DESIGNERS CREATORS

Samia Husari

Artists write for their peers, or at least for those who understand them.

BARBEY D’ AUREVILLY

The goal of a true critic should be to discover which problem the author
posed himself (knowingly or not) and to find whether he solved it or
not.

PAUL VALERY

Visual Culture 2017

Brendan Griffiths
DESIGNERS CREATORS
Samia Husari

Visual Culture 2017

Brendan Griffiths
DESIGNERS CREATORS
Samia Husari

Visual Culture 2017

Brendan Griffiths
DESIGNERS CREATORS
Samia Husari

Visual Culture 2017

Brendan Griffiths
DESIGNERS CREATORS
Samia Husari

Visual Culture 2017

Brendan Griffiths
DESIGNERS CREATORS
Samia Husari

Visual Culture 2017

Brendan Griffiths
 DESIGNERS CREATORS
Samia Husari

What are the roles of designers in 2017? Are they artists? Are they editors? Are they storytell-
ers? Are they influencers? Are they translators who transform an idea into a visual? To what extent
do they end up producing a “creation” instead of a “design?”

There has been an outburst of design studios wanting to take more of an author position
when working with clients. By handpicking specific projects and even producing “personal work”,
these studios embrace the creative process.

Looking at different case studies throughout this semester, it is evident that designers can
have different levels of engagement. They can become direct producers of the work in its materiality
but also the ensemble of agents that participate in the production of the value of the work.

The choice of projects in each designer’s portfolio will show their level of creation. For exam-
ple, HAWRAF, a new design studio based in New York, goes through an extensive process in which
they dictate which project they sign on. Their primary deciding factor is their personal interest in
the nature of the project. As a team, they aim to redefine the purpose of already existing products.
The 1-833-MAR-CIVE website pushes the function of a regular website, allowing the visitor to enter
a museum-like tour of the artist’s work. They have enhanced the brand behind the author while
allowing themselves to push the design. Another example is the creation of + POOL by PlayLab, a
studio that designs experiences for brands, organizations and human beings. + POOL is a floating
plus-shaped pool in the inner harbor of the NYC waterfront, designed to filter the river that it floats
in through its custom walls. An accidental creation that triggered a new thought process. Here, the
designers are the direct producers and the agents of production. While the branding of this project
is exceptional, the actual project in its form is unique. By simply repurposing the shape of the pool
into a plus, they have pushed the definitions that were prepositioned. In addition, having a body of
clean water within a body of filthy water (a sad reality) was innovative to the city. A third example by
Justin Ouellette designed an identity to a newly developing industry. Lightscale Labs uses science,
technology, and design to make cannabis testing simple and reliable. While the conception of can-
nabis is still unresolved, there was a need for medical services in Portland, Oregon. The designer, in
this case, had not only created a new product but set the foundation for a new industry. Avoiding the
use of green within the whole identity marks a clear design rule that will be the norm as this indus-
try grows.

Whether by redefining, expanding or producing a project, designers in 20171 have embraced

their position the creative process. It is expected that designers should “create” more instead of
“design”, then possibly, they will be called “creators” in the near future.

http://hawraf.com/
http://1833marcive.com/
https://www.pluspool.org/
https://2x4.org/ideas/2/fuck-content/
https://bildfilosofi.files.wordpress.com/2009/12/therulesofart.pdf
https://justinouellette.com/

Visual Culture 2017

Brendan Griffiths