In contemporary society, consumerism is prevalent, with the notion that “new is always better” deeply ingrained. However, this lifestyle of excessive consumption not only places a huge burden on the environment but also gradually weakens the emotional connection between people and objects. Against this backdrop, Xiaodong Ma, a mixed industrial designer and visual artist from Chicago, has proposed a design project of profound social criticism significance – “Repairing Society”. Through this project, Xiaodong not only examines the current consumption patterns of society but also proposes a new design and lifestyle that aims to mend society through repair.
The inspiration for “Repairing Society” comes from a Japanese art of repairing broken pottery with lacquer mixed with gold or silver dust – Kintsugi. Kintsugi not only repairs objects but also endows them with new value and beauty, considering damage as a valuable part of the object’s history. This art resonates with the “Repairing Society” philosophy that “old is better than new”. In the Repairing Society, people preserve and reuse resources by regularly repairing and repurposing old items. Brands and designers need to consider the ease of repair and reusability of products, as well as how to quickly cultivate an emotional connection between consumers and designed products, aiming to establish a deeper and longer-lasting connection between objects and people.
The “Repairing Society” project is not only a milestone in Xiaodong’s design career but also a powerful response to the current disposable consumer culture. The project challenges the overconsumption and planned obsolescence of modern life through design practices of repairing (old is better than new), grafting (Recombine for Repurpose), and autotomy (Design for Repair), advocating for a second life of objects through design practices and thereby mending our consumer culture and societal values. The project aims to change people’s consumption behaviors and designers’ production methods, encouraging everyone to view objects and consumption from a long-term perspective.
By exploring the three core insights of “Repairing Society” – repair, graft, and autotomy, we can gain a deep understanding of how Xiaodong, through design intervention, mends a fractured society.
REPAIR (Broken is Better than the New)
The “Repairing Society” project emphasizes the value of traditional repair work, advocating for the revival of repair workers’ skills in contemporary society. By integrating new technologies like 3D printing and memory materials, repair is shown not just as a simple fix for old items but as a deep mend for lifestyles. Through repair, old items can have a longer life than new ones, while opening up the possibility of cultivating a deeper emotional connection between the object and its owner. This concept challenges the “new is always better” mindset prevalent in modern consumerist society, advocating for a more sustainable and emotionally rich way of living.
GRAFT (Recombining for Repurpose)
In “Repairing Society”, GRAFT is not only a botanical concept but also elevated to a design philosophy. By grafting, broken items or their parts are combined with other items, creating new uses and values. This design thinking not only extends the lifespan of items but also maintains an emotional connection with the original items, reflecting a practical yet emotional design strategy. Through GRAFT, the combination of new and old items surpasses their individual functions and histories, creating a new symbiotic relationship.
AUTOTOMY (Design for Broken)
AUTOTOMY, inspired by the self-defense mechanism in the animal kingdom, proposes a new design ethic – anticipating potential breakage and subsequent repair during product design. This design thinking encourages designers to consider the entire lifecycle of a product, including its breakage and repair processes. Such a design strategy makes items easier to repair and upgrade, emphasizing the regenerative capability embedded in objects at the time of design, highlighting a profound sense of responsibility towards the environment and society.
Exploring the “Repairing Society” design project, Xiaodong challenges the issues of overconsumption and waste under current consumerist culture through his unique perspective and innovative design practices. The project not only proposes the core design concepts of repair, graft, and autotomy but also deeply analyzes three important conclusions: plastic is not merely trash, the enduring appeal of objects, and the fundamental difference from the traditional 3R theory. These conclusions further enrich the theoretical foundation of “Repairing Society”, providing a new way of thinking about sustainable development and consumption behavior for modern society.
Plastic is not trash; Recycling doesn’t exist.
Xiaodong challenges the common view of plastic in modern society through “Repairing Society”, seeing plastic as a sustainable resource rather than disposable trash. In his view, the negative impact of plastic stems not from the material itself but from our ways of consuming and disposing of it. By designing all materials to be repairable and reusable, Xiaodong proposes a new mindset: in our lives, there is no such thing as trash, and every item has the potential to continue serving. This perspective not only challenges our traditional understanding of materials but also promotes a deeper consideration of resource recycling.
The attraction of evolving objects
Through repair and grafting, objects evolve and maintain their appeal to humans. Xiaodong believes that the process of object evolution is similar to the development of relationships among people, with changing and updating objects keeping people’s interest and deepening their emotional connection to them. This idea not only reshapes our values towards objects but also proposes a new aesthetic – one that establishes a long-term, meaningful connection between objects and their owners.
Repairing Society vs 3R’s Theory
Comparing “Repairing Society” with the traditional 3R theory, Xiaodong points out the limitations of the latter, especially in dealing with waste and pollution issues under consumerist culture. He argues that managing waste through reducing, reusing, and recycling is not enough; a more fundamental solution is to change our views and behaviors towards consumption. “Repairing Society” proposes a more proactive and profound approach, not just addressing the symptoms of the problem but fundamentally changing the culture and behavioral patterns that cause it. Through education and design practices, Xiaodong’s “Repairing Society” aims to establish a new culture where objects are seen as long-term companions rather than disposable items.
As an industrial designer, Xiaodong firmly believes that designers have the responsibility to turn compelling design ideas into reality. He is actively promoting the implementation of the “Repairing Society” project concept. After exploring the core concepts, design practices, and profound social criticism behind this design project, it’s clear that what Xiaodong advocates is not just the implementation of a design project but a thoughtful reflection and challenge to modern society’s consumption culture. By proposing a new design philosophy and lifestyle, Xiaodong invites all of us – whether designers, consumers, or societal decision-makers – to participate in this process of repair and recreation, seeking a more sustainable and healthy path for societal development.
In the future, Xiaodong hopes to continue expanding the impact of this project, not just within the design community but spreading these ideas and designs to a broader societal level. Through education, collaborative projects, and public art installations, Xiaodong plans to spread the philosophy of “Repairing Society” to more people, especially the younger generation, to spark their interest and passion for sustainable living practices.
Xiaodong Ma:
Chicago-based Hybrid Industrial Designer and Visual Artist Xiaodong Ma was born in Nanjing, China, in 1991. He has been focusing on healthcare design and bicycle design since 2012 and used to work for Philips, iFIT, and Seismic. He currently is a Senior Industrial Designer at SRAM, driving the design development of bicycle products and improving the cycling experience. Xiaodong has made significant contributions to both industrial design and visual art. He believes designers have the responsibility of bringing compelling design concepts into reality and his industrial design projects have won numerous international awards, including the MUSE Design Award Platinum, IF Product Design Award, A’ Design Award, IDA Design Award, and Red Dot Design Award. After receiving his MFA from the California College of the Arts in 2019, Xiaodong has been exploring the intersection between art and design for years with an unwavering obsession with the simplicity and intricacy of nature and man-made. His visual artworks have been widely exhibited and recognized internationally, with exhibitions in the United States, United Kingdom, Italy, China, South Korea, France, and Germany.