Today, while profit maximization is still the bedrock of the capitalist model, people have embraced the idea of social contribution as a useful strategy in businesses. In this recent movement, Creating Shared Value (CSV) strives for a win-win solution that creates both social and business value. While in its early stage, CSV is showing promise and potential; society is witnessing a paradigm shift from practices of corporate social responsibilities (CSR) to CSV which is more sustainable and effective approach. Since Porter and Kramer originally introduced the concept in 2011, CSV’s application has expanded to many areas of business management, but it has not been discussed comprehensively in design research as of yet.
The title of this paper, “Designerly Way of Creating Shared Value” (DCSV) is inspired by Nigel Cross’s famous book, Designerly Way of Knowing (2006). ‘Designerly’ is an adjective describing ‘how’ designers think and behave that is different from professionals in scientific disciplines. The aim of this paper is to propose a new matrix illustrating the link between creating shared value and design, and to systemically describe the existing examples of DCSV (Cross, 2016). The paper will begin with an introduction to the concept of CSV followed by a brief literature review on CSV in design research. The second part will focus on demonstrating the new DCSV matrix by illustrating the four examples that exemplify it.
There is a growing need for sustainable fashion since the 2010s. As artists and designers explore the potential use of innovative materials developed by synthetic biology and DIY bio-hacking (Myers, 2010), recent practice-led research in fashion design aims at building the better relationship between ecological sustainability and biotechnology to cope with the limited resources available on the earth (Fletcher, 2008). Based on this issue on the material sustainability, this practice-led research analyzes the current production processes of the fashion industry to propose possible solutions by incorporating emerging biotechnology and fashion design in the context of sustainable design. As the methodology, the authors adopt two processes to make bio-garment. First, the experiment of DIY bio has been conducted for culturing ecological bio-material SCOBY (symbiotic colony of bacteria and yeast) that produces bacterial cellulose. The material has similar properties to leather. Second, designing the garment through 3D modeling has been tackled because we aim to make the bio-materials grow onto a 3D printed mold as ‘zero waste method’ (Rissanen; Mcquillan, 2016) , which can eliminate textile waste at the design stage. By the application of biological materials in the process of dressmaking, this practice led research has been analyzing the production line of the fashion industry and trying to propose sustainable solutions. Also the research aims to combine emerging biotechnology and sustainable fashion in order to establish the design process as an alternative design process to the polluting industry.
In recent years, architecture culture study is a popular direction in traditional vernacular dwelling research of China. Architectural culture, as the metaphysical part of a building, not only influences the formation of the building in design period, but also dominates the usepattern of the building after construction. However most of studies started with material form of dwelling from architectonic prospective ignored that architecture is a phenomenon of culture. The study of vernacular dwelling from cultural and other related academic fields is very necessary. Bei-nong is a transportation space in traditional vernacular dwelling of Jiangnan area in China. This paper tried to use the methods of urban history research to investigate this space. First of all, the particular time and region of bei-nong appearance has been observed and defined from historical and cultural background. Then, appearance reasons have been analyzed based on the social context and mainstream philosophy during the scope of time and region. In the end, the physical and social functions and the architecture construction of bei-nong have been summarized and ratiocinated from the former conclusions according to inductive reasoning theory. A real and comprehensive bei-nong is showed in the result of research, not only the physical form and history of architecture but also a history story about that place and time.
Case studies are discussed, from Northumbria University’s practice-led Centre for Design Research (CfDR) that demonstrate how visualising concepts and designs through digital animation can enable effective communication of ideas and interactions, which in turn enables creative leaps in thinking, understanding and decision-making. Animation is a tool that can unlock the comprehension into what is and what could be. This paper reflects on a number of collaborative projects between the CfDR and several scientific communities, demonstrating and focusing in particular on the process of visualisation, designing digital animations to communicate complex processes, ideas and interactions. An approach and understanding has been developed about how to effectively communicate potentially complex, scientific and technical concepts for the benefit of the client and the end user, in particular the lay audience whose knowledge of the subject may be limited or non-existing.
Findings indicate that the process of constructing simple digital animated stories becomes a learning process for both designer and client. Critical discussions during collaborative meetings develop shared understandings: helping clients to think more creatively about communication (appreciating the benefits of manipulating a truth to position to waylay contextual confusion), and making implicit knowledge belonging to the client explicit to the designer. It is important to state that this negotiation is more effective when the designer is a layperson with respect to the complex implicit knowledge of the client. During these collaborative conditions the untangling of complex ideas have achieve the a-ha moments in the animations’ audiences.
How can students at a federally-designated Hispanic-serving institution understand and express culture and diversity through art and design? In order to address this inquiry and to exemplify a method that introduces students to critical thinking in the context of design, I am presenting a case study based on the primary results of a project implemented at an introductory graphic design class, which is part of a multidisciplinary arts program. In this project, students learn basics of design research and auto ethnography in a studio setting, in order to explore heritage and culture, their context of living, family history, and personal connections with their past, present, and future. Results from this discovery stage inform brainstorming, sketching, design, and production of a book that contains multiple visual explorations on “Heritage.” Some of the most memorable and productive conversations and interactions between students took place not only during the development of the project, but at the final project presentation, which exposed their capacity to develop greater tolerance and a more empathic view of the other, to be open to reanalyze their context and personal interactions, to better evaluate the design abilities of their peers as they respond to their own individual approach to the topic, and to develop a better and safer sense of place in the classroom.
Design education opportunities for non-designers are abundant and growing, many offered as rapid sprints through executive education style workshops or online courses. While these quick immersions may serve to infuse design thinking into the work processes of other disciplines, there is a risk of oversimplification. How can courses impart an appropriate sense of design without minimizing its complexity? What are the essential components of design, and optimal timing and formats needed for meaningful delivery? On the other hand, how can we educate those who seek a robust design complement to their existing professions, and those seeking a full transition of their careers into design practice? This study looks at the inception and early iterations of a one-year degree program providing an in-depth education to non-designers seeking a complementary education to other credentials or a full conversion to design through modular degree options. The first years of the program suggest several findings. For example, interdisciplinary cohorts introduce a mix of rational and intuitive approaches. Students need mentorship into design processes and practices, such as subjectivity in assessments and feedback through critique. Educators are challenged to acknowledge the past education and professional backgrounds of students, capitalizing on their unique strengths rather than homogenizing all students into a singular version of design. Students need tools to assess their professional identity during their transition to design. This work in progress will examine the spectrum of design education opportunities for non-designers, including key factors differentiating a degree program from the proliferation of short course exposures.
The number of migrant workers in South Korea is on the rise, but their inadequate Korean language skills prevent them from being promoted at work, or fairly treated as respected members of the society. In this study, in collaboration with a government-authorized language educational facility for immigrants, the authors investigated (a) challenges in migrant workers’ Korean as a second language learning, and (b) design principles of lessons and learning materials specifically targeted to their needs. Student and teacher interview data confirmed that the workers’ limited time for study, weak motivation, Korean colleagues’ indifferent attitude, and limited teaching resources at educational facilities are major barriers to achieving higher levels of linguistic skills. From the data, the authors identified four design principles: personalized content, community participation, portability of materials, and micro learning modules. Informal lessons via Facebook, factory safety signs, and portable writing drill booklets are designed as on-going experimentations of the principles.
Student life at a large institution like University of California, Berkeley, is challenging in many ways. Along with the often extreme academic demands, students must discover and navigate numerous services while simultaneously integrating themselves into formal and informal campus communities. Historically, core student services were delivered in a piecemeal and disjointed way via a dozen or more websites. A large investment in a Student Information Systems (SIS) replacement project has since unified these service experiences through CalCentral, a Berkeley-developed service portal, and created with a significant focus on user experience design.
While significant strides have been made to improve and simplify how services are delivered to students, the design team has been challenged to push their vision of the service ecosystem further, to “humanize the institution.” The vision goes through the SIS project and beyond, by first switching mindsets from service producers to service providers, and second by looking at how deeper relationships can be created digitally between students and the institution. The research, with students and different stakeholder groups, shows that beyond usability and learnability, there are greater opportunities through service design to contribute to students’ senses of agency, inclusion, connectedness and wellbeing. The design team is codifying new design principles and developing prototype experiences that look more closely at tone, behavior and contributing to a positive emotional state of mind. The service delivery through CalCentral is humanized and augmented in affirming ways, to use language that is accessible, and to guide students through complex paths.