CO LAB: Collaborative Design Survey - Tapa blanda

"A very unusual and wild illustrated book about diverse ways of creative collaborations. With a lot of cases and interviews"- Page magazine Germany A very unusual and wild illustrated book about diverse ways of creative collaborations. With a lot of cases and interviews - Page magazine Germany" The Big Problems require something from designers, namely that we give up our isolationist tendencies toward moments of personally gratifying genius and instead focus on team-based monster slaying, much like how it takes hoards of scientists and engineers working for Boeing to conquer modern flight. Artistic Responsibility, CO LAB: A Collaborative Design Survey James Newell Osterberg was raised in a trailer park somewhere in Indian Name, Michigan, making his decision to become a drummer somewhat preordained. But intervention came one vibrant Jim Morrison performance later + Mick Jagger + James Brown + Osterberg s invention of The Stage Dive = Iggy Pop. Music s great Indie Interdisciplinary Collaborator wove a mantle and then wore it permanently. Indies, CO LAB: A Collaborative Design Survey Design discourse matters because the way designers talk affects the kinds of things designers are prone to think about and the level at which we re engaged to think about them. Responsive Thinking, CO LAB: A Collaborative Design Survey We ve described ourselves in the past as sexless life partners. We do well with fighting. Aaron Gotwalt, Co-Tweet It s like, why are we going to church? Why don't we all go for a walk instead? Isn't there a better way to go about this? Mike Galbreth, The Art Guys People are appreciating storytelling more: they want a conversation piece in their home. Craftsmanship and material history makes storytelling worthwhile. Lars Dressler, Brothers Dressler I would speculate that with everyone coming from a different discipline, all working on something that they have no expertise in, or bringing their own expertise into something in which they have no expertise, that equalizes everyone in a wonderful way. Anthony Graves, Camel Collective There is a myth that the world is waiting for highly specialized people to do their jobs, and obviously there are a few highly specialized jobs, where people get trained for that specific thing, but training is different from education. David Helfand, President + Vice Chancellor, Quest University Canada We were both just out of college, looking for somethinganythingthat would earn us a living and keep our creative collaboration going. Louis Fox, Free Range Studio There is never a collaborative experience that doesn t suck, at some point along the way. Mike Weikert, Center for Social Design Director, MICA I call this breakdowns to breakthroughs, because groups have to have a breakdown before a they can come to a breakthrough. Ryan Clifford, Center for Social Design Faculty, MICA Learning to trust artists is the hardest hurdle for some institutions. Of course that is easy to say, but to really believe it enough to give support and validation to people working outside of generally understood realms, is difficult for people to understand. But artists are great producers, and often work at a level of efficiency and production that is higher than expected. Roddy Schrock, Eyebeam " "The Big Problems require something from designers, namely that we give up our isolationist tendencies toward moments of personally gratifying genius and instead focus on team-based monster slaying, much like how it takes hoards of scientists and engineers working for Boeing to conquer modern flight."--"Artistic Responsibility," CO LAB: A Collaborative Design Survey "James Newell Osterberg was raised in a trailer park somewhere in Indian Name, Michigan, making his decision to become a drummer somewhat preordained. But intervention came one vibrant Jim Morrison performance later + Mick Jagger + James Brown + Osterberg's invention of The Stage Dive = Iggy Pop. Music's great Indie Interdisciplinary Collaborator wove a mantle and then wore it permanently."--"Indies," CO LAB: A Collaborative Design Survey "Design discourse matters because the way designers talk affects the kinds of things designers are prone to think about and the level at which we're engaged to think about them."--"Responsive Thinking," CO LAB: A Collaborative Design Survey "We've described ourselves in the past as sexless life partners. We do well with fighting."--Aaron Gotwalt, Co-Tweet "It's like, why are we going to church? Why don't we all go for a walk instead? Isn't there a better way to go about this?"--Mike Galbreth, The Art Guys "People are appreciating storytelling more: they want a conversation piece in their home. Craftsmanship and material history makes storytelling worthwhile."--Lars Dressler, Brothers Dressler "I would speculate that with everyone coming from a different discipline, all working on something that they have no expertise in, or bringing their own expertise into something in which they have no expertise, that equalizes everyone in a wonderful way."--Anthony Graves, Camel Collective "There is a myth that the world is waiting for highly specialized people to do their jobs, and obviously there are a few highly specialized jobs, where people get trained for that specific thing, but training is different from education."--David Helfand, President + Vice Chancellor, Quest University Canada "We were both just out of college, looking for something--anything--that would earn us a living and keep our creative collaboration going."--Louis Fox, Free Range Studio "There is never a collaborative experience that doesn't suck, at some point along the way."--Mike Weikert, Center for Social Design Director, MICA "I call this breakdowns to breakthroughs, because groups have to have a breakdown before a they can come to a breakthrough."--Ryan Clifford, Center for Social Design Faculty, MICA "Learning to trust artists is the hardest hurdle for some institutions. Of course that is easy to say, but to really believe it enough to give support and validation to people working outside of generally understood realms, is difficult for people to understand. But artists are great producers, and often work at a level of efficiency and production that is higher than expected."--Roddy Schrock, Eyebeam

The object of Co LAB is to promote the ideals and methods of contemporary design collaboration by informing on cultural context, surveying some unexpected practitioners, and highlighting techniques and practices that apply to studio work and forward-thinking education initiatives. There will be three main sections with 10-20 short-burst chapters in each, befitting the collection/handbook format. 1. Collaboration+Culture: Why Collaborate? This section addresses specific topics on the strides, setbacks, and influence of collaboration on our culture. By asking what's happening? and distilling theory and research down into a palatable set of very brief essays with a heavy use of photographic examples, we better understand how the cultural puzzle pieces fit and how to move forward. 2. Collaboration+Design: Theory at Work Case Studies and guest profiles of collaborative. Some designers and artists generate their own spread or written narrative, while others are profiled by the authors. Brief and diverse, the quantity and curation of profiles illuminate behind-the-scenes processes, while providing perspectives that do not exist in any other design resources. 3. Collaboration+Education: Duo It Yourself Neil Postman argued that we must reclaim education from mere job training and that interaction is ground zero for shifting a culture. Projects, programs, and themes are highlighted, many from collegiate education, including the growing block of open-ended hacker/make spaces and areas of study that blend technology, design, art, and engineering. The authors build an argument for presentness, collaboration, and physical proximity in modern design education and professional practice.