Changing the change

Many years ago, I studied anthropology with John Collier, Jr. John spent much of his life in two ethnic communities. He grew up with his family in the American Indian communities of New Mexico and Arizona. Later, he worked as an anthropologist in the fishing communities of Nova Scotia, where he helped to develop the research method of visual anthropology. John’s work was oriented toward creating positive change. He used to say that the problem of social change involves a simple paradox. We can’t change one aspect of an organization or society until we change everything, and we can never change everything — we’ve got to start with one thing.

This is true, yet it is not beyond solution. We can and must start somewhere by finding appropriate points for vital intervention. We create consensus through action, and we do so in part by making theory action.

Theory has at least two meanings for design research. One is a scientific theory of what things are and how things work. The other is an ethical or philosophical theory of desired states: a design outcome. A design research agenda for sustainability requires both.

At the Institute without Boundaries, changing the change has meant tackling local problems that have global repercussions, while also speculating on global issues to devise frameworks within which local agents can contribute solutions to those issues. Walking on both sides of the line, from systems theory to generating examples and embodiments of design innovation, the faculty and students fluidly interact with experts to exchange knowledge, build ideas, test prototypes, and formulate systems. Over the past number of years, this process of experimentation has generated a number of insights on change that are worth consideration, especially in the context of a world where global forces connect and impact communities in the most unpredictable ways. Here are some of our insights:

Sometimes, the world is good as it is and we don’t have to change it as designers. Sometimes we need to stop trying to change the world and let it be.

Other times, the rapid pace of change demands that designers mitigate change, acclimatizing people so it becomes bearable, channeling it into a direction that is evidently beneficial all.

When inexorable change becomes dehumanizing, degrading, alienating or brings about conditions of injustice or inequity, designers can work with civil society to postulate alternatives, to dream alternative realities that society can adopt. Designers can change the change as they control the embodiments of change.

When rapid or massive change is needed to avert crisis or imminent extinction, the redesign and reinvention required may be too critical to leave to designers alone. In these instances, design needs to interact with science, sociology, economy, and politics to generate possibilities that ensure survival and open avenues of opportunity.

Working with students from diverse backgrounds in arts, design, business, science, economics, sociology and informatics in an environment without professional boundaries, where students, faculty, and visiting experts embrace challenges together has made clear to me the complex readjustments required of design methodology. This past year, we have been working on design solutions for sustainable housing for Guanacaste, a region in Costa Rica. How could we help from such a great distance? How could our inter-professional team generate relevant solutions? To address these challenges, we experimented widely, conducting extensive research, showing up in person to charrette, collaborating with other academic institutions, finding on-the-ground NGOs to stimulate, roping in experts local, national, and international, and even working with elementary school children. We learned that their problems were ours.

Experimentation, while not always successful, taught us how varied methods generate different design results. Knowing which approach may generate a particular result can empower communities, designers, and clients and if not to change their change, at least to guide it positively.

The largest furniture industry in Japan has inaugurated, with Enzo Mari, a program called “Un milione di alberi di Sugi - One million Sugi trees”, a type of wood that grows widely and easily in Japan, used to re-propose furniture of the Japanese rural tradition. Alessi promotes Twergi series, small objects for the kitchen and table, manufactured by communities of craftsmen from some of the Alpine valleys in Piedmont and distributed with success worldwide. These examples, chosen among so many, stress the importance of the bond between industry and craftsmanship, tradition and local materials.

In this direction, in our Region we have attempted to work not with individual craftsmen but with a number of communities. We have established networks for knowledge and promotion, provided technological and business assistance to the enterprises. Rather than closed projects, because we know how much craftsmen value their independence, we provided “guidelines”, open to freedom of interpretation of the craft community in respect of certain shared rules. We have defined sustainable protocols for production, and outlined scenarios of consumption that configure products not exclusively for connoisseurs or nostalgics, but for everyone is able to appreciate quality. The territory, in this sense, becomes the first client of the typical craft product: the bars and restaurants, the offices of the institutional communities, the shops selling typical products like foods, are filled with new products, becoming the site of the promotion.
For this reason, “Artigianato Comunità Design” is the subtitle of the exhibition entitled MANUfatto that, if you come to Turin for the conference, we can visit together in the splendid framework of a historic but out-of-the-way location that, like typical craftsmanship, has the same problems of visibility, communication and survival.

Welcome!