Oder, H. (2019). Design and technology - an integrative process. In R. Michel (Ed.), Integrative Design - Essays and Projects. Basel: Birkhäuser Verlag.
What influence does the design have on cultural and technical innovation? What are the meanings of artifacts? What aesthetic qualities do they possess? In what way are new determinations and semantic-semiotic relationships created?
In this text, an attempt is made to take a forward-looking look at work on the artifact and form and to give it new meaning in the context of the holistic shaping of desirable futures.
Glauer, L., & Oder, H. (2018). Pleasing Machines. In M. Blohm & K. Wenzel (Eds.), Half Life. Machines and Organisms, Artistic Positions in Times of Climate Change and Extinction. Hannover: Fabrico Verlag.
B O O K R E L E A S E P A R T Y: 6. July at ART LABORATORY BERLIN
Pleasing Machines as Re-Newed Products of Artistic Design Research: The artist Lisa Glauer and product designer Helge Oder have begun thinking through processes of Artistic Design Research collaboratively. They currently appear to be heading towards some special place between Science Fiction and GAGA Feminism.
Principles of Artistic Design Research: Products and machines can be seen as embodiments of hierarchies, expectations and behaviors of human interaction in their often-mundane material context. Design makes these connections visible and offers solutions for alternative forms of interpersonal interaction, use of resources etc. Artistic production creates space for meaningful interaction beyond narrowly defined functions and purposes. Invisible connections between human interactions become visible and possible perspectives for future forms of existence can be deduced based on, and in reaction to, form and material cultures. Interaction between individuals can be examined by closely observing how they handle the space between them, often in relation to objects. In the following, selected art machines are described, analyzed and interpreted applying the principles of Artistic Design Research.
Oder, H. (2017). Das Rad neu erfinden - Eine kleine Typologie der Mikromobilität. In: Agenda Design 5, Magazin der Allianz deutscher Designer (AGD) e.V.
Light electric vehicles, personal mobility devices, last-mile vehicles - behind the variety of designations is an even greater wealth of mobility products, which are a weight class below the only partially sustainable automotive. For product designers, this opens up a highly innovative development environment.
Tomorrow's mobility currently employs many actors from business and research. Two models can be distinguished in their approach: systemic approaches and large-scale mobility scenarios as well as concrete technology carriers and concept cars. The inadequacy of both models is the way how to deal with designed objects. In the long-term planning, these aspects are only rudimentary. In the concept car sector, a very specific vision of a short-term future is objectified. Here, the low-cost range of the Light Electric Vehicles offers the possibility of being experimentally and innovatively creative even at the level of useful objects, thus stimulating changes in mobility habits, infrastructure and contexts.
Oder, H. (2014). Live long and prosper - eine Position zum Produktdesign. In W. Vossenkuhl (Ed.), Quo vadis Design - vier Thesen. München: IF Design Media GmbH.
This text was created as a contribution to the discussion Quo vadis Design, organized by the IF Design Award and held on the Fraueninsel in Chiemsee in September 2013. In the text contribution, the thesis is argued that coming specifically from the product design, design approaches an experimental, unexpected results inherent in the producing character. Design - which I treat as the real renewal of society - is, thanks to this property, always a reflection of cultural tendencies and, at the same time, an engine of cultural renewal. This text emphasizes the role of material-experimental approaches in design and stimulates the systematic integration of design cultures into the lives of various stakeholders. Ultimately, it argues, such "lived" ideas, design approaches, and products can be used to stimulate or enrich a broad discourse on the character of desirable wealth and prosperity on an individual and societal scale.
Oder, H. (2013). Kulturelle Nachhaltigkeit, Prototyping, Open Design. In C. Mareis, G. Joost, & M. Held (Eds.), Wer gestaltet die Gestaltung?: Praxis, Theorie und Geschichte des partizipatorischen Designs (p. 320). Bielefeld: Transcript.
Article on the history, practice and cultural relevance of Open Design. This text is based on a lecture, which was held during the annual conference of the DGTF 2011 on "Wer gestaltet die Gestaltung?". This text deals with the causes and framework conditions of the bottom-up-based development and implementation of broadcasting in Germany in the 1920s. The focus was on the appropriation and development of technology embedded in cultural processes by the radio worker movement. This approach is referred to as prototyping and is also currently an important strategy in open design processes. Fundamentally existing needs for participation in media consumption and production were not only articulated on an ideal level, but also through technical and creative implementation, i.a. objectified in the form of receiving and transmitting devices. New contexts were opened and cultural as well as creative spaces of action opened up. Through the immediate experience and visibility of new cultural possibilities, a public, discursive debate on issues of participation in media consumption and production could be promoted.
Oder, H., & Petruschat, J. (2012). Prototyping und Open Design - Geschichte und Geschichten. In J. Petruschat & J. Adenauer (Eds.), Prototype! - physical, virtual, hybrid, smart - tackling new challenges in design & engeneering. Berlin: Form + Zweck.
In this text, an attempt is made to trace current trends in open development structures and today's questions of open design back to their beginnings. These historical findings are mirrored in current project examples from the field of mobility. Traditionally, open design is traced back to three tendencies: participatory aspirations in architecture and design, open source, and the DIY movement, whose roots, in turn, date back to the craft and homework of the nineteenth century. This text places a different focus on the origins and requirements of the open design movement: We believe that the open design movement is based on the development of complex, mostly technical components and on the knowledge of possibilities for their structural connection. We call this procedure prototyping.