How to ... be a reflective practitioner.

인터넷 기반 Collaborative Design 시스템 개발

Participatory design (PD) has become a popular approach used in a range of applications to generate a range of different outcomes. The defining strength of this approach is that it has potential to generate appropriate solutions while also empowering the involved community. This strength has resulted in PD being used as a method for developing humanitarian technology in developing countries. However, this diversity has made it difficult to evaluate the effectiveness of each project, leading to criticisms that PD lacks empirically demonstrable benefits over traditional approaches. This article presents a new outcome-focused framework to assist in the evaluation of PD projects. The Insights, Solutions and Empowerment Framework draws from extant literature, and first-hand case studies in rural Cambodia, and attempts to provide a holistic view of the value PD offers, and important cross-cutting values to reflect on.

Insights, Solutions and Empowerment: a framework for evaluating participatory design

This paper aims to understand how effective co-design activities can be carried out with remote and rural communities. Taking a combined ethnographic and participatory approach in our proje...

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Co-design at a Distance: Context, Participation, and Ownership in Geographically Distributed Design Processes

As human-centred philosophies continue to permeate the landscape of design practice, education, and research, a growing body of literature concerning creative methods corresponds with a democratic process that addresses the experiences, needs, problems, and aspirations of users and stakeholders. It can be argued, however, that making tools to gather and evaluate the insights of others contributes to fluctuating perceptions of the designer as a creative auteur, visual communicator, observer, facilitator, analyst, and problem-solver. In turn, human-centred design's overarching neglect of practitioner and researcher reflexivity has resulted in insufficient reasoning and reflection surrounding subjective methodological choices and the impact these have on the direction of the process and the designer's agency.
In this practice-led research, I investigate how human-centred designers collect information and build relationships with participants by making, using, and interpreting visual and participatory tools and techniques. Examining approaches including personas, scenarios, and design probes, I assert that rather than being objective and neutral in seeking participants' input, human-centred designers are inherently reflexive, yet the practical benefits of this researcher trait remain broadly unrecognised and abstract within the discipline. Situating human-centred design in the context of environmental, community, and organisational placemaking, I undertake three case studies to examine localised sociocultural issues. In these, I draw from my position as an illustrator, designer, researcher, PhD student, and participant in the process to provide intimate, immersed, and critical narrative accounts of human-centred design in its initial exploratory stages. Simultaneously, I develop, test, and critique my participatory-reflexive methodology. Conceptualised as an arrangement of people and artefacts interacting through various creative phases and activities, this structures the process as stages of orientation, participation, evaluation-in-action, tool response analysis, and reflexive analysis.

I assess how the content, format, and tone of my methodological tools and techniques helped me to gather participants' drawn, written, and verbal insights, generate ideas, and make decisions whilst instigating understanding, empathy, rapport, consensus, and dialogue. These findings reinforce the designer's multifaceted reflexive role as an ethnographic explorer and storyteller, visual maker, strategic and empathic facilitator, and intuitive interpreter. Flexible and inclusive enough to navigate designers' and participants' intersubjective insights, I present the five-stage participatory-reflexive methodology as my original contribution to knowledge. I propose that this transferable framework will support designers as they engage with settings to elicit information from user and stakeholder participants, develop their own experiential and critical perspectives, and utilise their intuitive and expressive expertise to establish, manage, and sustain productive human-centred design relationships.

Visualising human-centred design relationships : a toolkit for participation

While designing new products and services in the industrial age has always been a collective process, the term collaborative design (CD) has become increasingly popular within design communities in the last few decades. Our survey of the CD literature yielded such a wide variety of efforts called ‘collaborative design’ that we were led to question if this diversity is inherent in CD processes as such, or whether CD is still in the process of being clearly defined. The lack of delineation between repeatedly recurring key terms (for example, teamwork, co-design, participatory design, cooperation, and so forth) led us to conclude that the latter is the case. We thus hypothesize that, currently, ‘collaborative design’ is more of a buzzword with unclear conceptual boundaries than it is a clearly defined typology of praxis. With this in mind, this paper sets aside the putative popularity of ‘collaborative design’ to theoretically ascertain more precisely what it is. We first survey a range of collective...

A Heuristic Structure for Collaborative Design

From the perspective of industrial design, user-centered design denotes more than a methodology to understand users. More importantly, it is a medium to create a relationship between designers and users. While user-centered design has much to offer, user research is not a convention in emerging economies. In this context, this paper puts one such emerging market, Turkey, under scrutiny. Six case studies give a snapshot of the current status of product design in general, and user-centered design in particular, in this country. One of the key findings is that, compared to the West, there is a wider gap between designers and users in the Turkish context. Besides economic situations, the eclectic character of Turkish culture plays the biggest role in the expansion of this gap. The application of Western oriented research methods and concentration on global trends also stand as barriers for user-centeredness. In order to ensure products' success through research, Turkey needs to develop its own user-centered design model.

https://anthrosource.onlinelibrary.wiley.com/doi/pdf/10.1111/j.1559-8918.2009.tb00142.x

Isil Oygur

Papers

A Heuristic Structure for Collaborative Design

Designing for Turkish Users: Analyzing the Industrial Designer ‐ User Relationship in Turkey