Thesis Essay

Imagine you’re in a room filled with soft clay. It’s a raw material, waiting for your touch. As you press your fingers into the clay, your friends join in and mold the clay alongside you; the room is buzzing with teamwork. Ideas flow, shapes take form as each person adds their unique touch, transforming the clay into new shapes and unforeseen possibilities emerging from the collective.

In this moment of shared creation, the essence of creative connection permeates the space. Kae Tempest (fig. 1) aptly captures this phenomenon in On Connection (fig. 2), stating:

Creative connection is the use of creativity to access and feel connection and get yourself and those with you in the moment into a more connected space. It could be that connection to another, deeper world is most easily experienced by artists. But really, anyone who’s ever meditated, prayed, studied the stars, cooked an important meal for people they love, thrown a punch, received one, built something with their hands, learned a skill because they had no choice, been in service to others, volunteered their time, found themselves at the edge of their sanity or at the edge of their experience, accepted a difficult truth, put themselves second, genuinely gone out of their way for somebody else, has felt it. Connection is not the sole domain of artists, but art is a good way of understanding the fruit of that other place where commonality begins.¹

Creative connection, as described by Tempest, is not only with oneself but also with others and the world around us. Thus, art serves not only as a mirror reflecting the depths of human connection but also as waves carrying us into understanding how everything is woven toget her.

Fig.1. Performer and poet Kae Tempest.

Fig.2. On Connection written by Kae Tempest. Prem Krishnamurthy has shared this book with me during his visit to BU MFA studio.

Fig.3. French philosopher and historian Michel Foucault.

With a background in industrial design from my undergraduate studies, I’ve always been fascinated by the process of collaboration. The idea that the same instructions or materials can yield vastly different outcomes in the hands of different individuals has been a constant source of intrigue throughout my research journey. It was during this exploration that I encountered Michel Foucault’s concept of “heterotopia.”

Heterotopias, as Foucault (fig. 3) describes them, are unique spaces that exist beyond our ordinary reality. Examples include museums, gardens, ships, or cemeteries. They possess a quality of being different, containing layers of meaning and relationships that may not be immediately evident.² As Walter Russell Mead states, “Utopia is a place where everything is good; dystopia is a place where everything is bad; heterotopia is where things are different — that is, a collection whose members have few or no intelligible connections with one another”.³

Fig.4. Charles and Ray Eames.

Fig.5. Sol LeWitt’s wall drawings.

This notion of multidisciplinary creativity is exemplified by the work of Charles and Ray Eames (fig. 4), renowned designers who embraced a broad spectrum of creative endeavors. Unlike many modern practitioners who specialize in a single discipline, Charles and Ray Eames explored a diverse range of mediums and techniques, from architecture to art, films to toys, and graphic design to furniture design. Their willingness to delve into different fields allowed them to bring a unique perspective to each project, fostering innovation and cross-pollination of ideas. Charles and Ray Eames made significant contributions in the field of graphic design by creating “artforms” without using digital technologies.⁴ Their work was characterized by their innovative yet accessible nature.⁵ They embraced manual processes, such as hand-drawing illustrations or arranging typography by hand, to achieve the desired visual impact. This hands-on approach allowed them to infuse their posters with a sense of authenticity and creativity that captured viewers’ attention. Moreover, they were adept at integrating various visual elements seamlessly within their designs, employing techniques such as collage and montage to combine photographs, illustrations, and text, creating compelling narratives and conveying complex ideas.

The concept of co-creativity continues to thrive in contemporary art projects. For instance, Sol LeWitt’s wall drawings offer a tangible example of how art can transcend physical boundaries and engage communities in collaborative creation (fig.5). LeWitt’s instructions for creating his wall drawings allow for interpretation and adaptation, which is given to gallery staff to follow these instructions and execute the drawing directly onto the designated wall space. Similarly, Lizania Cruz’s We The News project embodies the ethos of collaborative creativity, empowering communities to share their stories and experiences through art and design (fig. 6). By amplifying marginalized voices and challenging mainstream narratives, projects like “We The News” contribute to the democratization of design and the cultivation of inclusive spaces.

Fig.6. We The News project by Lizania Cruz.

Fig.7. Public Trust by Paul Ramirez Jonas.

Building upon this idea of art and design transcending traditional boundaries, Public Trust by Paul Ramirez Jonas (fig. 7) and Sonic Bloom by Yuri Suzuki (fig. 8) exemplify how creative projects can foster meaningful connections within communities. These projects blur the line between artist and audience, inviting participation and interaction to create immersive experiences that transcend individual perspectives. Through collaborative engagement, participants become co-creators of the artistic experience, fostering a sense of ownership and belonging within the community.

Fig.8. Sonic Bloom by Yuri Suzuki.

Besides the physical sculpture, The digital version of Sonic Bloom translates the magic and excitement of the physical installation into a form that can be shared globally.

This collaborative ethos is further reflected in physical spaces like Index space which emerged during the pandemic with the belief that communities are forged through shared physical spaces. However, recognizing the limitations imposed by covid, Index pivoted to an online platform, embodying the ethos that connectivity and collaboration can transcend physical boundaries. Through their website, Index continues to cultivate a virtual space where individuals can come together, share ideas, and engage in meaningful dialogue. Now, having expanded their reach, Index has opened a physical space where they host events, provide co-working opportunities, and extend invitations for community participation.

Similarly, ENTER ENTER (fig. 9) is a project space based in Amsterdam that is dedicated to the “art of the book.” It collaborates with professionals in independent art book publishing, organizing creatively designed exhibitions and discussions covering a wide range of artistic disciplines, from fine art to design and film.⁶ Moreover, The Center for Urban Pedagogy (CUP) stands at the forefront of utilizing collaborative design practices to empower communities and address complex urban issues. Through their innovative approach, CUP bridges the gap between design and social advocacy, harnessing the power of visual communication to facilitate dialogue, educate, and inspire collective action. One of CUP’s key strengths lies in their ability to translate complex urban issues into accessible and engaging visual narratives (fig. 10). Through the creation of educational materials such as pamphlets, videos, and interactive workshops, CUP empowers communities with the knowledge and tools they need to advocate for change and navigate complex urban systems. Moreover, CUP’s impact extends beyond individual projects, as they actively work to build capacity within communities and institutions. By providing training, resources, and support, CUP empowers local leaders and organizations to continue advocating for social justice and equity long after their collaborations have ended. These examples demonstrate how collaborative spaces can adapt to people’s engagement and foster meaningful connections within communities.

Fig.9. Enter Enter space in Amsterdam.

Fig.10. Center for Urban Pedagogy — Design to demystify complex policy.

These examples demonstrate how collaborative spaces can adapt to people’s engagement and foster meaningful connections within communities. The integration of graphic design into physical spaces has been masterfully executed by several renowned designers and studios, such as Experimental Jetset, Karel Martens, and M/M Paris. These people have pushed the boundaries of traditional graphic design, translating their visual language into immersive environments that engage and inspire audiences.

Experimental Jetset, an Amsterdam-based graphic design studio, is known for their bold, minimalist approach that often incorporates typographic elements and geometric shapes. Their work extends beyond print media, as they have created striking installations and exhibitions that transform spaces into dynamic visual experiences. One notable example is their Superstructure installation at the Chaumont Poster Festival in 2019 (fig. 11 and 12), where they used modular scaffolding structures adorned with posters to create an immersive environment that invited visitors to explore and interact with the space.⁷

Fig.11. Superstructure by Experimental Jetset.

Fig.12. Superstructure by
Experimental Jetset.

Karel Martens, a Dutch graphic designer and artist, has made significant contributions to the field of graphic design, particularly in his exploration of color, form, and materiality. His work often blurs the lines between graphic design and fine art, as he incorporates sculptural elements and three-dimensional forms into his installations. Martens’ Motion exhibition (fig. 13) at the Kunstverein München in 2017 showcased his ability to transform printed matter into immersive spatial experiences.⁸ By enlarging his printed works, Martens created an environment that encouraged visitors to engage with graphic design on a physical level.⁹

Fig.13. Motion, a major exhibition by Karel Martens
at Kunstverein München.

M/M Paris, a French design duo Mathias Augustyniak and Michael Amzalag, is renowned for their interdisciplinary approach that spans graphic design, art direction, and spatial design. Their work often involves the creation of immersive environments that blend graphic elements, objects, and architecture to create unique sensory experiences. M/M Paris’ installation M/Made in Shanghai in 2020 exemplified their ability to transform spaces through graphic design (fig. 14). The installation featured a series of interactive zones that combined bold colors, patterns, and typographic elements, inviting visitors to explore and engage with the space in a playful manner.¹⁰

The works of Experimental Jetset, Karel Martens, and M/M Paris demonstrate how graphic design can transcend the two-dimensional plane and shape physical environments. By integrating graphic elements into spatial contexts, these designers create immersive experiences that engage audiences on a multi-sensory level: interaction, exploration, and reflection. Other spaces like art book fairs also have shown us how they facilitate communication and idea exchange within the creative community. At these events like Multiple Formats or NY Art Book Fair (fig. 15 and 16), designers have the opportunity to showcase their work and interact directly with the public, receiving valuable feedback and insights. Visitors can engage with a diverse range of content, selecting materials that resonate with their interests and preferences. All around the world, these book fairs serve as creative hubs where individuals from diverse backgrounds come together to discover new ideas and find inspiration.

Fig.14. M/m (Paris): M/made in Shanghai

Fig.15. NY Art Book Fair

Fig.16. Multiple Formats

Drawing from concepts in design theory, community engaging projects, and multiple interviews, the thesis “Between Waves” framework offers a comprehensive exploration and guide for reimagining design space with the aim of fostering inclusivity and community engagement. This thesis delves into collaboration, with a focus on individuals or groups blending diverse talents—artists, children, families, community members, and even strangers—to create impactful visual content and projects transcending conventional boundaries. The goal is to cultivate an environment that sparks meaningful connections, generates ideas, and gives a sense of ownership among people.

Reflecting on personal experiences, I recall my grandfather’s remarkable abilities that extended far beyond his work in a light bulb factory. Despite his professional occupation, he crafted furniture, built electronics, planted vegetables, wrote poetry, and even played in a band. His diverse skill set epitomizes the concept of multidisciplinary creativity, showcasing how individuals can enrich their lives through diverse experiences and pursuits.

The co-creative space I’m envisioning isn’t a static utopia; it’s a moving heterotopia. This space should not be bound by rigid schedules or specific locations but rather migrate in harmony with the people who engage with it. Like a boat sailing the seas in search of treasures, this space moves and adapts, forever seeking new expressions, connections, and dimensions of creativity. Considering my own journey and the projects or workshops I’ve been a part of, I’ve realized how important it is to make spaces where everyone feels welcome to be creative. Sometimes, people hesitate or doubt themselves when they join workshops. They worry if they’re doing things right or if they’ll mess up because they’re not good at drawing or designing. This fear stops them from joining in. But from my experience leading workshops in public places, I’ve seen that lots of people, no matter how old they are or where they’re from, want to feel encouraged and supported when they’re being creative. I believe that creativity should be for everyone, not just for experts or artists. It’s a way for people to express themselves and connect with others.

By creating spaces that are inclusive, friendly, and tailored to diverse audiences, I hope to demystify the creative process and empower individuals to embrace their creativity. Everyone should have the ability to contribute their own unique perspective and voice to the creative dialogue. Indeed, creativity is not the sole domain of artists; it is a universal language. In envisioning the co-creative space, I see it as more than just a physical location—it’s a dynamic platform where individuals can come together.

Just as we mold the metaphorical clay into various forms, the co-creative space will offer a dynamic platform for individuals to shape and reshape their ideas collectively. It’s a place where innovation meets tradition, the ordinary becomes extraordinary, and individuals find a sense of ownership and belonging in their creative process

Tempest, Kae. On Connection: “Powerful” MATT HAIG. Faber & Faber.
Michel, Foucault. Of Other Spaces: Utopias and Heterotopias, web.mit.edu/allanmc/www/foucault1.pdf. Accessed 15 Apr. 2024.
Mead, Walter Russell. “Trains, Planes, and Automobiles: The End of the Postmodern Moment.” World Policy Journal, vol. 12, no. 4, Winter 1995–1996, pp. 13–31. JSTOR 40209444
Eames, Charles, and Ray Eames. Eames Design: The Work of the Office of Charles and Ray Eames. Harry N. Abrams, 1989.
Hanks, David A., and J. Irene Miller. Charles and Ray Eames: A Legacy of Invention. Harry N. Abrams, 1995.
Pieterse, Anne, et al. “Anne Pieterse about Routes to Roots, Lampo and Stecca 3.0.” Dutch Design Daily, 21 Dec. 2020, dutchdesigndaily.com/complete-overview/enter-enter/.
“Superstructure.” Experimental Jetset, www.experimentaljetset.nl/archive/superstructure.
“Karel Martens at Kunstverein München.” Art Viewer, 23 Mar. 2017, artviewer.org/karel-martens-at-kunstverein-munchen/.
“Motion.” Kunstverein München, 2017, https://www.kunstverein-muenchen.de/en/program/exhibitions/past/2017/karel-martens-motion.
M/m (Paris): M/made in Shanghai 2020. https://www.e-flux.com/announcements/350291/m-m-paris-m-made-in-shanghai/

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