"Marginal Notation"
"About Design": The M.Des Program in Industrial Design
The curricular program for a master's degree (M.Des) in industrial design at the Bezalel Academy, constitutes most advanced academic research center in this field within the academic landscape in Israel. The program trains creative professionals and designers in the fields of critical design and allows them to develop a personal language in the developing field of experimental design, from a pluralistic perception of the design world. At the heart of the program stand the teaching staff whose goal is to facilitate dialog and to encourage dynamics that enrich both the practical and the theoretical discussion.
Through studio work, the program creates a framework for the development and fostering of innovative ideas combining the technological, philosophical, cultural, social as well as material aspects of the subject matter.
The program deals with issues that are part of the international design world discourse, and its intentions are to create theoretical corpus and practical body of work and to expos it against the public sphere.
The Program Tutors
Prof. Ezri Tarazi; Prof. Hanan de Langa; Jacob Kaufman; Nati Shamia; Galit Shabo; Eyal Eliav and Ilanit Kabbesa Cohen.
"marginal notation"
What are the margins of a product? What are the margins of industrial design? At what time design is no longer design?
When design is no longer design? In what circumstances the designed object loses its identity and its distinction? When the design act is correct and accurate, and also, in what circumstances it is become unnecessary or even redundant?
Every object, according to its function, has a center which also expresses the margin's point of its origin. Every object's margin holds its own different values.
The "about design" team of lecturers and tutors, from the masters' program of industrial design course, decide upon an experimental move in which the four annual studio courses were united under a single theme-"marginal notation". Each course approached the theme via one component of the design world- a philosophical-phenomenological view; a look at work processes- new methodologies that challenge the classic industrial design process; a product-material view and a socio-political view.
"Design margins" examined the transformation of theory and philosophy in the 20th century; their influence on design history and the connections which the design-act formed with the margins of its practice-art, sociology, cybernetics, architecture and other fields that touched upon design. We examined new processes of creation that exist on the seam and in the margins of design thinking, in order to discover new territories. We asked many question-regarding the margins of definition, using "perception mapping", margins of recognition and mixing up identities, margins of processes, margins of a product and margins of cognition.
These days, at the end of the "design margins" project, we're gathering the outcome of this academic-experimental research into a book and an exhibition to follow in the autumn of this year.
Program Head: Prof. Ezri Tarazi.
Head of "about design" program: Ilanit Kabesa Cohen.
Students Participants:
Nitsan Debi
The process began from observing and examining the world of bottles- perception mapping of the idea of a "bottle". The mapping revealed the central issue: how to transform the industrialized bottle to a personal and unique?
The answer came in two steps:
In the first step the mouth of the bottle was attached to a water-proof tyvex brown paper bag. The connection was inspired by the act of consuming alcoholic beverages from a brown paper bag while walking down the street. The feeling this object created was soft and surprising.
The project continued through attempts to blow (sans-mold) plastic bottles-with the intent of creating a personalized bottle through industrial technique.
This was done in two forms:
Disrupting the machines specifications at the factory
Combining craft (glass blowing) with industrial PET bottles.
By shifting different parameters unique and surprising results were achieved. It was impossible to foretell the final results' unlike in industrialized processes.
The process resulted in a family of bottles/receptacles of variable character. Only the bottles mouth remained as a connection to the original bottles form.
Material: PET bottles
Debbie.ppt (1.57 MB)
Liora Rozin
"With the help of a black line and some imagination I researched a family of objects" (a perceptual map of the idea of a "plane" aimed at finding and cross referencing ends to create a new and surprising result). "At the center of the scheme is a plane, to its left a fighter jet and a helicopter, to its right a song bird. In the far left corner, just right of the hot air balloon, drifts a plastic bag. The plane likes speed, routes and target. The plastic bag has a weakness for motion; she drifts easily and prefers not to commit to a schedule. Both sin the primordial sin of Hubris and believe, just like Icarus, that they can fly. Crossbreeding the two created the nylon plane. Using a plastic straw, any one of us can blow life into the plane and fill it with a bit of the sin that we each hold inside."
Rozin.ppt (2.28 MB)
Ronit Landsman
The process is a personal marginal notation for the word "radiation".
All stages of the work were born of my experience as a freckled person, and from my relationship with the freckles that accompany me throughout life. The end result is a map of my freckles, by type and location, and three pins in the form of three chosen freckles, enlarged ten times and with the ability to be placed on the physical body according to a X,Y,Z co-ordinates system.
Ronit.ppt (1.46 MB)
