WEBVTT

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So picture yourself waiting at a city bus stop

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late at night. You are completely exhausted,

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it is raining, and you just wanna sit down. But

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the metal bench inside the shelter is broken

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up by these three rigid, perfectly spaced arm

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rests. Yeah, and it is curved forward at that

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really slick, awkward angle. Exactly, you cannot

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lie down. In fact, you can barely sit comfortably

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for more than like... 10 minutes which is very

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intentional right because that bench did not

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just grow out of the concrete naturally someone

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somewhere drafted that exact curvature they calculated

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the precise placement of those arm rests to ensure

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human bodies could only interact with it in one

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highly specific temporary way It's basically

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a piece of environmental engineering dictating

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your behavior. Yeah. And every physical object

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and digital interface you touch operates on that

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exact same principle. Oh, absolutely. I mean,

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the tactile resistance of the volume buttons

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on your smartphone, the dimensions of the cardboard

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box your groceries arrive in, the layout of a

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rural hospital, none of it is accidental. None

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of it. But the sheer scale of the coordination

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required to standardize those intentional choices

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across the globe, that is something most people

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never really consider. OK, so let's unpack this,

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because for this deep dive, we are looking at

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a source detailing an entity. that operates entirely

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behind the scenes, yet basically holds the master

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blueprint for the constructed world. Yeah, it

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is fascinating. We are diving into the history

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and the scope of the World Design Organization,

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or the WDO. And when you look at the raw numbers

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in the source material, The scale is genuinely

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mind boggling. It really is. We are talking about

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an umbrella organization that encompasses over

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170 member societies spread across more than

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40 nations. Right. When you aggregate their reach,

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they represent roughly 150 ,000 designers globally.

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And what's fascinating here is that their core

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mandate right from the very beginning breaks

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the casual assumption of what design actually

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means. Right. Like people think it's just aesthetics.

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Exactly. It is not about picking a trendy color

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palette for a new blender. The primary aim of

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the WDO is advancing the discipline of industrial

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design to systematically improve the global quality

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of life while concurrently boosting national

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economies. Which is a massive undertaking. It

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is. They are basically establishing the baseline

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standards that dictate how human beings interface

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with the tools of survival and commerce. Which

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is why this matters to your morning routine,

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you know, your commute, your workplace. Understanding

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the WDO can decodes the invisible infrastructure

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of your daily life. But to grasp how 150 ,000

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designers actually manage to align on global

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standards today, we have to look at the friction

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that forced them to organize in the first place.

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Right, because it wasn't always like this. Exactly.

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The source material takes us back to the mid

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-20th century. Yeah, so the landscape before

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the 1950s was incredibly fragmented. You had

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this huge post -World War II manufacturing boom.

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Factories were just churning out mass -produced

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goods at an unprecedented rate, but industrial

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design as a unified international profession,

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it just did not exist. There was no playbook.

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None. There was no centralized voice, no shared

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methodology, and definitely no global standard

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for what constituted good, safe, or... effective

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design. It was essentially the Wild West of manufacturing.

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That is a good way to put it And our source material

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traces the genesis of a solution back to a very

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specific moment in Paris in 1953. Oh, right.

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Jacques Vieno. Yes, Jacques Vieno. He stands

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up at an international congress for the Institut

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de Cetique Industrielle, and he pitches this

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radical idea. He says, you know, the world needs

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a singular international council to represent

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industrial designers. And it didn't have it overnight,

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right? No, no. It took several years of really

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heavy bureaucratic lifting. But that pitch finally

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materialized in London. on June 29th, 1957. Which

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is the official founding of the International

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Council of Societies of Industrial Designers.

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Exactly. It's kind of like they assembled the

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Avengers, but for industrial designers. Basically,

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yeah. And they officially registered and set

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up their very first headquarters in Paris. But

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there is this granular detail from the source

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regarding their first official Congress in Stockholm

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in 1959 that feels incredibly significant. The

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name change. Yes. They adopted a constitution,

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they wrote out the official definition of industrial

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design, but they also altered their name. Right.

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They changed it from the International Council

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of Societies of Industrial Designers to the International

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Council of Societies of Industrial Design. Yeah,

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they dropped the Iger's. They dropped the Iger's

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at the end of the word. They became known as

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Essid. So what does this all mean? Like, why

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does dropping a few letters to change a single

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word matter so much to a fledgling international

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organization? Well, that linguistic pivot represents

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a massive philosophical shift. How so? When you

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operate as a council of, quote, designers, your

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primary organizational function is essentially

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acting as a trade union. Your mandate is protecting

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the interests of the individual practitioners.

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You are lobbying for fair pay, intellectual property

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rights, standardized training. And the source

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explicitly notes that protecting practitioners

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was a very heavy focus in their early years.

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The first elected officials were actually legally

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bound to represent the voice of the society.

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members rather than their own personal convictions.

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So it is the difference between forming a labor

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union for bricklayers versus establishing the

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International Building Code. That's a perfect

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analogy. One protects the person doing the work

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and the other protects the integrity of the discipline

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itself and the people who have to live inside

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the building. Exactly. By shifting the name to

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design, they elevated their entire mission statement.

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They moved away from merely being a protective

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guild and essentially claimed a seat at the table

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for solving broad global societal matters. The

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focus became outward. Right. The question became,

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how does design operating as a systematic tool

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solve human friction on a global scale? And they

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did not waste any time testing that tool, which

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leads right into the 1960s and 70s. Yeah. Because

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once they defined the parameters of industrial

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design in Stockholm, they had to prove its utility.

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And then in 1963, EXID is granted special status

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with UNESCO. The United Nations Educational,

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Scientific and Cultural Organization. Right,

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which is huge. Gaining special status with UNESCO

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is a monumental endorsement for a relatively

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new council. It demonstrates that the highest

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levels of international diplomacy were finally

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beginning to recognize industrial design, not

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as an aesthetic luxury, but as a critical driver

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of human development and infrastructure. And

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that partnership birthed something entirely new,

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according to the source. The InterDesign Seminars.

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Yes. The concept was basically to gather mid

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-career, actively practicing designers in a specific

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host country to study and solve infrastructural

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problems of both regional and international significance.

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Right, getting boots on the ground. But the very

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first InterDesign seminar took place in 1971.

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in Minsk. Right in the heart of the Soviet Union.

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Yeah. I mean, we are talking about the absolute

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peak of the Cold War here. Oh, absolutely. Geopolitical

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tensions are defining literally every aspect

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of global relations. The Iron Curtain is heavily

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fortified. So how does a fledgling, largely Western

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-founded design organization manage to successfully

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embed itself and collaborate inside the Soviet

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Union in 1971? Well, if we connect this to the

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bigger picture, the source points out that as

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ICID grew, it actively integrated members from

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both capitalist and non -capitalist countries

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alike. Really? Yeah, they were hosting congresses

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all over the place. Venice, Vienna, Taipei, Kyoto.

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They were constantly crossing ideological borders.

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So Minsk wasn't an isolated incident. No. And

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the mechanism that allowed them to operate in

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Minsk is the simple fact that industrial design

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fundamentally bypasses political rhetoric. Because

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it operates beneath the level of ideology. Exactly.

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Because it deals exclusively with empirical reality

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and physics. I mean, a poorly designed agricultural

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tractor that breaks down after 50 hours of use?

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That is a mechanical failure, not a partisan

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debate. A broken tractor doesn't care about capitalism

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or communism. Exactly. A regional lack of clean

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water transport is a universal human crisis.

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So when you place Soviet and American industrial

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designers in a room together in 1971, they are

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not debating the merits of economic systems.

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They're too busy doing the math. Right. They

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are calculating the stress thresholds of forged

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steel or, you know, the ergonomic constraints

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of a human hand operating a lever. Design basically

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translates ideology into geometry. Wow. It is

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a universal problem -solving language, which

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is exactly what made ISID an incredibly unique

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driving force for international collaboration

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during a highly fractured era. But as the problems

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they tackled through the 1980s and into the 2000s

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grew increasingly complex, it became really obvious

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that industrial designers could not solve global

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infrastructure issues in a vacuum. No, they couldn't.

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The scale of the work outgrew the boundaries

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of a single profession. And you can physically

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track this expansion by looking at how the organization

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moved around the globe. They did not stay static

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in Paris. Right, the nomadic years. Yeah. In

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1974, the Secretariat relocated to Brussels.

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Then it moved to Helsinki. And finally, in 2005,

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it anchored in Montreal, Quebec, where it actually

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remains today. They really became a nomadic entity,

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just embedding themselves in different global

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design cultures. Right. Let's focus on the 1980s

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for a second, because the source highlights this

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era as the dawn of massive cross -discipline

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collaborations. Oh, this is a pivotal era. Yeah.

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In Helsinki, they hold this joint congress. It's

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no longer just ICSID. in Ico Grata. which represents

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graphic design, and IFI, which represents interior

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architects and designers. Because they finally

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realized that to solve a systemic human problem,

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you need the people who design the physical tools,

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the people who design the visual communication,

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and the people who design the spatial environments,

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all working from the exact same blueprint. And

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the source outlines this groundbreaking project

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they executed with UNESCO during this collaborative

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era that perfectly illustrates this. The Rural

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Health Centers. Yes. They assembled doctors and

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industrial designers, graphic designers, and

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field assistants to develop basic infrastructure

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for rural health centers. They were tasked with

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designing everything from safe vaccine refrigeration

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and transport to packaging, injection protocols,

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and data collection devices for use in remote

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areas. It's incredible. Let's actually examine

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the mechanics of how that works in practice.

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Yeah, break it down. Okay, so you have a medical

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professional outlining the biological baseline.

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You know, a specific vaccine will spoil if it

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exceeds 8 degrees Celsius. Right. The industrial

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designer takes that baseline and engineers a

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thermal transport shell using locally sourceable

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materials that can actually withstand the kinetic

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shock of a bumpy dirt road. Because it doesn't

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matter if it's cold if the vial shatters. Exactly.

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But then the physical cooler is completely useless

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if it is mishandled by the user. Right. So the

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graphic designer is brought in to create universal

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symbology and packaging labels that communicate

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temperature warnings and dosage instructions

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to a rural health worker who, by the way, might

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speak a completely different language. Wow, okay.

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And finally, the interior architect designs the

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modular layout of the clinic itself to ensure

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that cooler is stored away from direct sunlight

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while still remaining accessible during a sudden

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patient surge. It is a complete ecosystem approach

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to problem solving. Like, they stopped worrying

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about designing the perfect office chair and

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started designing actual survival mechanics.

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Absolutely. But looking at the source material,

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I noticed a structural contradiction a bit later

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on. Oh. Yeah. So in 2003, they attempted to formalize

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this exact type of multidisciplinary synergy

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by creating the International Design Alliance,

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or the IDA. Right. And a few years later, the

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interior architects join. They even host a massive

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historic joint congress in Taipei in 2011. It

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was a huge event. Yet, just two years after that

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high point, in November 2013, the entire alliance

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is terminated. Which, I mean, a formal global

00:12:16.710 --> 00:12:19.309
alliance merging completely different design

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disciplines under one administrative umbrella

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sounds like a regulatory nightmare. Like, a graphic

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design firm's legal liabilities and operational

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pacing are worlds apart from an interior architect

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whose building designs must adhere to strict

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safety codes. Is that why it fell apart? Well,

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the administrative burden is exactly the vulnerability

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of massive alliances. Makes sense. Maintaining

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a formalized bureaucratic structure across distinct

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professional fields, I mean, each with their

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own day -to -day economic pressures, educational

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standards, legal frameworks, it often becomes

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more resource intensive than the actual field

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work. So the bureaucracy just kind of begins

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to suffocate the agility of the organization.

00:12:58.440 --> 00:13:01.340
Exactly. By 2013, the formal structure of the

00:13:01.340 --> 00:13:04.600
IDA was dissolved. But the underlying methodology

00:13:04.600 --> 00:13:07.110
they perfected during those rural health center

00:13:07.110 --> 00:13:09.769
projects in the 80s that remained permanently

00:13:09.769 --> 00:13:11.950
embedded in the culture. So the paperwork and

00:13:11.950 --> 00:13:14.669
the acronyms failed, but the intellectual cross

00:13:14.669 --> 00:13:18.149
-pollination survived? Yes. I mean, an industrial

00:13:18.149 --> 00:13:20.330
designer who spends two years collaborating with

00:13:20.330 --> 00:13:23.029
a doctor and a graphic designer on vaccine transport

00:13:23.029 --> 00:13:25.330
never approaches a solo project the same way

00:13:25.330 --> 00:13:27.649
again. They can't unsee the bigger picture. Right.

00:13:27.889 --> 00:13:30.549
They learn to view the object not as an isolated

00:13:30.549 --> 00:13:34.070
product, but as one node in a massive web of

00:13:34.070 --> 00:13:36.269
human behavior and environmental constraints.

00:13:37.269 --> 00:13:39.830
The formal alliance ended, but the discipline

00:13:39.830 --> 00:13:43.129
itself evolved. And that evolution really sets

00:13:43.129 --> 00:13:45.610
the stage for the modern era of the organization.

00:13:45.740 --> 00:13:49.460
because this expansive, multidisciplinary reality

00:13:49.460 --> 00:13:52.580
of design eventually outgrew their mid -century

00:13:52.580 --> 00:13:55.259
acronym. It was time for an update. Yeah. In

00:13:55.259 --> 00:13:58.820
January 2017, Exit officially transitioned. They

00:13:58.820 --> 00:14:00.860
dropped the old name entirely and became the

00:14:00.860 --> 00:14:03.779
World Design Organization, or the WDO. A title

00:14:03.779 --> 00:14:06.419
that, honestly, accurately reflects the staggering,

00:14:06.600 --> 00:14:08.580
almost intimidating scope of what the discipline

00:14:08.580 --> 00:14:10.659
currently encompasses. It really is staggering.

00:14:10.840 --> 00:14:13.000
The Wikipedia article we are using as our source

00:14:13.000 --> 00:14:15.779
includes an index of design disciplines and approaches

00:14:15.779 --> 00:14:18.700
recognized within this sphere, and it is genuinely

00:14:18.700 --> 00:14:20.840
breathtaking how far the definition has expanded.

00:14:20.919 --> 00:14:23.940
Oh, it covers everything. Everything. Under physical

00:14:23.940 --> 00:14:25.960
disciplines, you have highly specific fields

00:14:25.960 --> 00:14:29.299
like corrugated box design and CMF design, which

00:14:29.299 --> 00:14:32.200
stands for color materials and finish. Right.

00:14:32.700 --> 00:14:36.240
Then it spirals outward into drug design and

00:14:36.240 --> 00:14:38.899
literally nuclear weapon design. Yeah. It covers

00:14:38.899 --> 00:14:41.600
the digital realm with hardware interface design

00:14:41.600 --> 00:14:44.559
and algorithm design. CMF design is actually

00:14:44.559 --> 00:14:46.759
a perfect example of how granular this gets.

00:14:47.580 --> 00:14:50.259
You know that satisfying heavy tactile click

00:14:50.259 --> 00:14:52.480
you feel when you close the door of a high -end

00:14:52.480 --> 00:14:56.100
car? Or like the specific matte texture of a

00:14:56.100 --> 00:14:59.279
laptop chassis that subtly signals premium quality?

00:14:59.519 --> 00:15:03.419
That is CMF. It is the precise manipulation of

00:15:03.419 --> 00:15:05.980
materials to engineer a specific psychological

00:15:05.980 --> 00:15:09.250
response from the user. which leads right into

00:15:09.250 --> 00:15:12.389
the section on design approaches. The list includes

00:15:12.389 --> 00:15:14.350
cradle -to -cradle design, which is the pursuit

00:15:14.350 --> 00:15:17.009
of perfect sustainability, ensuring a product's

00:15:17.009 --> 00:15:19.210
end -of -life materials feed directly back into

00:15:19.210 --> 00:15:21.570
a new production cycle. A very noble pursuit.

00:15:21.870 --> 00:15:25.309
Right. It lists behavioral design, which intentionally

00:15:25.309 --> 00:15:27.549
structures environments to shape human actions.

00:15:28.090 --> 00:15:30.669
It lists inclusive design, meant to accommodate

00:15:30.669 --> 00:15:33.230
the widest possible spectrum of physical abilities.

00:15:33.370 --> 00:15:36.200
All making sense so far. But then... listed plainly

00:15:36.200 --> 00:15:38.559
right next to those is something called hostile

00:15:38.559 --> 00:15:42.460
design. It is a very jarring juxtaposition. Here

00:15:42.460 --> 00:15:45.340
is where it gets really interesting because hostile

00:15:45.340 --> 00:15:47.899
design feels entirely contradictory to everything

00:15:47.899 --> 00:15:50.519
we have discussed. It does. The source states

00:15:50.519 --> 00:15:54.039
the WDO's foundational mandate is advancing design

00:15:54.039 --> 00:15:57.059
to improve the global quality of life and notes

00:15:57.059 --> 00:15:59.279
they are currently aligned with achieving the

00:15:59.279 --> 00:16:01.779
United Nations Sustainable Development Goals.

00:16:01.840 --> 00:16:04.299
Yes. So how does building a public bench with

00:16:04.299 --> 00:16:06.840
metal dividers to actively prevent someone from

00:16:06.840 --> 00:16:09.440
sleeping on it or installing spikes under a bridge

00:16:09.440 --> 00:16:12.120
fit into a framework supposedly dedicated to

00:16:12.120 --> 00:16:14.279
improving humanity? Well, this raises a really

00:16:14.279 --> 00:16:16.320
important question, and it forces a critical

00:16:16.320 --> 00:16:19.240
examination of what design actually is at a mechanical

00:16:19.240 --> 00:16:22.279
level. What that massive contradictory index

00:16:22.279 --> 00:16:25.580
of disciplines proves is that design itself is

00:16:25.580 --> 00:16:29.970
a completely neutral tool. Yes, it possesses

00:16:29.970 --> 00:16:33.590
no inherent morality. It is simply the deliberate

00:16:33.590 --> 00:16:37.149
calculated arrangement of variables to achieve

00:16:37.149 --> 00:16:39.750
a predetermined outcome. It is just a mechanism

00:16:39.750 --> 00:16:42.669
for enforcing a rule. Exactly. Think of a hammer.

00:16:42.970 --> 00:16:45.409
A hammer can be used to frame a house for a family

00:16:45.409 --> 00:16:47.929
or shatter a window. The hammer does not care.

00:16:48.049 --> 00:16:50.710
The hammer does not care at all. An algorithm

00:16:50.710 --> 00:16:53.789
designed to maximize your attention span, a corrugated

00:16:53.789 --> 00:16:56.950
box optimized to reduce shipping waste, a medical

00:16:56.970 --> 00:17:00.250
device built for inclusivity, or a piece of concrete

00:17:00.250 --> 00:17:02.830
architecture engineered to disperse loitering.

00:17:02.929 --> 00:17:05.529
They are all utilizing the exact same underlying

00:17:05.529 --> 00:17:07.769
mechanism. They are just variables arranged to

00:17:07.769 --> 00:17:09.630
solve a problem. Arranged to solve a problem

00:17:09.630 --> 00:17:12.210
defined by whoever holds the resources to fund

00:17:12.210 --> 00:17:15.789
the project. The WDO operates as a guiding body,

00:17:16.190 --> 00:17:18.710
attempting to establish ethical frameworks and

00:17:18.710 --> 00:17:21.190
steer that immense neutral power toward positive

00:17:21.190 --> 00:17:23.170
outcomes like the UN Sustainable Development

00:17:23.170 --> 00:17:26.009
Goals. Right. But the undeniable existence of

00:17:26.009 --> 00:17:28.829
hostile or defensive design proves just how deeply

00:17:28.829 --> 00:17:30.829
engineered the modern human environment truly

00:17:30.829 --> 00:17:33.210
is. It strips away the illusion of passive space

00:17:33.210 --> 00:17:35.670
entirely. It really does. Like, the physical

00:17:35.670 --> 00:17:38.269
and digital worlds around you are actively managing

00:17:38.269 --> 00:17:41.339
you. Every angle, every interface, and every

00:17:41.339 --> 00:17:44.319
material choice is quietly dictating what you

00:17:44.319 --> 00:17:47.059
can and cannot do. It is a sobering shift in

00:17:47.059 --> 00:17:49.940
perspective. Once you see the invisible infrastructure,

00:17:50.059 --> 00:17:52.599
you really cannot unsee it. No, you can't. It

00:17:52.599 --> 00:17:55.359
is quite a long arc from Jacques Vianneau pitching

00:17:55.359 --> 00:17:58.200
an idea in a Parisian conference room in 1953

00:17:58.200 --> 00:18:01.779
to the hyper -engineered reality we navigate

00:18:01.779 --> 00:18:05.579
today. It is. We have tracked how a 1957 meeting

00:18:05.579 --> 00:18:08.440
of a few industrial designers in London just

00:18:08.440 --> 00:18:09.880
trying to figure out how to standardize their

00:18:09.880 --> 00:18:12.779
trade, evolved into this nomadic powerhouse.

00:18:13.140 --> 00:18:15.359
Moving the Secretariat from Paris to Brussels

00:18:15.359 --> 00:18:18.279
to Helsinki, and finally dropping anchor in Montreal.

00:18:18.759 --> 00:18:21.259
Right. They grew from a small, fragmented council

00:18:21.259 --> 00:18:24.420
into an organization representing 150 ,000 designers

00:18:24.420 --> 00:18:27.759
across 40 nations. The standards they... So tomorrow

00:18:27.759 --> 00:18:30.700
morning... When you interact with a seamlessly

00:18:30.700 --> 00:18:33.900
designed piece of software that intuitively guides

00:18:33.900 --> 00:18:36.920
your workflow, or you pick up a physical tool

00:18:36.920 --> 00:18:39.079
that perfectly balances the ergonomics of your

00:18:39.079 --> 00:18:42.059
hand, remember this deep dive. You are not just

00:18:42.059 --> 00:18:45.039
experiencing a random isolated stroke of genius

00:18:45.039 --> 00:18:48.740
from a solitary creative in a vacuum. No. You

00:18:48.740 --> 00:18:52.279
are feeling the direct mechanical legacy of decades

00:18:52.279 --> 00:18:55.799
of global standards, intense international collaboration,

00:18:56.059 --> 00:18:58.970
and a systemic philosophy that began in the 1950s.

00:18:59.150 --> 00:19:01.369
But before we conclude, I want to leave you with

00:19:01.369 --> 00:19:03.829
a final concept to mull over. Okay, what is it?

00:19:04.109 --> 00:19:06.730
It is based on a detail buried deep in the source

00:19:06.730 --> 00:19:09.710
materials list of related topics. Alongside all

00:19:09.710 --> 00:19:11.369
the physical disciplines and digital approaches

00:19:11.369 --> 00:19:14.349
we just discussed, the index includes two very

00:19:14.349 --> 00:19:17.019
specific fields of study. Which ones? Future

00:19:17.019 --> 00:19:20.019
studies and design fiction. Design fiction? Yeah.

00:19:20.220 --> 00:19:21.720
Wow, that sounds like a concept pulled straight

00:19:21.720 --> 00:19:23.740
out of a science fiction novel. The terminology

00:19:23.740 --> 00:19:25.920
definitely sounds speculative, but it is actually

00:19:25.920 --> 00:19:28.940
a highly applied rigorous methodology. Yeah.

00:19:29.160 --> 00:19:31.519
Design fiction is the practice of engineering

00:19:31.519 --> 00:19:33.799
hypothetical products, interfaces, and civic

00:19:33.799 --> 00:19:36.880
systems to explore the logistical and psychological

00:19:36.880 --> 00:19:39.839
implications of future technologies long before

00:19:39.839 --> 00:19:41.839
they are actually built. Like prototyping the

00:19:41.839 --> 00:19:44.460
unknown. Exactly. It is a way of stress testing

00:19:44.460 --> 00:19:46.920
tomorrow. So here's the question for you to explore

00:19:46.920 --> 00:19:51.509
on your own. If the WDO and its network of 150

00:19:51.509 --> 00:19:54.809
,000 designers have spent the last 60 plus years

00:19:54.809 --> 00:19:57.549
meticulously standardizing and engineering the

00:19:57.549 --> 00:19:59.869
physical and digital reality you currently inhabit,

00:20:00.490 --> 00:20:02.890
how are they utilizing design fiction right now?

00:20:02.930 --> 00:20:06.049
Oh, wow. Because if every curve of the chair

00:20:06.049 --> 00:20:08.049
you're sitting on and every algorithm in the

00:20:08.049 --> 00:20:10.490
device you are holding was planned and standardized

00:20:10.490 --> 00:20:13.410
decades ago, that implies the fundamental rules

00:20:13.410 --> 00:20:15.509
of the world you will inhabit 20 years from now

00:20:15.509 --> 00:20:18.049
are already being prototyped in a laboratory

00:20:18.049 --> 00:20:18.369
today.
