The purpose of this study is to plan and operate design-workshops based on project-based learning (PBL), and examine their educational value for students. The PBL workshop encour- ages direct participation from students and produces educational value, and it is important to raise the interest level of workshops to elicit proactive participation. The workshop in this study was carried out over two weeks in January 2017 at Korea’s Yonsei University. The workshop was composed of eight teams of students from three countries, including Korea, China, and Japan, and the course was primarily divided into two sessions. The workshop participants examined in this thesis were notably satised with the elements of the course meant to garner interest. In the questionnaire results, participants also indicated that they obtained ample educational value through the workshop. An important element of the workshop was to connect the participants with businesses, which is also an important component of design education. Despite this, participants expressed a relatively lower level of satisfaction com- pared to other elements of the workshop. The results and analysis of this study will hopefully become a meaningful resource for educators when designing workshops in the future.
This paper engages with the literature to present different perspectives between forecasting and foresight in strategic design, while drawing insights derived from futures studies that can be applied in form of a design-inspired foresight approach for designers and interdisciplinary innovation teams increasingly called upon to help envisage preferable futures. Demonstrating this process in applied research, relevant examples are drawn from a 2016 Financial Services industry futures study to the year 2030. While the financial services industry exemplifies an ideal case for design-inspired foresight, the aims of this paper are primarily to establish the peculiarities between traditional forecasting applications and a design-inspired foresight visioning approach as strategic design activities for selecting preferable futures. Underlining the contribution of this paper is the
value of design futures thinking as a creative and divergent thought process, which has the potential to respond to the much broader organizational reforms needed to sustain in today’s rapidly evolving business environment (Buchanan, 2015; Irmak, 2005; Muratovski, 2016).
The term “community-based participatory design” (CBPD) recently emerged as a distinctive space in the Participatory Design tradition (DiSalvo, Clement & Pipek, 2013; LeDantec, 2016). This move marks a shift from treating the process of design primarily as a product development method, to one that builds social and technical capacities – or infrastructures – of individuals and communities (Björgvinsson, Ehn, & Hillgren 2010; Karasti 2014; LeDantec 2016). This paper describes participant gains from a design workshop conducted as part of a research collaboration involving a university-based research center, and four NGOs, the participatory design workshop aimed to: (1) build the capacities of young people; (2) guide young people in the creation of novel and locally relevant gender and sexual and reproductive health (SRH) solutions; and, (3) bring voices of young people into research and programmatic questions around gender and SRH in the public health domain. The workshop was conducted with 31 young people aged 15-25, over 2.5 weeks, in Lucknow, Uttar Pradesh, India. The evaluation demonstrates that the workshop resulted in exposure to working in mixed-gender teams, developing problem-solving skills, and increasing SRH awareness and knowledge. The workshop produced six low-fidelity prototypes, five of which were subsequently refined and piloted by three Lucknow NGOs.
The “Safety Grand Challenge” is a collaborative research project between the Royal College of Art (RCA) School of Design, and the Lloyd's Register Foundation (LRF). The maritime industry is dominated by “grandfathering” leading to a slow-pace of adopting innovations that can reduce risk and save lives at sea. We describe how impact was achieved through collaboration and design innovations that bridged the risk gap between technologies and human behaviours. Starting from the project brief we designed a collaborative platform that supported a constructive dialogue between academia and partner organisations that aimed to foster innovative design approaches to risk and safety. The project generated an engaged community with diverse expertise that influenced the outcomes which included seven prototypes designed by a group of thirty students from across the RCA. Throughout the course of the project the network extended to other partners beyond the initial ones that included the RCA, LRF and Royal National Lifeboat Institution. The “Safety Grand Challenge” demonstrates how research can be an explorative platform that offers opportunities to analyse and design solutions to real life safety problems in mature industries through the prototypes that reflect the sophistication of the project’s collaborations. Our conclusions support how design research helped identify the value of design for safety in tackling complex issues that intertwine human, environmental and commercial views and can shape new forms of collaborative research between academia and industrial partners.
The Japanese government has planned by 2020 to introduce the Finnish Neuvola System, a fundamental social childcare system that covers the period of pregnancy to child care. The purpose of this research is to clarify the conditions for high quality of Neuvola service, comparing childcare of Finland and Japan. First, the social systems of Finland and Japan, legal actions and other related social backgrounds are covered. Following this, the results are analyzed. Secondly, the results of interviews in Finland with Neuvola public health nurses and three typical Neuvola users, including a father, mother, and pregnant woman are presented. As a result of survey, six conditions were identified as the basis of Neuvola services: personal health checks, facility preparation, pleotropic care, communication through mutual dialogue, customized information and management of service provider quality. In a society where nuclear families are increasing, it is harder to care for children without someone’s support. In comparing Finnish and Japanese childcare systems, the Finnish system perceives childcare as a social matter. In the Neuvola System, people are always open to discuss about any worries or queries. In Japan, the system is closed toward personal matters and private treatment options are not adequate. This is a major factor in larger problems that exist in the Japanese system.
The results are discussed in relation to previous studies of participatory roles in social health care services in the Japanese government and users of these services, leading to the proposal of a Japanese childcare service design.
This paper introduces academic research into conceptual apparel and fashion narratives that are inspired by diverse art and media aesthetics for unique collection stories. Distinct photography forms the design continuum with photo-real imagery carefully mapped onto patterns, creating fabric textures and garment shapes. They concentrate in their content on investigating place and space as a shared environment. The actual design practice is therefore embedded in a reflective discourse that is driven by exploring textiles as a social, factual or cultural platform for meaning and narrative. Fabric is treated as a screen and canvas for a collage of visual information, cultural environment, collective memory and association. In contextualizing this multi-disciplinary approach, wider theoretical implications and readings of narrative imagery in textile, fashion design and art are cross-referenced. A focus is on particular limited editions as a research model and case study within this practice. Bespoke ranges have been commissioned by partners in creative industries that explore site-specific histories and new insights for design outputs. They have been exhibited at international fashion weeks as well as in museum and gallery contexts. As a second outcome they have also played an important role by being commercialized in an academic spinout company and intersecting research strategy with academic enterprise. This is referenced in this context as an underlying support structure for dissemination of above experimentation.
It was late on a Friday evening. A great time to avoid crowds. Most people were dining and drinking, absorbing the city’s capacity for pleasure, or maybe relaxing at home. That left the supermarket to me and others whose lives are synchronized differently. But as I stumbled my way through those harshly lit corridors of obscene American consumption, I realized I was among some highly unusual company. In every aisle, there were people—people?—clad in blue uniforms with devices attached to their forearms and fingertips, cables and wires dangling, each methodically filling large specialized carts. These were not shoppers like me. They were employees of the grocery chain operating— operated by?—new software for online ordering and curbside pickup. Surely, this wasn’t such a strange scene in contemporary stores around the world. Yet, it did raise strange—radical? — possibilities: a specter of “before” for an unforeseeable and potentially unpleasant “after.” The unity of the human and the machine, not implanted but merged in the operation, made me wonder: Are they cyborgs? Incipient cyborgs? Is this still a supermarket? Or an altogether different kind of space? One in the process of becoming? But becoming what?
The image that flashed to mind was that of an Amazon fulfillment center: a million acres of non-stop conveyor belts with robots finding and retrieving machine-labeled products and filling yellow bins under the supervision of a handful of humans. Robotic automation creating efficiency while eliminating the unpredictable and unproductive complexities of human labor and interactions. Perhaps, supermarkets are undergoing a transformation from spaces where humans browse, compare, select, and purchase to cyborg-operated warehouses. Perhaps this rapid and fundamental revision of function is an inevitable result of the increasing rate of technical reformation of everyday life.
Then again, perhaps my lucid vision of this scene as a new-reality- becoming is an example of what has been called “dystopian imagination”—an imaginary projection of “ethical and political concern” [Baccolini & Moylan, 2]. Or maybe it’s only a personal paranoia about the brave new world unfolding.
Traditional craft has been relegated to the margins in modern culture, being perceived as out step with technological, economic and societal progress. However, emergent research is rediscovering the nature of craft and its potential for contributing to design practice in conjunction with developments in science and technology. Through the analyses of craft and sustainability, strong connections are revealed as well as some incompatibilities. The contribution of this paper is to a) map a systemic view of craft and b) establish a theoretical understanding of the relationship between craft and a holistic understanding of sustainability. Drawing on recent research that proposes three areas of leverage for sustainability, we argue that craft, as a system of making, knowing and being, has significant potential to contribute actively and tangibly to the transitional conditions, thereby serving as an agency for sustainable transformation.
Starting or growing a co-op/internship program can be intimidating; for both educators and potential employer partners. In an effort to learn the pain points for both parties, opportunities
to break down barriers and build bridges, and identify actionable steps to get started, faculty from the University of Cincinnati’s Division of Experience-Based Learning and Career Education conducted a two-year research project with 65 co-op and internship employers from more 15 unique industry clusters, and 50 university faculty and staff representing 24 unique institutions. This poster will graphically share the resulting findings from more than 1250 qualitative responses, and generate discussion on the educational pedagogy of creating best practices for employer partners. Find out what “the survey says”!
IASDR 2017 Guest Speaker
Mark Hallerberg is Dean and Professor of Public Management and Political Economy at the Hertie School of Governance, a private public policy School in Berlin, Germany. His research focuses on fiscal governance, tax competition, financial crises, public sector innovation, and European Union politics.
He previously held academic positions at Emory University, where he maintains an affiliation with the political science department, as well as at the University of Pittsburgh and Georgia Institute of Technology. He received his PhD from UCLA in 1995.
This paper will address some design concerns relating to philosopher Étienne Souriau’s work Les différents modes d’existence (2009). This has important bearings upon design because, first, this philosophical attitude thinks of designing not as an act of forming objects with identity and meaning, but rather as a process of delivering things that allow for a multiplicity of creative remodulation of our very existences. Secondly, Souriau unpicks the concept of a being existing as a unified identity and redefines existence as a creative act of nonstop production of a variety of modes of existence. In doing this he not only moves ontological considerations to the fore of philosophical discussions away from epistemological ones, but does so in such a way as to align with attitudes to ethics that relate it to ontology – notably the work of Spinoza. (This places Souriau in a philosophical lineage that leads back, for example, to Nietzsche and Whitehead, and forward (from his era) to Deleuze and Guattari.) In thinking both ontology and ethics together, this paper will introduce a different approach to the ethics of design.
Graphic design is often seen in the commercial context and is discussed through topics linked to software and technology. When we look around us we can realise that billboards, banners, posters and most of the print that surround us in the public space are delivering messages of marketing, corporations, consumerism and other commercially inclined narratives. This, however, is not the only way to comprehend the practice of a graphic designer. Graphic design can take a socio-pedagogical and historical role and distribute alternative messages in the society which are not linked to money and consumption, unless education, reading and studying are considered consumption of sorts.
It is obvious that graphic design is a powerful tool that shapes our understanding of reality. This happens through being exposed to the work. Posters are claimed to mirror societies by many theorists and most visual communication is mediated by a graphic designer. Thus, Bonsiepe stated already in 2005 in his speech Design and Democracy that there is an absence of questioning activities linked to design production. It is yet a relevant theme that research needs to approach; also in a post-colony where the printed poster is ubiquitous. A simple sheet of printed paper. A very simple but extremely complex and powerful. There lies an investigation that this paper will start. The outcome of this paper to share knowledge within the researchers about creating new meaningful pathways in understanding globally important practice of graphic design. Art and design are universally important.
IASDR 2017 Workshop
Design now faces with new challenges that have made us rethink about our current design paradigm. It motivated us to organize a forum called, Design 3.0 Forum at KAIST in 2016, where we invited globally renowned design researchers and practitioners from different countries to discuss about important agenda for emerging challenges. The agenda we extracted from this forum can be summarized as follows: 1) envisioning of designers' future roles on open creativity and design; 2) dissemination and evaluation of design research outcomes by keeping deep design values; and 3) post education and practice that moves beyond the current use-centered perspectives by thinking big toward social innovation and large-scale impact.
As the result of the Design 3.0 forum, we all agreed that we must continue to develop and extend these agenda and collaboratively make executable actions to carry them out in the design community. In this special session at IASDR 2017, not only the organizers of the previous Design 3.0 forum (i.e. Youn-kyung Lim, Ron Wakkary, Kun-pyo Lee, and Tek-jin Nam), we invite the people who have not participated in the previous forum but can provide important insights on these issues. For the format of the session, we will take the panel format where the invited participants will present their positions first, and then have in-depth discussion on them among the participants and the audience. Through this special session, we expect to advance the initial Design 3.0 agenda and can generate more concrete and executable action items for Design 3.0.
Please follow developments of this work at http://design3-0.org/2017iasdr/
IASDR 2017 Guest Speaker
Tracy Moss is an independent design consultant and currently serves as the Course Director for Counter-Proliferation Opportunity Design at Joint Special Operations University, MacDill Air Force Base, Florida. As co-founder of the U.S. Special Operations Command (USSOCOM) Design Thinking education program, she also serves as core faculty for the full complement of design-related courses and activities at the university and headquarters.
Ms. Moss retired from military service in 2015 having spent 20 years on active duty in both the U.S. Air Force and U.S. Navy. During her final four years of military service at USSOCOM, she served as the lead Analyst and Planner on two operational design teams and as Chief of Counter-Weapons of Mass Destruction Analysis.
In societies where productivity is prioritized over presence, anxiety abounds. The extensive and alarming effects of anxiety on the mental and physiological wellbeing of bachelor students inspired a cross-disciplinary team to tackle this problem. Using combined expertise in visual design, music technology, psychology, art therapy and mindfulness — a digital tool entitled “Modes” was born. The Modes digital tool is an atmospheric, introspective, and aesthetically sophisticated engagement of three senses: ophthalmoception (sight), audioception (hearing), and tactioception (touch). Through immersive interaction, mesmerizing visual and sound landscapes are generated in order to reduce anxiety in bachelor students. The two measurable outcomes of Modes are 1) the reduction of self-reported anxiety in bachelor students, and 2) the reduction of bachelor student heart rates.
Interacting with the Modes digital tool is like playing in a sandbox of dynamic visuals and music. Users begin by selecting and entering one of three digital environments entitled Refocus, Chill, or Energize. Each environment (or mode) offers a unique set of visuals and music designed specifically for anxiety reduction. The design and functionality of Modes are rooted in tenets of mindfulness practice and Ayurveda — an ancient Indian healing system emphasizing inner balance as a method for maintaining health and wellness (Kiefer, 2016). The Refocus, Chill, and Energize modes aim to balance each of three governing principle of Ayurveda that regulate physiological activity. Ultimately, users may combat and control their anxiety in three targeted ways: by refocusing, chilling, or energizing.
The political rhetoric of today economy has framed innovation as reproduced and reserved by specific people in specific locations. This framing has shaped the discourse of who is deserving and who is not deserving and gradually sets the foundation of social discrimination, inequality, and exploitation as part of the neoliberal economy. Given the claim that entrepreneurs are inventing the future, this paper envisions alternative futures in which performing economy contributes to socio-technical transformation. To that end, this paper focuses on two community- based initiatives in Chicago that their contribution to economy is not recognized due to incompatibility with mainstream narrative. In these counter-hegemonic exemplars, different but potentially related future-making practices occur; they are shifting the emphasize from individual entrepreneur to a collective economic development and moving forward the discussion of entrepreneurship to the kind of society and the kinds of citizens that it is creating. By conducting ethnographic study on these exemplars, patterns have emerged that are informative to design strategies for infrastructuring and socio-material negotiations.
This study introduces a new perspective on the design pedagogy in learning symbol design. A new experimental discipline implemented by the design methods demonstrates positive learning outcomes for students on the development of symbol study. Understanding denotative and connotative interpretation in visual literacy is essential in order to convey not only a clear message but also distinctive recognition as the nature of symbol quality. Students executed design experiments with design theories and methods for understanding design fundamentals of the denotative symbol and explored a matrix table for cultivating connotative symbols. This pedagogical strategy applied to the expansion of visual concepts with progressive experiments on each stage; 1) analyzing perceptive characteristics, 2) simplifying visual construction, 3) developing a visual concept with connotative meaning, and 4) configuring visual balance and enhanced quality based on design principles. With examples of student outcomes, this paper explains an analysis of functional expression and interpretation applied by design methods. This study discovered that earlier teaching of design fundamental disciplines with theories and methods in the graphic design major gave students better opportunities to pursue their further study more effectively and productively.
Design processes are so complex that it is not easy to remember, reflect and record in detail after the actual processes are over. This paper proposes a notation to depict a design process as a whole while keeping its original complexity in terms of visual and structural aspects. The notion affords two types of structures to represent design processes, through activity units, a series of actions of the same kind, and design elements including ideas, prototypes and theories emerged, created, and applied during the design process. We use a design process of an actual design workshop as a case to derive the notation while using the online presentation tool “Prezi” as an interaction framework. We then investigated the depicted design process by re-experiencing the process as a first-person engagement using the designed notation. Prezi's animation mode allowed us designate a sequence along which viewers can experience the design process by zooming in some activity units and design elements, and its presentation mode allows us to look back the design process from the start to the end by following activity units arranged in the temporal order. Following the transitions among some design elements allows us to focus on essential objects in the design process. The depicted process illustrate that the two structures of activity units and design elements are not corresponding to but independent of each other.
To limit the harm and damage caused by river flooding, signs to indicate dangerous water levels are placed along the river, particularly where there is a danger of overflow. However, the general level of awareness of such signs is low. In this study, we examined ways to efficiently convey information that people have little interest in and find difficult to understand.
Dangerous water levels are quantified and communicated using colors to indicate the degree of danger, and this information is conveyed to the public with signs on bridge piers and slopes. Various other measures are also employed, e.g., adding evacuation pictograms to signs, displaying signs separate from graduated water level indicators, and providing detailed information via the river office website. In addition to using Internet channels such as websites and Facebook, it is common to create and distribute pamphlets and other kinds of printed notifications to communicate such important information as widely as possible. Nevertheless, information that is essential in an emergency but unnecessary at ordinary times is difficult to communicate widely and effectively, even if all these measures are taken. This is because even if people accept that such information must be understood, they remain uninterested and find the information difficult to understand. To solve this problem, we created a story featuring mascot characters for each danger level. This story, presented as a picture book, overturns the conventional attitude toward such information. We thereby developed a medium for communicating important information in a way that better captures people’s interest.
IASDR 2017 Guest Speaker
Kit Zhang is a Senior User Experience Designer and Design Manager at Amazon. She is currently working on Amazon Fashion’s personalized shopping experience, including Amazon's fashion service, “Prime Wardrobe”.
She was the solo designer and researcher on the launch team of Amazon’s first brick-and-mortar "Bookstore". Throughout her three year journey at Amazon, she has been advocating for design research through collaboration with researchers, as well as pioneering new research methodologies as a designer on startup-mode teams.
Kit has nine years of design industry experience in consultancies and corporations. She has designed and launched various consumer facing and enterprise products. Kit has a Master of Design degree from the University of Cincinnati, College of DAAP.