Breeding Table No. 7 (Photo: Frank Stolle)

Art critic Rosalind Krauss was posing the following questions almost a quarter century ago: “What would it look like not to repress the concept of the copy? What would it look like to produce a work that acted out of the discourse of reproductions without originals?”* A contemporary approach named ‘generative design’ is creating the very culture of ‘reproductions without originals’ Krauss was envisioning.

Recent technological advances provide designers with the possibility of modeling not only the form but also the ‘DNA’ of artifacts. This is precisely what is of primary concern to ‘generative design’: how to design not only the artifacts themselves but, more importantly, the processes that will produce those artifacts. Therefore, what ‘generative design’ actually designs–thanks to software such as Processing and Mathematica–are algorithmic processes, which then result in the production of unique products.

Stockholm based design studio Kram/Weisshaar’s project ‘Breeding Tables’ is one of the best examples to generative design. Clemens Weisshaar and Reed Kram intend to revert the conventional idea that has long since lain at the heart of industrial product design profession: coming up with ‘original’ designs to be mass-produced. Their goal instead is to be able to create an infinite number of unique products–in the case of this specific project, tables. In order to do so, the duo turn to contemporary manufacturing technologies. Eventually what they design is a process, which is based on a computer code developed specifically for this project. Forms that are distinct from one another are physically manufactured by laser-cutting and steel-bending machines which are again controlled entirely by computers. To be more clear, each process results in table legs that each have a unique geometry.

The diagram showing parameters set by the Breeding Tables software

(Image: KRAM/WEISSHAAR)

It is important to examine in further detail the impact brought about by ‘generative design’ with respect to the ethical and legal issues that evolve around the concept of intellectual property. The notion of ‘the copy’ continues to have nightmarish connotations for designers in newly industrialized societies, due for the most part to the loopholes in intellectual property law and/or the application thereof. (An example is Turkey where professional designers are currently lobbying in order to fill similar loopholes. Their effort resulted in a draft law that was presented to the Parliament last February, which suggested that all designs, officially patented or not, should be protected by law.)

However, there is another side of the coin: the fundamental shift brought about by the Information Society paradigm opens up for debate the very established notions such as ‘intellectual property.’ A popular example to such debate evolves around the ‘open-source’ phenomenon, which has enabled individuals to share the fruits of their creative processes with one another with almost no legal protection. As a result, especially in the post-industrial West, conventional design processes that focus entirely on the ‘end-product’ are increasingly abandoned.

The pioneers of ‘generative design’ also point to a future where designers adapt process-oriented approaches: exploit possibilities presented by the latest technology, and work with time as their new medium–and information, their new material. Furthermore, advances in manufacturing technologies reduce the cost differences between mass-producing the same product and fast-producing unique products.

As Kram/Weisshaar’s ‘Breeding Tables’ shows, generative design does not aim to produce an infinite number of copies based a single, unique design but rather pursues to create infinitely many originals without being based on an initial prototype. This is precisely why the validity of the notion ‘end-product’ is threatened by such projects: in the last analysis, the value/intellectual property to be protected by law is not the ‘end-product’ but rather the design process (including the software and algorhythm) that allows designers to create those products.

Generative design stands out also as a strong alternative to the recent method of ‘mass-customization’, which is often preferred by designers who aim to provide a diversity of alternatives to the end-user. The sneaker giants such as Nike and Converse, who popularly prefer to use such method establish platforms on their websites with the claim of allowing users design their own unique sneakers. Here, their aim seems to be to increase the number of unique options for end-users and perhaps include them in the design process. However, to what extent this aim is accomplished is rather questionable. As many color, texture, pattern options as ‘mass-production’ can claim to provide, the number of truly unique products defines a limited domain. Additionally, it could be suggested that such method delegates a good portion of design tasks to users, which in turn consumes their time and energy.

Given that generative design invalidates the very notions of ‘originality’ and ‘copy’ by allowing the production of an infinite number of unique copies, it would not be unfair to suggest that it will soon surpass methods like ‘mass-customization’. Finally, the world of “unique copies” Krauss was talking about twenty years ago, seems to have been realized by ‘generative design’–and in a rather legal and ethical way, too.

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*Krauss, Rosalind E. 1986. The Originality of the Avant-garde and Other Modernist Myths. MA: The MIT Press.

Wake Up, Freak Out is an animated film by Leo Murray, an RCA graduate. You can watch the film below or from Leo’s website, and I recommend you visit his site anyway to read his comments. Enjoy. Then freak out.

Wake Up, Freak Out – then Get a Grip from Leo Murray on Vimeo.

Click the ‘Tipping Point” logo to visit the website.

Wake up, Freak out

You will see a rather scruffy young designer (me) at the 3:17 mark hanging all over a chair. I was working on other projects but it was always interesting being around of the development of the Generation chair. Regular workshops and casual conversations meant I was able to kept up to speed with the new ideas. Now, it is really cool to see it on the market and making such a big impact in the US. It also just recently won the highest award available at Neocon, the worlds biggest commercial furniture show.

Please Be Seated – where reporter Daniel Sieberg takes a look at the new generation of office chairs that are threatening to usurp the supremacy of the Aeron chair, which has held the title for 15 years.

British pride: British designers and manufacturers have united again with idea of using home grown design talent instead of looking abroad. The European design companies had less of an exhibitor presence but with the strength of the Euro came a lot more interest from European buyers and retailers. A great example of emerging British talent was found on the Deadgood stand and of course in the ‘Futures’ section. Furniture brand of the moment Naughtone also waved the flag for elegant British design on their Icon magazine stand

Good old-fashioned joinery & rich materials: Simple use of natural materials on well designed tables and cabinets were a highlight for me. You had to look no further than Russell Pinch’s stand for a masterclass in joinery. My favourite was the ‘Lyle’ console table from walnut and limestone. Well proportioned, well made and pretty much faultless in my book, aIl I need is the hallway for it to go in.

Painted wire chairs, frames & bases: I never really liked wire framed chairs until I saw the ‘Leaf’ chair by Arper a few years ago. The striking feature of that was the colour, bright powdercoated green. Moving away from a chromed finish made wire designs look more honest and welcoming. Two nice examples of wire this year were the ‘Net’ chair by Mark and the ‘Drew’ dining table by Purewhyte.

Soft textured plastic and wood: One of my all time favourite chairs, ‘DSW’ Eames chiar by Vitra, would have looked well at home on some of the stands around the exhibition. Soft textured plastic and wooden legs make a great pairing and there were a couple of fine examples at the show this year. My favourite was the Pebble chair by Benjamin Hubert for De Vorm. A rotationally moulded seat with turned oak legs which created a simple design that had me stuck to one spot for a couple of minutes at least. You can aslo add the Basel chair by Jasper Morrison for Vitra the list of good plastic wood chairs. I didn’t see it at Earls court but a trip to the Vitra showroom a couple of days ago introduced me to his achingly simple and very well executed design.

At Pli we are already on the way to meeting this 10% cut by 2010 and sustainability is an integrated part of our business plan.

Project 10:10 shares our long term emission goals and future aspirations as a company and on an individual level. Pli uses sustainable furniture solutions in every aspect of the business process. The main reason we joined 10:10 was because 10:10 encourages everyone to work together as a team to achieve their future objectives. It provides a basis for sharing ideas and provides a community network.

10:10 is built around four key areas to help reduce emissions. These four key areas can be applied to a business/organisation, or to an individual. It is worth remembering that becoming more efficient and sustainable makes practical business and economic sense, as well as future-proofing yourself’.

1. ELECTRICITY

2. ON-SITE FUEL USE (gas, for most of us)

3. ROAD TRANSPORT

4. AIR TRAVEL

Here are some pointers to think about, that are easily achievable if you wish to get involved. As a buisness we already follow the pointers that are applicable to us. These pointers can easily be directed on an individual level.

Reducing Electricty

1. Turn off lights when you are not there.
2. Switch off computers overnight.
3. Do not leave electrical appliances on standby. (Invest in an automated system to turn them off).
4. Turn off any machinery which does not need to be left on.
5. Make sure you go with an electricity supplier that breaks down your exact energy usage, so you can easily quantify the changes made.
6. Ensure your supplier is dedicated to reducing carbon emissions by investing in and generating  sustainable energy.
7. Use energy-efficient light bulbs (e.g. compact fluorescent bulbs).

On-site fuel use

1. Do not leave heating on overnight or when employees are not there. (Set your thermostat on a timer)
2. Keep doors and windows closed in the winter.
3. Keep doors and windows closed if your air conditioner is on.
4. Turn the heating down to a comfortable temperature.

Road Transport

1. Set up car sharing schemes with employees.
2. Company transport schemes (e.g. Cycle to Work).
3. Walk, cycle or take public transport to work.
4. Reduce non critical business travel using conference calls (e.g. Skype)
5. Make sure that your products are staked in the most efficient and cost effective way when transported.
6. Where it is possible use local manufactures and suppliers.
7. Buy from local amenities.
8. Minimise the amount of parts required, and try to ensure that the majority of parts can be produced in the same place.

Air Travel

1. Reduce or stop non urgent international business conferences — or find an alternative travel (e.g. train travel / conference calls).
2. Stop or change the way parts and other supplies are delivered if by air.

Here are some simple & achievable ideas to reduce your carbon footprint

1. Change the light bulbs in your home to energy saving bulbs
2. Use your car one fewer journey a week
3. Stop buying bottled water; buy a water bottle
4. Turn off the lights when you leave the room
5. Set your heating on a timer; when you are out, make sure the heating is off
6. Turn off your personal computer/laptop at night
7. Unplug the appliances you are not using
8. Put a space filling object into your toilet cistern – a 2 litre bottle full of water works perfectly
9. Eat and buy in-season groceries
10. Let your washing dry on the rack

These suggestions are simple, practical steps that will change your carbon footprint. Most of us know what we should be doing but we’re living in a society that has not yet fully engaged with the need to bring our collective carbon footprint down. So, for now, don’t worry about your friends or neighbours — just do what you want to do to lead by example and make your impact on the environment less.

10:10 carbon reduction commitment

Here’s the Guardian article about the 10:10 launch…
http://www.guardian.co.uk/environment/2009/sep/01/10-10-climate-campaign-tate-modern

Here are the celebrities and public figures who have already signed up. Colin Firth’s beard is even worse than mine!
http://www.guardian.co.uk/environment/gallery/2009/aug/31/10-10-celebrity-pledges?picture=352350336

This was the product design part of the show, from 16-19 July, following the fashion and textiles part earlier in the month. I went along on the first day, planning to see a couple of people and have a quick look round in the morning. I staggered out mid-afternoon, thoroughly inspired by the quality of design and craft I saw on display by the recent graduates who were showing.

Here’s a selection of images I took, of a few of the products that caught my eye. I’d like to say thanks to all the exhibitors who took the time to talk me through their work with so much enthusiasm and knowledge. As far as possible, I’ve tried to credit the designer and college in the image tags: I’m sure you’ll be able to contact them through the New Designers website.

Minja Kolemainen

Rachel Millinger, Loughborough University

Jonathan Tibbs, One Year On

Ruby Mogford, Manchester Metropolitan University

Nina Müller, Kingston University

Yu Hun Kim, Kingston University

Tom Brett, Kingston University

Amy Jameson, London Metropolitan University

Amy Jameson, London Metropolitan University

Bristol University of the West of England

Bristol University of the West of England

James Barnard, Bucks New University

Marc Bell, Northumbria University

Robin Grasby, Northumbria University

Robin Grasby, Northumbria University

Alice Collingwood, University of Brighton

Jack White, Bucks New University

David Morris, The Arts Institute at Bournemouth

Reee chair plastic injection mould tool

Remanufacture is similar to repair and refurbishment; but the big difference is the warranty that is given to the product when sold back to a customer.

• Remanufacture – The product is returned to “as-new” performance/condition and comes with a full warranty.
• Refurbished – The product is returned to a satisfactory working condition and a reduced warranty is given
• Repair – Faults are corrected and a warranty is only given to the parts that have been replaced.

Once the remanufacturing process had been defined, we explored a range of situations to find out more about the issues around the design of products. With the group members coming from everywhere from British Aerospace to the fashion and textile industry, it soon became quite apparent that there was no single solution. However, from my point of view I could see some major issues that lay ahead before remanufacture could be adopted in UK products. They are:

• How do we remanufacture existing products?
• How do we design new products so they can be remanufactured more easily?
• What systems/services need to be developed to allow manufacturers to make remanufacture financially viable?

• How do we get customers to accept/buy remanufactured products?

Although all I seemed to get out of the workshop was questions to grapple with, it was definitely worth it. Moving forward, it is these questions, along with Pli’s current design values, that will drive our future design briefs creating a new generation of eco-friendly products.

Watch out for Christopher’s follow up post that will cover the BSI Remanufacture Conference.