The International Organization for Standardization is an international non-governmental organization that coordinates the development of voluntary technical standards.

ISO is a network of the national standards institutes of 146 countries with a Central Secretariat in Geneva, Switzerland, that coordinates the system. National standards institutes, not governments themselves, are eligible for membership. Each country sends only one member, and each member has one vote.

The ISO does not regulate or legislate. It’s standards are developed by international consensus among “experts drawn from the industrial, technical and business sectors... experts from government, regulatory authorities, testing bodies, academia, consumer groups or other relevant bodies.”

“There are more than 2,850 of working groups in which some 30,000 experts participate annually. This technical work is coordinated from ISO Central Secretariat in Geneva, which also publishes the standards.

Since 1947, ISO has published more than 13,500 International Standards. ISO’s work programme ranges from standards for traditional activities, such as agriculture and construction, through mechanical engineering to the newest information technology developments, such as the digital coding of audio-visual signals for multimedia applications.

Standardization of screw threads helps to keep chairs, children’s bicycles and aircraft together and solves the repair and maintenance problems caused by a lack of standardization that were once a major headache for manufacturers and product users. Standards establishing an international consensus on terminology make technology transfer easier and can represent an important stage in the advancement of new technologies.

Without the standardized dimensions of freight containers, international trade would be slower and more expensive. Without the standardization of telephone and banking cards, life would be more complicated. A lack of standardization may even affect the quality of life itself: for the disabled, for example, when they are barred access to consumer products, public transport and buildings because the dimensions of wheelchairs and entrances are not standardized.

Standardized symbols provide danger warnings and information across linguistic frontiers. Consensus on grades of various materials give a common reference for suppliers and clients in business dealings.

Agreement on a sufficient number of variations of a product to meet most current applications allows economies of scale with cost benefits for both producers and consumers. An example is the standardization of paper sizes.” [source]

The internatinoal technical standards also include international safety standards for products including toys (ISO 8124-1:2000), camping tents (ISO 5912:1993), bicycles (ISO 4210:1996), and contraceptive devices (ISO 8009).

In 1987, the ISO expanded to develop “generic management system standards.” ISO 9000 is set of a quality management guidelines that apply to all kinds of organizations in all kinds of areas. Once the a quality system is in place, an accredited external auditor can certify that your quality system has met all of ISO’s requirements. They can then issue official certification that you can use to publicize that the quality of your products and services is managed, controlled, and assured by a registered ISO 9000 quality system.

ISO 7001, “Graphical symbols for use on public information signs,” is a set of international symbols based on the “ISOTYPE” system of icons and pictograms introduced by Otto Neurath in the 1936. However, soon after the 7001 was published, it was determined that the standard international symbols did not have a standard meaning or clarity in every country. Published in 1989 and revised in 2001, ISO 9186 is a procedure for user testing of graphic symbols to determine which symbols communicate the intended meaning most readily to most people. There are two main test methods: a comprehensibility judgment test and a comprehension test. [source] Pictograms with exceptionally high comprehensibility in several countries can eventually become part of the ISO 7001 set.

ISO 13407 “Human centred design processes for interactive systems” provide guidelines for the planning and management of usability testing in the development of computer systems.

In 1993, the ISO established a technical committee, ISO/TC 207 to develop standards for “Environmental management.”

“This move was a concrete manifestation of ISO’s commitment to respond to the complex challenge of “sustainable development” articulated at the 1992 United Nations Conference on Environment and Development in Rio de Janeiro. It also stemmed from an intensive consultation process, carried out within the framework of the Strategic Advisory Group on Environment (SAGE). SAGE was set up in 1991 and brought together representatives of a variety of countries and international organizations — a total of more than 100 environmental experts — who helped to define how International Standards could support better environmental management.

Today, national delegations of environmental experts from 66 countries participate within ISO/TC 207, including 27 developing countries. In addition, 35 international non-governmental and business organizations participate as liaison organizations. The national delegations are chosen by the national standards institute concerned and they are required to bring to ISO/TC 207 a national consensus on issues being addressed by the technical committee. This national consensus is derived from a process of consultation with interested parties in each country.” [source]

The committee works in hand with ISO/TC 176, which develops the ISO 9000 family of standards for quality management and quality assurance.

“ISO 14000 refers to a series of voluntary standards in the environmental field under development by ISO. Included in the ISO 14000 series are the ISO 14001 EMS Standard and other standards in fields such as environmental auditing, environmental performance evaluation, environmental labeling, and life-cycle assessment. The EMS and auditing standards are now final. The others are in various stages of development.” [source]

ISO 14001 certification remains valid for three years and requires audits performed at least annually.

While U.S. environmental regulations do not apply outside of U.S. territory, ISO 14001 applies to all of your operations:

“Perhaps the most significant factor accelerating ISO 14001 compliance is the ever-increasing globalization that characterizes the auto industry. More and more, auto manufacturing is mirroring airplane manufacturing: parts and components might be manufactured anywhere, and assembly might occur anywhere.

This means that a single automaker can have multiple facilities all over the world, under the same corporate umbrella, which require a consistent EMS and measurable results in order to operate competitively. ISO 14001 is one of the best ways to ensure that these needs are met.” [source]

UPDATE: See my August 5, 2003 blog post ISO 14001 Reconsidered.

On April 11, 2003 the U.S. military released their list of most-wanted senior Iraqi government in the form of a deck of playing cards.

The cards were designed by staff of the Defense Intelligence Agency and the 3401st and 3418th Military Intelligence Detachments. One of the designers, Sergeant Scott Boehmler, 27, an Army reservist from Hazleton, Pennsylvania reports, “We understood what guys like to do on their downtime. This is an effective way of getting these images in the soldiers’ minds.”

Images can be downloaded from the Department of Defense Web site in HTML or PDF.

Production of the cards was widely covered in the U.S. mainstream media and treated as a significant event in the war. Subsequent reports of the arrest of Iraqi officials frequently refer to the list, even noting when an arrested official is not on the list. The reports are occasionally illustrated with an image of said official’s playing card.

The decks have also become enormously popular with the public. Web sites have sold hundreds of thousands of decks. As of May, one company reported $1.5 million in sales. It’s one thing to sell a war to the public. It’s whole other matter for them to buy it themselves in droves. I’ve even seen street vendors in NYC selling the decks alongside the knockoff sun glasses and watches and received a couple of unsolicited email messages offering the decks for sale.

U.S. military personnel are the world’s largest consumers of playing cards, according to Cincinnati-based United States Playing Card Company, the world’s largest playing card manufacturer. According to Time (May 12, 2003) the extreme popularity of the most-wanted cards prompted the distributor to reissue cards created for the military in earlier wars. During World War II “spotter decks” were produced for troops to distinguish between Allied and enemy aircraft. During the Vietnam War “decks containing only the ace of spades were passed out to U.S. troops, who would display a card on their helmets to scare away the Viet Cong — supposedly superstitious about the card, which fortune tellers considered a harbinger of suffering and death.”

The cards have inspired a genre of spinoffs.

GreatUSAflags.com has followed up with U.S. Military Heroes playing cards “honoring America’s servicemen and women involved in Operation Iraqi Freedom.” The deck also features images of aircraft, ships, submarines, aircraft carriers, vehicles and missiles deployed in battle.

On April 25, global justice group, the “Trade Regulation Organization,” released their U.S. Regime Change cards [image, PDF 6MB]. The group, “estimating that the U.S. governing regime is no longer consistent with world peace or prosperity, hopes that the playing cards will show the way to regime change and, eventually, large-scale war crimes proceedings.”

On May 1, Greenpeace International released a deck of “most wanted” cards depicting the nuclear powers of the world. [PDF, 96K] “This deck is designed to help delegates to the Non-proliferation Treaty meeting recognise owners of weapons of mass destruction. Packed with nuclear weapons of mass destruction facts. Fun for the whole family.” Says Tom Clements, senior campaigner with Greenpeace, “It ties the anti-war message together with the disarmament message.”

On May 7, the conservative Web site NewsMax announced the Deck of Weasels [image] which features images of anti-war celebrities and politicians includes Michael Moore, Tim Robbins, Jacques Chirac, Barbara Streisand, Teddy Kennedy, Kofi Annan, Vicente Fox, Jean Chretien, Senator Ted Kennedy and Robert Byrd. Each card features a quote by the celeb opposing the U.S. invasion of Iraq. Each of the photographs has been altered so each figure wears the beret of Saddam Hussein’s Republican Guard.

On May 15, the Ruckus Society released America’s War Profiteers, a deck of cards identifying 53 individuals and institutions in the oil, military, government, media, and policy sectors. “The groups’ aim is to expose, ‘The links among corporations, institutions, and government officials that profit from endless war.’” The site also features a good set of links to articles and campaign pages.

On May 23, Nitestar Productions released “The Deck of Republican Chickenhawks,” depicting the 54 Republican officials, congressmen, politicians and pundits who avoided serving their country through connections, deferments, or other excuses.” Needless to say, many of the officials vigorously supported the U.S. war on Iraq. The deck was inspired by a list maintained by the New Hampshire Gazette of Republican politicians and pundits who have never served in armed combat.

Still other decks reported in the May 18 Washington Post:

“Republicans in the Texas legislature had cards made depicting the state’s ‘most-wanted Democrats’ — the lawmakers who fled to Oklahoma to scuttle a vote on a bitterly contested Republican redistricting plan....

Inspired by the Pentagon’s cards, Frances Gomez, 23, decided to print up card sets featuring her top 55 Cuban villains. But just before the printing order was sent out, Gomez tweaked her plan in hopes of really sticking it to Fidel Castro. She decided to make the cards look like dominoes, the real king of the board games in Little Havana and just about anywhere else that Cubans gather.

So, instead of being the ace of spades — the card reserved for Saddam Hussein in the Pentagon’s deck — Fidel is the Double Nine, the domino tile that no player wants to hold at the end of a game. Gomez needed help from Cuban American groups in Miami to compile her list. She was born in the United States and says, like many Cuban Americans her age, that she knew little about the details behind the deep animosity felt toward Castro and his allies by older generations that fled the island nation.

‘It’s important to learn who these people are,’ Gomez said.”

In addition to the playing cards are recent political trading cards.

In 1991, trading card publisher Topps (coordinating with the Pentagon and Navy Department) published 3 sets of Desert Storm Trading Cards. In 2001, they published a series of Operation Enduring Freedom Trading Cards.

An article in the Guardian notes:

“90 glossy cards featuring US political and military leaders, the patriotic response to the September 11 attacks, and military hardware.... The series also features a photograph of flowers laid outside the US embassy in Pakistan in the aftermath of the September 11 atrocities. No corresponding card shows the subsequent angry demonstrations against the US bombing campaign.... Topps would not directly respond to charges that the cards promoted an unquestioning view of the war to children.”

Kingsley Barham, publisher of marijuana trading cards that cover hemp history, politics, types, and uses, developed a set of trading cards about the September 11 attacks, Heroes of the World Trade Center. Despite approval from families of victims whose portraits are on the cards, the cards were met with outrage by politicians and the media. The New York City mayor Michael Bloomberg urged lawyers to find ways to prevent the sale of the cards.

Satire decks of the U.S. “war on terrorism” include American Crusade 2001+, Unofficial Iraqi Freedom Action Cards, and the images of Playing the Hitler Card, a small collection of cards with images of dictators and links to pages were they have recently been compared to Hitler.

In September, 2002 Slate published the Flash animation Corporate Scandal Trading Cards, “the fastest guide to America’s top 10 business crackups” with names and photos of CEO’s along with some statistics and a brief description of the crimes and frauds of WorldCom, Enron, Global Crossing, Adelphia, Tyco, ImClone, Halliburton, Harken, Qwest, and Andersen Consulting.

In April 2000, Texans for Public Justice produced a set of Bush League trading cards. The 20 cards feature statistics and a profile of a Bush “Pioneer” who has raised at least $100,000 for Bush’s presidential election. The profiles are drawn from TPJ’s investigation into the 212 announced Bush “Pioneers.”

On the heels of their 1989 comic book “Brought to Light: Thirty Years of Drug Smuggling, Arms Deals, & Covert Action,” in 1990 Eclipse published the original Friendly Dictator Trading Cards. The hallucinogenic artwork of Bill Sienkiewicz illustrates “three dozen of America’s most embarrassing ‘friends’, a cunning crew of tyrants and corrupt puppet-presidents who have been rewarded handsomely for their loyalty to U.S. interests.” Other political trading card sets published by Eclipse include “Drug Wars,” “The Iran Contra Scandal,” and “Rotten to the Core - New York Political Scandal,” and “Coup D’etat,” which presents theories pertaining to the assassination of President John F. Kennedy.

Douglas Rushkoff’s 1994 book Media Virus quotes journalist and Eclipse editor Catherine Yronwode:

“Our trading cards are designed so they read like Hypercard stacks. Each cross-references to other cards... They all connect, and you can rearrange them in chains of interconnectivity. Or chronologically. You can find out who someone’s boss was, how different people moved around, that this guy was in Vietnam at the same time as this guy, and then that they were both in Nicaragua at the same time, too.”

Eclipse’s “Crime and Punishment” and “True Crime” cards, which present information about serial killers and gangsters, prompted the Board of Supervisors of Nassau County to pass Local Law 11-1992 which made it illegal to disseminate “indecent crime material to minors.” From the Friendly Dictators site:

“In 1997... a U.S. federal appeals court struck down a Nassau County, New York law banning the sale of trading cards depicting ‘any heinous crime". The court found for Eclipse who had challenged the law on First Amendment grounds - cf: Eclipse Enterprises, Inc. v. Gulotta (U.S. Federal Court of Appeal, 2nd Circuit, December 1997). The expense of this court case seems to have bankrupted them - at any rate, for whatever reason, Eclipse appears to have folded. There are no web entries for the company, no listing in any of the Publishing Indexes I’ve been able to find, and all its products are out of print, as far as the big web booksellers are concerned.”

Details of the case and proceedings can be found here.

On June 4, 2003 the California Senate approved a bill that would require electronics manufacturers to recycle discarded computers and electronics equipment, and to set up and fund a recycling infrastructure. From news.com:

“If the bill is signed into law [by the state assembly and Governor Gray Davis], manufacturing companies by the beginning of 2005 would have to arrange for the recovery of 50 percent of all machines sold during the preceding year. That rate would grow to 70 percent in 2007 and 90 percent in 2010. According to the bill, just 20 percent of obsolete computers and TV sets are currently recovered for recycling. Under the bill, companies could either set up and finance state-approved drop-off programs, under which people could bring their older computers, or the companies could pay the state to do it. They would also have to develop recycling plans....

Governor Davis last year vetoed a bill similar to SB 20, but that earlier bill didn’t allow high-tech companies the option to run such programs themselves, as the new one does.

Although the current bill would affect only those companies doing business in California, the state, which is home to the tech-heavy Silicon Valley, often leads the country in environmental and other trends. Similar bills have been proposed in other states and in the U.S. Congress.”

See the text of Senate bill SB 20.

Other city and county-level initiatives mandating electronics recycling and “take-back” programs are also moving forward throughout California.

The Federal National Computer Recycling Act was introduced in the House on March 6, 2003 by Mike Thompson (Democrat, Napa Valley, California). The bill proposes a fee on all computer and peripheral sales. The fee would fund local programs to collect, reuse, resell, or recycle computer equipment. Gear would be exempt from the fee if its components are likely to be reused or disposed of properly. The bill also mandates a Congressional study on the health and environmental impact of materials used in computers. The bill covers other consumer electronics that “contain a significant amount of material that, when disposed of, would be hazardous waste.”

Environmentalist, on the board of chemical company, peddles poison products? A 19th century scandal unfolds in the 21st.

William Morris (1834-1896) was a poet, craftsman, designer, writer, typographer, socialist, an early environmentalist and design critic, and a founder of the Arts and Crafts movement. The movement in the UK and later in the United States aimed to raise the status of decorative arts, to celebrate craftsmanship and beauty in objects and furnishings. The movement was a response to industrialization, mass-production, and the alienation of workers from their craft and creativity. The movement campaigned for ethics and aesthetics in design, and celebrated craftsmanship, quality, and service it associated with the medieval guild system. Designers were encouraged to promote spiritual and humanist rather than commercial values, and to sell their wares to the public at a low price while fairly compensating the craftsman.

However, a paper published in the June 12, 2003 issue of the journal Nature finds that Morris used arsenic in the pigments of his wallpapers, despite widespread reports of its toxicity. The findings are a shocking contradiction to Morris’s design humanism.

From Wired News:

“William Morris is famous for creating beautiful tapestry designs, full of lush green leaves and vines, in the late 19th century.

A new study shows that Morris derived the color green from a dangerous source: arsenic. His father owned the processing plant that became the major supplier of arsenic used in green pigments in 1867. Morris made his own fortune from shares in the company, Devon Great Consols, and served on the board.

The researcher who performed the study found evidence that Morris turned a blind eye to the possible danger in which he placed his customers. Ironically, Morris was outspoken about his disgust with industry’s dehumanizing and polluting practices.

‘He was on the board of directors of an arsenic mining company,’ said Andy Meharg of the school of biological sciences at the University of Aberdeen in Great Britain whose study was published in Nature. ‘It is hard to believe that the health concerns of mining and processing of arsenic were not discussed at board meetings.’

Even in the late 1800s, the danger of arsenic exposure was well established. Workers at DGC suffered from painful skin lesions known as arsenic ‘pock,’ and many died from arsenic-related lung diseases, Meharg writes.

Yet Morris dismissed the assertion that arsenic was poisonous in letters to Thomas Wardle, his dye manufacturer. Wardle wrote Morris telling him that one of his customers was concerned that the wallpaper he had bought from Morris was making him and his wife sick.

‘As to the arsenic scare, a greater folly is hardly possible to imagine: The doctors were being bitten by witch fever,’ he wrote in a letter dated Oct. 3, 1885, according to Meharg.

The William Morris Gallery in London donated a small sample of one of Morris’ original wallpapers with the trellis design to analyze.

‘I analyzed the green pigment by energy-dispersive analysis and showed unequivocally that the coloration was caused by a copper arsenic salt,’ Meharg wrote. ‘The beauty that William Morris wallpapers brought to a room must have had a health cost, at least in damp rooms.’

In damp rooms, Mehard said, fungi living on the wallpaper paste turned the arsenic salts into highly toxic trimethylarsine. Arsenic pigments, which were also used extensively in paints and to dye clothes, paper, cardboard, food, soap, and artificial and dried flowers, were responsible for untold numbers of cases of chronic illness and many deaths.

The William Morris Society did not return phone calls requesting comment.

In addition to art and design, Morris was known for being an outspoken socialist as well as an environmentalist. He was a co-founder of the Arts and Crafts movement, and is described by art historians as someone who sought to ‘shift workers out of numbing factory jobs into uplifting crafts where a healthy mind, body and spirit could be achieved.’

So his dismissal of the misery that arsenic clearly caused workers in the factory his father owned — that gave him the means to start his firm, Morris, Marshall, Faulkner & Co. (later changed to Morris & Co) — is troubling. But Meharg tries to give Morris the benefit of the doubt.

‘In his defense, he was a product of his age, when environmentalism was in its infancy,’ he writes in the Nature paper. ‘He was actually a positive force in this movement. His political creed developed over several decades, and by the end of his life, when he was most revolutionary, his links with industry were in the past.’”

See coverage in the Independent or Nature’s own article about the paper. You can download the full text of the paper if you are a Nature subscriber or are willing to cough up $18 for the article.

Via Metafilter, I caught this article in The Herald-Dispatch.

Both of Toyota’s engine assembly factories in the United States have achieved “zero landfill status,” which means that Toyota sells or gives away every waste product it produces to companies that recycle the waste: metals are melted down, plastic is mixed with sawdust to make plastic lumber, sludge from the wastewater treatment plant is sent to a company in Lima, Ohio, where it is mixed with other materials to make portland cement.

“Toyota has an environmental action plan calling for, among other things, reducing total energy use by 15 percent by 2005. Management at the Buffalo plant decided to do better, aiming for 19 percent. The plant achieved its 2005 environmental goals late last year, [said Don Stewart, maintenance manager for Toyota Motor Manufacturing West Virginia.]

The Buffalo plant is operating on an even tougher environmental plan that is scheduled to be fully implemented by 2006, Stewart said. Among the requirements is the zero landfill plan. The plant had already managed to avoid sending any hazardous waste to landfills. The next logical step was to not send any waste to landfills, Stewart said.

Some Toyota plants in Japan had already met that goal, so it was attainable, he said.”

The process has required investment, as well as revision of the manufacturing process.

“Stewart said zero landfill makes sense financially in several ways. For one thing, it eliminates liability for the company decades from now should problems at a landfill need to be corrected. In many cases, federal regulators require companies that dump materials in a problem landfill to remove them.

The Buffalo plant more or less breaks even on its zero landfill program, Stewart said. For some materials, recycling is more expensive than using a landfill, he said.

Toyota’s plant at Buffalo is ISO 14001-certified, meaning it meets a voluntary international standard for environmental protection. The certification process requires that the plant have a formal environmental policy, a system designed to track the plant’s environmental performance and established mechanisms for continuous improvement.

Now that the plant has attained zero landfill status, the next step is to work with suppliers to reduce the amount of waste materials coming into the plant....

Toyota is requiring that all its suppliers achieve ISO 14001 certification by the end of this year.”

In Toyota’s text about their environmental commitment is a press release on their ISO 14001 status and Toyota’s guidelines and requirements for its suppliers. Toyota sub-contracts much of its manufacturing processes, so its suppliers handle much of the waste product.

Toyota’s Policies for Global Environmental Protection Initiatives was established in 1992. The “Toyota Earth Charter,” was revised in 2000. Toyota’s Eco-project is designed to promote these policies so to the entire company, and to apply the concept of “Totally Clean” to every stage of a car’s life cycle, from development and production to use and disposal.

In 1998, Center for Resource Solutions awarded Toyota a “green e” for the use of sustainable electricity by its California operations.

In 1999, the United Nations Environmental Programme awarded Toyota their Global 500 Award, the first such award received by an automaker.

In addition to it’s green manufacturing process, Toyota also mass produces hybrid gasoline-electric vehicles. See GreenCars.org, a rating of fuel economy and emissions by the American Council for an Energy-Efficient Economy.

See this article and this definition of Toyotism (or Toyotaism) for more on the human side of Toyota’s manufacturing process.

This entry has been updated and incorporated into An Introduction to Activism on the Internet.

I’ve been searching for a list of excellent examples of Internet activism. I couldn’t find one, so I made my own.

I’ve structured much of this list around categories outlined by Sasha Costanza-Chock in “Mapping the Repertoire of Electronic Contention,” in Representing Resistance: Media, Civil Disobedience and the Global Justice Movement, eds. Andrew Opel and Donnalyn Pompper. Greenwood, in press. Unless otherwise indicated, the quoted text below has been taken from him.

Though I’ve added some of my own commentary, this is not intended to be a full analysis of the campaigns and organizations mentioned. I disagree with the politics of many of the examples listed, but think there is something to be learned from each of the them.

There are many things I’m looking for in a book on design responsibility: some historical perspective, some global perspective, a sense of urgency, a rigorous analysis of the relationships between design and society and the world we live in.

Sadly Citizen Designer: Perspectives on Design Responsibility is none of these things.

The book is collection of essays and interviews edited by Steven Heller and Veronique Vienne, mostly, it seems, from the last 5 years and almost entirely from the United States.

Despite the title, there is almost nothing about civic design. Almost nothing about design that facilitates participation in public life. Nothing about consumer labeling, information mapping, civic wayfinding, or universal design and accessibility. Nothing about the role of design in the manufacture of consent, or how design shapes our assumptions about what is normative.

Still, though several of the essays fall flat, there are some tasty ideas to be found. The book is divided into four parts: “Social Responsibility,” “Profressional Responsibility,” “Artistic Responsibility,” and “Rants and Raves.”

Appropriation and cooption are themes that run through many of the essays. From the professional side (Don’t steal those proprietary fonts, Plagiarism is bad) to the cultural and political side. In his account of the young, hip “account planners” of the advertising industry and their use of anthropology, Tom Frank details the cooption of the rhetoric of democracy, resistance, revolution, authenticity, and individualism in the service of corporate marketing. The essay and Frank’s other work are highly recommended for design students packing their portfolios with zany and illegible self-expression.

In “Good Citizenship: Design as a Social and Political Force,” Katherine McCoy notes another kind of cooption:

“American designers consistently take European theories and strip them of their political content. Of the various strains of modernism, many of which were socially concerned or politically revolutionary, American design either chose those most devoid of political content or stripped the theories of their original political idealism.”

Indeed, several essays in the book reduce social responsibility to acts of personal salvation. Robbie Conal notes his guerilla street postering is a way of venting pent-up frustration. Gunnar Swanson’s winding essay on plagiarism ultimately settles on the fact that plagiarism is bad because it makes the “spiritual act” of designing into a “mechanical” one. The one essay on architecture is heavy on spirituality, theology, and the ethics of building. I would put all of these things into broader context. On architecture, for instance, I would have included an essay on building green, on design for public and alternative transportation, or an introduction to urban planning. Instead, discussion of affordable, accessible housing is relegated to a single mention in a footnote.

A couple of the essays locate the construction of apathy and a-politicism in design schools and design education. McCoy notes that “most introductory graphic design courses are based on abstract formal exercises inherited from the Bauhaus and the classic Basel school projects.” Design is taught as a matter of forms, color, and spacing in a visual laboratory sealed off from the world at large. The question, then, is what would a progressive design curriculum look like? How does one teach political awareness?

One exercise is given by Anne Bush. Her students are asked to study similarities and differences between intended meaning and response. “The ultimate goal for students is to recognize that meaning is always the result of a range of cultural and social negotiations and the designer is not the sole determinant, but rather a participant in these dialogues.”

Bush cites an analysis by her student Erica Wong. A poster campaign developed by the Mexican government to promote health and nutrition was interpreted entirely differently by its intended audience. The poster features a single black and white photo of a boy in traditional dress, smiling under banner type.

“The photography becomes attempts to capture indigenous culture as a kind of romantic and static essence. It becomes a kind of visual anthropology that says more about the conceptions of its makers than the reality of its intended audience. Wong, discovered through interviews with the local communities that many people misunderstood the intention entirely. For citizens bound by a strong sense of community and family, the boy in the image appeared abandoned. The people of the villages couldn’t understand why he had been left alone. They also couldn’t reconcile this sense of isolation with the posed quality of the photograph. If he was alone, why was he smiling for the camera? The synthetic, portrait-like framing combined with the celebratory dress (normally saved for special occasions) further confused the reading. Many said they initially overlooked the poster, because they thought it was an advertisement for tourism, since similar portrait images of traditional culture (usually in black and white) were a common visual theme in the marketing of Mexican heritage. Wong reminds us, however, that although depicting indigenous culture in black and white is a common representational practice it reinforces nostalgic ways of seeing and continues to locate indigenous culture in a perpetual past. Moreover, it differs greatly from the sense of color and activity that is a part of everyday reality in rural Mexican communities. For the local population, then, the poster not only mirrored the imagery of travel and promotion, but, unfortunately, also served to reinforce regional fears of government encroachment and the dissolution of traditional ways of life.”

Another running theme among several essays is the ethical relationship between design and big business. How should good designers respond to bad corporations?

Ad man Chris Riley tries to distinguish between the “business idea” and the “business model.” The abstract idea of selling a great product or relationship to a customer is opposed to the sometimes harful ways this is actually implemented. “Business” has lost its way, says he. “Business exists to serve human needs and desires, not capital requirements.” Businesses focused on maximizing return on investment “have become disconnected from their customers, employees, and shareholders.”

Another essay provides a hard look at “cause related marketing,” “a creative strategy that ties a company and its products to a social issue or cause with the goal of improving a weak public image and boosting sales, while providing benefits to a worthwhile charity.” Examples include corporations like Ben & Jerry’s, the Body Shop, McDonald’s, Reebok, Denny’s, and Chevron that sell their public works to improve their brand image, and in many cases as a way of fending off negative publicity. The skepticism of the article is welcome, citing investigations the reveal the spotty truth behind the wholesome claims of Ben & Jerry’s and the Body Shop. But the author does seem to have an axe to grind: comparing Ben & Jerry’s charitable donations to net sales instead of net profits is misleading.

Neither article suggests a way forward. Perhaps because both essays neglect a simple structural point: the corporate structure itself limits legal and financial liability and public corporations are designed to maximize shareholder return. How does one integrate social responsibility into this? Of the companies cited, Ben & Jerry’s maintains the most advanced corporate code of conduct, but it is apparently not enough to hold them to their word.

One model on the environmenal front is corporate Germany. With the largest economy in Europe, Germany has increasingly progressive laws on the use of recycled materials, waste reduction, and the use sustainable energy sources. Susan S. Szenasy paraphrases one of her industrial design students, “We have to look at the full life-cycle costs of materials, from resource harvesting to processing to manufacturing to distribution to use and recycling, or better yet, working to engineer materials for nontoxic degradation.” Ultimately, it’s up to us organize, to move our governments to tighten the rules under which corporations operate, or to develop another alternative. Designers, who know all about the materials they use, could play an important part in such campaigns.

Victor Margolin’s answer to the evils of big capitalism is to go small. His essay hails the rise of the design/entrepreneur, a kind of small producer facilitated computer aided design, the internationalization of manufacturing, and the ability to produce small custom batches for discreet markets. The examples of sustainable products developed by designer/entrepreneurs and associated community design workshops in developing countries are rightly celebrated. And, it’s conceivable that a smaller operation would do less damage and would put more control of the conditions of manufacturing into the hands of the individual designer/entrepreneur. But small scale manufacturing that takes advantage of manufacturing where environmental and labor protections are lacking... is still taking advantage of those conditions. A smaller sweatshop is still a sweatshop.

Yet even when the essays fail, they often raise important questions.

The essay “Healing with Design” abuses the language of science, making wild logical leaps to justify its new age theory of “vibrational medicine.” A fact check with a physics grad student could have saved some paper here. The essay, however, makes we wonder just how much of the effects of color are cultural and how much are biological? On that note, some notes on the cultural connotations of color environments and their responsible use would also be useful, for instance for designers working in one culture whose designs will be seen in another, say, on the Web.

David Vogler’s list of examples of irresponsible design is mostly absurd. To pick one example, The New York Times’s use of color printing is irresponsible... because it rejects a history of black and white printing? Of the Times’s serious ethical lapses, I would not list color printing as one of them. But, the exercise of developing an “index of irresponsibility” is a useful one. What criteria would one use? What patterns emerge? Why? And what should be done?

The J.D. Biersdorfer’s breezy essay on responsible Web design touches on some general issues of usability as responsibility towards one’s user (“Deception is another irresponsible practice.”) But Don Norman, in his excellent interview, makes the deeper case for usability testing and the incorporation of user feedback into the design process. Again design schools are fingered for their failure to teach this.

“Designers learn about aesthetics. They seldom learn about human psychology.... Humans are fallible. Learn that. Cherish that.... Design for people as they are, not as you would have them be. Design for inefficient users. Design for creative, imaginative people who will do things with your design that you never have dreamed of, things both good and horrid. Design for people who are tired and stressed, cranky and irritable, sloppy and inattentive. In other words, design for real people.”

This makes me wonder why the issue of design standards is wholly ignored. More designers should be aware of accessibility standards like section 508, that make Web pages easier to read for persons with different visual abilities, and coding standards set by the World Wide Web Consortium that govern the layout properties of HTML — not to mention the consensus based process by which those standards are set. Other design standards such as our national signage system or the ubiquitous nutrition facts label also deserve comment as an important area where design can contribute to society.

Several critical essays take on “culture jamming.” Little acts of civil disobedience are all well and good, but I’m not much convinced of the revolutionary potential of culture jamming. Several essays happily point out the apparent contradiction that the profiled culture jamming activists are also well employed by the advertising industry. And this actually does not strike me as a contradiction — both advertising and culture jamming occupy the same media space and market place. How exactly are Shawn Wolfe’s and Shepard Fairey’s “brands without a product” examples of responsible design? As a criticism of consumerism, the ironic slogan “OBEY” does not encourage much skepticism.

I would have dropped Jeffrey Keedy’s abusive rant on culture jamming, for Tom Keefer’s analysis of why the Adbusters school of action is a political dead end. His three main reasons:

“Their privileging of resistance in the individual act of consumption over the collective organization of production, their view of revolution as consisting of a purely subjective and highly individualized ‘mindshift’, and their insistence that the ‘revolution’ will be made on behalf of the masses by a small group of ‘culture jammers’.”

A more interesting use of corporate imagery for a broader social movement is detailed in Teal Triggs’s essay on the May Day actions in London, 2001. Activists chose the imagery of Parker Brother’s Monopoly board game as the overarching image framework for a host of autonomous direct action events planned around the city. Rather than trying to ironically subvert the symbols of the game, activists used imagery and narrative to give a visual consistency to promotion of their activities: posters of modified property deeds announced the sites of protests, or were modified with slogans like “homes not hotels.” “Get out of jail free” cards were circulated with legal information and tips on what to do if arrested. The board layout itself was used to publicize a critical mass bike ride around London.

The metaphor of the game, monopoly capitalism, was used as the narrative link between work on the environment, animal rights, fair housing, etc. and the overarching criticism of the roots of the various ills in capitalism itself. As the May Day Monopoly Guide states, the protestors vowed to bring “the whole game to an end.”

One of the best essays is on role of law in protecting and promoting brands. Like “free trade” of goods, the “free trade” of corporate brands does not just happen, nor is it an absence of rules and smaller government. It is engineered, legislated, and protected by government and international treaties. In fact “free trade” is often extremely protectionist — open your markets to us while we raise the barriers for you. For example, in August 2001 the International Trademark Association suggested revisions to legislation creating the Free Trade Areas of the Americas.

“INTA argues that signs and symbols belonging to indigenous peoples, local communities, and African-Americans should not be entitled to any form of intellectual property protection. Quoting their report:

“[INTA] has also expressed concerns regarding proposed protection for the words and symbols of New Zealand’s indigenous people, the Maori.... The terms ‘indigenous’ or ‘afro-American’ communities would require careful definition, and would be subject to greater potential controversy. The term ‘local community’ is such a broad and indefinite term that is has the potential to allow almost any city, village, or group to claim rights in signs that may have been used commercially for years, by others.”

David Reinfurt’s chapter on “Open Source Design” confuses Open Source with Free Software. (He links to the GNU Web site of the Free Software Foundation... which has an essay or two on the difference between Free Software and Open Source.) Furthermore, Reinfurt’s examples of “open source design” are not very open source. In one project, the public can submit contact sheets of tourist photos as long as they include the letters B, E, R, L, I, and N, in that order. In another, the facade of the former East German housing ministry that changes it’s facade as its windows are open and closed. These are interactive, but not open source. But more importantly, the author/designer depoliticizes the issue. The Free Software movement is not just blossoming because it’s cool to share and collaborate, or that sharing and collaboration produces better software. It is also a movement to preserve and extend the freedom to do so, and an attempt to prevent our cultural output from being wholly privatized. One of Richard Stallman’s essays would have been a better choice to explain Free Software, though for non-software or documentation projects, a look at the Creative Commons licenses might be more appropriate.

If this review focuses heavily on what the book is not, it’s because I am disappointed with what is here. For instance, several essays refer to the First Things First manifesto, to William Morris, and the Bauhaus. I would love to have some of these primary documents bound in a single volume. This, however, is not that volume.

Heller writes in his introduction, “Our goal in editing this book is not to offer dogmatic degrees or sanctimonious screeds but to address the concern that the design field, like society as a whole is built on the foundation of... well, you fill in the blank.”

Is this fear of domga what chases the rigor away?

Susan S. Szenasy writes of the lessons of her design ethics class: “Design, as Gropius saw it (as Morris did before him), has a significant contribution to make in the reshaping of institutions as well as our lives.”

I believe this is true. And is just as critical as ever. Though while some essays in Citizen Designer are provacative, the book is hardly the call to action it should have been.

Citizen Designer: Perspectives on Design Responsibility is published by Allworth press. It lists for $19.95.

From Boston IndyMedia:

“On the evening of May 20, Direct Action anti-authoritarian activists from the White Mountain Autonoma, AnarchoNinjas, and the Trained Monkee Collective came together to ‘tag’ every pay phone in Nashua, NH with a sticker that reads, ‘This Phone is Bugged’ in large letters, citing the relevant section (Section 215) of the Patriot Act 2001 authorizing this in smaller print. An example of the stickers may be viewed at http://www.crimethinc.com/cards/28_med.gif. The stickers are placed upon the telephone receivers.

Intended to create situations where the average mass media-deadened citizen of Nashua is confronted with the current political reality of life under Bush II and his attack dogs of Homeland Security, Nashua was chosen as the introductory site for ‘Operation Wake The Fuck Up’ due to its large population, strategic location on the NH-Massachusetts border (thousands of Bay Staters shop in Nashua daily to avoid Massachusetts sales tax), and the critical role it plays in the NH Presidential Primaries as the first large population block to report its’ poll returns.

There are approximately 400 pay phones in Nashua, locate in the various shopping malls, pubs, public buildings, stores, restaurants, and hotels - including the 8 pay phones in the lobby of the Sheraton Tara, preferred home-away-from-home for Bush II when in the greater Boston area, due to its isolation and ‘security’.

Additional activities are planned for the near future, including mock ‘stop-and-search’ actions, imitating the activities of Homeland Security and its componant bureaus and agencies. These will be very similar to the mock ‘search-and-destroy’ missions used to great effect by Vietnam Veterans Against The War during the anti-Vietnam War years, in which activists, dressed as ordinary people, are pulled out from the innocent spectators and are mock-abused in true government style.

Activists wishing to join the fun may contact the White Mountain Autonoma at [email protected].”

Bush launched his presidential campaign just last Friday. The New Hampshire primary takes place on January 27, 2004, a mere 35 weeks from now.

Print out the stickers yourself or buy a pack online.

Thanks, American Samizdat

Colorado Court is a 5-story, 44 unit single room occupancy apartment complex for low income tenants in Santa Monica. It is also one of the first buildings of its kind in the United States that is 100% energy independent, generating nearly all its own energy for electricity, heat and light.

Architectural Review, November 1, 2002:

“In both siting and form, the building has been designed to exploit passive environmental control strategies such as natural ventilation, maximizing daylight and shading south-facing windows. But it also incorporates a number of innovative energy generation measures, notably a natural gas-powered turbinecum-heat recovery system that generates the base electrical load and services the building’s hot water needs. Photovoltaic panels set in the walls and roof supply most of the peak-load energy demand. This co-generation system converts natural gas into electricity to meet the building’s power needs. The same system also captures and uses waste heat to produce hot water and space heating for residents throughout the year. Unused energy from the photovoltaic panels is returned to the grid during the day and retrieved at night as needed. The architects estimate that these energy generation and conservation systems will pay for themselves in less than 10 years and annual savings in electricity and natural gas bills should average around $6000....

Details such as fluorescent lights which automatically extinguish when a room is not in use, insulation made from recycled newspapers, a bike store, CFC-free refrigerators and a trash recycling room reinforce the evangelical message. As many of the technologies are relatively unproven, it is hoped that in its intelligent exploration of the potential of sustainability, the building will act as a successful demonstration project for developers, planners, politicians, architects and, most especially, the wider public.”

The apartments themselves are 375 square feet studios with a kitchenette and a small bathroom. Shared areas include a lounge, laundry, and courtyard.

The project falls under Santa Monica’s “Sustainable City Program” which tries to reduce electricity and water consumption, and install photovoltaic cells on in public and private projects.

Los Angeles Times, June 26, 2001:

“A host of public and private entities—including the cities of Santa Monica and Irvine, Southern California Edison and the California Energy Coalition—are involved in planning, funding and monitoring the innovative building. The two cities, the conservation group and the utility have formed a group known as Regional Energy Efficiency Initiative, which has contributed about $250,000 to energy-saving devices in the building. In addition, Santa Monica itself is contributing about $250,000 toward electricity generators.

The building will be loaded with energy-saving and environmentally benign or ‘sustainable’ devices. Heat from the micro-turbine will produce hot water, eliminating the need for a conventional water heater....

Prevailing breezes will cool the building, which will have no mechanical air conditioners. The U-shaped structure ‘acts like a giant wind scoop,’ said architect Larry Scarpa, a principal of Santa Monica-based Pugh & Scarpa.

In yet another ‘green’ flourish, the building will collect all the rainwater from the alley behind the property and funnel it into a series of underground chambers. The water will slowly percolate back into the soil, which will filter the pollutants from the water while preventing contaminated water from spilling into Santa Monica Bay. The drainage system was paid for separately by the city of Santa Monica.

The concept of a building that would be energy self-sufficient emerged about two years ago, when Santa Monica officials met with members of the California Energy Coalition. The city’s Housing Division, which funds construction of low-income housing, chose to make a low-income housing project into a dream project of ‘green’ construction, and Colorado Court became the target.

‘We needed a demonstration project because a lot of developers feel that the technologies are unproven,’ Raida said.

A number of apartment buildings in Santa Monica and Irvine are to be equipped with energy-saving technology by the Regional Energy Efficiency Initiative, but the Santa Monica building is the only project attempting to provide its own power as well.

Rebates from the state Energy Commission helped defray the high cost of the energy-generating equipment. The state’s rebate on the solar panels, which cost about $225,000, will be about $62,000. The $57,000 micro-turbine and heat exchanger will yield a $15,000 rebate from Southern California Gas Co.

If recent research and development has yielded new ways of conserving energy and producing electricity, regulations and building codes have not kept pace.

In one instance, architects had to obtain special permission from the city to hang solar panels outside the exterior stairwells because building inspectors said the solar panels ‘enclosed’ the stairwells and triggered requirements for floors, ceilings and fire-rated walls.”

Santa Monica Mirror, December 6-12, 2000:

“[Architects] Pugh Scarpa Kodama and the Community Corporation have been working with the City of Santa Monica and Southern California Edison to come up with an ‘incentive-type’ plan, which would allot a certain amount of energy to each resident per month, and would award those who did not use the full amount with rebates on their energy bills....

Colorado Court’s units will rent for between $316 and $365. They will be available to low-income residents culled from the Community Corp’s waiting list, who meet the low-income requirements for this building. Twenty-two units will be rented to people making less than $12,775 yearly, another 22 to those making less than $14,600 yearly (these figures are based on 35 - 40% of the current median income of $36,500). According to Raida, the typical demographic for a building such as Colorado Court would include full time workers earning minimum wage, and people on fixed incomes such as retirees and the disabled.

The Community Corp’s waiting list currently numbers over 1,000 people.”

It’s great that the org’s and the city could pull together $5.8 million to build high-tech, green, low-income housing. But, experimenting on the poor for their demonstration project? Is this the flip side of environmental racism? Get some low-income tenants to live inside your the unproven technology? No air conditioning in Southern California? An experimental powerplant in the basement, and less-than-fire-rated exterior walls... that cover a fire exit? Evangelical indeed.

How do you turn massive liability into a premium asset? Green, green, green.

Take contaminated industrial brownfield, haul away 5 feet of poisonous dirt, add architecture and planning firm, solar heating, wind power, green roofs, gardens that extract pollutants from the soil, huge argon-insulated windows, a view of the coastline and Web accessible remote control.

Then stand back and marvel at the chic elegance of Tango, a designer housing complex in Malmo, Sweden. The complex also recycles its waste water into a rebuilt marsh ecology that mimics the development’s east side, the marshy ecology of the sound. In passing the article mentions that the construction methods and materials were “hewed to ecological building standards that Malmo had set for the district.”

It’s all very geeky and cool, but I look forward to the day when sustainable design is boring and mandated outside of northern Europe, too, not just left to showcase projects that benefit those that can rent at three times the market rate or that make great PR when they pave over industrial contamination.