Hasta La Ideas

Text & Photos by Patty Johnson

Core 77’s excellent series Apocalypse 2012: The End Starts Here saw ‘mild polemics‘ and lively discussions used to demonstrate and suggest new roles for design at the beginning of the end of time. But what about designing in the apocalypse? Or, more accurately, in places that do not enjoy the easy availability of first world design practice.

All over the world, or rather the real futuristic world we live in where everything is indeed made by hand, artisans continue to make things that are essential to culture, history and most important livelihood. The artisan sector is the second largest employer after agriculture in the developing world. It is the only cultural industry where developing countries are the leaders in the global marketplace, with trade totalling over $23.2 billion annually.

Current design approaches and systems are, to a very great extent, dissociated or disengaged from the needs of ‘people-on-the-ground’ and from the capacities of local production processes. Contemporary product aesthetics that fail to capture consumers’ attention are a result and reflection of this sense of detachment and ill-advised development. In order to create products that are at once sustainable, locally meaningful and globally marketable, it is imperative to begin developing, or perhaps retrieving, these integral connections.

So what about designing in Haiti? Not with the assumption that the nature of “first world” design practise and problem solving is appropriate for all situations as frequently demonstrated by the continued use of developing countries as part of a vast outsourcing system of product manufacture. Instead, what about a commercial design project in Haiti?

Haiti: media whipping boy; poster child for poverty and chaos; site for the projection of our collective fears—it has endured both metaphysical and real slings and arrows. It was the first country to take independence through rebellion—Haitians ousted Napoleon and for their efforts paid billions in reparations to compensate France for its loss of men and slaves over the next centuries. They have endured trade embargos by France and the United States. Haitian Voodoo has been pilloried and stereotyped by Hollywood. And, of course, they have recently barely survived a devastating earthquake.

And through all of this, Haitian artistic culture has continued to innovate and adapt proving a robust challenge to our common exclusion of things on the edge.

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