Social responsible
The idea that designing and building the physical environment carries social and ethical responsibilities is not new, socially responsible design practices can be traced back at least as far as the Industrial Revolution when designers and theorists such as William Morris and John Ruskin were responding to the socio-spatial conditions they perceived. In her research, historian Delores Hayden traces a number of socio-spatial alternatives that were developed in the 19thand early 20th centuries. Many of the efforts undertaken as part of New Deal policies in the 1930s can be considered socially responsible, and the 1960s saw a flourishing of alternative practices and environments. But since the building boom of the early 21st century and subsequent market crash, there has been a growing discussion of socially responsible design.
Socially responsible design goes by a number of names (including Design Activism, Public Interest Design, Human-Centered Design, Social Impact Design, Social Design) and has not been formally defined, but it is generally characterized by attitudes that value justice, equality, participation, sharing, sustainability, and practices that intentionally engage social issues and recognize the consequences of decisions and actions.
Social responsibility in design industry
1. Social responsibility in graphic design has advocates in both the private sector and the public sector, in large organizations and small, and on an individual basis.
2. Socially responsible design is an attitude that emphasizes the needs and experiences of people over concerns of form or aesthetics.
3. Socially responsible design may grow out of a radical (Marxist, feminist, queer) perspective that critiques conventional practice and current socio-spatial conditions—as well as the underlying systems of commodification, subjectification, and exploitation—and seeks alternatives that are more just, accessible, and equitable.
4. Socially responsible design may come out of a humanist perspective that emphasizes the cultural value and meaning of places, idealizes democratic civic engagement, and welcomes utopian visions of alternative socio-spatial futures.
Social responsible designers
Milton Glaser.
Milton Glaser is among the most celebrated graphic designers in the United States.
Glaser is more of a legend among graphic designers, his graphic and architectural commissions include the logo (which has been described as ‘the most frequently imitated logo design in human history’), commissioned by the state of New York in 1976, the design of a 600-foot mural for the New Federal Office Building in Indianapolis in 1974; the complete graphic and decorative programs for the restaurants in the World Trade Center, New York, as well as the design of the Observation Deck and Permanent Exhibition for the Twin Towers of the World Trade Center in 1975.
He has also designed a number of architectural projects including Sesame Place, a children’s educational play park in Pennsylvania. For a period of fifteen years, Milton Glaser was involved with the re-design of a principal American supermarket chain, The Grand Union Company, a project that included all the company architecture, interiors, and packaging. He was responsible for the interior design and concept for the 1987-88 Triennale di Milano International Exhibition in Milan, Italy, on the theme of "World Cities and the Future of the Metropolis".
Milton Glaser is a artist that concerns about the society, the ethics of designers, the morality, environment and so on. He does not hesitate on expressing his concerns and his opinions on the society and use his power to influence more and more designers to pay attention on their socially responsibility.
Like his passion on design works ,he publishes his opinions on social events or his advises to other designers in essay form, post the debate and raise the conscious of social responsibilities.
Milton Glaser often says, "Good design is good citizenship." And it applies to his art works as well, when Milton Glaser was illustrating Dante's Purgatory, he become interested in the "Road to Hell" and developed a little questionnaire to see where he stood in terms of his own willingness to lie. Beginning with fairly minor misdemeanors, the following twelve steps increase to some major indiscretions.
A dozen additional steps of varied consequence could be added, but Glaser's list addresses a significant range of contentious issues. Designers are called upon to make routine decisions regarding scale, color, image, etc. -- things that may seem insignificant but will inevitably affect behavior in some way: An elegant logo can legitimize the illegitimate; a beautiful package can spike up the sales of an inferior product; an appealing trade character can convince kids that something dangerous is essential.
Another essay:Shooting Range Target:
Designer is a magical job, it educates people, gets into their mind unconsciously, it persuades, seduces, promotes an idea without your notice.
That’s why we need to be extremely careful with what we deliver to our audience, we have to raise our conscious on our social responsibilities.
Talented designers are predisposed to create good-looking work. We are taught to marry type and image into pleasing and effective compositions that attract the eye and excite the senses. Do this well, we're told, and good jobs are plentiful; do it poorly and we'll produce junk mail for the rest of our lives. However, to be what in this book we call a "citizen designer" requires more than talent. As Glaser notes, the key is to ask questions, for the answers will result in responsible decisions. Without responsibility, talent is too easily wasted on waste.
*In additional, Milton Glaser also concerns about the education that young designers get. From the start of his career, Milton Glaser has been an active member of both the design and education communities.
The Ethical Queen of UK
British designer Vivienne Westwood, as renowned for her fire-coloured hair as her feminine designs, is has taken up a leading role in ethical fashion for a long time.
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