US Design Policy’s Necessity Viral Video: Dori Tunstall

Dori Tunstall, organizer of the U.S. National Design Policy Initiative, shares a short video of her thoughts about the role design plays in US economic competitiveness and democratic governance, how a national design policy would help, and her personal pledge to support the efforts.

Between March 15, 2009 and April 15, 2009, the Initiative collected videos via YouTube and FaceBook. Select videos will be included in the organization’s Design CEO video series communicating the same message and to be presented at national design conferences, to government officials, and other promotional venues.

The U.S. National Design Policy Initiative advocates for a governmental plan of action to support design in service of United States economic competitiveness and democratic governance through design promotion, innovation policy, design standards, and policy as designed.

Dori Tunstall is a Design Anthropologist. What is that? If Anthropology seeks to answer the question, “what does it mean to be human?”, then design anthropology tries to understand how the processes and artifacts of design help define what it mean to be human.

Dori is Associate Professor of Design Anthropology at University of Illinois at Chicago as well as an Associate Director of the City Design Center. She has a Ph.D. in Anthropology from Stanford University and completed her undergraduate degree at Bryn Mawr College in Anthropology as well.

Dori has worked at Sapient and Arc World Wide as a user experience consultant (aka. experience modeler/planner). She is a charter member of Designers421.

Go to http://dori3.typepad.com/about.html for more of Dori’s thoughts and initiatives. Go to http://www.designpolicy.org/ for detailed information regarding the U.S. National Design Policy Initiative.

NECESSITY HOUSING

www.necessityhousing.com
By Barry Leneman
We have done it again: Proven that building a durable house can be done quickly and with unskilled labor…… for $1,000.

That’s right. A two room house made from local materials in six hours with double thick walls and lots of light. Not only can it be done,
but Necessity Housing did it……at UCLA on May 7th, 2008. Who says so? We are told so many times that we can not do things -
that sometimes we start to believe it.

Necessity Housing is here to remind people that if you can dream it, you can make it happen…..and that is just what we have done.

Our question is, why isn’t there job training for construction of these homes?

Skills Training = Economic Engine
There is hardly a community on this planet that does not need affordable shelter, and one of the best ways to provide that necessary commodity is to generate an economic advantage to having homes built.

The most obvious reason is to have more people employed, because when we have employment, opportunities are created for all the ancillary businesses to flourish. Commodities like food, clothing, and health services, become the foundation of new communities – the very same communities that are being built by the newly trained residents that will be living in the homes they build.

What we are doing NOW!
Trees for a Sustainable Africa is a planting partnership with the Coalition for a Sustainable Africa and Global Green, the United States division of Green Cross. The SEE conference will integrate educational, governmental, and nongovernmental institutions with the people of Southern California in a united effort to bring sustainable solutions that respond to global concerns with local actions.

DONOR IN THE DRIVER SEAT
“Add A Wall” Teaching w/ materials, how to build a wall…………………………………………………….. $ 250
“Build A Roof” Installation w/ instruction for an entire roof…………………………………………………. $ 500
“Pour A Foundation” Your name imprinted in concrete……………………………………………………….. $ 1,000
“Raise A House” Build an entire home + your dedication plaque………………………………………… $ 5,000
“Install A Factory” Materials plant + 100 home dedications………………………………………………… $50,000

Send all tax deductible donations directly to:
Necessity Housing – Box 1306 Topanga, CA 90290

For donors:
Tax-deductible receipts will be sent immediately. Pictures of your donation will be sent to you upon installation. And progress reports on your contribution will be made monthly.

Barry Leneman is founding President of Necessity Housing and an advocate of sustainable solutions with 22 years of construction and teaching experience. Mr. Leneman co-founded and taught construction systems at the social action middle-school Topanga Mountain School and started the Social Justice Foundation for the Freedom of Expression.

His work with Necessity Housing has created the blueprint for a sustainable village currently being developed in Hammanskrall, South Africa, and continues to teach communities around the world how to use local materials to build durable housing in three days.

In addition, he is developing a residential housing that incorporates all aspects ‘rational development’ including active and passive solar energy production and savings, water reducing and reclamation systems, permaculture landscaping, and climate responsive design. Mr. Leneman is an active participant in helping NextAid develop their eco-village child support center by bringing alternative building materials, appropriate technologies and techniques to the Dennilton center to further underscore its role as a model for future centers to be built throughout Africa.

How does Aid to Artisans Make a Difference? – Willard’s story…

Before meeting Aid to Artisans, I was sinking into deep trenches of desperation. Time was going by and I realized I had to make a living, sooner rather than later. I decided to be creative. When we were teenagers, we used to make cars, bicycles and animals for fun out of wire. This time, I did it to sell to tourists who come to Cape Town. It became my job although the income I generated was not sufficient, constant or regular, so I still couldn’t prepare a budget. I had to grow.

I decided to approach the Cape Crafts and Design Institute for assistance and luckily, I met Aid to Artisans and Stephen Burks, an American Designer. We designed a wire table. It took us 2 years to develop until it was accepted for an exhibition. The first time it hit the market, the product was hand picked by a U.S. distributor, Artecnica. I was able to use the income to start my own business, Feeling African, which has created jobs for 9 people and myself.

I will never forget when my tables were chosen as best product in South Africa at Design Indaba 2006, when they appeared in 20 South African magazines and twice in The New York Times, in Feb. 2007 and Feb. 2008. A short film was made for my product. We now have a studio to work in.

We still have a long way to go to make more products and to be more established with different business people and organizations. But I saw my dream come true and I will keep trying even harder.

-Willard Musarurwa

Founded in 1976, Aid to Artisans is an international development nonprofit that helps craftsmakers around the world build income generating businesses in a culturally and environmentally sensitive manner. Over the past 10 years, Aid to Artisans has helped bring income to 125,000 artisans in 41 developing regions where livelihoods, communities and craft traditions are at risk. Aid to Artisans is currently working on several initiatives in countries including India and Colombia, where a civil war continues to ravage the Choco Region. To learn more and how you can help, go to: http://www.aidtoartisans.org/.

Fashion pays homage to Africa

At the moment, the fashion industry is in love with Africa again.

You can see its influence in Dries van Noten’s heels with tribal roots at By George’s flagship store and in the printed frocks at nearby Anthropologie on North Lamar Boulevard. You see the inspiration in Austinite and jewelry designer Brian Crumley’s new GUAM (Global United Artisan Movement) jewelry line, which is sold nationwide at Urban Outfitter stores.

Africa is the subject of a cover story on global fashion and e-commerce, as well as a style photo shoot including Crumley’s work, in a Time magazine print supplement for April.

“Africa is so rich in its history,” New York-based fashion designer Bryon Lars told me via phone. (Lars’ line, Byron Lars Beauty Mark, is carried in Austin boutiques such as By George and the Garden Room.) “It seems like it would be tapped on a pretty regular basis,” he said.

With black culture and fashion on my mind, I caught up with Crumley, who was fresh from a 12-day visit to Nairobi, Kenya, and a stint in New York. A profile about Crumley, who was then living in New York, appeared in these pages last year. He now maintains a studio in East Austin.

So what did he learn about the fashion industry and how it’s relating to Africa?

“There’s been a shift in interest and awareness, and I don’t think it will go away,” he told me after showing me photos of his trip.

His new line, which is made from sustainable materials, is a collaboration with MADE Fair Trade Jewelry and artisans in Kenya.

All eyes might be focused on Africa for inspiration, but we can’t forget the achievements of black American designers and fashion types.

One way to see their work (and the work of others) is to go to the 51st annual Ebony Fashion Fair tour of models and clothing. The show, which comes to Austin on Saturday, includes the work of several black designers such as Kevan Hall, whose frocks are often seen on red carpets, and Stevie Wonder’s wife, Kai Milla, who has outfitted first lady Michelle Obama and Academy Award-winning actress Halle Berry. (See box for more details on the Ebony show.)

The number of traditional black American fashion designers is a small pool, and historically this group hasn’t received the same exposure non-black designers have.

“We’ve always had to work three times as hard for half as much,” Lars said.

There have been black designers who reached a high level of success in fashion. Three – Willi Smith, Patrick Kelly and Stephen Burrows – were influential in the 1970s and ’80s and laid the groundwork for black designers today.

“What they achieved was unprecedented,” Lars said.

In doing research for this column, I came across BET’s Top 10 list of black celebrity fashion designers and labels, and I was a bit surprised that it didn’t include more traditional designers.

On the list were Sean John by mogul Sean “Diddy” Combs; House of Der?on by Houston native Beyonc? and her mom, Tina Knowles; Pastry by Angela and Vanessa Simmons (daughters of Joseph “Rev Run” Simmons); Rocawear (which Jay-Z founded and later sold); Phat Fashions by Kimora Lee Simmons (ex-wife of Phat Farm founder and Def Jam Recordings co-founder Russell Simmons); Todd Smith by rapper L.L. Cool J; Apple Bottoms (which has ties to rapper Nelly); Billionaire Boys Club and Ice Cream (which was co-founded by Pharrell Williams); and Benjamin Bixby by Andr? 3000 of music duo OutKast.

The only designer on the list without a direct connection to celebrity was fashion superstar Tracy Reese, the Detroit native who designs her namesake label as well as Plenty by Tracy Reese and frock! by Tracy Reese. (Her lines have been carried at Austin boutiques such as By George, Valentines Too and Physical Fit.)

The list also should have included other notable designers: Patrick Robinson, who designs Gap’s adult lines; the brilliant Lars, who’s planning to extend his line to include sizes for larger women; Edward Wilkerson, who designs women’s wear for Lafayette 148 New York; and Milla and Hall.

With the swelling interest in black culture in general, I say it’s time more emerging talent, whether here or in Africa, as well as designers who aren’t household names yet, are given strong financial backing, support among fashionistas and an opportunity to show off their sartorial skills without the need of a reality show.

“It’s an industry founded on change,” Lars told me. “There’s always a chance for anybody to be a rising star regardless of color.”

I predict big changes are coming to fashion, even if they appear to be slow and the style world an unpredictable place.

After all, I penned a column and blog entry last spring about the lack of black models in print and on the runway. The public discussion continued when Italian Vogue produced what is now a classic issue featuring all black models. In September, there were more brown faces and various ethnic groups represented on the runways at Mercedes-Benz Fashion Week in New York, and that change has carried over to this year’s shows.

In the global fashion world, Dr. John S. Rock’s phrase “Black is beautiful” now seems less like a declarative statement of empowerment and more like the way things simply will be. At least I hope that’s the case.

And here’s a sign of the changing times: Who would have thought fashion bible American Vogue, which has only had a handful of black people on its cover since model Beverly Johnson in 1974, would have Michelle Obama on its cover in March followed by Beyonce in April? I just hope it’s a starting point, and that black designers are able to claim a bigger stake in the fashion industry.

By MARQUES G. HARPER: STYLE & SUBSTANCE
Thursday, March 26, 2009
mharper@statesman.com; 445-3974

Civil Rights Center gets ‘Green’ Design

The Center for Civil and Human Rights will make an iconic statement when it opens in 2012 in downtown Atlanta.

A design by the Freelon Group and HOK Atlanta was announced Thursday as the winning entry in the architectural competition for the city’s newest cultural institution.

It features a pair of interlocking structures that suggest the linked arms of civil rights marchers. The form of the $125 million downtown facility also symbolizes solidarity among individuals that advances all human rights struggles.

Clad in terra cotta sunscreens, the building aims to balance the dignity and drama that befit an important attraction that could cement Atlanta’s growing reputation as a destination for cultural tourism and serious civil rights study.

Doug Shipman, executive director of the center, announced the winning design at the Central Atlanta Progress annual meeting. He said the proposal was a great starting point.

“It will evolve in conversation with stakeholders and the public,” Shipman said.

This same participatory approach was used in developing the content of the exhibits. They will encompass pre-movement history, the modern civil rights movement in Atlanta and Georgia, and global human rights efforts inspired by the American civil rights movement.

The exhibits, which will be experiential and interactive, cluster around a central courtyard on the lower floor of the split-level facility. The courtyard will orient visitors as they weave through exhibits and bring light into the halls.

Although the center is not an artifact-oriented institution, access to the Rev. Martin Luther King Jr.’s papers will be an important feature. That display will occupy the highest point of the building.

Its location at Ivan Allen Jr. Boulevard and Techwood Drive nods in the direction of King’s home, church and the civil rights history of Auburn Avenue.

Because the center is intended as a place of dialogue and action on issues related to civil and human rights, it will include a theater with its own entrance and an event space overlooking Pemberton Place.

Arguing that environmental safety is a human right, lead architect Philip Freelon, whose 60-person firm is based in Durham, N.C., pledged to deliver a building that would exemplify the best practices for sustainable design. Its striking “green” roof, topped with sustainable vegetation, is only the most visible evidence.

Freelon, who received the 2009 Thomas Jefferson Award for Public Architecture from the American Institute of Architects, brings experience gained from projects devoted to similar topics. Among them: the Museum of the African Diaspora in San Francisco and the Reginald F. Lewis Museum of Maryland African American History and Culture in Baltimore. The Harvey B. Gantt Center for African American Art & Culture in Charlotte opens this fall.

His firm worked on the master plan for the National Museum of African American History and Culture in Washington and is on a team vying to design it.

THE CENTER FOR CIVIL AND HUMAN RIGHTS

> Where: On a sloping 2.2 acres north of the World of Coca-Cola and across from the Georgia Aquarium

Cost: $125 million, including $25 million endowment. $60 million raised so far

> Groundbreaking: Late 2009, if fund-raising reaches $85 million to $90 million

> Projected opening: 2012

By Catherine Fox – March 27, 2009
From The Atlanta Journal-Constitution

Black Design Summit 2008 – UIC Innovation Center – Chicago, August 2008.

Brian Stone addresses the Black Design Summit attendees.

Brian Stone addresses the Black Design Summit attendees.

Black Design Summit 2008 – UIC Innovation Center – Chicago, August 2008.

Joi Roberts reviews action timeline.

Joi Roberts reviews action timeline. Black Design Summit – UIC Innovation Center – Chicago, August 2008

Black Design Summit – UIC Innovation Center – Chicago, August 2008.

Black Design Summit Attendees concentrate on the topic at hand during the day long session.

Black Design Summit Attendees concentrate on the topic at hand during the day long session. Black Design Summit – UIC Innovation Center – Chicago, August 2008

Black Design Summit – UIC Innovation Center – Chicago, August 2008.

Black Design Summit Attendees enjoy a moment during the day long session.

Black Design Summit Attendees enjoy a moment during the day long session. Black Design Summit – UIC Innovation Center – Chicago, August 2008

Black Design Summit – UIC Innovation Center – Chicago, August 2008.

Joi Roberts leads a breakout session.

Joi Roberts leads a breakout session. Black Design Summit – UIC Innovation Center – Chicago, August 2008

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