learning environments V:

edition:

details:

date:

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Ceramic Futures 2.0

Designing Future In

Politecnico di Milano

may-july 2014

@coons from space

Ceramic Futures 2.0 Cookbook*

*safe to try at home, but same results are not guaranteed. Authors are not to be considered responsible for any possible harm in the process

@coonsfromspace publishingSolar System, Earth, Italy, Milan

2014

week 0

week 2

week 3

week 1

intro..................................................................................................................8

timeline...........................................................................................................6

Warm Up..........................................................................10 Mission 1....................................................................11 Storytelling...................................................12 Works..............................................16

Research to Reality.............................................32 Mission 3...................................................................33 Design Patterns..........................................36 Works..............................................42

Concepts Development...................................48 Mission 4...................................................................49 Pretotypes...................................................54 Works..............................................56

Research.........................................................................20 Mission 2....................................................................21 Future Map..................................................24 Works..............................................26

Contents:

week 5

week 6

week 7-8

week 4

outro................................................................................................................106

credits............................................................................................................107

design patterns CF2..................................................................................104

Speed Up!......................................................................68 Mission 6...................................................................69 Rituals...........................................................71 Works..............................................74

Go go go!........................................................................80 Mission 7...................................................................81 Works..............................................83 Public Revision...........................................88

The End! (not really)............................................92 Mission 8...................................................................93 Results............................................95 Communicating rituals...........................102

Project Development.........................................60 Mission 5...................................................................61 Works..............................................63

6

week: 0 1 2 3 4 5 6 7 8

Visit to Guido de Zan studio

Brainstorming with B.Niessen and M. Mancuso

Ieri, Oggi Domani

Visit to Piulab

Warm up through storytelling, creating narration about any ceramic object

Research of social trends and features of ceramics as a material+

Finding first scenarios and ideas of concepts, building design patterns

Developing concepts, starting experiments and pretotypes

Developing things, fixing scenarios, proceeding with concepts

Timeline

7

0 1 2 3 4 5 6 7 8

Visit to Piulab

Public Revisions

Exhibition

Finalising concepts through the rituals

Starting to think of communication

Preparing for the final public revision

Finishing prototypes and making photoshooting for the final delivery

Hallo!

Whoever you are (wanderer, designer, scholar, teacher, student, puppy): Welcome!

This small PDF is an attempt to share content, strategies and tools we produced during CERAMIC FUTURES 2.

We hope this can be interesting for you and can contribute to the design and management of better learning environments.

CF2 is an online/offline workshop between four European design and art schools where groups of students were work-ing locally offline and communicating all the process online in the Google Plus community. It is promoted by Confindustria Ceramica for Cersaie where all the final works of students were exhibited.

http://www.ceramicfutures.com/2/

What can you do with this pamphlet?

Understand what we did, check participants’ work, have an overview of what can be done with ceramics.

Get a quite deep overview of learning environments we set up in order to reach our goals. With no ambition of being groundbreakers, at least we thought a lot on how to put people in the best condition to develop their own way through the topic. We also questioned a lot mean-ing and functions of our role as tutors (better to say, facilitators).

Download, use, fine tune all formats/templates we pro-duced. It can either be for applying some tools on com-pletely different process/project! Find yourself any way this can be useful to you!

#designyourowntools

Feel free to share with us (we are actually looking for-ward to that!!!) any kind of comments/improvements/ideas you might so on our work.

Basically, this PDF works as a guide to navigate the huge and dispersed archive produced by CF2: google drive folders and files, G+ posts, websites. We will try to help you time by time to reach all the contents and depth of knowledge you might find more useful.

All contents related to this book, our work and learning environ-ments is released under a CCBY-NC license.

All contents by participants are intellectual property of them and owned by Edi.Cer. spa. Contact them for any need.

week 0 1 2 3 4 5 6 7 8

10

activity

link

Warm Up

This year we gave our team a mission even before official start of activities. In this way they arrived to the first meeting already with little homework introducing them to the world of ceramics and our approach to design. Form follows fiction: this is a kind of latent motto this year. If design is a medium to render complex issues tangible to a wider audience and for future’s forecasting then the building of this fiction becomes a strategical activity.

This warm-up is meant to foster some first under-standings of the relationship of objects (any scale) and narrative environments. Learning by doing...

Results were discussed with all the group and also previous year’s student were present to give some hints to their successors.

http://goo.gl/zF2Sah

http://goo.gl/D6TqyJ

Mission 1

Time: 1 hour

Delivery: story (told in any way)/ 3 minutes

Goal: warm up and think of design as a way of telling stories in things, analyzing elements and building fiction around them

Task:

take any ceramic object that you like (or hate, but anyway find interesting for you). Think of story which could be related to it. It not necessary should be this object’s story, but anything that could happen to it. Will it be in the far away future or past, here or in parallel universe, it doesn’t matter!:) Just see its shape and material, elements and lines, how does it change in different angles, light, environment, think of sound, smell, taste, - whatever helps you find the clues and discover new meanings.

Document your story in the way you feel more comfortable with: photo/video, sketches, digital collage, live performance, just consider that you’ll have to present it to other participants in no more than 3 minutes during the first meeting.

Tips:

Simplest way to think of this task - Tasseography - sounds scary, but it’s just coffee-reading “tech-nique” used by fortune tellers. There are more of this kind - reading things in shadows, in clouds, patterns of birds flying, even animal organs… In our case we have just a ceramic object and many ways to see things in it :)

Mission 1

Storytelling

1. The most simple way to which we are all used - animating objects (in both senses of the word). Think of “toystories” - everyone played with things when he was a child, imagin-ing different meanings and behaviors of them.

* Famous Baby Luxo https://www.youtube.com/watch?v=wYfYtV_2ezs

* This way is very strong when you need to trigger empathy in the audience (and doesn’t necessary demand difficult object animation at all) http://vimeo.com/23627164

2. Simple and poetic way of men-tioned before “tasseography” - find-ing new meanings in shapes and building your story on it. Doing this a big role is played in isolating ele-ments in systems and giving them a new meaning, reorganizing them in a completely new story. Sometimes they miss completely the link with source objects.

* L’isola dei tartufi (island of truffle), Bruno Munari, in fotocronache, corraini editore, mantova, 2002 (orig. 1944) : Mu-nari samples and blows up details in an old picture and tell us the amazing story of the (imaginary) trouffle island

There are different levels on which you can operate building stories depend-ing on your interests, talents and skills. Here we only shortly name very few of them:

* Massimiliano Tappari, coffee break, corraini editore, manto-va, 2013 (http://www.corraini.com/it/catalogo/scheda_libro/228/Coffee-break) :

how to turn a moka (the coffee one, bialetti etc) into a whole set of new objects, locations included in a story featuring (among the others) batman?

* Un museo inventato (an invented museum), Bruno Munari, in fantasia, laterza, bari, 1973: the same game can be played also with an entire domestic environment. In the case off museo inventato he works with every element he finds in his holiday house in Panarea

3. Adding missing elements to ob-jects uncovering/creating new mean-ings

*Check this Instagram guy and how many objects he had reformulated already http://instagram.com/cintascotch there are some nice videos as well

4. Masterpiece of storytelling through object - super conceptual level -

*Duchamp’s Fountain:

week 0 1 2 3 4 5 6 7 8

16

Cenk BasbolatWeek 1: Brainstorming and Research - May 21, 2014 WHAT HAPPENED?

My story needs your help because I cannot figure it out myself!

Yesterday, when I came home, I saw that there was something terrible happened. There was blood everywhere in the house. Thankfully, I have these images which my camera took but unfor-tunately, I don’t have any information. I am sharing these images with you. I hope you can help me. Do you have any idea?

camilla ceschiWeek 1: Brainstorming and Research - May 21, 2014 ...the story of Cilly, a little inhabitans of a parallel world named Tresh.

It’s a very silent planet, because everybody there are dumb, because of the big ball of cork covering their mouths. They have no way to comunicate or share their feelings to each others.Then one day, whilst Cilly is going around for his planet, he crashes into a big stone and he falls down. In the fall something hap-pens... the cork ball slips on the grove on the back, and Cilly starts singing with such a beautiful voice.Cilly runs to the other inhabitants, and he reveals them that everyone could have a beautiful voice, just moving the ball.So the planet of Cilly will be no more silent, and a place of music and sounds!

17

Luca Acito

A ceramic drama

Ceramic Capacitors are common components in most of our electronical de- vices. As any technological products, they are subjected to programmed obsoles- cence that force people to change their devices every two years (more or less).The Right to life for Ceramic Capacitors are frequently ignored

Programmed obsolescence puts even more Ceramic Capacitors families in a daily drama.

Unemployment and poverty are common val-ues among Ceramic Capacitors community

Depression leads in some cases to suicides and other similar tragic events.

There is who tried to claim for own rights. Unfortunately the System is too strong and in these cases tends to punish the rebel with exemplary punishments.

Dear all, some comments on stories you build past week..

First of all, don’t be afraid of stories :)It’s like an act of faith. We always think a story has to be explained, but on the other hand a story has just to be told. All the ingredients needed are already in the story. In that sense, the whys and reasons are not cru-cial, it is crucial the audience engagement strategy they rely on.

On the one hand sometimes you don’t even need to tell them.If you think of it, +Yoni Chechick images were quite self explaining, no need for a voice over them because they were already providing enough data to audience to complete them, they were easy, using easily recog-nizable elements, etc.

On another hand, sometimes stories can occur in the process itself: +Cenk Basbolat’s story was based on that. He built a situation, with images, then he asked us to collectively develop the story.

Most of the time images (still or moving) are powerful medium to con-vey a story. Some other times performance is good as well. This is about you as storytellers, the way you do your public speaking, some other times is more performative, like +Nicolas Girard did.

+Luca Acito +camilla ceschi +Camilla Marini worked with more “clas-sical” approaches and they were really effective and balanced.

What is interesting is that if you see, objects, were just means of the story, not their core. That’s what is all about. If design is a mean for ren-dering complex issues tangible for a wider audience then the way we engage that audience is crucial.

We’d like to link this warm-up mission to what you will be doing for Wednesday: building a future map to help you find your design scenar-

Feedback: Marco to students

ios. Then, in third week, define concept addressing these scenarios. You already are in your story. Find the ingredients and start to shape it in the most effective way.

Bruce Mau said something interesting few years ago, in the introduction of a book, (what a twist of fate!), about world’s in future and design’s role in that future:

“For most of us design is invisible. Until it fails. In fact, the secret ambi-tion of design is to become invisible, to be taken up into the culture, absorbed into the background. The highest order of success in design is to achieve ubiquity, to become banal. The automobile, the freeway, the airplane, the cell phone, the air conditioner, the high-rise – all invented and developed first in the West, but fully adopted and embraced the world over – have achieved design nirvana. They are no longer con-sidered unnatural. They are boring, even tedious. Most of the time we live our lives within these invisible systems, blissfully unaware of the artificial life, the intensely designed infrastructures that support them. Accidents, disasters, crises. When systems fail we become temporarily conscious of the extraordinary force and power of design, and the effect that it generates. Every accident provides a brief moment of aware-ness in real life, what is actually happening, and our dependence on the underlying systems of design. Every plane crash is a rupture, a shock to the system, precisely because our experience of flight is so carefully designed away from the reality of the event. As we sip champagne, read the morning paper, and settle in before takeoff, we choose not to experi-ence the torque, the thrust, the speed, the altitude, the temperature, the thousands of pounds of explosive jet fuels cradled beneath us, the infi-nite complexity of the onboard systems, and the very real risks and dan-gers of takeoff and landing. Massive Change is an ambitious project that humbly attempts to chart the bewildering complexity of our increasingly interconnected (and designed) world. We have done our best to open it up by breaking it down, and putting as many fascinating fragments as we could find back together again, between the covers of this book. We hope to make evident the design decisions that go on and are made manifest across disciplines. Massive Change is not about the world of design; it’s about the design of the world.”

week 0 1 2 3 4 5 6 7 8

20

activity

linkWe moved to design process, starting by building scenarios in which to locate our stories.

We invited to a public meeting two future(s) experts: +Marco Mancuso and +bertram niessen to examine different perspectives and new unpredicted direc-tions.

Meeting focused on building of a collective future map: each participant brought 2 A6 cards explain-ing a future sociocultural trend and their implications and 2 A6 cards about future ceramics trends. Each person came to the blackboard, explained the trends pinned them and discused them. Others came and started to cluster their cards while comments have been added as well to understand the underlying big patterns and scenarios.

Research on design with ceramics created a state of the art base available online to all the participants of workshop also from other schools. Trends and inter-esting material features were posted on the platform. This week we worked as one big group searching the future paths together.

http://goo.gl/5cQIQW

Research

Goal: get to know the field and understand which way to move for the concept

Delivery/Task:

_ 1 post with the story you prepared for this week (use your images, or export them from PDF and attach them to the post) > better if today/tomorrow. Also please comment on the others’ stories if you have some feedbacks and let us (and everyone) know what you thought about task.

_1 post stating which topic you selected and why (images are helpful) > better if today/tomor-row

_2 posts about others’ projects (search for interesting design projects made in ceramic field (design in ceramics state of the art) and post 2 best ones on the platform )

_2 A6 cards with future trends related to your topic(trends and things happening in this field in the future. Select 2 best ones and make 2 a6 cards (one for each) to present during meeting. (These trends talk about human dimension of the future: anthropological, social, psychological issues that will get developed. Or simply speak-ing: future of love/eating/sleeping/walking)

_2 A6 cards with trends or interesting features of ceramicsfeatures of ceramics: technologies, material characteristics, applications which are interest-ing for you and you would like to share them in the form of 2 a6 cards with your groupmates. (This is technological dimension which will be enabling or supporting the future trends in love/sleep/walk/eat)

NB: Cards can be done in any way you like: by hand and photographed after, digital, have collage or whatever on them, but preferably having some iconic image and very short description or tagline.

Contents from these cards also should be posted, but in any way you prefer - you can post also more things than you put into the card, or combine them both in one post whatever you feel is good to communicate it on the platform. But we need you to provide us a6 images of them before next Wednesday 13:00

Mission 2

http://goo.gl/DDzX3O

And while posting we would like you to create more meaningful content than what is going now on the platform. If you find some interesting link - try to think why exactly you liked it, what is special about it, how can it contribute to your and everyone’s research. Exchanging your thoughts and opinions is much more interesting than just receiving lots of unprocessed information ;)

Process next week:

Your research on design with ceramic will create a state of the art base available online to all the participants of workshop also from other schools. Trends and interesting material features can be posted on the platform as well, but it’s crucial to have them as a working material during the meet-ing. There we will have a general very short discussion about your findings, after which we’ll play a little design game. We will try to connect dots, or in this case - cards, putting them all together and then searching for ways to see emerging concepts and cluster them in the bigger scenarios. Ber-tram Niessen and Marco Mancuso will help us with that, giving different perspectives and opening new unpredicted directions. This week we work as one big group searching the future paths to base the concepts on, so everyone is responsible for final result of others. So let’s do our best to create good foundation for the next weeks work!=)

Iconic image

Short description of the trend/technology (hashtags, key-

words, etc)

A6 card to systemize findings of research phase and communicate them to others

Future Map

Future map is a collective research tool helping to explore trends and possibilities bringing together both sociocultural factors and technological.

For this particular workshop map’s vertical axis deals with time (near, far, fictional futures) while horizontal one is topic based (eat, love, sleep, walk)

There is one card for each social or cultural trend. Then they are put on map depending on how soon in the future they can happen.

Clusters and patterns become evident, and during discussion everyone, especially experts can contribute with additional comments.

This way everyone’s individual contributions build up a much bigger map of possibilities accessible to all the group. Bring-ing together tech and social aspects should help to start see-ing them in connection as they enable each other and should be both explored for further scenario building.

This is a good tool for building scenarios, that’s collecting the dots between many different issues and build a story to con-tribute to with your design.

Near

Far

Fiction

Topic 1 Topic 2 Topic 3 Topic 4

Social Trend

Tech Trend

Tech Trend

Tech Trend

Tech Trend

Social Trend

Social Trend

Social Trend

Social Trend

Future map scheme

week 0 1 2 3 4 5 6 7 8

26

Here is the map work in progress. It is evident how different student’s findings got connected and clustered supporting each other.

A transcription of the overall conversation can be found here:

https://docs.google.com/document/d/10DIXYzZDgzNbW2KrWmOHTlRFikkzJGXtJ1lmGtHj7BA/edit

27

In the end, exactly how’s happening here on G+ we had a huge collective product featuring at least 60 topics and relevant relations among them.

28

Discussion with invited experts helps to enrich students’ findings and open their minds for the new directions and not obvious connections.

29

How was your CF experience in general?

CF has been my very first workshop, in which I had the chance to work with amazing people and to discover how to approach the real design thinking process. I enjoyed the online/offline com-munity system, even if not always loving it. Keeping up with the online/offline process, I found a new way of collaboration and interaction with a community that became a fundamental and operative part of the process it-self. The chance to exchange and share comments, opinions, different point of view, helped more that I could think.

Which moments in this 8 weeks made you feel more or else comfortable,

what was easier or more difficult for you?

There was not an easy moment, for sure. For the very first time, I had to face a kind of approach, I never met before, and that was the real challenge for me. I really felt stuck when we started applying the futuristic vision we did, to something more concrete, that I used to identify as a product. How to show concretely my view and research? It was obviously the most critical moment. My challenge was to let me get out of my scholastic limits, and when I finally found how to communicate and enjoy my product, it really fulfilled me.

Feedback: students

What would you improve in how the process was shaped?

The hardest thing was to face the argument itself, and under-standing it as well. It’s not that easy to communicate this kind of futuristic approach, but must say that I found in my tutors a real and strong support. They were present when I was in real need. .

Which tools and approaches did you find the most useful? (scenarios,

rituals, future map and patterns, pretotypes, p2p design, community,

etc, choose 2 that you liked the best)

Visualizing scenarios was absolutely the most complicated and interesting approach. It helped me to really look beyond and for-ward our reality, exploring and travelling in a more or less realistic future. It helps to open your mind in a very creative state of mind. Design is impossible if we don’t have the courage to imagine, to look into future, and to play with it.

What have you derived from this experience to apply in the future

projects and your design practice?

CF taught me that design process is the fruit of collaboration and stimulation between people, to better investigate the future. To keep a deep look in the future, as it was present..

week 0 1 2 3 4 5 6 7 8

32

activity

link We’ve been focusing on the relationship between research, scenarios and concepts.

Research is knowledge.

Scenarios is reshaping and connecting this knowl-edge in future situations we want to address.

Concepts are design strategies to affect these sce-narios.

Everything can be positive, negative or neutral as approach.

To bring these altogether we’ve came up with idea of the new organisation of future map.

This time it deals with feasibility and desirability of selected scenarios and concepts that can affect them. By analysing last year’s students’ works we under-stood that connection between position of scenario and concept on map is revealing its design and narra-tion approach, so we turned it into the tool to guide the group from the beginning.

http://goo.gl/tJl38A

Research to Reality

The goal is to start exploring real things as soon as possible.

get an idea - develop it in a little story - communicate it in form of a pretotype/experiment

in the end we’re producing objects, but not for objects sake, we want them to tell stories. So we need to start thinking materially and get the feedback of people as soon as possible

remember the storytelling exercise - now you have to move the opposite way: create a story about the future (very short one at first, super simple one, or even some elements of it) and think how the object will communicate it.

Delivery:

1. scenario - short text (max A4), post with illustrating pictures - deadline: Mo, June 22. concept - short text (max 500 words), post with illustrating picture -deadline: Tu, June 33. experiment/pretotype - posts documenting it in details - Thu, June 5

This week is tough and crucial as we have to pass from the world of abstract others’ ideas to real things and your own concepts. We ask you to work iteratively and post things as soon as they’re defined to be able to help you in their development.

Process:

1. Scenario

Well developed scenario is the main tool for this week, it will help a lot with the following con-cept!

Scenario is the future situation you want to focus on, it is the result of the intersection of different parts of the future map, it is described by a space time frame, major features, certain actors and has certain impacts (positive, negative, neutral).

Step by step:

1. Decide from where you wanna start: from the future of your topic or future technological features of ceramics2. Select the main issue that you prefer to design about (e.g.: we will have to eat insects meat / 3d printers will be in every house)

Mission 3

http://goo.gl/0NF0yH

3. Start developing scenario around the core issues:

how soon will it be? (position it in the future)

where? (county/ city/ planet/virtual space/ neighbourhood/ outdoors/ indoors/ small house/ castle/ floating skyscraper above the clouds, etc, etc…whatever is relevant to your case)

how will be the large scale environment? (utopia/ dystopia/ pre/post apocalypses, etc…)

who will be mostly probably affected? (actors: people/ companies/ animal/ robots/ objects…)

how will they (or it) behave, react and interact? (collaborate/ fight/ stay neutral (individu-als, big groups, small groups))

why? (better develop the reasoning: what will be the driving forces/ economic/emotional involvement/other motivation?)

which tools will they use? (physical/digital: which kinds of “objects” will inhabit your de-picted world, which of them are relevant to you?)You can define your own scenario elements, however those mentioned above are usually a good and crucial set of them.

4. Find a way to illustrate your scenario

5. POST text and a pictures on the platform before the deadline

2. Concept

Think of a design idea which will affect your defined scenario in details, it should answer at least following questions: what will it affect in defined scenario? how will it happen?who will be engaged in it (actors)?which tools will be used for it?how ceramics will help it? Write the short description of your idea, illustrate it and POST before deadline.

3. Pretotypes/Experiments - /see the following description of tool in Week 4/

Make your idea come real in a way you feel is better and POST IT

Then you can start to test it with people! (hello platform! hello world!) Check their reaction, docu-ment it, get notes for further development.

if you have more than one idea you can keep them and discuss all, but you have to select and develop at least one pretotype!

A6 card to systemize findings of research phase and communicate them to others

Future Design Patterns

Our goal is to help participants to develop solid design fic-tion proposals. We strongly believe in design as a medium to render complex issue understandable to a wider public and meaningful tool for forecasting futures. All of that deals with building stories in which in different ways design outputs can play a role, just as characters.

An interesting parallel, that is a crucial premise for this experi-ence, is the one between storytelling and design, nothing new so far. We can argue that every design approach (nowadays we can list a few..) is a way of storytelling, applying many dif-ferent storytelling patterns.

We are quite laicist towards too strict methodologies. We be-lieve that everybody should build his own processes the way he feels more comfortable with. We advocate a casual and hybrid assemblage of many different tools and approaches built up with consistency to both design aims and individual skills and talents and experiences.

How to guide students in such a complicated and self-con-scious path?

Firstly it is required to render approaches compatible among them. We selected an inductive approach.

We took into consideration CF1 proposals from Politecnico di Milano and we decided to locate them in a cross diagram based on possible/impossible and desired/undesired polari-ties. These polarities are consistent with general parameters we asked students in research stage: sociocultural future trends (desired/undesired) and technological ones (possible/impossible).

The first pic, shows positions of CF1 scenarios, here few consider-ations:

- majority of them is located in possible/undesired section, this is a typical design approach: we search for problems or needs, we search the ones we are able to deal with;

- possible/desired sector hosts the optimist of progress: we are building a better world raising new and engaging needs.

- the impossible realm, either desired or undesired isn’t ap-parently giving much inspiration to designers (of last year course)

UNDESIRED DESIRED

POSSIBLEPROBLEMS/PREMISES

IMPOSSIBLE

corals extin-

riots and revolts

riots and revolts

humanity

extinction

ageing soci-ety

scarcity of drinking water

changing nature of

labour

emotional

tension in

couples

sensory

frustration

Second pic shows CF1 scenarios + ceramic qualities taken into consideration by par-ticipants to empower/vehiculate their concepts.

UNDESIRED DESIRED

POSSIBLE

IMPOSSIBLE

corals extin-

riots and revolts

riots and revolts

humanity extinction

ageing soci-ety

scarcity of drinking water

unbreakable ceramics

ceramics armour

ceramic recycling

“natural” production of ceramics

parametric design/manu-facturing on demand

parametric design/manu-facturing on demand

changing nature of labour

emotional tension in couples

sensory frustration

ceramics touch

ceramics armour

MATERIAL SOLUTIONS

My Imaginary Landscape

Contra

UNDESIRED

corals extin-

riots and revolts

humanity extinction

scarcity of drinking water

ceramics armour

ceramic recycling

CONCEPTS/PROCESS

The third picture is crucial - here concepts are added (RED).

Red arrows show the shift in sectors that concepts apply to scenarios. Con-cept is what you do to affect/change your scenario. As it is evident, certain “patterns” (that is arrows directions) are appearing. The key questions are: what does each pattern mean (what do I aim to by making a certain movement)? Which specific features does each pattern present?

My Imaginary Landscape

The Parts and the Whole

Contra

From Dust to Ceramics

Flexible Ceramics

Water Generator

Sensations Through Touch and Human Body

DESIRED

POSSIBLE

IMPOSSIBLE

riots and revolts

ageing soci-ety

unbreakable ceramics

Ceramic Beach

“natural” production of ceramics

parametric design/manu-facturing on demand

parametric design/manu-facturing on demand

changing nature of labour

emotional tension in couples

sensory frustration

ceramics touch

ceramics armour

“User-centered solution”Using classical design approach to move between undesired problem to desired solution

“Contradictory stakeholders”Problem solved for one part is unde-sired by the opposite

“Critical Design”Highlighting, emphasizing and articu-lating existing problem, not trying to solve it, but communicate it’s impor-tance to public instead

“Moonshot” according to Google:

“Moonshots live in the gray area between audacious projects and pure science fic-tion; instead of mere 10% gains, they aim for 10x improvements. The combination of a huge problem, a radical solution, and the breakthrough technology that might just make that solution possible is the essence of a Moonshot.

Great Moonshot discussions require an innovative mindset--including a healthy disregard for the impossible--while still maintaining a level of practicality.”

Fourth pic analyses patterns emerged in CF1.

USED PATTERNS

“Critical Design”

Highlighting, emphasizing and articulationg existing problem, not tryign to solve it, but communicate it’s importance to public instead

“Contradictory stake-holders”

Problem solved for one part is undesired by the opposite

“User-centered solution”

Using classical design approach to move between undesired problem to desired solution

“Tech-driven design”Starting from impossible state finding ways to make it happen

“Preventive design”Compensate bad situation making it impossible

“Changing values?”Education about better possibilities, demonstration of different options (Ikea + expensive furniture)

“Antidesign/sabotage”Can serve for provocative storytelling? (zeppelines? ultrasonic passenger flights, nuclear energy)

pic 5 is about all the patterns that even if did not emerged from CF1 experience may appear in the diagram.

UNDESIRED DESIRED

POSSIBLE

IMPOSSIBLE

“Preventive design”

Compensate bad situation making it impossible

“Changing values?”

Education about better possibili-tie, demonstration of different options (Ikea + expensive

“Antidesign/sabotage”

Can serve for provocative storytelling?(zeppelines? ultrasonic passenger flights, nuclear energy)

“Antidesign/villain”

Utopia-dystopiaEx: Communism - USSR =(

“Dystopia/utopia?”

???

POSSIBLE PATTERNS

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This week participants had to pin on a big diagram their scenarios (BLUE) and concepts (YELLOW). They had to locate them on a cross diagram based on possible/impossible (technological trends) and desired/undesired (socio-cultural future trends) polarities.

43

We then analyzed the kind of shift inside the diagram applied to scenario: this can actually be interpreted as the design approach you want to apply. Orientation of shift associated it with one of existing design paradigms. Design paradigms conncet to main storytelling approaches.

The result is a kind of design compass we hope could help everybody to better shape their design process.

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Elif Reşitoğlu

#toeat

How this amazing food will be in the future !? I imagined how Sarma (leaf roll) will be in the future and how I would have to serve it. It’s represen-tative turkish traditional food.I also want to imagine other cultures food’s future. So if you think you can be helpful to me , share your favourite traditional food from your country and lest imagine how will it be in 30 years because of lack of food!

Sarah Roméro

#toeat

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Léa Sebaaly

#todream

In a dark future, how are we going to dress? How could we use 3D print-ing in order to improve our body? To defend ourselves? To survive?

Francesco Pacelli #toeat #futurescenario

A little story related to the future lack of resources and food. Our role as designers is to do the best we can to design day by day a better place to live in ;)

How was your CF experience in general?

Taking part to Ceramic Futures allowed me to network with international students, experiencing digital tools for managing the workload and sharing knowledge. I consider it now as a really important learning experience.

Which moments in this 8 weeks made you feel more or else comfortable,

what was easier or more difficult for you?

Definitely the first weeks have been the harshest ones. I was approaching the theme of To Walk and trying to find the connec-tion between this topic and ceramic. As other participants I found challenging investigating future ceramic applications starting from such wide contexts. In my case the prototyping phase re-vealed crucial since it permitted me to test my assumptions and base them on a more practical ground.

What would you improve in how the process was shaped?

During the process I often thought we needed more group discus-sion, brainstorming and comparisons. I would suggest to con-ceive the next edition of Ceramic Futures as a teamwork based process.

Feedback: students

Which tools and approaches did you find the most useful? (scenarios, rituals, future map and patterns, pretotypes, p2p design, community,

etc, choose 2 that you liked the best)

The community is the most interesting part in CF in my opinion. It boosts knowledge sharing and content generation. At the same time it becomes a sort of diary of the project, everybody could check in any moment. Now, the project is ended I don’t need to put it in my portfolio but I just refer to the Google+ link.I found also interesting the future map, since I never used it and actually it helped me having a better understanding on where I was going with my project.

What have you derived from this experience to apply in the future

projects and your design practice?

Thanks to CF, I discovered what Design Fiction and storytelling approach means. Maybe I did not implement it properly in my project as I would do it now, but for sure this experience permit-ted me to see the relevance of these tools in the contemporary design context.

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activity

link

http://goo.gl/bJWli3

Concepts Development

As previous week we had a lot of tasks to start this one is dedicated to developing them. First attempts to scenarios were discussed, but many of them were very generic and now it’s time go deeper in details. Same applies to concepts which last week were just first ideas of what they could be.

Then it’s also the moment to start experimenting with real material and try what we (and some other people) called “pretotypes” — first very rough prototypes that serve for communication purpose. Clarifying the “ceramic application” is another crucial point. We meant with it how some special features of ceramics can help to solve the problems of identified scenario and turn it into working concept.

On the higher level this week is a turning point towards production of final results, so we asked students to think also of how they will structure further process to arrive with everything on time.

The goal is to fine tune definitive scenarios and concepts and set up the ceramic applications’ design process.

given a scenario and a concept to affect/change it, according to the design pattern you want to follow start defining your ceramic application design process

in the end we’re producing objects, but not for objects sake, we want them to tell stories. It is crucial before moving to application design to have strong and consistent scenarios hopefully tested with some pretotypes/experiments

it can be that you are still unclear on how to go on with your project. this is normal and don’t panic: pretotypes and experiments are super useful tools to understand validity of our assump-tions.

think of francesco’s clay/orange zest biscuits: simple but extra effective!

on the other hand is crucial to carefully define all steps of our design process.

Delivery:

1. scenario - short text (max A4), post with illustrating pictures - deadline: Wed, June 112. concept - short text (max 500 words), post with illustrating picture -deadline: Wed, June 11 3. experiment/pretotype - posts documenting it in details - deadline: Wed, June 114. structure of design process - short text (max A4) - deadline: Wed, June 11

This week we need to close definitive elements in order to go on, be precise and consistent. We ask you to work iteratively and post things as soon as they’re defined to be able to help you in their develop-ment.

Process:

1. Scenario

Follow past week’s instructions! https://docs.google.com/document/d/1Fud6lvf4EATPuMeFhMhOGnwZoMEwNe5jjqiL-CitXjE/edit?usp=sharing

2. Concept

Follow past week’s instructions!!! https://docs.google.com/document/d/1Fud6lvf4EATPuMeFhMhOGnwZoMEwNe5jjqiL-CitXjE/edit?usp=sharing

Mission 4

http://goo.gl/VOJVhg

3. Experiment/pretotype

Follow past week’s instructions!!!!!!!!https://docs.google.com/document/d/1Fud6lvf4EATPuMeFhMhOGnwZoMEwNe5jjqiL-CitXjE/edit?usp=sharing

4. Structure of design process

We have short time and we actually need to be focused and effective! A good project management helps us to better understand what we need and what to do to fulfill goals!

As we discussed, the ceramic applications we design could play many different roles in our story. they’re like characters, serving specific purposes. It can be a core role or even a peripheral one. It can be supporting the story in a literal way or in a provocative one. It can be serving specific func-tions or a pure illustrative one.

if you are still in a blurry situation, we remind you to help yourself with pretotypes and experiments!

Step by step:

1. Think of the diagram in which we locate scenarios and concept and focus on the movement concept apply to scenario. which is the correspondent design pattern/approach? which are the design features it implies?2. Imagine which kind of ceramic applications could be designed and try to focus on which role they can play in the story. if you have more than one application, this is good, share with us your process. 3. Pick the application you consider more interesting and develop its design process trying to respond to these issues:

which ceramic application is?

which role does it play in the story?

which are the main research/investigations/data you require in order to properly develop this design (i.e. if it’s about eating insects and cultures, which are the main rituals, what do they imply, how to cook an insect, how to handle it with cutlery etc)?

state the main activities and design outputs for week 5

state the main activities and design outputs for week 8

state the main activities and design outputs for week 7

4. POST text and a pictures on the platform before the deadline

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Giovanni Piemontese

#toeat #scenario update

As society in running every day faster also people have to run in it, people have no more time to spend in the kitchen cooking for themselves and for others. The trend of “2 min cooking” food is becoming everyday more real. In the cities workers and students are getting used of eating outside, having sandwiches or eating fast food.

In the Future people will lost the capability to prepare food, and the knowledge regarding receipts, tools and especially different meth-odology of cooking. New ways of eating fastly food will be developed, losing in that way the traditional and local ways of cooking and all the rituals related to it.

Luca Acito #towalk #text

What happens if a malware could infect your 3d printer, alter its code and modify the printed object? Are you sure to print what you precisely designed? Have you never considered your daily mug could be infected and your school hacked? Are you sure to see things as they really are?

Since digital manufacturing is going to increase my work reflects on the possibility that digital files could be altered by hackers and reality virtually affected. The result is that design of objects or buildings could change during printing process in favour of aesthetical aspects, sustainable features or just as a form of protest.

What does it mean to hack a 3d printer? What does the G-Code cause on design? My process started simulating effects of analogical 3d printers and changes of layers deposition; then I tried to mix clay with other materials as plaster, concrete and even coffee and trying to print virtual hacked models with traditional 3d printers. In the end I realized I needed a particu-lar 3d printer to test code effects on design and I made it. What I understood is that from a virtual model could be printed several physical objects and so there is no certain design.

First Concepts

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Sarah Roméro

#toeat CONCEPT

How will be the kitchen in the future ? How people are going to supply vegetables ? Currently kitchen gardens are implanted in urban public areas and in private kitchen. How to improve this new way of growing up veg-etables ? How to make people think responsive and engage a sustainability production for food ?

Micro farming is the way to evolve autoproduc-tion for everyday living / eating at home. Smart ceramic could add a new value, make it more convenient, accessible, ludic but also improve the process of growing up plants. With smart paint - as humidity sensible - patterns could appear on the pots to alert consumer when the plant get enough water. Also ceramic could be mixed with natural nutritive fertilizer, as ceramic is actually already organic…

Pots in the kitchen are more than an open fridge to get fresh products, it’s also green alive pieces consumer have to care, a way to restore precious values of nature.

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First Experiments

Francesco PacelliWeek 3: Concept Development - Jun 10, 2014 #toeatisans #experiment

Artisans often uses paper-clay composites to realize thinner walls compared to traditional clay in order to avoiding structural collapses of the material.Through this experiment I want to evaluate if it’s possible to obtain the same properties of paperclay using dried food peels instead of paper fibres. For the moment I could see that the composite material is achievable, but it

develops molds due to food bacteria. So next step in my experiment will be putting dried food peels into liquid nitrogen in order to:1 let the dried peels be very brittle and easy to reduce in fine powder. This will help a lot to 3D print the clay/peels composite with a syringe.2 kill all the bacteria, obtaining a functional and hygienical material

This experiment could be interesting in a future scenario where dried food could be used to realize more sustainable ceramic-based com-posite materials, starting from food wastes’ reuse ;)

Pretotypes

Pretotype is a physical manifestation of your idea on this step. Think of it as a different approach to sketching - instead of imagining it in 2d on paper, you think of whatever other way to communicate it to people in a way they can already interact with it

(It can be paper model, little piece of ceramic or other object, can be even just a post online…)

Examples:

1. When IBM wanted to try their concept of speech-to-text software instead of developing working prototype of it spend-ing enormous resources, they decided to test idea on people. So they simulated the working process of it: people were invited to the room with computer screen and microphone, everything that they dictated, would immediately appear on the screen. But the truth is that in another room there was an experienced human typist manually typing everything she heard.

In this way company has tested how the product would be received by users before even the first step of its technical development. It was many years ago and they understood that it was not worth putting resources into it as with desk-top computers and long texts keyboards were much more ef-ficient.

2. Palm Pilot - the first handheld computer developed by Palm failed on the market as its form-factor (mainly size and weight) was not convenient for people. Before starting the second version CEO decided to try different approach. He cut a piece of wood which would fit into his jacket pocket and started carrying it around as if it was a real Palm. When someone would ask his schedule, he would take it from the pocket and pretend he’s searching things in that piece of wood. After some months of this tests he knew that new form-fac-tor would be used and convenient. Only after that company started to think how is it possible to build such a small thing with existing technologies.

http://www.pretotyping.org/historical-artifacts.html

http://www.artisopensource.net/network/artisopen-source/2014/05/19/borges-welles-baudrillard-ballard-dick-and-caronia-creating-futures/

NOTE ON PRETOTYPES: pretotype is not just an underdevel-oped prototype of any kind. Pretotype is meant to be interac-tive in a very lo-fi sense. You absolutely need it if your concept has strong social/user aspect which you have to test and un-derstand whether people would like to use it, how would they like to do it, why, when, where, whether it will affect them in a way you supposed, etc, etc. (Who, how, why would like to use dreamsharing? How would people react on scientific ap-proach to dating? Who would like to share their body parts and why? – all of this can be tested through pretotypes)

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Luca AcitoWeek 3: Concept Development

#towalk #experiments

anomalies in matter. This experiments aims to figure out how to obtain holes in molded pieces. In this sense holes and other imperfections are the main objectives of this design. This time i used concrete instead of clay. I pured it on a mass of ice pieces of different size. They permitted to obtain cavities during the process of hardening. In this way I’m just looking for methods to modify objects randomly, creating unexpected patterns. The aim is always the same: how to express sickness in matter.

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Pretotypes

Sarah Roméro

Elif Reşitoğlu

Giovanni Piemontese

How was your CF experience in general?

CF was a very good experience, I think mostly thanks to the process, the people of course and the topic. “Teachers” were helpful and attentive of each one. I really appreciate to work on this project, one meeting a week was good, also the community was motivating. The design process was new and different than my other schools, maybe not so different than l’ENSCI (scenario, concept, rituals, future map...) but the community added some-thing exciting !

Which moments in this 8 weeks made you feel more or else comfortable,

what was easier or more difficult for you?

Actually the first short story we had to create already made me comfortable, the team was easy going and people helpful. Sometimes in the beginning I just felt a bit scared of the “future process” and new technology which I had no idea, but finally was fine, I enjoyed also learned more about ceramic 3D printing and new processes.

What would you improve in how the process was shaped?

Maybe the only thing I could say was something which already changed then ! In the beginning people were passing one by one, like 20 minutes each one, and then the presentations were get-ting to be endless, because of the feedback of others, of course interesting but every body was loosing concentration then (or maybe was just me...). But then after few weeks we started to talk more individually, and actually it also made me more com-fortable and I could ask more questions without feeling wasting

Feedback: students

time of others. discussion, brainstorming and comparisons. I would suggest to conceive the next edition of Ceramic Futures as a teamwork based process.

Which tools and approaches did you find the most useful? (scenarios, rituals, future map and patterns, pretotypes, p2p design, community,

etc, choose 2 that you liked the best)

Scenarios and community were my favorite tools, the first one because we really had to think about currently context, how ceramic is involved in design now, future impacts and new way of living. Then the community was pretty linked to the “future”, con-nection and links were motivating, also see comments of others. And it’s often easier to understand a project in one post rather than 30 minutes of speaking !

What have you derived from this experience to apply in the future

projects and your design practice?

I always been use to work like that but I will even do more inves-tigations before start a new shape. I am not a product designer but even in graphic or fashion you have to think of current needs, rituals and “what this product gonna add ? Which value I want to give ?”. Then the community : share a project, even on Facebook, blog, get feedbacks is very productive, helpful and... rewarding :)

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activity

link

http://goo.gl/xGf38y

Project Development

This week the core activity was experimentation with material and pretotyping used to represent and develop the concept.

At this step we also switched to individual discus-sions of projects individual as everyone was following their own path.

We faced some common problems — fear of future as being too far for us to understand in terms of material feasibility. It affected “ceramic applications”as in some cases material features involved in projects were beyond accessible experi-ments possibilities.

In this case we asked to keep focus on scenario and develop stronger story as a skeleton for overall con-cept. This way human nature, needs and behaviour becomes a supportive constant to guide design pro-cess even when it deals with complex possible future technologies.

Goal: clarify the concept and start developing it towards final presentation. We have to decide the final object of design and also go back to storytelling to think how it will be communicated.

Delivery:

• Final defined scenario – if you changed it, post it as well.• Concept – visual representation, sketches, collages, whatever fits your project. Post it!• Pretotypes/experiments – now it is absolutely crucial to test your things, if you haven’t

started before. Post everything!

Process:

It is time to focus all your efforts on the final concept which you will be developing till last weeks. Now the process is very individual for everyone, but you already know things you have to do. We follow the steps: scenario – concept – pretotypes/experiments –… and then iterative loop between pretotyping/experimenting, improving concept and communicating it.

1. Scenario – again and again follow the suggestions from previous missions and finally define it in each detail which is crucial for you. 2. Concept - If now you need to clarify better the experience/ritual, focus on it, if you already know the object/product – develop it. 3. Pretotype/experiment – most of you were ignoring this part till now. That’s not an option anymore. You have to start dealing with reality of your concept.

Don’t forget the general point for everyone about ceramics application – which is the unique feature that only ceramics can bring to your work? This is exactly the point that can be investigated with experiments. Also exploit the opportunity to communicate with our amazing expert Francesco if you have some doubts.

NOTE ON PRETOTYPES: pretotype is not just an underdeveloped prototype of any kind. Pretotype is meant to be interactive in a very lo-fi sense. You absolutely need it if your concept has strong social/user aspect which you have to test and understand whether people would like to use it, how would they like to do it, why, when, where, whether it will af-fect them in a way you supposed, etc, etc. (Who, how, why would like to use dreamsharing?

Mission 5

http://goo.gl/t9GqHq

How would people react on scientific approach to dating? Who would like to share their body parts and why? – all of this can be tested through pretotypes)

Read once again about pretotype examples to understand how can they be made and used!

If you are not sure where to find people to test on them – use the power of community! We have a pretty diverse group of people from different cultures, mindsets, attitudes; use this resource to test your ideas! (Both including offline local group and online global)

GENERAL NOTE: don’t be afraid to use community not only to share your results and successes, but doubts and problems. Whenever you get stuck or confused – get online and ask for advice! There is a whole community to help on your way; and it is interesting to see the whole process of design development with all possible problems on the way.

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Luca AcitoWeek 4: 3D Development - Jun 15, 2014

#towalk #towalk #experiments here I had a weird idea.... simulating 3d printing manually. so i bought a syringe from the pharmacy at the end of the street and started extruding clay from it. i’m not satis-fied by this process... clay is to hard to extrude manually and, even if i controlled water percentage, form tends to collapse easily.

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Francesco Pacelli

#toeat #experiments

keeping on storing different kind of wastes derived from food that I’ll try to combine with clay to obtain different ceramics applications. Waste materials’ have different properties and consistencies: coffee powder grains allowed the clay composite material to be 3D printed through a syringe. Paper or fruit peels’ long fibers will obviously have other kind of struc-tural applications when mixed with clay: adobe bricks or tiles maybe?

camilla ceschi

#dream #music

Do the dreams talk? Do the dreams sing?

Hell, yes! :)

Here below I tried to put an EGG, recorded during the REM phase, in a music scheme, and make it play. I created it by a program made for fisher price toys, where you can record you’re own music. What excites me, is that the figurative relation between an EGG record and a music diagram, not only are very similar, but together they actually create something amazing! :)

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Léa SebaalyWeek 5: 3D Development - Jun 22, 2014 /CONCEPT

These days, I have been working on a more precise concept :The idea on which I am currently work-ing consists in imagining clothing in a destroyed world.I have defined five properties that, accord-ing to me, are important for my project: HIDEDEFEND / DISSUADEBREATHELEAVE A WITNESS OF ONE’S TIMESEDUCE Using 3D printing, I am working on complex models that one could print and use as clothes.

Innovations of both 3D printing and the use of pottery make me think of an extremely resisting material and, at the same time, of a way to integrate the filtering properties of pottery in a world where air would be unbreathable.

I would also like to provide my project with a ritual dimension: the idea of belonging to a social group and a culture that could be read on one’s clothes thanks to patterns.I started by drawing preliminary sketches in which I imagined abstract and dry landscapes in which it would be difficult for people to move about.This abstraction makes me think of a pat-tern that would be used to create clothes in order to hide and conceal oneself.

Giovanni Piemontese

I’ve finished to model my (little scale) cooking pot.I’ve used the old technich of “colombino” to make it, and actually is a kind of 3D Hand printing, check on internet to know more about it. it was really challenging, now I have to wait so so many hours to let it dry.I think I will try to cook tomorrow hoping to not destroy it :D

How was your CF experience in general?

I believe that the experience of Ceramic Futures was interesting for the approach with which the project was carried out.

The idea of working and thinking about a future scenario, study-ing the intrinsic qualities of a material such as ceramics and thinking a use totally unusual.

Which moments in this 8 weeks made you feel more or else comfortable,

what was easier or more difficult for you?

I think every step of the way has had its difficult moments, from the initial idea to imagine a future scenario, then new ways of thinking about the social life in future, new possible problems an then figuring out the ritual.

What would you improve in how the process was shaped?

I think the course is set up very well, from meetings with the group to show up our own project, to the conference with guests who have shown various future scenarios.

The only thing that i would improve if it were possible, I would give more space in the middle of the week to get revisions clarify doubts or give further advice.

Feedback: students

Which tools and approaches did you find the most useful? (scenarios,

rituals, future map and patterns, pretotypes, p2p design, community,

etc, choose 2 that you liked the best)

Considering that they were all very helpful the two tools most useful for me were Scenario and ritual.

More accurate the development of these two tools define the ensured success of the whole project.

What have you derived from this experience to apply in the future

projects and your design practice?

For me, this was the first approach to a design project.

I have definitely learned to develop my creativity, to produce a product in terms of its use and its technological properties that will have as well as aesthetic ones.

I learned how an object can be much more than just an object but can tell a story and fascinate you just for that.

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activity

link

http://goo.gl/2jTBmh

Speed up!

Here we proceed with the development of projects. Now the defined object itself becomes crucial. In order to connect it to the scenario and concept the idea of “ritual” was introduced, it becomes a tool applied to shape the focus on human behaviour.

Talking about process it’s important to notice things that started emerge on the platform — p2p design. As the interactions on the platform grew it was clear that many projects were receiving contributions of the whole community — there were multiple com-ments from other schools students. We also encour-aged the same interactions within Politecnico group. The role of +LAB involvement was crucial — several students found help there.

“Technological panic” among some students still was taking place and p2p design became crucial to help the group in balancing its skills and approaches. It was also improved with the development of ritu-als around objects instead of focusing on their mere functions.

Goal: fix the concept, pass to development of prototype and storytelling.

Delivery:

1. visual and physical representation of concept (object) - now sketches are allowed only to-gether with physical models of objects or features of it you’d like to develop. (post!)

2. storyboard of related process - we talked about “ritual” a lot, but in case it is confusing, we reformulate it asking to describe the process which will be triggered by object you’re designing. Storyboard can be done in the most rough way, don’t stress on its visual aspect, but work on logic and plot. (post!)

3. experiments - supporting both the physical models and storyboards, exploration of material pos-sibilities and interaction with it. NOTE: try to be more conscious when doing experiments, under-stand what are your goals, process, ingredients, tools, etc, document it all, evaluate results and next steps of development. Communicate it well - experiments are always lots of fun and you easily get completely engaged in the process, but if you want to share that fun and value, it’s important to have very clear step by step images/videos with guiding comments, not just picture of results with no explanation. (post! post! post!)

Process:

1. p2p design

This week we’ve seen some super nice dynamics on the platform - people were actively engaging in the conversations contributing a lot to other projects development. For example :

Cenk’s project https://plus.google.com/103909943504590626346/posts/b6XUDzdxgo7Elif’s project https://plus.google.com/116869506370576219478/posts/bzEiigNvC5Q

This is the way to do it! But now it’s time also to do it not occasionally, but very thoughtfully. First of all share your opinions and suggestions on others works to improve it. Now it’s time of the most in-tense development, so more comments you get, faster you can improve. Second - ask direct ques-tions to those whose expertise can be interesting for you. And don’t just talk and do peer-reviewing, but start Peer-to-peer designing! Whichever skill you feel not comfortable about - ask those who have it to help you! (and help them back)

Mission 6

http://goo.gl/Onp4fR

2. light in the end of tunnel

The end is nearer than it might seem, so it’s time to think of your final results very well to plan all the activities and focus.

The FINAL deliveries required from you are the following:

1. prototype (in whatever material, but very well done and communicating the crucial points of concept!)

2. images for the book - explaining your work: photoshooting of prototype, some fictional images to describe the idea

3. A5 book - can vary from sketchbook of process to narration of your concept depending on what’s the need of each project

Please start thinking how they all can be done in your case, which story you wanna tell in the end; but most importantly - what is crucial for you to work on.

Plan activities considering the following deliveries schedule:

Friday, 4th of July - we have meeting with some important guests to whom you will have to explain your projects very well, there is no strict format of delivery for this date, but you’d better show as much and as cool as possible

Friday, 11th of July - the end of our workshop! final delivery of all the images for the book (photoshootings, renders, drawings, etc,etc, all in high quality for printing)

Very beginning of September - is the last moment to provide all the physical objects that you’d like to see exhibited in Cersaie (prototype, A5 books, experiments, etc)

Now take a deep breath, plan your process and go on doing things in fast and efficient way! Also posting all the steps ;)

Ritual As a Tool

During CF2 we felt that idea of user experience was not fitting well our overall approach and decided to take it further intro-ducing ritual as a tool for design process. It seeks for a more comprehensive way of looking at individuals, their values and the multilevel interaction they experience in different situa-tion. A ritual is inter-subjective by definition and both qualita-tive and quantitative: it’s an anthropological issue.

This way user experience is seen as a more universal and homogenous concept and ritual is a step towards human centered design. But it is also very helpful as a tool in design-fiction environment.

It is easier to understand with an example. If we take the omnipresent iPhone - user experience of it is predefined by a team of Apple designers who spend years on polishing each step of interaction with the system. However if then you look at people after some time of using it, you understand that there are no equal iPhones, people fill it with different con-tents and app, use it for different needs, even hold it and treat it differently. And here we enter the realm of personal rituals. Ritual emerges upon affordances of design-objects, but it is a result of their adaptation to each human’s unique sociocul-tural and even emotional and psychological background.

But if ritual is built upon affordances, then we can reverse-engineer it and by defining ritual first, understand how should object be like. This is how it becomes both storytelling and form/function-giving tool within design-fiction.

When you turn your design into narrative-based project, well-defined ritual for one specific case of use and person be-comes the most efficient approach.

Example:

Faraday chair by Dunne & Raby is in fact an embodied ritual.

http://collections.vam.ac.uk/item/O63805/faraday-chair-chair-dunne-raby/

It doesn’t tell anything about user experience - how do you get there, how do you get out, what’s your emotional response to every step of the process - these normal ele-ments of user-experience design are absolutely irrelevant here. It neither explains any technological features of such an object, like what the walls are made of that they don’t let in any electromagnetic field, etc.

Instead we easily read that it’s a device for new kind of ritual - of finding safe place where to rest, but not in a usu-al way for us now. All the affordances of the object work exactly for this goal: it makes you lie in a foetal position, it is transparent, but of a warm colour, it has a breathing tube emphasizing similarity to womb-like safety. And their ultimate goal is to trigger the curiosity for the bigger nar-rative environment where the story of electromagnetic waves invading our bodies unfolds.

Ritual is the tool that eventually lets form to follow fiction.

Camilla Ceschi “What are you scared of?v”

Léa Sebaaly “Bones Coat”

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Francesco Pacelli #toeat

So here’s a recap of my project until now:

1 I analized a scenario where increasing demographic rate will cause relevant problems related to food and its distribution through population. In the end, more people mean more consumptions and more wastes

2 According to this point I started analyzing the possibility to develop new clay based materi-als by recycling food wastes such as coffee powder, packaging paper or dried fruit and vegetables peels.

3 The materials developed could be an interest-ing starting point for design applications based on old technologies such as hand-forming or mould-forming or on new technologies such as additive manufacturing and 3D printing

4 As a 3D output for my project I started to think about modules and bricks as a way to realize complex structures using old tech and new tech. In that direction, my goal is to design a series of potential applications constituted by these modules made with my food/clay based composite materials.

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Luca Acito#towalk #prototyping #3dprinting

this is the result of two days working with ardu-ino, codes and a lot of dust! here i’ve redesign the concept of 3d printers, making it easer and (what is interesting for me) more “hackerable”. Indeed one of the biggest problem hacking 3d forms is that they will collapse during printing process.

this system should allow more freedom in variations of printing layers, just operating on the code that manages motors. This is just an interpretation of a 3d printer, it doesn’t pretend to be. here i don’t need a virtual object to start printing (rather a physical one as a master for ceramic), i use just two servomotors instead

of 4. all these aspects make easer focusing on the code, hacking it and printing a serie of pieces obtained from the same model (in this case physical) but with different pattern (software generated).

I’ve tested the roto-translation of model, and it works (fairly quick). unfortunately extruder isn’t finished so i can’t post photos of first printed objects......

in the end i think this could help me underlining the relevance of code in 3d printed design and how its effects can lead to several outputs.... from simply textured objects to big scale buildings according to positive or negative reasons....

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Léa Sebaaly

I continue my research around tribes patterns and i thought to use the amazing +Francesco

Sarah Roméro #toeat

Pacelli technique to add a symbolic dimension on my project. I thought maybe to add enemy’s bones powder inside the ceramic like the viking’s tribes did

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camilla ceschi

#Plastic Here reported all the errors and tries we did. We didn’t got why, making the second layer of print, the printer threw out more material than usual, deviating the cursor, when it had to pass print the next layer.

The first two tries failed, so we decided to change material, thinking it could have been a problem of the plastic pigments, and we changed many parameters on the 3D program.

Actually we had the same error, at the same point, also on the third try, but it was less problematic than the two ones before, so we have been able to manage it better, and let the print going on.

camilla ceschi

#dream #CeramicDream

working hard to realize the prototype.Here’s the 3D of EEG of a dream disc, made with Fisher Price Record Player program.After the music, we put in a 3D music disc.Waiting for the 3D print :)

This week has been more ordinary than others, basically it’s been devoted to ceramic applications’ development,

Starting from scenarios and concept find out which ceramic applica-tion can fit them and develop it.

As usually large use of experiments, pretotypes etc. Learning by doing!

As we have few things to share today we make some evaluations. Here follow some ideas trying to point out some major relational/individual trends related to process development

1 - generally speaking working on experiments and pretotypes is really interesting but lacks in communication skills. Majority of posts related to them were incomplete and not helping audience to understand them properly

2 - analogy to white paper’s panic is found with passing from theory to practis, activating ourself is sometimes painful. How to trigger in a positive way this process?

3 - at the intersection of 1 and 2 we found a difficulty in working with EX and PRE in a way consistent enough with concepts and ceramic

Feedback: Marco to students

applications, that is calibrating objectives to specific questions/needs/desires

4 - output panic is also a diffused syndrome: fear of failing some expectations by doing wrong things. There’s no failure nor wrong: everything is about process, learning by doing. Research by design.

5 - balancing ambitions: it is really difficult to understand what is fea-sible and whatnot. Time is an important constraint and can be worst enemy ever if not able to manage it

6 - rituals: haven’t been exploited enough. They were meant as connec-tive element in the process relating scenarios concepts and applications in a meaningful way and providing all the required additional informa-tions to shape applications. Need for better explain them and enable people to use them.

7 - skills: in such a diverse group (from engineers to planners passing through any kind of architects and designers) it happens that a lack of certain skills is considered as a major obstacle for process’ further development. In this sense P2P design is going to be crucial in next weeks

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activity

link

http://goo.gl/6jdW6q

Go go go!

Tis week is the crucial moment to start wrapping up the projects and thinking of its communication.

In order to help it we planned the presentation with guests — it was not the final delivery, but the last moment to review things and get external opinions from people who saw projects for the first time, but who are experts in this kind of work.

It was a good exercise in explaining the projects and understanding the better communication strategies. And also the aim was to show process in develop-ment and demonstrate its future potential.

We also asked everyone to think of final photoshoot-ing and prepare detailed description of it as the final images were the main medium to represent the proj-ects and dealing with quite complex future topics they required time to be well designed.

Goal: start closing you design process, understand

- what is important to be done in the first place to communicate your project during the presentation on 4th of July (in general: final design, prototype, txt, experiments)

- what can wait one more week till the final delivery of images (in general: photoshooting, eventual photo editing, final prototype, book)

- what you can keep and finish by September (final prototype, experiments, book).

Delivery:

1. PROJECT DESCRIPTION text - post by Monday, June 30:no more than 200 words (1200 characters spaces included), describing all your project:

- title- topic- scenario- concept- ceramic application

all brought together by RITUAL

think of narration of this text, it’s not necessary a simple description from the third person. You can think of it in creative way which will be the best to communicate your ideas. You can tell it from your designer’s point of view, from user’s, from antagonist view, from the past, present or future, etc. Be sharp and efficient in it.

It will also help you to finally define all your work and find a proper way to present it on July 4th.

2. Photoshooting description text - send it to us by email before Monday, June 30In the beginning of the week 8 (around 7-9 July) we will have the final photoshooting of your projects. You have to understand whether your prototypes can be ready by that moments and if not - how will you compensate that fact with other models, renderings or smart storytelling.

The text should include:

- description of “situation” you’d like to create for your project communication- location (description and if you have it or if you need it)- required additional things (once again, if you have them or not)- your prototype description- day in which your prototype will be ready

Mission 7

3. PRESENTATION - (not slides, but the very act of it) - 4th of July, 18:00 is THE DATE. We will have the presentation in the “Tunnel” at Leonardo campus. There you can systemize your physical objects on the tables (think not only about prototypes, but any experiments that you’ve produced and that are relevant for your communication), plus graphical content supporting your idea, we will confirm you ASAP if it will be a projection or A3 pinned to the wall.

Besides that you can think of your presentation “in action”, for example, Giovanni is going to cook the food right there demonstrating his prototype. You can choose any strategy which you consider efficient for you, but remember that you’ll have NO MORE THAN 5 MINUTES for all of it.

4. POSTS - we know that these weeks are tough and you have to do a lot of things, but don’t forget that here your project still consists not only of regular design outcomes in prototypes, etc, but it has virtual component on the platform. This part also should be properly developed till it’s logical end, not to mention that it will define winners. So keep on posting, now it’s especially interesting as finally things you were talking about so long finally take real shapes.

5* - not to be delivered yet, but start thinking of your A5 books: you’ve seen that you’re required to give your a5 sketchbook according to brief, but we interpret it more freely - it’s a book that will be exhibited together with your prototype at Cersaie, where you can put any things explaining your process or final result.

For example, as we discussed already: Giovanni’s book will probably be instructions to build the oven and a cookbook; Luca’s - instruction and everything open source to build and use the printer; Francesco’s will be a scientific document documenting his findings; Sarah will use her beautiful sketches. Again, decide for yourself what will be the most efficient for your case.

http://goo.gl/kDULQT

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camilla ceschi: working for the clay model

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Léa Sebaaly

#Tribes Research tribes +patterns

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Francesco Pacelli

#toeat #experiments #firing

Very interesting first firing results of clay/food composite material!

Firing process consisted in gradually reaching more than 1000°C inside the kiln for 9 hours and then waiting for cooling for 9 hours more.Food/clay fired material is incredibly light compared with traditional ceramics because during firing organic and non clay-based components (coffee, fruit peels, packaging paper) just burnt and approxi-mately at 450°C there should be no more trace of them.

This means that fired food based ceramic materials are porous even inside their section and not just on their surface, giving materials nice lightness properties. Poten-tial application: insulating bricks?

Very happy about these results :)

Francesco PacelliWeek 6: Prototyping - Jun 29, 2014

#toeat #experiments #modules #3Dprinting

Some images of the modules I am realizign through Liquid Deposition Modeling 3D printing technology. By adding wastes of coffe powder to red or white clay I was able to have a better deposition because coffe grains made the material less sticky (this is probably due to powder’s atomic packing inside the syringe). Waiting for drying and firing ;)

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Luca Acito #prototyping

extruder is the tricky part of the system. thanks to high pressure request by ceramic, threaded rod tends to drill the syringe rubber and fail the extrusion. in second pic-ture you can even see i’ve destroyed the syringe trying to printing (cause extruder didn’t work well).

Luca Acito

#prototyping i was forgetting pictures of the process of printing.... still complex, but it’s just the second printing. first object broke during the polyurethane melting process, this one is survived... next steps are trying to print all the cylinder.

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Sarah Roméro

#Ceramic Birth ceramic day !

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1 - we’re really happy of Mirti’s and others’ com-ments: they pointed out all the elements we wanted you to upgrade. Sometimes you aren’t listening to us, so maybe if an external guy comes and in 5 min picks exactly the critical point of your work it might be helping you to understand what is an issue you need to address

2a - this is partly our fault: as we gave you (this is valid also for project txt) an index of contents to be included in the boards, you took it literally, and based the presentation on that. As it is usual at school: before I explain everything then I show you the product.

2b - this is not the way! We work with stories in which ceramic applications play a role. What is amazing about design stuff in storytelling is its powerful ability to evoke not only functions but also

situations, stories, values, rituals etc

2c - moreover something physical is univo-cal: it exists and because of this simple fact is lot more effective in communicating than a set of abstract concepts

2d - you should have started with proto-types because this would have fixed in your audience’s mind all the elements needed to decode the story. Then you could have moved to detailing and explain-ing everything

2e - this is lot about performance also: public speaking is related to acting. There’s not only one right way to do it, there’s many and you should find yours. But then act in order to engage all the elements you

Feedback: Marco to students

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have: yourself, your products, the space you’re in, the audience. Time management is also crucial.

3 - effective speeches have been: Giovanni (also helped by splitting it in different mo-ments), Luca and Francesco (even if they talked too much) having a lot of stuff on tables. Dan as well.

4 - we are really interested in pushing things forward in terms of relating your designs: Francesco, Luca, Roberta, Lea, Giovanni, Elif at least already can have some connections. This is really strong and unique. Another layer after p2p design, p2p realities!!!! This started in the future map we collectively built during 2nd meeting, evolved on the platform, in the scenario/concept diagram then in p2p design ending up in a future collaborative reality in which all projects are interacting like it hap-pens everyday.

How was your CF experience in general?

Cool, a kind of self/guided process about something that people could not imagine before. (I know its is short but I will explain it better in the next answers)

Which moments in this 8 weeks made you feel more or else comfortable,

what was easier or more difficult for you?

There was not a real moments in which I faced difficulties, they were more like moments in which I felt a bit lost into the pos-sibilities and the different path that my project could face. Manly it was a matter of storytelling, once I have clarified in my mind what was my project about, what I’m proposing to people, then which is the problem setting and how I want to solve it, it was simple to describe it to people and to develop the vase. Maybe the hardest moment was the waiting for cooking the vase because I was in hurry and I could not do anything in the mean-while. Oh, for sure it was also the chose of a name, I think that in reality I’ve skipped that.

What would you improve in how the process was shaped?

It was ok, my only suggestion is: more co-design between all of us, I also know that it’s kind of difficult to try to involve all the people, but maybe you can design ways to engage people in the classroom. I’m saying that because at a certain point we lost our friends projects, indeed I didn’t know all about all the projects in the final pitch. The p2p are really helpful but also the disruptive moments in which people interact and could be interested or not about some issues of your project, and there they star asking, destroying, and (maybe if they like it) rebuild together.

Feedback: students

Which tools and approaches did you find the most useful? (scenarios,

rituals, future map and patterns, pretotypes, p2p design, community,

etc, choose 2 that you liked the best)

They are all useful to set your projects and see in multiple ways. What I felt (also outside CF) is that everyone need those ap-proaches but not in a strict order, and sometimes neither each one of those. So forcing a process to follow a strict path can make people lost during the process cause it is not linear. The 2 tools I enjoyed more was co-design (the short sessions we had) and future map and patterns that are always useful to under-stand where you are in the process.

What have you derived from this experience to apply in the future

projects and your design practice?

That cool projects can be developed also in short times for sure. CF was an adding to all the university and working stuff we all had to do, and also in those conditions if you are passionate about what you are developing you can find the time to make it real. So what I learned is don’t be scary about short times. Another thing is that (but in reality I don’t like so much that stuff) also a single designer can develop something useful, or visionary, or just cool, so the point is that the figure of the team is evolving in virtual communities, and it can work for real also thinking to the fact that we don’t have the right tools to make it (G+ is ok but is not a complete tool for these stuff).

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activity

link

http://goo.gl/Ah8aJ2

The End (not really)

This week was dedicated to finishing the project, creating the final images to deliver and most of all — disseminating them as one of the winners from each school was chosen by his performance on the platform, therefore how much response they have got from online community.

Each student was getting as much support as they might need during this week individually, but also the group cooperation was important especially for photoshooting.

To communicate this kind of complex projects bare view of prototypes is not enough, so for each of them a shooting in the environment was discussed. Espe-cially it is important for those projects that eventu-ally implemented ritual as a tool and transformed it into the storytelling approach.

Goal: Finish the projects, deliver amazing content for the book, and defeat everyone on the plat-form. Delivery: By 23:59:59 of July 11 send to Valeria (valeria@ceramicfutures.com):

• 3 high resolution (300dpi) jpg images (30cm wide) to present your design project in its context and with a white background

• 3 high resolution (300dpi) jpg images (30 cm wide) of the work in progress of your project• Text document: name, surname, project’s description with title and maximum 200 words.

Process:

1. Finish your project description text; it will help you to define better communication of project in images as well. Even if you select some special narrative approach like, for example, Camilla writing it in form of personal letter, you still have to remember that it is project description and soit should contain all the relevant elements of the your story. 2. Define images that you will deliver – they can be renders as well as photos, but 1-2 demonstrating final product on the white background and 1-2 while being used in the context. For the white background it’s quite simple: you just make a beautiful visual composition of your objects, but the one in context should be good in communicating your idea and telling the story. ABSOLUTELY COMPULSORY: discuss with us how you see the images, if you need the photoshooting – SCHEDULE it booking the set in Bovisa photolab (we plan to make all the shooting there on Wednesday, Thursday and, in the worst case, Friday morning) For the photos outside the lab “in context” you need to find the place, equipment, and schedule when it will be done. 3. Go on posting, commenting and liking on the platform! This week will define the winners! Besides the G+ platform this year there is quite a low level of activity in other social network comparing to the last one. Now you have the last 5 days to leverage all the channels for your success. Post on Facebook, Instagram and wherever, share your process with friends and colleagues through other channels. Final rush is the most intriguing to see, don’t be shy to share your amazing work of these two months!

Mission 8

4. DON’T DISAPPEAR AFTER:

• Fill in the spreadsheet to let us plan the prototypes collection https://docs.google.com/spreadsheets/d/1TXeb15IMZ_lUZqly4PQEiApAwVlPO5p_7vv--FPfKtk/edit?usp=drive_web

• Remember that you will have to deliver A5 book - think what can it be in your case and discuss it

• Work on prototypes and book till September

http://goo.gl/U1XXwK

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Giovanni Piemontese

Traditional future

“Traditional-Future” is a portable and easy-to-use ceramic oven.

Thinking of a future where people will use to eat mostly pre-cooked food, we will lose our traditional way of preparing meals and most of all we will lose our food skills. “Traditional-Future” wants to bring back these rituals with old cooking techniques as “under-sand cooking”, taking inspiration from the traditional rituals of the Sardinia for cooking the pork, and also from the Hawaiian way of preparing meat.

The kit is composed of three pieces: a small pot where you will put the charcoals for making them burn; a medium size pot where you can store the sand, and a bigger one in which you will put the charcoals and the sand for cooking the food

All the three pieces are stackable, this means that the “Traditional-Future” is easy to store and even easy to be carried around, so it can be use indoor and outdoor.

The “Traditional-Future” will let you to cook easily and in a fast way vegetables, meat and even fish through a new experience with a traditional taste.

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camilla ceschiWeek 8: Final Delivery - Jul 11, 2014 #Sleep “What are you scared of?”I stayed silent for a while, deciding which one would it be the deepest one of my fears.“I’ve always been scared by the night. It’s not absence of light scaring me, but sleep itself. That very moment I’m alone with myself, with the darkest part of myself, that uncontrollably shows up. It’s that unique moment, in which I’m helpless, not knowing how to fight it.”“Share it. Bring this fear to reality.” he said.That’s how I started to make that fear real and concrete. During the night, my brain implant sen-sors record my EEG waves, transforming them in the sweetest and more acces-sible form of reality: music.It’s easy: put them in a music staff, and a music starts play.Every morning, as I wake up, I attribute them the colour of the dream feeling,

tags, and I leave a message.A printer realizes little ceramic discs, and here they are, with my dreams transcribed on them.I leave my dreams, my fears, my memories…All what I am.No matter which kind of dreams they are, it’s enough to transform them, make them real, and share them, in their real nature. No filters, for once, in this communication.My ceramic dreams are strong and able to resist towards the time, as much as they can break easily, if you don’t respect them.They will last forever, only if you’ll take care of them.

Forever yours,

C.

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Sarah Roméro

ReGarden

Once upon a time the Humans.First Humans were few in Earth but quite quickly their amount began to extend more and more. Of course as all the different species in Earth they need food because they need to eat. Humans can eat almost everything. But from the moment they start to be too many and also smarter, they started to create new weird way to develop food and grow up vegetebles. And so to eat quite bad. But after that they began to be nostalgic and missed there garden and natural food, specially in their huge cities. By the way it was also because they were getting to destroy the planet. And so they start to develop kitchen garden in their cities, trust more in the local farm-ers rather than multinational firms, trying to eat better, fresh and organic products. It was of course more expensive than mas-sive food production Humans used to buy in food-into-plastic stores called supermar-ket. But they start to really care about what they eat, also cause it is healthier.

2020. Humans finally have created magical ceramic pots. There are not only containers, there care of plants inside like mothers care of what is growing up in their bellies. If baby plants need water, patterns appear to alarm Humans it is time to pour water inside. If baby plants need food, pots feed them with nutriments (organic fertilizer) directly incorporate into there ceramic skin. And so Humans can get, thanks to those pots, fresh and good products, vegetables, aromatics, directly in their kitchen. They getting to be proud to grow up their own food, keep in touch with Nature and most of all glad to finally eat good food.

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Luca AcitoWeek 8: Final Delivery - Jul 11, 2014

Anomàlia

How much can we interact with liquid de-position modelling system? How people experience 3d printing and how Design is influenced by digital manufacturing?

My little printer tries to experiment a new computer assisted system to build ceramic objects. The two axis setting as-sures more freedom in printing different kind of forms and surface patterns than traditional printers. Indeed the computer-driven axis responds to the code sent by the software, so anything that interacts with it is able to directly affect design and all the printing experience. From any aware change on the code to an un-conscious hacker action on your laptop, everything happens digitally has a direct consequence on the shape and func-tion of your printed object. As my printer

system is simpler than traditional one, it allows to experiment and highlight the physical influences of velocity and direction changes caused by code manipulation. This proves in the future, thanks to the increase of digital manufacturing processes, everything will be shaped firstly virtually; any inter-action with reality will happen primarily in the digital environment.

So have you never considered your daily mug could have been infected and your school hacked? Are you sure to see things as they really are?

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Francesco PacelliWeek 8: Final Delivery - Jul 10, 2014

#toeat In 1800 less than 1 billion people were on earth, resources were a lot and wastes weren’t a big problem. Demographic projections tell us that we’re probably going to be 10 billions in 2050, while earth resources are lacking and wastes are increasing more and more. This worrying future scenario implies a lot of consider-ations in terms of food distribution and wastes’ management. One of the potential solution to these topics could be repre-sented by thinking about recycling food wastes in efficient ways for new potential applications. In this direction the aim of the project is to develop innovative clay-based materials using recycled food wastes in the compositions that can be formed with traditional technologies such as moulds or innovative ones such as 3D printing, hardened through solar drying or firing in kilns. The final output of these experiments consist in designing a series of customized

bricks and modules to realize complex structures for devices related to food storing, drying and cooking. In this direction materials and final devices create a circular process where food wastes can be reused in a sustainable way, becoming part of the manufacturing process itself.

All experiments and prototypes have been devel-oped at +LAB, the new 3D printing lab of Politecnico of Milano.

[...]

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Wu Qiuqiu TALISMAN -- Beyond memory, and distance

The most painful thing in the world is farewell.

Lovers, relatives, friends, physical distance, life and death, misunderstanding. . .These are all barriers between us.Heart matched, but far away physically; the pain-ful distance between life and death; close to each other, but far away in the horizon of misunder-standing. . .

Outstretch your hands, clasp your hands, connect your hearts, and feel the temperature and breathe of each other.Distance is between our fingers, and warmness, is also here.

Loved ones gone, you will never be able to find him anywhere in the world.His voice, his smile, his breathe, become memory, and tears in the air.How much you want to continue talking with him, how much you want to continue feeling the continuation of his life. . .

TALISMAN is his last gift before his leaving.He clenches his fist, clenches the clay, leaves us his palm, his breath, and his last strength forever. This is the inside space of his fist, this is the last warmness inside his fingers. This is not a relic, which we can only enshrine, but touch. This is not a photo, only images, no texture. This is the real “him”, for you to touch, to feel, to talk to.

Holding Talisman tightly, you can feel his texture in hands, just like clasping his hands tightly. Continue holding, gradually, your fingers become matched with his fingers, tears, flow silence, slowly. He is there, on the other side, in the other world. But he will never be alone, you are always shaking hands with him, tightly.

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Léa Sebaaly

Bones coat /

My project consists in imagining clothing in a dark future, in a destroyed world.

I chose properties I would like to integrate to the object. HIDEDISSUADELEAVE A WITNESS OF ONE’S TIMESEDUCEWALK Innovations of both 3D printing and ceramic make me think of a combination of the twoto create models that one could print, as-semble, and use in clothing.Adding mother of pearl to ceramic makes it one of the most resisting materials.I’m thinking of a sort of return to primitive types of social interactions, non-verbal com-munication, a new form of tribal system.

I would like to provide my project with a ritual dimension: the idea of belonging to a social group and a culture that could be read on one’s clothes thanks to patterns. I would also like to add a symbolical aspect by adding enemies bones powder inside the ceramic, like Viking tribes did.I started by drawing preliminary sketches in which I imagined abstract and dry landscapes in which it would be difficult for people to move about.This abstraction makes me think of a pattern that would be used to create clothes in orderto hide and conceal oneself.

When you work on future complexity and avant-garde issues, enabling your audience to get all the quality of your design is the most important part...

In terms of communication sharp ritual is easily comprehen-sible and doesn’t need complex step-by-step diagrams to be explained, but instead a well-directed narrative environment.

Usually it would include settings, character, additional objects which could inhabit same story and of course action to bring the things together. But at the same time even the gestures out of environment already start to tell the story, which can still benefit from defining more details, but is already trigger-ing better understanding of object.

Rituals Communication

Dan Wu “Talisman”

Léa Sebaaly “Bones Coat”

Possible

Undesired

Impossible

Uncontrolable consumption

Ceramics 3d printinghacking

+

Monster Inside You

Ceramics 3d printing+Growth of

sharing

+Growth of food wastes

Composite ceramics

+

+

+

Low quality food

Smart ceramics

postapoc-alypsis

ceramics for communication

EmbodiedPlatform

insects as main source of proteins

ceramics supporting ecosytems

+no time to cook

ceramics for heat and food

CF2 design patterns

*this year we observed higher variety of patterns with more students choosing the path of design-fiction rather than traditional technologically enabled problem solving

Possible

Desired

Impossible

+

+

Anomalia

Space Ceramics

Bones Coat

ReGarden

Talisman

Food Ceramics

travelling to other planets

radioactive ceramics

INSECT LAMP

brainwaves sharing

fragility of ceramics

What are you scared of?

Traditional future

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Ceramic Futures 2.0 was a great experience in which we believe that all participants (including us writing this booklet) have learned a lot.

Even if it was the second time we participated in CF with Politecnico di Milano, it turned to be very different from previous year.

Overall experience of international online commu-nity on Google Plus seemed to be less competitive and more collaborative this year, we have observed some very interesting conversations happening between students from different countries.

This dynamics also affected the local offline group with guys sharing more between each other, helping and finding solutions together.

In our turn we tried to facilitate this process, analyzing past year’s experience and improving it, pushing forward what we learned about ways to design the future.

It was an experiment also for us, sometimes more and sometimes less successful, by sharing it we hope to stim-ulate others also to try designing their own process and tools. Let us know if it was useful!

Now, enough reading, go on designing!

A.M.Y.

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Team Politecnico di Milano:

Alexandra CoutsoucosYulya BesplemennovaMarco Lampugnani

Thanks to

Politecnico:

Pierluigi Salvadeo, Luisa Collina, Efisia Cipolloni

Guests/experts:

Marco Arosio, Ceramiche Puzzo, Guido De Zan, Marinella Levi, Marco Mancuso, Massimo Martignoni, Bertram Niessen, everybody at PiúLAB, Ricciardo Puzzo, Elena Romani, Gianni Romano, Graziano Sezzi, Laura Doardo, Stefano Rossi, Chiara Cicchianni.

Luca Acito Roberta Allegrino Cenk Basbolat Camilla CeschiAmr Ezzeldinn Nicolas Girard Ilgaz Kayaalp Camilla Marini

Francesco PacelliGiovanni PiemonteseElif ResitogluKsenia RogachevaSarah RomèroLéa SebaalyJonatan TchetchikDan Wu

List of participants:

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Yulya Besplemennova was born in Vladikavkaz, Russia, but left to Moscow when she was seventeen to pursue her dream of becoming a designer.

First she started with Industrial design and in parallel with studying was involved in various professional activities. Those included for example collaborations with local technological companies trying to use design as the instruments of competition on innovative market.

At the same period she tried working on strategical and governmental level aiming at helping industrial design in Russia within the Expert Club for Industry and Energy (Ministry for Indus-try and Trade of Russia) activities of which were supposed to bridge the gap between design and industries.

There she understood her strategical inclinations and decided to proceed with more top level approach to design that led to graduating in Product Service System Design Master course in Politecnico di Milano.

Her academic curriculum includes also UNSW in Sydney, Australia, Copenhagen Institute of Interactive Design, Strelka Institute. After seeing three completely different educational sys-tems (Russian, Italian/European, Australian) she is very interested in understanding teaching practices and finding the best and most efficient way to shape the learning experience.

Collaborating with Snark for 1,5 year she follows both this interest as well as strategic design approach to various processes.

about.me/ybdesigningfacebook.com/yulya.besplemennovaInstagram: @hihicksterTwitter: @hihicksterMail: ybdesigning@gmail.com

Alexandra Coutsoucos was born in Milan from italian mother and greek father. She attends classical studies, growing in a cultural and stimulating environment that shapes her curiousi-ty and passions around narrative, aesthetics and sociology.

She matured interests towards designing, tickled by the challenge of combining functionality and style, as an answer to people’s both material and immaterial necessities. For this reason she decided to join the Industrial Product Design bachelor program at Politecnico di Milano, where she graduated in July 2014.

Alexandra took part to the first edition of Ceramic Futures because interested in dealing with a material that is facing a strong evolution in the world of design.

The outcome project of the workshop has been later on published on Elle Decor India.

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After getting involved and passionate with the methods and development processes used, the following year she participated with Marco and Yulia behind the scenes of the new edition of Ceramic Futures.

Pushed by the curiosity and interest in the fuzzy front end as a core share of designing processes, she recently moved to the Netherlands in order to attend the Strategic Product Design master program at the Delft University of Technology.

facebook.com/alexandra.coutsoucosInstagram: @alekacoutsTwitter: @AlekaCoutsmail: alexandra.coutsoucos@gmail.com

Marco Lampugnani has been trained as an architect but what he mainly does today is building relational processes with communities. They can be online or offline, often both.

He works with public sector, companies and spontaneous communities.

What he likes most is to collaborate, so each project is based on a solid network of subjects often with in residence processes.

He founded Snark - space making and he has been active in many of major recent public and cultural processes in Italy and abroad. Co/auletta, #nevicata14, Ginestra fabbrica della conoscenza among others.

He is active in shaping learning environments for higher educational institutions like www.whoami.it, Politecnico di Milano and others. Marco has been consulting/teaching/workshop-ping/lecturing/exhibiting for/within many forward looking institutions: the Central St Martins, the School of the Chicago Art Institute, Aalborg university, universitat internacional de cata-lunya, IED, NABA, Biennale di Venezia, Sanofi, FIAT, Danone, Telecom Italia, Comune di Milano, Regione Emilia Romagna, Italian Parliament, Rotterdam Architecture Biennale, gruppo HERA, La Triennale di Milano, Santa&Cole, Torino World Design Capital, etc.

He is also interested in the relationship between design and entrepreneurship which he inves-tigated both desk (in different academic researches) and hands on as a startupper with Cyr-colo (a P2P cycling community) and by mentoring several companies in different programs.

If you google you can find quite many websites, articles, videos etc.

Facebook.com/mlampuInstagram: @mlampuTwitter: @mlampuMail: mlampu@gmail.com