Showing papers in "Design Journal in 2012"
TL;DR: In this article, the authors have focused on different aspects of design and emotion in recent years, and various studies, models and theories have been proposed and adopted in order to explore the relationship between design and emotions.
Abstract: Many design researchers and scholars have focused on different aspects of design and emotion in recent years. Various studies, models and theories have been proposed and adopted in order to explore...
41 citations
TL;DR: The Open Design Now: Why Design Cannot Remain Exclusive by Bas van Abel, Lucas Evers, Roel Klaassen and Peter Troxler as discussed by the authors is a recent work.
Abstract: (2012). Open Design Now: Why Design Cannot Remain Exclusive by Bas van Abel, Lucas Evers, Roel Klaassen and Peter Troxler. The Design Journal: Vol. 15, No. 4, pp. 493-496.
28 citations
TL;DR: The Future Bathroom project as mentioned in this paper explores the role of the exhibition as a theatre for conversation that has parallels with the salon gatherings that emerged in mid-seventeenth-century France.
Abstract: The Exhibition is embedded within the culture of Art and Design and has a long history as a form of 'gathering' to prompt academic discourse. This paper explores the role of the exhibition as a theatre for conversation that has parallels with the salon gatherings that emerged in mid-seventeenth-century France. This paper will describe 'The Future Bathroom' - a project that contributes to the development of methods and tools to support an inclusive design agenda. The bathroom provides a number of challenges to user-centred design methodology because of the highly personal, sensitive and intimate nature of the activities that take place there. Various methods were adopted during the course of the enquiry and here we focus on the role of the interactive exhibition as a research tool to gather data and further our understanding within the context of the research objectives. As part of the interdisciplinary research network 'Engineering for Life' (supported through the Engineering and Physical Sciences Research Council (EPSRC) Bridging the Gap Programme), researchers within the Art and Design Research Centre (ADRC) at Sheffield Hallam University explored the potential of a 'field lab' exhibition based on the 'future bathroom' research to both gather and disseminate knowledge.
18 citations
TL;DR: To create a new thinking space to reconsider openness, the non-representational thought model of the rhizome is applied to examples from Dutch design culture which will offer a more thorough understanding of where the true innovative power of open design lies.
Abstract: Open design is a new design paradigm that creates a lot of dilemmas for designers to deal with. However, these dilemmas are mostly being discussed from within the design sector itself and from very polarized perspectives which do not provide much depth to create ways to deal with this new paradigm. This paper considers open design as a philosophical position that relates to broader cultural developments and puts the way we deal with design in the perspective from our attitude to identity which can be described as a performance. To create a new thinking space to reconsider openness, the non-representational thought model of the rhizome is applied to examples from Dutch design culture which will offer a more thorough understanding of where the true innovative power of open design lies.
13 citations
TL;DR: In this article, the relationship of contemporary products to issues of sustainability and enduring meaning is explored, and the secondary or extrinsic value of products, which includes technological advancement and business development, is discussed.
Abstract: This practice-based design exploration considers the relationship of contemporary products to issues of sustainability and enduring meaning. The secondary or extrinsic value of products, which includes technological advancement and business development, is discussed. Instrumental value is also addressed, along with a product's intrinsic value – or lack of it. This yields a set of general propositions for countering triviality and waste and increasing intrinsic value, and some of these propositions fall under the remit of design. Against this backdrop, product meaning and intrinsic value are considered with reference to the philosophy of E. F. Schumacher as well as various critiques – from Arnold in the nineteenth century to Orr in the twenty-first – and a case is made for objects of design, rather than art, that have no practical utility but whose function is concerned with what might be referred to as ‘inner work’. These arguments and ideas are then translated into a series of propositional objec...
11 citations
TL;DR: In this paper, an approach based on the concept of emergence has been proposed for design, where the emergence process occurs in systems with a multiple number of components, in which the components follow simple individual rules, as well as interact with other components.
Abstract: The approach to systems thinking in design in this paper is based on the concept of emergence. Historically, emergence has been at the heart of nature's designs, producing living organisms on earth for several billion years. Emergence as a process occurs in systems with a multiple number of components, in which the components follow simple individual rules, as well as interact with other components. In this paper, well-established models of design thinking will be analysed and their limitations in terms of a variety of resultant designs will be demonstrated. Subsequently, it will be demonstrated how emergence-based systems thinking opens up the scope for exploration and a range of resultant design possibilities. The current design practice explores a small number of design options for making an optimum design solution, resulting in a large number of design possibilities unexplored and in opportunities missed. The approach based on emergence integrates the systems approach into design thinking, ext...
11 citations
TL;DR: Open design has emerged as a topic generated by a new logic of thinking: the internet with its rhizomatic creative networks and open software as discussed by the authors. But as a new generation of knowledge and design workers set out to engage with networked and post-Fordist labour they also generate new forms of conflict.
Abstract: Open design has emerged as a topic generated by a new logic of thinking: the internet with its rhizomatic creative networks and open software. Over the last decades the network has become a new conceptual technology by which to think and describe the world in a new way, and collaborative networks have also become the main actors in the new economy, generating questions of what ‘open’ actually means. As a new generation of knowledge and design workers set out to engage with networked and post-Fordist labour they also generate new forms of conflict. The power over standards and protocols guides the use of the creative platforms, both enabling collaborative and co-creative design as well as shaping it according to the aims of those setting the standard. Similarly, on an organizational and political scale it seems open design may ‘bite back’ in an increasingly conflicting form of ‘immaterial labour’, fragmenting any organized resistance and making every creative act freely exploitable under the irresi...
11 citations
TL;DR: In this article, the authors explore the tension between "good taste" and "good design", and how designers can use that tension in the design process, and propose to use bling as a source of creativity for their own bling projects.
Abstract: Some products are considered to be 'bad taste' and therefore of less value. However, if we focus on what a product does to and for its users, rather than on what a product is, we can disregard superficial statements based on taste, and instead reach a better understanding of design. This reasoning is based on the relationship between 'good taste' and 'good design', terms which are sometimes confused and treated as synonyms. In this paper we explore the tension between 'good taste' and 'good design', and how designers can use that tension in the design process. We consider 'good taste' to be rooted in a subjective context of inherent values, whereas 'good design' arises from competence and is based on professional skill. 'Bad taste' is here exemplified by products associated with the lifestyles of rap artists and the subculture of bling. Inspired by de Bono's PO (1972, 1973) we created a thought-provoking brief for a design workshop for students. In the context of a course on trends, industrial design students were given the task of exploring how bling products are perceived in everyday life and proposing future bling scenarios. Their views on bling were compatible with how bling is presented in the media. However, when the students began to consider what the product does rather than what it is, they were able to use bling as a source of creativity for their own bling projects. What other design opportunities are overlooked by regarding products as being 'bad taste'?
9 citations
TL;DR: In this paper, the authors discuss key principles and practices of human-centred design in the unusual context of the successful rescue of 33 Chilean miners in 2010, and draw on publicly available materials, published interviews and background stories to identify a range of humancentered design practices and principles which guided this rescue operation.
Abstract: In this paper, I discuss key principles and practices of humancentred design in the unusual context of the successful rescue of 33 Chilean miners in 2010. The paper begins with a review of elements and characteristics associated with human-centred design in contemporary design theory and literature. From this reflection, questions arise about the role and place of human-centred design in ‘non-design’ social contexts, dominated by technicians and engineers. Can the Chile Miner Rescue serve as an example for the value and relevance of a human-centred design approach in these domains? The paper draws on publicly available materials, published interviews and background stories to identify a range of humancentered design practices and principles which guided this rescue operation. The aim of this paper is to stimulate thoughts, discussions and research into these questions while looking into a situation in which design approaches and design problems reach beyond the familiar products and services. The ...
8 citations
TL;DR: In this paper, a comparative study of national business support programmes in design operated by National Design Centres (NDCs) in the UK and South Korea is presented, which identifies the drivers for, and barriers to, implementing national support programs in design and presents the recommendations for new approaches to the development and implementation of such programmes.
Abstract: This paper discusses a comparative study of national business support programmes in design operated by National Design Centres (NDCs) in the UK and South Korea. The research identified the drivers for, and barriers to, implementing national support programmes in design and presents the recommendations for new approaches to the development and implementation of such programmes. The research findings illustrate that while there are some similarities in barriers to implementing such programmes, government support for businesses through NDCs differs in the two countries due to the different content and structure of programme delivery. The research findings also indicate that critical issues influencing national support in design are autonomy and respective organizations’ perspectives and purposes.
TL;DR: The Serralves Foundation, along with its Museum of Co... as discussed by the authors argued that cultural institutions are increasingly facing the inevitability of a profound revision in their traditional parameters of unidirectional communication.
Abstract: In this paper we will maintain that cultural institutions are increasingly facing the inevitability of a profound revision in their traditional parameters of unidirectional communication. Given the increasing availability of tools for audiovisual production as well as the diversity of networked communication contexts, the roles of the user and the audience have come to assume a participatory potential in the content they consume and attend; this will dictate their repositioning in relation to the universe of institutions' work.In order to communicate new messages, media narratives, views or perspectives on the same reality are constantly constructed, deconstructed and reconstructed. In this age of ‘ConsumerGenerated Media’, identities and representations are constantly changing. The idea and the concept of a brand now extends far beyond its own limits, taking on important emotional values, and people enjoy being a part of that brand's mythology.The Serralves Foundation, along with its Museum of Co...
TL;DR: The author argues that surgical innovation, as well as the responses to it, develops through a process of ‘nested’ circular causalities that arise from a linearly directed intention, i.e. the intention to cure illness.
Abstract: This paper details the design process of an innovative surgical product called the non-invasive patient tracker, based on user-centred research carried out in the operating rooms of a hospital in Hong Kong. Through examination of the first two phases of Cagan and Vogel's integrated New Product Development (iNPD) process, the author makes an inquiry into design thinking in the healthcare arena. Innovative surgery teeters on the horns of a dilemma. Although a surgical innovation may offer substantial improvement over conventional treatment strategies on the one hand, it may be perceived by both the surgeon and the patient as involving significant risk on the other. The author argues that surgical innovation, as well as the responses to it, develops through a process of ‘nested’ circular causalities that arise from a linearly directed intention, i.e. the intention to cure illness. She also argues that rigid and unquestioning adherence to prevailing assumptions and practices can serve to stifle origin...
TL;DR: This paper will provide an insight into co-design methods by reviewed practice and application within a textile design context to argue that it has the potential to create new opportunity spaces for working and promote sustainable practice.
Abstract: This paper explores the potential of using co-design methods combined with Web 2.0 to argue a new approach to textile design practice and education.Over the last decade digital media has evolved and terms such as; pro-am, prosumer and prosumption are familiar phrases used to define professional amateurs and proactive consumers. The use of digital technology has become so heavily embedded within our culture that we no longer focus on the technology but the innovation it enables: What does it do? How can we use it? Technology has become so embedded within the lifestyle of youth culture growing up within this media age, Generation Y (Gen Y), that it becomes transparent, like the air. They do not talk about the technology but define it through use and experimentation. As consumers they want to be prosumers co-innovating products and services, they use digital media to edit, create and distribute their own content, they collaborate by constructing their own social networks and they innovate by becoming...
TL;DR: This paper found that consumers prefer anthropomorphic designs mainly when future consumption serves emotional, but not functional, goals, and found tentative evidence for product-related emotional responses, elicited at the moment of purchase.
Abstract: Some product forms such as designs mimicking human shapes are supposed to trigger innate preferences in consumers. In design and marketing literature, there is some evidence supporting such a preference bias toward anthropomorphic forms. However, it is still an open question whether preferences for anthropomorphically designed products can be attenuated by contextual factors. Assuming that consumers are sensitive to the value (e.g. functional or emotional benefits from usage) product design communicates, we postulated that consumers should prefer anthropomorphic designs mainly when future consumption serves emotional, but not functional, goals. In an experiment, where participants were exposed to different kinds of consumption scenarios, we found that participants' preferences for anthropomorphic designs varied with the scenarios. Further, we found tentative evidence for product-related emotional responses, elicited at the moment of purchase. Our results show the limits of biologically determined ...
TL;DR: The authors examines literature regarding barriers to recycling and relationships with age, and the potential role that design can play to eliminate these barriers is described, along with the author's activities within this area in the project "The Grey Areas of Green Design" based at Sheffield Hallam University.
Abstract: There have been numerous studies about recycling behaviour, participation and motivations, some of which will be discussed in the main text of this paper. There are disagreements over the impact that age has on the ability and inclination to recycle. The author believes that there are significant effects that age and the ageing population has, and will have, on the ability to recycle and the overall UK material recovery rates. This positioning paper examines literature regarding barriers to recycling and relationships with age. A hypothetical scenario is outlined for the impact of the ageing population on future material recovery rates in the UK, the initial results of a survey are presented, and the potential role that design can play to eliminate these barriers is described, along with the author's activities within this area in the project 'The Grey Areas of Green Design' based at Sheffield Hallam University.
TL;DR: In this article, the consumer moves along the paradigm shift of design from being objects of status identity, towards open design, with a focus on the making rather than the having, and the consumer does not much buy into mediated design objects, nor do they want to be associated with the non-functional status symb...
Abstract: This paper looks into the way the consumer moves along the paradigm shift of design from being objects of status identity, towards open design, with a focus on the making rather than the having. In 2005 the magazine Wallpaper* advertised a lamp designed by Massimo Vignelli (1955), with the slogan: I don't care what it is for, I want it. This message represents very much the generic meaning in the 2000s, of design being about status and artistic form, rather than about function and practical use. Based on a 2009 study of the way inhabitants in one street in full gentrification in Flanders, think of, buy into and actively participate within the design field, this paper shows how the Flemish public has very much been influenced by the narratives of lifestyle media and design producers. However, in the way they deal with design at home, it becomes obvious that the majority of respondents do not much buy into mediated design objects, nor do they want to be associated with the non-functional status symb...
TL;DR: In this article, the authors examine how this discourse has been formed by the convergence of actors with distinct agendas, and position it in relation to its cultural and economic contexts, and what type of open practices has this top-down model engendered.
Abstract: In a short period of time, open design went from an unknown notion to a buzzword in the Dutch design world. This development is usually attributed to the proliferation of bottom-up activities fostered by a typically open Dutch society. However, although open design is commonly associated with grassroots, bottom-up activities, in the Netherlands, the most visible effort at widespread dissemination of these ideals has been the result of a highly centralized effort largely supported by government funding. Why were the government and cultural organizations interested in fostering open design practices? And what type of open practices has this top-down model engendered? Advancing from a constructivist approach, we examine how this discourse has been formed by the convergence of actors with distinct agendas, and position it in relation to its cultural and economic contexts.
TL;DR: The Netherlands Institute for Design and Fashion (Premsela), the Netherlands Architecture Institute (Nederlands Architectuurinstituut) and the institute responsible for digital culture (Virtueel Platform) are currently being subjected to a forced merger.
Abstract: The Netherlands Institute for Design and Fashion (Premsela), the Netherlands Architecture Institute (Nederlands Architectuurinstituut) and the institute responsible for digital culture (Virtueel Platform) are currently being subjected to a forced merger. The new – and as yet unnamed – institute that will result will be housed in the existing building of the (soon to be) former Netherlands Architecture Institute in Rotterdam. In the global context, similarly, we are today witnessing the hybridization of design-related fields such as architecture, design and digital culture. The institute currently in planning in the Netherlands could constitute a hybrid design institute (our proposed working title), which will correspond to the merging of the design-related professions. It will hopefully provide an interdisciplinary platform and hybrid laboratory that will foster innovation. The forced merger, an element of current Dutch cultural policy, represents a unique opportunity for accelerating the design-r...
TL;DR: Cross et al. as mentioned in this paper described how designers think and work and how to understand how they think and why they do it, and proposed Design Thinking: Understanding How Designers Think and Work by Nigel Cross.
Abstract: (2012). Design Thinking: Understanding How Designers Think and Work by Nigel Cross. The Design Journal: Vol. 15, No. 1, pp. 141-143.
TL;DR: A triangular framework which integrated design consultancies can use to assess their client services, design work and their own marketing activities, which proved a very useful tool for any integrated design consultancy aiming to assess its services in light of its continuous business development.
Abstract: The design sector is a dynamic field characterized by fierce competition. Design consultancies, namely those companies which provide design services to other organizations in the form of consultancy work, are increasingly challenged to commit time and resources to their business development. Additionally, design-aware clients require from them greater levels of operational sophistication. This paper presents a triangular framework which integrated design consultancies, i.e. those integrating a number of design services under one roof, can use to assess their client services, design work and their own marketing activities. It consists of three entities: the consultancy, the client and the account, a notional entity which includes the collective of past, ongoing and future design projects for the same client, involves teams from the other two entities and requires their synergy. Each of these relate to a number of criteria which they are judged against, as well as criteria which interconnect them. T...
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TL;DR: The European Academy of Design's The Endless End conference on 4 May 2011 in Porto, Portugal as mentioned in this paper examines the changing, and evolving, state of design in a post-industrial age.
Abstract: This paper is the transcription of an opening speech delivered to the European Academy of Design's The Endless End conference on 4 May 2011 in Porto, Portugal. It examines the changing, and evolving, state of design in a postindustrial age. In particular, how a radical step-change, caused by intellectual technologies emerging from the Industrial Revolution, stimulated new systems of mass democratization that, in turn, were to transform our notions of individual freedom and social cohesion. In this context it considers design to be a key agent in the production and co-production of useful things and meaningful interactions with the latter gathering influence in a post-industrial society.
TL;DR: The Rituals, Pleasures, and Politics of Cooperation by Richard Sennett as mentioned in this paper is a seminal work in the field of design and design design, focusing on the relationship between art and technology.
Abstract: (2012). Together: The Rituals, Pleasures, and Politics of Cooperation by Richard Sennett. The Design Journal: Vol. 15, No. 4, pp. 497-501.
TL;DR: In this article, the views of the local young generation on contemporary menswear aesthetics are examined and a perceptual mapping in terms of scale of design richness and scale of individuality is developed.
Abstract: As the menswear market has transformed dramatically in recent years, traditional studies and concepts of menswear are now dated. In this Hong Kong based study, the views of the local young generation on contemporary menswear aesthetics are examined. A total of 103 males and females were invited to participate in a questionnaire survey which elicited their perceptions concerning contemporary menswear aesthetics, locally and globally, in the areas of attractiveness, fashionability, masculinity and purchase motivation.The characteristics of ten menswear designs were identified by a selection of descriptors. Fashion education and consciousness were found to be influential in respondents' perception on menswear design. In addition, perceptual mapping in terms of scale of design richness and scale of individuality and their relationship against purchase motivation was developed, which showed a significant linear correlation between the scale of design richness (SD) and the scale of individuality (SI). T...
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TL;DR: In this paper, the authors explore how digital media forces a fracture and a feeling of erasure concerning traditional notions of time-based media, its history and development, and how, then, does one gain perspective on the subject, the object and direction?
Abstract: In keeping with the conference theme, this text is an exploration of the idea of ‘Endlessness’ – how digital media forces a fracture and a feeling of erasure concerning traditional notions of time-based media, its history and development. Central to the idea of digital systems is the acceptance that everything is always in flux. How, then, does one gain perspective on the subject, the object and direction? The following constitutes a few random thoughts on the situation. On another day, the chemistry would be different, the physics the same.