Unlike other pumps, the Playpump is designed to be driven by children in play, who use the wheel as a merry-go-round.

Water pumps are placed in areas of high drought and provide drinking and irrigation water. They greatly benefit the surrounding areas and are seen as something to be celebrated. Designing a pump which incorporates the play of children, takes this emotional element into account. Its design combines the function of the pump with the celebration of its installment and use.

Rather then the traditional approach of designing emotion into a product, the Playpump is a manifestation of emotion generated by its presence. It is an interesting perspective to consider when trying to design that ‘must have’ product.

A group of students from MIT Media Lab in Long Beach California, transformed the Internet into a ‘Sixth Human Sense’. They developed a wearable computing system which can turn any surface into an interactive display screen. The system relies on a webcam as an input device and a small projector with a mirror as the output device.

Here are only some of the functionalities of their system:

• Creating a frame by using your fingers tells the camera to take a photo.
• You can project the photos that you took on any surface and use your fingers to browse through them, rearrange them or resize them.
• You can browse through menus.
• You can search locations on a map.
• You can draw on a wall just by using your fingers.
• You can even call your friends by dialing their number on the palm of your hand.
• On the way to the airport you could check if your flight is delayed or not.
• You could know the time just by drawing a watch on your wrist.
• You could project information about any person you meet.
• And even watch a video of the news that interest you in the newspaper.

If you want to find out more and see how the system works, here are two videos that show its functionality:

Students transform the Internet into ‘The Sixth Human Sense’ – Video1

Students transform the Internet into ‘The Sixth Human Sense’ – Video2

At this stage there are lots of software companies which provide Real Time Energy Monitoring Systems and there are a lot more which are planning to enter this market.

During the last months I’ve been researching software that allows a company to monitor their energy consumption and here is what I found:

• Most of the software provides real time monitoring and alert systems.
• In order for that to happen, the companies providing the software will install their own meters.
• They store historical data in a database which can be accessed at any time through their software.
• They send alarms every time the energy consumption rises over a certain value.

These sound like really good systems that can help any company save some money from monitoring their energy consumption. At the same time they are a step forward from where we were 10 years ago, but here are some questions that I think deserve a little bit of attention:

Why can’t these companies use the existing meters and monitoring systems from a plant? We live in a world where technology evolves really fast and companies shouldn’t have to change their meters/hardware every time new software is released on the market. Imagine changing your computer each time a new version of Windows is released.

What is the software doing with all the data that has gathered throughout the years?In today’s society holding data is not that important any more. The most important thing is what you do with that data. Having access to information doesn’t make you better or stronger, but how you use that information does.

And most importantly why haven’t we evolved in the last 2, 3 or 4 years?At this stage the functionality diagram of each company that provides this kind of systems should look like this:

I found this by mistake today and it put a smile on my face because it includes all the functionality that I would expect from an Energy Monitoring System and all the functionality I was talking about in the last few months.

It looks like there still is some hope left and finally a system was developed which will challenge the other companies to rethink their products and evolve.

The pervasive notion was that thinking and knowledge were somehow something that happened inside the head … more recently, our notion of cognition has broadened considerably, and in particular, it embraces the notion that thought and knowledge may well occur as much in our physical and social environment as in the cortex itself.

Can design thinking be institutionalized, or does it happen to cities and businesses serendipitously?

This is one of the most important questions to ask. My answer is decidedly yes, it can be institutionalized. But at the same time, I have to qualify this by saying that the most creative challenge of any management is to figure out how.

Additional reading:

A New Mantra for Creativity

Related link: frog Design Mind

Regardless of whether you are a designer or not, these two videos are worth 40 minutes of your time if you are a human being.