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I Reflect

By Glen Walter, Rick Rawlins, Thomas Starr, and (ELEVEN)

		Commissioned by IDSA to design a calendar of events as a poster, Eleven chose to depart from prior quotidian models and to use the opportunity to create an inspirational project. We wrote a manifesto addressing what we feel are the most important issues facing the future of design—how to engage in responsible, purposeful projects dealing with fundamental societal issues. Written in the first person, this technique transforms an issue that has surfaced from time to time in the profession into a compelling personal statement that literally reflects the person reading it.   For an audience of product designers, we embodied the message in a product that demonstrates the philosophy we espoused. The manifesto is printed not on paper, but on metalized mylar, most familiar as the "space blankets" distributed to runners after marathons. Because this material reflects 90% of a person's body heat, we propose that it could also be employed to help keep warm someone who is homeless—a message incorporated in the closing of the manifesto.   In this way the "poster" has the potential to do what the manifesto printed on it says—if the recipient decides to give it to someone who needs it. Reflecting on the dichotomy between inspirational poster and purposeful product, the recipient must engage in the essence of the manifesto. The reflective quality of both form and content forces the reader to reflect on the ethical question it poses: "Will I engage in mostly materialistic matters while the real problems facing humanity go unsolved?"

I am a designer who dreams about making things better, not just making better things.

I think about design that contributes to solving problems fundamental to society. I have been told—and I believe—that design shapes our reality. I often wonder whether the world really needs most of what industry, and industrial designers, devote their lives to producing. Is desire one of design's most valued products?

I have read that design has idealistic, even utopian, roots. Having evolved into a primarily commercial activity, however, design largely ignores the civic, public and community aspects of society. It seems to work against them, displacing civilization with greed, indifference and selfishness.

I wonder: is every seductive image a strike against literacy; every shiny new surface a strike against education; every superfluous object a strike against spirituality?

If I design gorgeous things will I, too, be guilty of distracting people from problems like AIDS, poverty, illiteracy, pollution, etc? What can I do about that?

My professional life is intertwined with my personal life and beliefs. I refuse to let them be separated. For me, I don't think they can be separated.

I am called a problem solver. But I do not consider market share the most important "problem." Design solves problems but only those we let it address.

I realize that design is not a neutral activity. To everything I design, I give an endorsement. Where I choose to direct my efforts is a political decision. Every design act either harms or helps the world. Will I be a designer who contributes to consumerism or one who demonstrates an alternative?

I became a designer because design is an essential ingredient in modern life. Design is attention-getting—for better and worse. Design is persuasive. Design is powerful. But I also think design is at a crossroads. Will it continue to seduce, seducing us into the marketplace, or will it produce, producing real, human benefits?

If design remains exclusively "industrial" by catering to the whims of the market, designers will forever solve the problems of industry, not the problems of society. Will I be engaged in mostly materialistic matters while the real problems facing society go unsolved?

I know that every minute of attention spent promoting consumption distracts consumers (formerly citizens) and designers alike from the essential challenges of constructing a truly democratic, egalitarian society. Will I be able to devote at least some of my time designing toward these goals?

I recall my education. I have been steeped in the relationship of form and function. Invisible, silent, ignored, but ever—present is the component most important to me—purpose.

I ask myself: Is the product even needed? How worthy is its purpose? What can I add to its true value?

I wonder about this poster. Is it a poster? Where have I seen this material before? Am I attracted by its form or by its function? Or, by its purpose?

It is not what I expected. It is seductive. It is shiny. It is delicate. It is sturdy. It is purposeful.

Wrapped around someone, this poster reflects 90% of the person's body heat. I could give it to someone who needs it. I could keep a photocopy of the 11x17 information panel and give the poster to someone who is homeless.

On the other hand, as a poster on my wall, it would remind me of the pressing needs of humanity that need my attention.

Will seeing it on my wall make me feel uncomfortable? Will it remind me that the material conveying this message could instead be conveying comfort to someone? Not much comfort, but some until I design more substantial solutions to homelessness.

I reflect. Every decision I make has its consequences.