References from the reading list:

Colomina, B., & Wigley, M. (2019). Are We Human? Notes on an Archaeology of Design (pp. 9–29). Zurich: Lars Müller Publishers.

‘Are We Human? Notes on an Archaeology of Design’ is a text co-authored by Beatriz Colomina and Mark Wigley that explores the relationship between design and the human condition. The text is part of the 2016 Istanbul Design Biennial catalogue and offers a thought-provoking examination of the role of design in shaping and reflecting human identity and culture.

The authors argue that design, which encompasses architecture, products, and various aspects of the built environment, has played a significant role in shaping our understanding of what it means to be human. They propose that design has not only accommodated human needs and desires but has also been instrumental in constructing and deconstructing our perception of humanity. Colomina and Wigley also explore how design and architecture have influenced social and political structures, as well as how design has evolved in response to changing cultural and technological contexts.

In my recent experiments, I have aimed for accessibility and simplicity, but ‘Are We Human?’ has prompted me to consider a more interdisciplinary and human-centred approach, considering different design media. The text has opened my eyes to the broader implications and influences of design on the human experience, making me more conscious of the potential interdisciplinary dimensions of my practice. This new perspective has been instrumental in shaping the evolution of my creative process as I strive to introduce morally guided design practices in real life. 

Calvino, I. (1974). Invisible Cities (pp. 5–35). Orlando: Harcourt Brace & Company.

Italo Calvino’s ‘Invisible Cities’ is a novel that takes the form of a series of prose poems and dialogues, presenting a fictional conversation between the Venetian explorer Marco Polo and the ageing emperor Kublai Khan. In these conversations, Marco Polo describes a vast array of cities he has purportedly visited during his travels, each with its own unique and imaginative characteristics. The imaginative and symbolic cities described by Marco Polo blur the boundary between reality and fantasy, encouraging me to explore the power of creativity and imagination in my own work.

‘Invisible Cities’ is a philosophical work that invites personal reflection on storytelling and the influence of design on human understanding. This reference inspires me, emphasising the potential of creative storytelling and design to shape perceptions and deeply engage readers, aligning with my goal of crafting compelling and educational experiences.

My recent studio-based projects have revolved around iterating children’s books to serve as moral guides and experimenting with ‘Wimmelbilder’ (Engl.: teeming image) for educational purposes through gamification (a ‘Wimmelbild’ is a detailed and intricate type of illustration, often found in children’s books, that features a multitude of characters and objects, encouraging viewers to explore and discover hidden elements and stories within the larger picture).

I find a connection between the novel’s abstract cities and my efforts to make the unseen visible through design. Calvino’s exploration of memory, identity, and human existence resonates with my holistic approach to design, combining digital and analogue elements to create engaging experiences for readers.

Reference outside the reading list:

Mieder, W. (1997), ’The Politics of Proverbs: From Traditional Wisdom to Proverbial Stereotypes’, UW Press

Wolfgang Mieder’s essay, ‘The Politics of Proverbs: From Traditional Wisdom to Proverbial Stereotypes’, delves into the dual nature of proverbs, revealing how they can convey both traditional wisdom and perpetuate stereotypes. This exploration of proverbs’ influence on social and political dynamics, including their role in political discourse and decision-making, offers a valuable perspective.

In my creative practice, this reference prompts me to consider the complexities surrounding the use of proverbs. It reminds me that while proverbs can serve as vehicles for moral guidance, they are not immune to broader cultural and political influences. Therefore, it’s essential to be discerning when selecting and employing proverbs, ensuring that they convey not only timeless wisdom but also uphold ethical and unbiased values. This awareness informs my approach to creating narratives in my projects, emphasising the need for thoughtful and responsible use of proverbs to foster compelling and ethical storytelling. 

Project and Practices:

John Jacques & Sons. (1870). Proverb Playcards [Playing cards with proverbs]. John Jacques & Sons.

John Jacques & Sons Proverb Playcards, or simply ‘Proverb Playcards’, is a deck of playing cards with a unique twist. Each card features not only the traditional suits but also a proverb or saying. These sayings are typically short, well-known phrases or idiomatic expressions conveying wisdom or moral lessons. In the 19th century, these cards gained popularity for their intriguing twist on traditional card games, adding an intellectual and reflective element. Players were challenged to match and discuss the proverbs on the cards, enhancing the entertainment experience while prompting contemplation of timeless wisdom.

In the context of my creative practice, ‘Proverb Playcards’ offer a seamless alignment with my project. In my last projects, I utilised proverbial expressions to convey moral guidance, especially within children’s books, and I enjoyed experimenting with visually representing these sayings. The cards serve as an engaging reference that complements my goal of making wisdom accessible. Much like the cards encourage players to explore and discuss proverbs, my work aims to provide an enjoyable means for audiences to absorb essential life lessons. The iconographic expression on these cards, blending traditional playing card elements with proverbs, provides a compelling source of inspiration for my design experiments. Ultimately, my objective is to convey wisdom and moral lessons in an accessible and engaging manner, paralleling the approach of these creative and thought-provoking cards.

Bruegel, P. (1559) Netherlandish Proverbs. [Oil on wood]. Staatliche Museen zu Berlin – Gemäldegalerie, Berlin, Germany.

Pieter Bruegel the Elder’s painting ‘The Netherlandish Proverbs’ (1559) is a renowned masterpiece that offers a unique perspective on the depiction of proverbs and idiomatic expressions within a visual context. Created in the 16th century, this artwork presents a lively and crowded village square in a Flemish setting, featuring a multitude of characters engaged in various activities. What makes this painting particularly intriguing is that it integrates over 100 proverbs and idiomatic expressions that were prevalent in Netherlandish culture at the time.

Within this intricate and elaborate composition, Bruegel masterfully brought these proverbs to life by incorporating them into the actions and interactions of the depicted characters. Some proverbs are readily apparent, such as ‘holding the world on a string’, where a man is seen precariously balancing a globe on a tightrope. Others are more subtle, like ‘banging one’s head against a brick wall’, which is literally illustrated by a man doing just that. The painting, in essence, becomes a visual puzzle, inviting viewers to decipher the proverbs and their underlying meanings.

This puzzle, where the proverbs and idiomatic expressions are both humorous and satirical, allowed viewers to engage with the painting actively as they tried to decipher the meanings behind the various scenes and actions of the characters. Proverbs were widely used in the Netherlands during Bruegel’s time due to their succinct and memorable nature, making them a practical means of conveying complex ideas through oral communication. They held cultural significance, were used for moral instruction, and were accessible to people of all backgrounds. Their universal themes made them relatable to a broad audience, and in “Netherlandish Proverbs,” they added layers of meaning, bridging the visual and intellectual aspects of the painting for viewers to reflect on familiar expressions and their moral messages.

Bruegel’s work encouraged viewers to reflect on the wisdom and folly inherent in human behaviour. It prompted contemplation of the absurdity of certain actions and the consequences of misguided choices. Through his detailed depictions and clever use of symbolism, he managed to convey a complex and multi-layered message about the society of his time. It is a testament to the capacity of visual art to convey complex concepts, offering a playful yet thought-provoking exploration of the intricacies of language, culture, and human interactions.

In the context of my projects, which focus on using proverbial expressions as moral guides and experimenting with ‘Wimmelbilder’, Bruegel’s ‘The Netherlandish Proverbs’ becomes a highly relevant and inspiring reference. It showcases the potential of visual storytelling to engage and challenge viewers while conveying deeper insights into human behaviour and culture. Much like Bruegel’s approach, my experimentations aim to convey wisdom through visual means, encouraging audiences to explore and interpret the meaning behind the imagery, making this historical masterpiece a rich source of inspiration.

Hoffmann, H. (1809-1894). Der Struwwelpeter oder lustige Geschichten und drollige Bilder. Leipzig: Infel Verlag, [s.d.].

Heinrich Hoffmann’s ‘Struwwelpeter’ is a 19th-century German children’s book consisting of cautionary tales in verse and illustrations. The book features ten stories, each depicting a child’s misbehaviour and its dreadful consequences. Some of the tales include ‘Shockheaded Peter’, a boy who refuses to groom himself and becomes an outcast; ‘The Story of Cruel Frederick’, who mistreats animals and ultimately meets a grim fate; and ‘Fidgety Philip’, whose restlessness leads to disaster. Hoffmann employs humour, satire, and dark humour to convey the moral lessons. His use of vivid rhymes and grotesque illustrations makes the tales memorable.

In the framework of my creative projects and the array of references provided, Heinrich Hoffmann’s ‘Struwwelpeter’ emerges as a pivotal work, offering a distinctive perspective on the conveyance of moral guidance and audience engagement through creative expressions.

‘Struwwelpeter’ employs the methodology of utilising well-established sayings or proverbs as vehicles for delivering moral lessons. However, it distinguishes itself with a unique and satirical approach. While my projects are geared towards the dissemination of wisdom in an engaging manner, Hoffmann’s approach is characterised by a brand of dark humour and the imposition of exaggerated consequences for children’s misdeeds. This approach infuses an additional layer of entertainment into the delivery of moral lessons, akin to the concept of ‘Proverb Playcards’, where education interweaves seamlessly with amusement.

‘Struwwelpeter’ resonates with ‘Invisible Cities’ by Italo Calvino in its use of vivid rhymes and storytelling. Calvino’s book explores the power of imagination and storytelling, while Hoffmann’s utilisation of rhyming verse instils a rhythmic and engaging quality into his tales, thereby enhancing their memorability for young readers. Both works harness creative storytelling techniques to convey messages; ‘Invisible Cities# immerses readers in imaginative cityscapes, while ‘Struwwelpeter’ seeks to impart moral wisdom.

The appropriation of Hoffmann’s stories by numerous designers and authors attests to their magnetic yet disquieting allure, echoing the core of design experimentation that is integral to my projects. Much like my exploration of the playful facet of iconographically expressing various sayings, Hoffmann’s stories have been reimagined by others, underscoring the enduring appeal of his approach in conveying moral lessons in an engaging and thought-provoking manner.

Regarding the intended audience, ‘Struwwelpeter’ was originally penned for children, akin to the core focus of my projects in crafting compelling narratives designed to serve as moral compasses, particularly for a younger audience. The enduring relevance of Hoffmann’s work across generations underscores its capacity to resonate with both children and adults, mirroring the way ‘Are We Human?’ by Beatriz Colomina and Mark Wigley delves into design’s profound influence on the shaping and reflection of human identity and culture, a concept that engages a wide-ranging audience.

In essence, ‘Struwwelpeter’ significantly enriches the canvas of my creative endeavours by offering a distinct approach to the delivery of moral guidance and the establishment of a profound connection with the audience. It mirrors my penchant for incorporating proverbs, storytelling, and the spirit of design experimentation, highlighting the vital fusion of education with entertainment to craft indelible and influential experiences.