omoting ‘by all practicable means the improvement of design in the products of British industry’.
Nearly 75 years later and our purpose and activities have evolved tomeet the economic and social needs of the day. However, from our early focus on elevating the UK’s industrial design standards in post-war Britain to our current work tackling complex socio-economic challenges, we've always championed design and its ability to make life better for everyone. In 2011, Design Council was merged with the Commission for Architecture and the Built Environment (CABE). This extended our remit to include design in the built environment, and its ability to help shape healthier, more inclusive places.
We aim to inspire new ways of thinking drawing on design tools and techniques, encourage public debate and inform government policy. We build on the successes of our past to improve life today and help meet the challenges of tomorrow. Browse through our timeline here to learn more about the work of Design Council and design’s historical contribution to the UK.The Design Centre, in London's Haymarket, was officially opened on 26 April 1956 and [IT] was whilst studying Art at GCE 'O' Level that our class went on our visit, and where for the first time I saw an exhibit of Dieter Rams work in the form of his design for a modern radio, that was not made out of bakelite !!!???
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ons, from a sculpture made from ocean plastic to chiselled outdoor seating.
Celebrating its 20th anniversary this year, London Design Festival is one of the world's leading design events and a staple in the UK's cultural calendar. To mark the anniversary, more than 300 events across 12 design districts will operate across the capital city from 17 to 25 September.
Visitors can expect a varied roster of events including installations, workshops, exhibitions and product launches, as well as showroom tours, talks, trade fairs and other fringe events.
Activities set to take place on Monday 19 September will be rescheduled to honour Queen Elizabeth II's funeral.
See Dezeen Events Guide's digital guide to London Design Festival 2022 for more information on the many events taking place at this year's festival.
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Added by Michael Grove at 11:05 on September 20, 2022
cientific visualization, computer graphics, entrepreneurial business, art and design, history of science,
visual aspects of cultural and economic history.
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Added by Michael Grove at 10:09 on February 12, 2011
oposed natural selection, he faced at least as much resistance as Wegener; although his theory explained myriad observations, nobody had actually seen finches evolving. Likewise, the effects of our own collective activity—such as climate change and loss of biodiversity—are almost invisible to us, because the impact spans the whole planet, growing over centuries. Like plate tectonics and evolution, the arrival of the Anthropocene epoch is not a human-scale phenomenon. Buckminster Fuller conceived the Geoscope as a tool to help humans attain a global perspective, to see worldwide events and to probe geological time. It was to be an instrument for scoping Earth’s patterns—an instrument of comprehensive anticipatory design science. And though it was never built adjacent to the United Nations, he always carried one in his head. In order to anticipate comprehensively, the present-day design scientist must do as he did. Design scientists must be sensitive to natural patterns of change and human patterns of activity, extrapolating from fragmentary evidence. In the Anthropocene, these patterns will be interrelated. And since human activity is the driving force, they not only can be observed but also can be impacted. However, patterns must be detected before they become settled, before the consequences are foregone conclusions. Unlike Wegener and Darwin, the design scientist cannot be passive. There” Jonathan Keats, You Belong to the Universe: Buckminster Fuller and the Future
https://www.facebook.com/photo.php?fbid=1431992866828960…
Added by Michael Grove at 23:01 on February 14, 2019