It would be best if there was no need for social design, because that would mean the pressing issues of our age, such as climate change, wars, and social inequalities had all been resolved, says MOME’s scientific associate and head of the Social Design Hub of the Innovation Center Bori Fehér.
Reaching back to old traditions and evoking the forms used in peasant culture is a recurring pattern in the methodical reconstruction of national culture. In the 19th century, Matyó became the representative embodiment of everything Hungarian, with a prominent role in sketching a romantic national self-image and an impact that can still be felt to this day. Sára Kocsis’s My Hungarian Heritage collection explores the relevance of peasant traditions, how they interact with young people, and how they can be incorporated into fashion.
Today, the majority of official film and music posters are not made for artistic value, and simply serve promotion purposes. In comparison, alternative film posters can add extra layers or reveal deeper layers of meaning, offer a unique and creative perspective for interpretation, and not unimportantly, also act as collectibles. Like a number of contemporary artists, László Nagy has been working in this alternative scene for decades.
How many hours a day do we spend sitting? This question has been widely studied in healthcare, ergonomics, and psychology, as well as design. MOME Architecture students explored various dimensions of sitting, whether on a chair, bench, couch, or vehicles in an experimental workshop, approaching the subject not just with the tools of design but also humour and criticism. Here are 5 of the resulting thought-provoking solutions, from a modular seating system to a shopping cart armchair.
Children are curious about the past. By the time they start taking history at school though, they have already been exposed to a great deal of half-truths and are ill-equipped to make head or tail of the various stories on their own. Szonja Somogyvári’s We Will Be Grave Robbers is a reflection on this situation.
The over 40-year-old buildings of the Kelenföld City Centre, whose flourishing in the 80s is only the stuff of stories by now, might be spared this fate for now, but the question what to do with them remains.
Sustainability seems to be everywhere, all the time, and in so many different forms, making it feel like somewhat of a cliché. But our work with sustainability is far from over, something the younger generation of fashion designers agrees with.
There are few more haunting spectres in a city than the skeletons of buildings left to decay, which is exactly the sort of sight the dilapidated sets of the Communist regime scattered all over offer. Not yet demolished, and either used for their original or a new purpose but most often left vacant, these buildings all share a deep silence around their past.