Designing Politics; Designing Progress

Current United States President Barack Obama created a unique identity for himself throughout his 2008 presidential campaign. Though his main message was of 'hope', he distinguished himself from his Republican competitor John McCain with the promise of bringing 'progress' to the populace. The meaning behind his use of the term 'progress' was twofold. Firstly, the fact that he, an African-American person, was in the running and showing high support was 'progress' in terms of American political history. Secondly, and likely more important to his campaign, was the promise of 'progress' in the way in which the country is governed. The poster above, designed by Scott Hansen, adequately defines Barack's political vision through its simple and uniting imagery. In the centre of the image, a sun is depicted using the Obama campaign logo, a seemingly unifying force bringing together two separate, potentially opposing sides.

Obviously, Barack Obama won his campaign for presidency. It is clear, though, that design had a leading role in that performance; the statements of hope, progress and change were what the American public wanted to see, and gave them something to strive for. Even though, in the end, it was all just a façade - as are most political campaigns -, the politically-charged designs helped give some definition to that era in American politics. It was a time for change, a time for hope, and certainly a time for progress. Out with the old, in with the new, and let the rising sun that is Obama unite our divided sides.

Design Identity: an Introspective Look at Myself as a Designer

Who am I, as a designer? I haven't given much consideration to that question before now; I suppose it was never an issue of great importance to me. Having said that, though, I do feel there are, and have been, significant influences on me as a designer. As much as I dislike talking about him, I am certain my father's design background played a supporting role in my development as a designer. He had been a graphic designer for several years, and, as such, there was always a certain 'design sensibility' about him that I seem to have absorbed via osmosis. Perhaps that explains the attention to detail/perfectionism I have exhibited throughout my life.

Growing up and living in a big city with a significant arts culture was important as well. I'm not sure about Canada as a whole, but Toronto, where I was raised, has a great appreciation for visual art and design, and has always been supportive of me as a designer. One specific influence is Nuit Blanche, the "all-night contemporary art thing" held annually in Toronto. Having experienced this as a teenager unsure of my future as a designer/artist, it gave me the encouragement I needed to decide where I wanted to go in life, and encouraged me to be more creative, as I learned that being a designer can be a rewarding experience.

Technology & Progress: FYD and the Deutscher Werkbund

The Bauhaus, and Deutscher Werkbund (German Arts and Crafts Society) were proponents of architecture and design reform in Germany during the 1920s through to the 1930s. Bauhaus was especially significant to modernist design and architecture, and continues to be influential in design and architecture education today. Since it is so influential in design education, are there similarities between the methods and philosophy of Bauhaus and modernist design and the first year design (FYD) programme at Victoria University of Wellington?

The answer is: yes; very much so. One of the main aims of the Deutscher Werkbund was to "help form to recover its rights", essentially placing emphasis on good use of form and craft, and using form only when it is appropriate to the function. The FYD programme places a great deal of emphasis on craft, something that can be the difference between a high quality design and one of a low quality. Much emphasis has also been placed, not only on craft, but on the concept of designers as craftsmen. The idea of creating craftsmen is one shared with the Bauhaus, who believed that it was important to break down the barriers between artists and craftsmen, integrating the two. The FYD programme has, effectively, done just that this year, with a hands-on approach to design that emphasises creation, and the idea of 'making'.