Conditional Design Review
A Workbook by Luna Maurer, Edo Paulus, Jonathan Puckey, Roel Wouters
The article “Conditional Design” is a collaborative manifesto for artists and designers. The contributors Mauer, Paulus, Puckey, and Wouters, formulate a design strategy that ultimately suggests a focus on the approach of creating products rather than the finished products. The main idea of Conditional Design moderated by their three method approaches: process, logic, and input, is seen as a simplified notion to comprehend the concept of shaping the design world. The authors believe, “the influence of media and technology as a dynamic, data-driven society is continually sparking new forms of human interaction and social context” (Armstrong 120). Therefore, the intention is to operate on an approach highlighting society and human interaction. From our current understanding of emerging design, the number of theories and methods designers may conduct to, perhaps, complicate the proposal of new mindsets, tools, and terminology. An uncertain opinion can derive from questioning whether Conditional Design as a tool that emphasizes change is required.
The piece conforms with design theory by exploring an avant-garde approach in comparison to the recent design advancements that elude to attributes of the appearance rather than the intentions. Moreover, universal design is applicable as Conditional Design functions as a workbook. The author’s description states, “Conditional Design plays with chance, frameworks and generative systems and is a ‘play’ method that provides possibilities for every creative person” (Paulus, “Conditional Design Workbook”). Furthermore, Conditional Design uses visual culture with large textiles and clear images to provide the reader with examples. Therefore, allowing words back into the design in the face of globalization. As a social responsibility, the context breaks from the emphasis on appearance; instead, influences focus on meeting human needs and abilities (Cabianca 14). The authors eliminate direct reference to early methodologies to implicate the workbook results on how the product interprets the process rather than the designer.
Authors of Conditional Design begin addressing their focus on processes that work alongside the complexity of the world to deliver insight and show the approach to design (Armstrong 120). In their manifesto, they suggest, “instead of romanticizing the past, adopting a way of working coincide with the developments, and work to reflect here and now can influence the digital world” (Armstrong 120). Collaborative exercises and projects can guide design in classes, beyond the learning curve, this workbook becomes a task that underlines a larger picture. Technological advances will continue to rise, to work alongside processes, using methods combining practices can suggest solutions to mismatches and problematic constraints. Rick Robinson, an applied researcher in consumer and material culture studies, described data-aware work rather than data-driven as compelling evidence concerning design (Cabianca 14). Robinson also stated, “what we need are the tools to surface pattern in that data, discipline in exploring it, and suppleness in building or applying frameworks to its interpretation” (Cabianca 15). In terms of the tools to surface pattern in data, Conditional Design coins “Logic” to describe “the design conditions through which process can take place” (Armstrong, Digital Design 120). The outcome suggests data-aware work that builds a framework to interpret how people attempt to complete the workbook drawing.
The methodologies structuring the digital age from the 1960s to the 1980s introduced the Grid System and Wall Drawing as highly important proposals that relate to Conditional Design. The connections conveyed by providing guidelines and rules for the function. Furthermore, the context helped structure algorithms, input/output systems, and conception of the process. Similarly, Conditional Design practices can redefine complex structures and behaviors made possible by suggesting precision and reason. Alternatively, the notion can be portrayed in the words of Ladislav Sutnar, “Taming the Chaos of Data with Simplicity and Order” (Armstrong 22).
The authors emphasize Condition design as a term that refers to the approach rather than the chosen media. However, suggest not “operating under the terms of Graphic Design, Interaction Design, Media Art, or Sound Design” (Armstrong 120). Arguably, Conditional Design underlines the same principles found in multiple terms. If the desire is to reflect the here and now, operating under the conditions of other design principles can embrace the complexity even further. The process in Conditional Design states, “the most important aspects of a process are time, relationship, and change” (Armstrong 120). To understand the importance of these aspects, relating the process to a sub design topic such as Interaction Design can implement a stronger workbook. The method of Interaction design, according to Harry Brignull, a User Experience Consultant, “involves establishing requirements, designing alternatives, prototyping and evaluating” (Sharp, “The Process of Interaction Design). These activities are intended to inform new ways of human interaction and social contexts.
Moreover, the Interaction Design process suggests the time to repeat steps, finding the relationship between users and experience, and change in optimizing context for all groups. Regarding Graphic Design, Conditional Design connects these fields by giving form to the future. For the graphic designer, Edgar Kaufmann, “merging of form and function and an awareness of human values, expressed in relation to industrial production for a democratic society is a measure of good design” (Maxim, “Good Design Is Goodwill by Paul Rand”). By suggesting design is a means for invention and experiment, operating under Graphic Design appeals to Conditional Design. The design theories addressed could help and intend for better use of the workbook that applies the same approach.
In conclusion, the goal of creative persons to reflect the importance of the process is regulated. As a manifesto for artists and designers, Conditional Design’s process, logic, and input system highlights key factors of collaboration and unpredictable outcomes in the design process. Perhaps creating a series of Conditional Design books to select the desired field can implement a strategy to articulate a range of possible permutations. By informing participants, Conditional Design can stretch to other theories implies relevance to production and emerging technology.
Works Cited
Armstrong, Helen, and Keetra Dean Dixon. Digital Design Theory : Readings from the Field. Princeton Architectural Press, 2016. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=cat01044a&AN=gbc.738461&site=eds-live&scope=site.
Cabianca, David. “Graphic Design: Now in Production: A Note on Emerging Cultural Relevancy for Graphic Design.” Visible Language, vol. 46, no. 3, Oct. 2012, pp. 284 – 287. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=vth&AN=83339242&site=eds-live&scope=site.
Maxim, Jeffrey. “Good Design Is Goodwill by Paul Rand.” Medium, Medium, 8 Feb. 2019, https://medium.com/@digitalonetwo/good-design-is-goodwill-by-paul-rand-1984-7be4e4ad47d4.
Paulus, Edo, et al. “Conditional Design Workbook.” Out Now: Conditional Design Workbook, Valiz, https://workbook.conditionaldesign.org/.
Sharp, Helen, et al. Interaction Design: beyond Human-Computer Interaction. 4th ed., Wiley, 2019.
