Adriana Eysler / 1st jury prize in the competition
Name Adriana Eysler
 
Age 25
 
City London (mainly)
 
Contact aeysler@gmx.de
 
Websites limitedlanguage.org
attainable-utopias.org
 
Curriculum vitae
creative work (extracts):
Co-Editor of design book "Agents of Change" published by Goldsmiths College, June 2006
Offer to participate in the Institute without Boundaries at Bruce Mau Design, Toronto.
Member of multi-disciplinary design group Agents of Change, London; we are a playful, yet thoughtful design group // current projects: a publication on designers as "Agents of Change" (after B. Fuller) and open-source Online Forum "Agency of Change".
Member of Design and Language Research Group, Goldsmiths College; seeking new/appropriate methods of design writing; challenging and expanding existing design vocabulary
Design consultant, Chanteclaire Art Space, Tokyo; graphic design/CI and curatorial consultancy
Visiting Lecturer, London College of Communication; design workshops for 2nd year BA Illustration students, based on performance/ scenography
Residency with Siobhan Davies Dance Company (SDDC); working alongside choreographer Siobhan Davies, the companies dancers and collaborators; stage design/sound/posters/writing
 
education:
MA Design Futures, Goldsmiths College, University of London
BA Graphic and Media Design, London College of Communication, University of the Arts London
 
What are you doing right now?
I'm preparing to go to Berlin to work on a film project; I want to explore the TimeSpace (Chronotope) of the Berlin Wall: I'm interested less in the Wall itself, but in physical/material changes surrounding/overlaying it and in collective memory.
 
What is your understanding of designing?
Design is a tool to explore complex situations and communicate things that would otherwise go unsaid/noticed. It might well be the most demanding, playful and hopeful profession.
 
What are criteria, that make a project interesting for you?
It foremost needs to have potential. potential in a sense that there are things to discover that you can't see initially. I like non-preestablished purpose and the fact that we (can) have trust in our abilities to allow for process that will eventually lead somewhere we never thought could reach.
It needs to be human-centered and incorporate play. If there is no room for play then I'm not interested. I have worked a lot with performers/dancers, and have adopted elements of their way of working. They really understand space/time, improvisation, movement and embodied knowledge. Projects that interest me usually have something to do with physicality and encounters.
 
On what kind of "Postdindustrial Design" projects have you been working on?
I have always sought dialogue with people in and outside of my field. I think this is the key to my definition of postindustrial design.
Dialogue. I have a strong sense what my work is about, what I'm interested in, but I think it is only in collaboration that the work really lifts off. I'm increasingly looking more at the wider contexts of contemporary life; especially urban life. I have been writing/working on Shrinking Cities, Engaging Environments and Chronotopical reading. I would like to teach/work more with design colleges.
 
What should be the main skills of a Postindustrial Designer?
Holistic thinking. A significant text for me was David Bohm's Wholeness and the Implicate Order. David Bohm was a theoretical physicist, and what he inherently understands and beautifully describes is the way everything is connected in an undivided wholeness of flowing movement. He says that the world needs to be looked at in relations and not categories.
Being agents. At Goldsmiths we like the idea of the agent, somebody who observes and anonymously infiltrates environments, until he becomes active and evokes change.
Understanding purpose. "Change is adaptation without purpose". (Ken Fairclough) I'm bored of design-for-design. I can't believe how much money is provided for this by the industries.
 
e-Mail interview, July 1st, 2005
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