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- Type:
- Article
- Description/Abstract:
- Throughout the history of design teaching in Higher Education, there has been an assumption that students need to physically encounter objects to fully understand and appreciate them. However, in this digital age, the physical encounter has been superseded by the myriad detailed images and information that is readily available on-line and in print. This concern drew together a museum curator and a 3D Design educator. One was concerned that the digital experience lacked the visceral and emotional experience of engaging with physical objects, and highlighted a difficulty of facilitating access to meaningful, contemporary, objects. The other, whose largely historic collections were increasingly considered “irrelevant” to contemporary design practice, understood the value of materiality as fundamental to a museum’s existence, and its role in teaching and research. The result was the establishment in 2013 of the “Material & Process Innovation Collection”, a museum quality collection, comprised of objects that are cutting-edge in terms of their material and process-led approaches to making, manufacture and distribution. The collection is driven not only by curatorial concerns, but by teaching and research, challenging the conservatism of museum collecting by taking innovative objects of untested materials and unknown makers, and hands the responsibility of collections development to non-curators. The research presents an analysis and reflection on bringing the physical back into the classroom, the value of this experience within teaching, learning and research, and reveals if there is merit in the assumption that sensory engagement with physical objects is of greater value than the digital experience.
- Creator/Author:
- Boydell, Stephanie and Grimshaw, David
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/17/2017
- Date Modified:
- 12/06/2017
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
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- Type:
- Article
- Description/Abstract:
- From the 1980s, design thinking has emerged in companies as a method for practical and creative problem solving, based on designers’ way of thinking, integrated into a rational and iterative model to accompany the process. In companies, design thinking helped valuing creative teamwork, though not necessarily professional designers’ expertise. By pointing out two blind spots in design thinking models, as currently understood and implemented, this paper aims at shedding light on two rarely described traits of designers’ self. The first relies in problem framing, a breaking point that deeply escapes determinism. The second blind spot questions the post project process. We thus seek to portray designers’ singularity, in order to stimulate critical reflection and encourage the opening-up to design culture. Companies and organizations willing to make the most of designers’ expertise would gain acknowledging their critical heteronomy to foster innovation based on strong and disruptive visions, beyond an out-of-date problem solving approach to design.
- Creator/Author:
- Berger, Estelle
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/17/2017
- Date Modified:
- 12/01/2017
- Date Created:
- 2017-10-31
- License:
- Attribution-ShareAlike 4.0 International
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- Type:
- Article
- Description/Abstract:
- Solution-generation design behavior in general, and "reflection-in-action" in particular, can serve to differentiate designers, recognizing their personal reflecting when designing. In psychology, reflection is found a more robust tool to enhance task performance after feedback from a personal "device" that generates the process itself while interacting with visual representation. Differences among students' interior design processes appear in their solution-generation design behavior. A “think aloud” experiment identified solution-generation behavior profiles. Qualitative and quantitative methodologies showed how design characteristics unite, forming patterns of design behavior. A comprehensive picture of designers’ differences emerged. The research aimed: to identify individual design students’ solution-generation profiles based on design characteristics. to show how reflection-in-action appearing in the profiles can serve to predict how novice designers learn and act when solving a design problem. to enhance the uniqueness of reflection-in-action for designers as distinct from reflection in other fields. Four distinct solution-generation profiles emerged, each showing a different type of reflective acts. Identifying reflection-in-action type can robustly predict how designers develop design solutions and help develop pedagogical concepts, strategies and tools.
- Creator/Author:
- Bar-Eli, Shoshi
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/17/2017
- Date Modified:
- 12/01/2017
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
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- Type:
- Article
- Description/Abstract:
- In the past decades, universities’ involvement in socio-economic development, which goes along with their teaching and researching activities, has defined a new role for them in society’s ecosystem. This new role is often referred with the term of “entrepreneurial” university, whose objectives are positive societal, economic and environmental impacts. In order to fulfil such objectives, entrepreneurial universities might engage in cross-sector collaborations with external organisations. Despite the great contributions that cross-sector collaboration can give to the partners involved, the outcome is mostly unfocussed and rarely embedded. This paper explores the outcome embedding in the cross-sector collaboration between entrepreneurial universities and the private sector. To this end, we provide the case of the collaboration between a Dutch airline company and four Dutch entrepreneurial research and teaching institutions. We aim to uncover hindering and enabling factors to the outcome embedding in order to design an interaction platform, design it together. This platform will be a tool to encourage the outcome embedding, moving from being inspired by to the actual implementation of the cross-sector collaboration. In order to fulfill this goal, this study employs a research through design methodology. This approach is a generative process, where cyclic loops of iterations and evaluations with stakeholders tend to the research goal. The solution is a digital platform, co-created with all stakeholders. This study can inspire practitioners and future research on the problem of unsuccessful cross-sector collaborations, between entrepreneurial universities and external organisations, with more emphasis on the value of embedding and translating the outcomes.
- Creator/Author:
- De Lille, Christine; Calabretta, Giulia, and Baldini, Luca
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/17/2017
- Date Modified:
- 01/09/2018
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
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- Type:
- Article
- Description/Abstract:
- Effective university-industry collaboration has become a major focus for governments in recent years. Universities are increasingly expected to play a greater role in the innovation system and evidence their contribution to economic development. At the same time, the growth in research quality assessment exercises makes it imperative that the excellence of research conducted in commercially-driven activities can be appropriately evaluated. This paper explores the challenge of reconciling commercially-focused activity and research quality assessment in design. Semi- structured interviews were conducted with thirteen experts including representatives from the design discipline, other applied academic disciplines, research quality assessment leaders and commercial designers. The interviews identified a number of barriers to demonstrating research excellence in commercially-driven projects. These were classified as barriers resulting from: the nature of industry/academic relationships; the nature of the project; and the nature of the research quality assessment. It is concluded that there is a need to build a simple, easily usable framework for assessing the research potential of commercially-driven design projects from the outset to ensure that the appropriate processes are put in place to communicate research conducted within them.
- Creator/Author:
- Walters, Andrew ; Al Batlouni, Dana , and Beverley, Katie
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/17/2017
- Date Modified:
- 12/01/2017
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Description/Abstract:
- Living in a modern society is becoming more complex, so in order to keep up with, a person should accomplish various kinds of task at once. Daily life requirements, obligations and the capacity of human memory lead us to collect and control our behaviors, bodies and lives through self-tracking devices. Aim of this paper analysis of emerging digitalized self-tracking trend through content analysis of Wired Magazine. Wired Magazine, both in printed and online, monthly, publish technology related articles how emerging technologies affect culture, the economy and politics. It reaches more than 30 million people each month through wired.com, digital edition. Since the term 'quantified self' emerged for the first time in Wired Magazine, for this reason Wired Magazine is one of the most important sources to be used for content analysis. This present study carries out a content analysis of all the issues until December 2016 through 'self-tracking' and two other related terms: 'quantified self' and 'lifelogging'. The usage period and popularity of these terms and, the relation network with the main topics and the subtopics are examined. As a result, it is possible to define wired magazine as a medium in which industry-academia and users come together and, feed each other reciprocally. Wired Magazine have contributed significantly and continues to contribute to the development of the digitalized self-tracking trend in terms of its content.
- Creator/Author:
- Akyaman, Serefraz
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/17/2017
- Date Modified:
- 11/17/2017
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
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- Type:
- Article
- Description/Abstract:
- When design works with industry it tries to sell two things, first, selling design as an agent of transformation, and second, selling design as a skill. Whilst historically design has been successful in the latter, it is the former that is more challenging, making it a necessity for design to work in none design contexts in order to build trust and credibility. Therefore, it is necessary to investigate the ways in which design interacts with industry, and how these interactions enable design to establish longer term relationships. This investigation set out to answer the question, what design specific characteristics are applied to establish successful longer-term relationships between design and industry? The paper aims to illustrate the intrinsic factors that enable design to get access, and designers to get authority to play a significant role in organisations. Five well-established relationships between design and industry have been used to analyse to find correlations. The investigation identifies three stages of collaboration between design and industry, namely, involvement, collaboration and partnerships, contrary to Cahill’s (1965) theoretical model, which claimed four stages to long lasting partnerships. Also, the case studies confirm three stages of trust and credibility as factors that help in strengthening a relationship between design and industry. Finally, several intrinsic factors that are unique to design have been identified, which are seen to have helped design in building high levels of trust and credibility.
- Creator/Author:
- Spencer, Nicholas ; Aftab, Mersha; Putri, Medeirasari , and Bailey, Mark
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/17/2017
- Date Modified:
- 12/06/2017
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
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- Type:
- Article
- Description/Abstract:
- 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.
- Creator/Author:
- Zhan, Xiaofang
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/16/2017
- Date Modified:
- 03/01/2018
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Description/Abstract:
- 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.
- Creator/Author:
- Morita, Yoshitsugu; Sugimoto, Yoshitaka, and Sogabe, Haruka
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/16/2017
- Date Modified:
- 03/01/2018
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International
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- Type:
- Article
- Description/Abstract:
- Most academic methodologies are developed from a prescribed methodological process that is limited to a specific area of study. However, the disciplinary landscape in which the knowledge is established is being rapidly reconfigured. Given the vast varieties of practices and knowledge base required from information designers, it is even more crucial for them to look outside of the traditional visual design fields and seek diversities for better research and creation methods. The two disciplines, software engineering and information design, are often perceived as one provides technical solutions to the other. This essay intends to move beyond the common perception, and identify relevant issues in software engineering design that resonate with the information design process. The issues include the multi-component planning approach; the human-oriented agile method; design concepts such as abstraction, decomposition, component modularity, hierarchical relationship, and extensibility. The perspectives from software engineering design and information design is examined through units of analysis, terminology explanations, and forms of communications. The collective design methods and principles provide a systematic framework to the methodological thinking in information design. The discussion serves the purpose of encouraging more conceptual-based conversations between information design and other disciplines, especially in the fields of science and technology.
- Creator/Author:
- Shen, Yvette
- Submitter:
- Lora Alberto
- Date Uploaded:
- 11/16/2017
- Date Modified:
- 01/09/2018
- Date Created:
- 2017-10-31
- License:
- Attribution-NonCommercial 4.0 International