The years when Swedish08 design research 14 took off thanks to the Swedish Faculty for Design Research and Research Education

Design research for new approaches, innovation and sustainable growth Design research

D! 08–14 in Swedish? Contents You will find a pdf to download at: needs further designfakulteten.kth.se development

Design research needs further development 3 A useful calendar on the website A successful programme whose future must be secured 4 At designfakulteten.kth.se you will Design is society’s biggest cultural sector! 6 not only find news, minutes of board meetings, details about supervisors Short & sweet 8 and information about all our doctoral students, workshop events (internat), The statistics 10 courses and member institutions. You will also find a calendar with Design for a desirable future 12 important dates and activities, ranging from when our students are defending Award-winning alumni share their stories 18 their theses and notifications that new Flexit positions are open to applicants, In brief 21 to when various conferences are being held and other information that may Workshop events – a source of knowledge 22 be of interest to anyone interested in design research. The need to think big – and internationalise! 24

Theses and members 25 PHOTO: PER KRISTIANSEN

what do society and industry lose due to a services for the unemployed, sick people or lack of knowledge about design? We have families in crisis. become used to equating design with In many parts of the world new initi­ ­attractive and smart gadgets. Design has atives to use design for comprehensive enabled the manifestation­ of an acquisitive improve­ments are occurring, not at least in society and a waste­ of resources. However, the public sector. In Sweden the conscious This publication is a summary of the Swedish Faculty for Design­ design is primarily­ a method and a process positive development of society has slowed Research and Research Education’s activities­ between­ 2008 and of ­creatively catching up with complex down. To achieve a restart, a new kind of May 2014 as we are seeking funding for our continued existence. problems in a changing context. These complementary research is needed which The summary is published by the Faculty,­ a national centre for types of problems requiring the combi­ includes broader perspectives without design research based at KTH Royal Institute of Technology­ in nation of different sets of know­ledge and ­sacrificing complexity. Stockholm. Our aim here at the Design Faculty is to is to develop experiences have ­become more and more Design research can contribute by facil­ design as a discipline­ in order to make it possible to respond­ widespread in today’s globalised­ world, itating constructive and creative dialogues­ to social, ­economic and technological­ challenges in ­society in ­especially with its ambitions of sustain­ between people with various kinds of a sustainable, innovative and aesthetically aware manner. Just ability, integration, improved­ health and knowledge and experiences. The core over 50 doctoral­ students are currently participating in our the fight against poverty. of this expertise is the openness to new research school. They come from our many member ­universities Design is about the ability to discover perspectives and the ability to discover the and colleges around Sweden.­ 19 have already achieved their wholes that are more meaningful and actual patterns and visualise the proposals. ­doctorates. ­interesting than the sum of their parts. To develop this capacity requires not only ­Design is implemented by a process of applied projects but also basic research. trial and error which uses various points The Swedish Faculty for Design Research of ­departure and approaches and which and Research Education (the Design Faculty) Publisher responsible under Swedish press law: Bo Westerlund involves learning from experience what has been the centre of these ambitions Cover: A discussion at Materia in Tranås during one of the Faculty’s workshop events. works and what does not. In this way in Sweden for the past seven­ years. The Editor and writer of texts where no other writer is named: Susanne Helgeson Other writers: Maria Hellström Reimer, Stefan Holmlid, Ramia Mazé, Johan Redström, design is more like artistic work. This question now is how this continuation can Anna Rylander, Peter Ullmark, Bo Westerlund expertise is of crucial importance­ whether be secured. And how Sweden will continue English translation and language editing: Fenela Childs, Tussilago Communications it is a question of straws for water cleaning, to develop through design. Graphic design and layout: Typisk Form designbyrå Printers: Printfabriken, Karlskrona 2014 (printed Swedish version) instruments for auricular frequency in Peter Ullmark & Bo Westerlund, the former and ISBN 978-91-7595-200-0 contexts without electricity or improved current heads respectively of the­ Design Faculty

2 • THE DESIGN FACULTY 08–14 08–14 THE DESIGN FACULTY • 3 A successful programme whose future must be secured

There is no doubt that design and research about design are vital to the major problems of society that exist today. The Design Faculty has vitalised this field following funding from the Swedish Research Council but the funds run out by the end of 2014/beginning of 2015. A future for this work must now be secured. PHOTO: THORBJÖRN MAGNUSSON

This image is from “Ytans materialitet” (The materiality of surface), an interartistic research project at the School of Design and Crafts at the University the design faculty’s graduate school was only traditional design schools but also tions and the Design Faculty now face two of Gothenburg by Kristina Fridh, project manager, researcher and architect, and Thomas Laurien, product designer, pattern designer and PhD student launched in 2008 with funds from the Swed­ institutions in the fields of technology and challenges. The first is to secure the future at the Design Faculty. The project is funded by the Swedish Research Council. ish Research Council. The initiators were 19 economics. This interest subsequently of the graduate school so that competen­ third-level institutions with research am­ broadened further due to society’s greater cy development and the construction of bitions in the field of design together with emphasis on the need for innovations in a powerful network can continue. One the Swedish Industrial Design Foundation such fields as new types of services and the step in this is Nordic cooperation within The Design Faculty’s strategic planning for the next operational period from 2015 (SVID). The faculty was based at KTH Royal management of complex social process­ the Nordes framework via the exchange has resulted in the following programmes: Institute of Technology, and the funding of es. It became more relevant to have new of courses. This complements previous five million kronor annually for five years connections to both the social sciences and cooperation in organising an international 1. The national graduate school continues in alternating years, there are plans for the next few years this work will result in came after a Riksdag decision as a follow-up the humanities. At the same time, more research conference every second year with the same organisation as before, with Nordic courses in fields where the base in a number of EU projects involving several to the 2005 Year of Design in Sweden. knowledge about the core of design knowl­ and a summer school for doctoral students a basic course and in-depth courses. How­ each country is too small or where some member institutions. At that time design was still a relatively edge in particular as well as basic research in the intervening years. The second ever, the responsibility for course planning institution has special expertise. clear-cut discipline with its roots in the in the design field also became more and challenge is to make use of the expertise and implementation is split between the As a start, a catalogue of Nordic courses is 6. Funding for the Faculty’s future work is applied arts and industrial product devel­ more necessary. of the new graduates. Many of them will member institutions in order to limit the being produced and this will also include being sought from both research councils opment. However, the design professionals leave academia to work in industry and the central costs. the field of architecture. and private foundations. In order to main­ and the institutions’ instructors lacked an Competency development needed public sector. Others will be in demand to tain a stable foundation, a basic organisa­ academic anchor. The need for a developed The application to the Swedish Research teach within academia. 2. To coordinate a more developed collab­ 4. An activity for postdocs and other hold­ tion is being created, which is funded by knowledge base was further highlighted by Council predicted that 15 doctoral students If competency development is to be oration over initiating research, a group ers of doctorates in the field of design will the member institutions. This organisation the fact that design applications began to would be interested in participating in the broadened and deepened, however, the op­ of senior researchers from the member be initiated. The aim is to develop the net­ will primarily ensure the implementation broaden at an increasingly rapid pace. The graduate school at any one time. portunities to do continued research must institutions was appointed. The core of work and create new areas of cooperation. of the courses in the graduate school and development of new information and com­ However, during the seven years that also be secured. It is not clear how this will this group was drawn from the now-active As part of this activity there are plans for coordinate the initiation of new research munication technology played a key role the school has been operating, significantly be done. One possibility is instructor jobs strategy group. A special programme was annual seminars, support for special sub­ programmes and projects in cooperation in this. Users’ ability to influence develop­ more – 71 in total – have been registered. with time to do research. But the tough initiated that gives senior researchers up to ject groups, and a mentorship programme. with researchers in other disciplines, the ments had become more and more impor­ Of these, 19 have so far received their doc­ competition for faculty funding makes it three months’ time to write journal articles, In the longer term there are plans to ex­ Swedish Industrial Design Foundation tant, and the design sector’s experiences torate. In 2014 about 10 new thesis defenc­ difficult to quickly achieve a critical mass. book chapters and grant applications. The pand the network to the rest of Europe, the (SVID), and other conceivably interested of development processes with broad par­ es will occur and there will be another large The same holds true for funding from the results will be presented and discussed in a US and other countries. parties, and to work towards the funding of ticipation had gained particular relevance. number in the years ahead. New doctoral research councils as long as the design special seminar series. these programmes/projects. People began to talk about interaction students are also continually being added. field is not recognised as an independent 5. An international secretariat is being set design. Design’s strategic importance to This is a competency development that discipline with great potential. Here new 3. Collaboration within the Nordic associ­ up to build up contacts and create research Peter Ullmark, professor at Chalmers University of Technology and former director of the Design ation for design research, NORDES, will be collaborations. Work has already begun companies also began to attract ever-great­ lacks any real equivalent in other university initiatives are needed to gain support from Faculty er interest in the management field. disciplines. both the EU’s design programme and from deepened. In addition to the international with a survey of a number of relevant Accordingly, the initiators included not The participating third-level institu­ industry and the social sector. research conference and summer school current EU programmes. The plan is that in

4 • THE DESIGN FACULTY 08–14 08–14 THE DESIGN FACULTY • 5 Good design is the best contribu­ tion we can make to sustainability because design is the opposite of wearing out, throwing away and Design is society’s wasting things. Only things that are good enough aesthetically and functionally can live a long time. A good society is unimaginable without good design. Neither technology nor politics suffice – they must both biggest cultural sector! have a design which means that their results can be used and be liked!

Sverker Sörlin, professor of environmental history, KTH

Design research creates knowledge about the areas of design and is focused either on design work or on the contexts within which designed products, services and systems are used and experienced. In other words: everywhere. d e s i g n c o n c e r ns us all, every day and Design research contributes to ethically everywhere, in both the private and and aesthetically aware ways in which to public spheres. It does so via products, develop the fundamental conditions of services and systems – in terms of their society. This is done by means of design formation and their existence as com­ interventions or by exploring the ability of petitive tools and innovative methods of design practice to bring about change. Almost everyone in Sweden needs to solving complex problems. Accordingly, Within the design field, knowledge and come into contact with the Swedish design is society’s biggest cultural sector, innovations from various directions are Social Insurance Agency at some and research in design is vital: research also linked together – a process that in itself time in their life. For an operation about, for, and via design with a focus on results in new research based on products, like the Agency’s it is important to PHOTO: JAKOB FRIDHOLM environments in which designed prod­ services, systems and environments, as use design to facilitate our clients’ ucts, services and systems are used and well as more critical, well-anchored and encounters with us. User-centred Design changes people’s lives, creates ish Public Employment Service to use experienced. long-term design processes. design and research into it are nec­ successful brands and alters society’s service design in particular as a method When design research began in the It is the ambition of the Design Faculty essary in order to create an easier functions at the fundamental level. It for creating good customer experiences 1960s in places like the UK and USA, the fo­ to develop design as a field of knowledge everyday life and a better life for is interesting to look at the concept of and changing their organisations. So, cus lay on the efficiency of design process­ in order to be able to meet society’s social, people – and thereby contribute to a design and how it has changed. One yes, design is crucial for me as a design­ es. Today interest is concentrated on the economic and technological challenges in better society. example is service design. A few years er, for the people around me, and for ability of design work to create innovative a sustainable, innovative and aesthetically Erika Mayer, service designer/art director, ago only a few people even talked about the development of society as a whole. solutions to complex problems and expand aware way. The Faculty’s survival is there­ Digital Channels, the Swedish Social service design. Today it is self-evident the “spaces of possibility” of individuals, fore essential. ­Insurance Agency for such authorities as the Swedish Ulrika Ewerman, industrial designer MFA, service designer and strategist at Daytona companies and society. Social Insurance Agency and the Swed­ PHOTO: PETER KARLSSON

Since 2012 the Swedish Industrial De­ interdisciplinary collaborations between sign Foundation has worked to develop multiple parties in order to solve both a design agenda with the aim of making local and global challenges, but that they For ModigMinoz, a change think-tank sets of problems and producing solu­ possible the increased use of design in perhaps do not yet see design as a method that is fostering sustainable develop­ tions that cut across established bound­ society. We have worked with the needs for doing this. It is therefore extremely ment via increased innovativeness, aries between areas of knowledge and of design and design research in order important that the Design Faculty is driving design is a method for and an approach responsibility, industries and social to be able to communicate what the the development of design research in to processes of change and develop­ sectors. Systematically exploring design future can bring with it with regard to Sweden. ment. Design helps society’s stakehold­ practice and its underlying conditions is efforts in these fields. The mere fact that the Faculty is a ers to shape new solutions that better important in order to better understand Examples are postdoc jobs, future collaboration between 17 universities and meet the real needs of both ourselves how we humans can together shape funding of the Design Faculty, and vari­ colleges over such a broad topic as design and future users. By combining empa­ solutions for tomorrow’s society. That is ous innovation programmes. is unique and something we should be very thy, rationality and systematic work, why design research is needed. design-based methods create good con­ Today we can see that decision mak­ proud of in Sweden. Sara Modig, co-founder and senior partner, ditions for attacking complex “wicked” ModigMinoz ers at all levels are becoming more and Eva-Karin Anderman, program director, the Swed- more aware of the need for creative, ish Industrial Design Foundation (SVID) PHOTO: ÅSA MINOZ PHOTO: CARLOLINE LUNDÉN/WELDEN

6 • THE DESIGN FACULTY 08–14 08–14 THE DESIGN FACULTY • 7 Outreach activities Think in new ways! The Design Faculty sometimes organises Marcus Jahnke’s thesis project open seminars, partly to tell the world about “Meaning in the Making – Introducing our development and partly to invite people Short & sweet a Hermeneutic Perspective on the to topics we believe should interest more Contribution of Design Practice to people in the field of design research. Innovation” is about how design can Recently a full-day event on the theme Nordes summer schools contribute to strong innovation work “­Designing Publics, Publics Designing: In the Nordes network, which includes in companies with little or no previous ­Design roles in social innovation” was held the Design Faculty, the Nordic countries take design experience. In an experimental at Konstfack University College of Arts, turns arranging a conference every second year and study done in collaboration with SVID, Crafts and Design with the help of, among a summer school in the intervening years. In 2014 it is five designers “intervened” – each in others, Mötesplats Social Innovation ((Meet­ Finland’s turn to organise the summer school for the first one of five companies. Using a series ing Place Social Innovation), KTH Royal Insti­ time. The school is very popular among our students. Aalto of workshops, the designers involved tute of Technology and Interactive Institute. University is responsible for the theme, “The Perceptive Body”, the multidisciplinary groups in a Previously we were at the Architecture­ and and the school is being held on 18–21 August in Helsinki. In 2012 creative process in which conversa- Design Centre in Stockholm­ for a half day the theme was “Design on the Move” when the students met at tion and practical work were interwo- with the theme “The Design Faculty – what’s the Oslo School of Architecture and Design (AHO) in Oslo and ven. The result was many innovative up?”, when topics included the current in 2010 the summer school was held in Pukeberg, Nybro, concepts that challenge the prevailing situation and challenges. In spring 2012 a Sweden on the theme “(The doing of) Design Things”. In ideas about the company’s products. large audience gathered to take part in a 2008 the school was held at Krogerup Folk High School By interpreting the processes using in- full-day design research conference with in Copenhagen, and on that occasion, which was spiration from hermeneutics, Jahnke lectures, workshops and panel debates on also the first, the theme was “Research and shows that these can be understood this theme. The activities are listed on the Design Experiments”. More info at as an activated creation of meaning website. nordes.org through design. This differs from how, for example, design thinking is often described as a process for problem solving. PHOTO: MARCUS JAHNKE PHOTO: BENJAMIN GROSS

Senior lecturer, chair and alumni Award-winning and value- Haptic interaction design – a new research field adding service design Åsa Wikberg Nilsson is currently a gender and design in norm-creative de­ The Design Faculty’s ninth doctor es and experiences that go beyond senior lecturer at the Innovation and sign research. At the time of writing, she Design and service innovation are of design, Camille Moussette,­ was traditional visual- and form-based Design division at Luleå University of is also participating in the Genuslabbet fields that often deal with similar the first at Umeå Institute of Design aesthetics. Products that feel right as Technology. She is also chair of D&R (gender lab) project with Marcus Jahnke tasks. But how can they understand and therefore “a milestone for the opposed to products that look good each other better? In spring 2014 – Swedish Design Research Network, and Karin Ehrnberger, who she met at institution and its research”. His aim give the designer both new challeng- PHOTO: linköping uni v ersi TY Katarina Wetter-Edman successful- member of the Design Faculty’s board, the Design Faculty’s graduate school. was to develop haptics, the science es and new possibilities.­ In his thesis Sweden’s first doctor of and one of our alumni. In February 2012 The aim of the project is to create a ly defended her thesis “Design for of the effects of touch, from a design Moussette uses concrete examples, she successfully defended her thesis workshop-based process and methods Service: A framework for articulating perspective based on human needs. guidelines and recommendations for service design “Rethinking designing”, which aimed to for norm-critical innovation. designers’ contribution as interpret- In his thesis “Simple Haptics: Sketch- how an interaction designer can work Cognitive scientist Fabian Segelström develop practical tools and guidelines The project is commissioned by er of users’ experience”. The thesis ing Perspectives for the Design of to develop touch-based products. The has become Sweden’s first doctor of for workplace design based on a reflec­ Vinnova and the work is being done in aims to understand and facilitate Haptic Interactions” he explores how thesis is in response to the fact that service design with his thesis “Stakehold­ tive design tradition. Her theoretical re­ collaboration with about a dozen organi­ precisely this form of communi- interaction designers can use the users are increasingly interacting er Engagement­ for Service Design: How search contribution can be summarised sations, including Veryday, the Karolins­ cation, partly via the new Design science of touch to develop interfac- with products via touch. ­service designers identify and commu­ as the connections between theories ka Institute, Snickers Workwear, Experio for Service framework. The central nicate insights”. He studied how service and concepts such as change, learning, Lab and Restaurangakademien. issue in the thesis is how we can designers work to create understanding for understand the industrial designer’s customers and others who are affected by Åsa Wikberg Nilsson in action knowledge/practice and its func- a service – partly in order to develop servic­ tion when it is integrated into other es that better meet their needs. For several fields than traditional product de- months he followed at close quarters ser­ sign – and how can it then contribute vice designers and their clients – various to the innovation of services? service companies in Sweden, Germany In 2011 Wetter-Edman received and Australia. One of his conclusions is the Torsten Dahlin scholarship, that when a service designer goes into a which aims to encourage and foster ­company, its various departments often interdisciplinary research. In pre- discover they have a lot to gain by working senting the award the jury said: “she together more. Another conclusion is that creates the conditions for how in- service designers offer a holistic view, dustrial design can create value and which their clients often lack. The designers contribute significant knowledge in see and can define the whole process, from a new field of application.” when the need for a service arises through PHOTO: CAMILLE MOUSETTE PHOTO: TOMAS BERGMAN to when it is supplied and the need is met.

8 • THE DESIGN FACULTY 08–14 08–14 THE DESIGN FACULTY • 9 The statistics15

12 What kind of background do students have at the Design Faculty? How many have Focus The students’ focuses are often relatively practical • service designers who focus on critical design Orientation attended the graduate school between 2008 and spring 2014? And, above all, in what without being applied. Various practices provide a management research and social science, 9 basis for reflection and the further development • critically engaged designers and artists who of theories and approaches in which design is put explore the public’s involvement and (new) po- areas are they conducting research? in relation to people, society and technology. litical and theoretical fields of design research, In broad terms, four different focuses commonly and 6 characterise the students’ work: • interaction designers who research into and via when the design faculty saw the light of Number of doctoral students • industrial designers and others who work with (new) ways of living with technology. day in 2008, some individuals had already Some individuals had already begun their doctoral By spring 2014, 19 of the Faculty’s doctoral stu- participatory design research, studies in design before the Design Faculty was dents had successfully defended their theses. In begun their doctoral studies in design. 3 created in 2008, which helped the Faculty rapidly the diagram we see that in the period 2014 to 2016 This helped the Faculty’s graduate school achieve the expected number of between 15 and Sweden will gain about another 35 new doctors rapidly achieve the expected number of 20 doctoral students. But the influx of new doctor- of design. This offers fantastic opportunities for between 15 and 20 doctoral students. The al students has continued and is now at a steady many disciplines. rate of just 0under 10 new students per year. large influx of new doctoral students was 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 both unexpected and pleasing, and it has Reflections about practice Social innovation and sustainability continued unabated ever since, so that the 15 No.Enrolled of registered PhD students doctoral December students 2013 students now number almost 70. Many of SwedenSweden MexicoMexico Design and society New product development Examiations them have a background in design but the No. of successfully defended theses DenmarkDenmark IndiaIndia Users and participation Learning breadth of education that the students 12 ItalyItaly ArgentinaArgentina have before they start is great. This, com­ Co-design and participatory design Health care Malaysia bined with the fact that the students come USAUSA Malaysia Theories and concepts Development and innovation from many different countries, leads to Iran 9 ChinaChina Iran many fruitful discussions and insights. The Professional roles Design philosophy CanadaCanada UKUK focus of the students’ theses is often rela­ Artefacts in use Design methods tively practical without therefore being ap­ GermanyGermany TheThe Netherlands Netherlands Reflections of practice Design and innovation plied. The various practices provide a basis 6 for reflection and the further development Art and design Articulations of multisensibility of theories and approaches in which design is put in relation to people, society and 3 technology. It will be very interesting to see how these individuals will contribute to and develop research, education and practice in 0 Educational background 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 design in the coming five to ten years. Many students have a design background but they have an international background in interaction have a broad range of studies before they start. design, these students comprise about two-thirds Bo Westerlund, director, the Design Faculty Most commonly, they have a master’s of industrial of the total. The remaining third come from many Enrolled PhD students December 2013 designEducational from an art and designbackground institution but different fields, which contributes to many fruitful there is also a large group of engineering design- discussions within the resulting broad field of Examiations ers. Together with the doctoral students who design.

Geographic distribution The students come from many different countries, which contributes to an inspiring international research environment.

Industrial design Mexico Sweden Engineering design Anthropology

Denmark India Interaction design Textile engineer

Italy Argentina Communication Political science Sweden USA Malaysia Sweden Architecture Graphic design

China Iran EuropeEurope Interior design Art

Canada UK N+SN+S America America Ergonomics Business economics

Germany The Netherlands AsiaAsia Cognition research Art teacher

10 • THE DESIGN FACULTY 08–14 08–14 THE DESIGN FACULTY • 11

Sweden

Europe

N+S America

Asia Design for a desirable future

The realisation that design drives everything from innovation to solutions of societal­ challenges is growing ever greater, for example within the EU. For this reason the work of the Design Faculty is vital to further developing Sweden’s position as a leading actor in design research. In this article some of our members give their view on this issue.

Further development of critical mass

innovation is the key to bringing Europe out Within the framework of the Business & tion and a management tradition that is of its current crisis. This is the starting point Design Lab at the University of Gothenburg relatively easy to link up with a design logic. for the EU’s strategy entitled Europe 2020, we are leading one of the larger European But perhaps­ most important of all, we which makes clear the need for a broad and research projects in the field, DESMA. This have come significantly farther than our balanced view on innovation. In a Europe links four universities, eight companies and European colleagues in developing design characterised by both economic decline twelve doctoral students, who together are research and thereby being able to take and large social and climate challenges, exploring how design can act as a driver advantage of both scientific and practical we must think in new and different ways. of innovation and competitiveness. The methods that are based on design practice We must become better at cooperating aim is to create a European platform for in innovation contexts. across boundaries – between countries and developing the field of research into design The Design Faculty has been a prereq­ ­between disciplines, between universities management. We are also leading the uisite for establishing this position by cre­ and companies, between the private and design-related part of another EU-funded ating a critical mass for driving third-cycle public sector spheres. research project, Unveiling Creativity in (doctoral) studies in design and for creating The EU’s Innovation Union initiative de­ Europe, which includes 11 leading Euro­ a common forum for developing design re­ PHOTO: M ikael L undgren fines innovation as the ability of individuals, pean universities that have joined forces search as a separate discipline. I hope that companies and entire nations to ­continually to map out the importance of the creative we can now take advantage of this unique create a desirable future. This definition industries in Europe. experience and find new opportunities to New design practices for new needs clearly singles out the importance of design In these projects we at the University of further develop both this common plat­ design today plays a significant strategic its knowledge development on academ­ what were previously typical processes and design expertise in the Europe of to­ Gothenburg provide most of the expertise form and Sweden’s position as a leading role in many different types of develop­ ic research but rather on a number of aimed at mass production for mass con­ morrow – something that is also illustrated in design research. These experiences actor in design research. ment and innovation processes. By con­ different approaches, with the common sumption, it is more and more important by the fact that design is appearing more have reinforced our view that Sweden Anna Rylander, project manager DESMA and tinually responding to new and emerging characteristic that the focus is on the actual to develop the artistic, theoretical, and and more often in policy documents and in has great potential to take a leading role researcher, Business & Design Lab, the School of needs, industrial design has developed design practice. The development of design methodological aspects that constitute the the series of initiatives aimed at strength­ in the transition towards a Europe based Design and Crafts at the University of Gothenburg over time from originally focusing mostly as an academic discipline has been done in basis of design work. For example, indus­ ening Europe’s design-based innovative on design-driven innovation. We have a on the formation of physical objects for the form of artistic development work, and, trial design rests on an artistic foundation and competitive ability. tradition of interdisciplinary collabora­ industrial mass production to being about in the case of industrial design, to a great that was to a large extent formulated in the process and production, use and experi­ extent within professional practice. light of early industrialisation and thereby ence, in a very broad sense. When it comes The second basic premise is that the based on a fundamental logic that today to industrial design as it is practised today, main reason why research in particular has is far from being as self-evident as it once Umeå Institute of Design is recognised as become an ever-more important aspect of was. By critically investigating, developing being very much a leader. Our educational design is not primarily due to the emer­ and challenging the discipline’s foundation programmes are ranked among the best in gence of new technology, new applications in ways that professional practice simply the world and our students regularly win and the like. Rather, it is due to the strategic cannot do, design research can deepen prizes in international competitions. It is necessity of investigating changes to the the foundation required for design to be against this background that we are now cornerstones of our discipline that are very able to continue to develop towards new working with the question of what role difficult to address with the strategies we fields, collaborations and needs. For the design research can play for our own and have mostly used to date. If we look at the same reason, third-cycle (doctoral) training

PHOTO: O la K jelbye our discipline’s future development. development, and, not least, the expansion, becomes a natural continuation of previous Our research and third-cycle (doctoral) of the design field, it is clear that designers design education, an answer to the needs training programmes are based on two have been able to tackle new technology et for further in-depth study of the subject basic premises. The first is that knowledge cetera with great success: new design prac­ and new skills. Accordingly, the most development within the design discipline tices are constantly emerging in response important task of our research is not about will continue to depend on a number of to new needs and sets of problems. The pri­ present applications but about the future different strategies, and that the emerging mary task of design research is to develop foundation of our design practices. research must be regarded as being one whatever is making such a development of part of a greater context of knowledge. design possible in the future as well. Johan Redström, professor and research leader Unlike most other academic subjects, the As we move towards areas and work at Umeå Institute of Design, design discipline has not historically based methods that are farther and farther from Umeå University

12 • THE DESIGN FACULTY 08–14 08–14 DESIGN FACULTY • 13 Design research as a bridge builder!

we are becoming more and more aware that lished in recent years via Sweden’s national many (good) reasons why we are organised the social, technological and economic Design Faculty, which was set up in 2008. so that, for example, the Built Environment, systems of the future will require special Through the D! research school, doc­ Industrial Management, Product Design competencies which include the skill both toral students and researchers/instructors and Computer Science are not always in to take advantage of more specialised have found an arena for development and direct contact with each other. One of expert knowledge and to work between learning which has had an inspiring influ­ the important bridge builders between different disciplines. This has created chal­ ence on the educational programmes in various parts of KTH now and in the future lenges for traditional scientific disciplines. It which the doctoral students are registered. is design research and design thinking and is not that specialisations have become less Sometimes these are pure design-focused their link to sustainability issues. Our par­ important but rather that they need to be programmes but just as often they are art, ticipation in the Design Faculty has allowed complemented with the ability to develop economics or technical subjects. a large number of doctoral students to forms of collaboration across disciplinary In recent years the international funding have a fruitful discussion with colleagues borders, to use design methodologies and system has been developed. There has from many different academic institutions to strengthen innovative ability. been a range of calls for funding applica­ in Sweden. In its turn, this has meant that The cause of this development is that we tions by Swedish and international research a critical mass in design research has now are facing previously unknown and com­ funding bodies which focus on highlighting finally been achieved in Sweden. plex sets of issues in both our society and issues of design and innovation within KTH regards research and education in the private sector. Design research and the larger projects. One such example is Hori­ the field of design – linked to our various design discipline offer experienced-based zon 2020 with its main focus on the major schools – as a long-term important contri­ work methods and approaches which challenges facing society. bution to the ambition of being a university have proven to be able to make a powerful For a long time now much of the which creates desired futures. contribution to the development of con­ research and education at KTH Royal cepts for totally new types of solutions and Institute of Technology has been linked to Margareta Norell Bergendahl, professor of Integrated Product Development and Vice Pres- proposals. Research to develop the body of challenges in the world at large but there is ident for Cooperation at KTH Royal Institute of knowledge within this field has been estab­ still potential for improvement. There are Technology

Alternative futures

in a constantly changing society in which in­ novations capture contemporary attitudes, design has always played a central role. It is a role that both formulates alterna­ tive futures and makes links to historical development processes, and always with human beings and their abilities as the building blocks. Design research is there­ fore multi-faceted, with questions – driven by curiosity and development – that focus on what is happening with design knowl­ edge at a time of transition between new disciplines, what mechanisms lie behind the adaptive ability of design, why some design is perceived as good, how old technological solutions become new creative tools, why organisations succeed or fail at integrating design, what fundamental principles govern design solutions, and so on. Within these dynamics Linköping Uni­ versity’s design research has been a leader, foto : peter karlsson from the interaction design of the 1990s up to today’s research into service design. departments, with support from the Design advantage in the existence of the Design Design research has been a self-evident Faculty. We have reciprocally been able Faculty as a well-established network of component, together with successful to act to both strengthen Swedish design leading design researchers. We also have a educational programmes and courses on research and get it to grow, both in and of long tradition of design thinkers and design topics like handicrafts and the applied arts, itself and within specific fields. researchers from the late 19th century furniture design, graphic design, interaction Now, at a time when the EU as a research up to today. This research stems from a design and technological design. With this funding body is starting to open its eyes to design-driven, human-centred perspective diversity as a starting point, the university design research, as a separate discipline and formulates alternative futures.

established the network, or college, LiU but also as a support for other research and Stefan Holmlid, docent, Department of Computer

foto : T ham & Videgård A rkitekter design, across disciplines, faculties and innovation, Swedish researchers have an and Information Science, Linköping University

14 • THE DESIGN FACULTY 08–14 08–14 THE DESIGN FACULTY • 15 The glocal creation of meaning

is ”design” the zeitgeist of our age? Many between humans and the environment, enhanced, mediated communication­ and people would immediately say yes. Certain­ resources and possibilities comprises the interaction, on multidisciplinary and prac­ ly in the sense of designing the appearance field of design research. Here are new tice-based experiments with new technol­ of applied arts products, design has been border areas and knowledge gaps, which ogies, complex systems and multimedial developed into an economic means of design researchers are currently identify­ forms of cooperation or coordination. competition that cannot be ignored. At the ing and filling out. Design researchers do One important task is to explore the same time, many years have passed since not take “design” for granted, and are not technological development and media us­ design was only about adding value to satisfied with regarding “good design” as a age that is occurring outside the context of products in the strictly commercial sense. mythical stroke of luck. By means of applied academia, in everyday, entrepreneurial or Today the concept of design is also used research collaborations in various fields, “subcultural” contexts. Today the relation­ in broader terms, often with the meaning design researchers instead are coming to ships between producers and consumers, “transdisciplinary inventiveness”, which is grips with systematic experiments, testing between professionals and amateurs, be­ essential to all transformative and innova­ and evaluating new, integrative methods, tween developers and users, are different, tive activities. concepts and strategies that can support and this also influences the methods and is­ Design can also simply be translated as design processes in a variety of fields. sues of research. Sweden, with its tradition “creating meaning”: a fundamental activity Since the start in 1998, Malmö of cooperative and participatory processes, of society about which we still know far too ­University has been one of the driving en­ is far ahead from a global perspective. This little. All material and technological design vironments within design research in Swe­ creates a good foundation for an expanded has a communicative dimension, which den and the Nordic region. As a partner investment of effort and resources into the determines how an object, a transport sys­ within the Design Faculty, the university exploration of concept development, com­ tem, a work environment or a social service has also played an active role in the de­ plex processes, and collaborative creation. functions, but also, and perhaps even more velopment of the training programme for Today expectations of design research are importantly, how these, as “design prod­ design researchers. At Malmö ­University rightly high, and we are prepared to tackle ucts”, succeed in contributing to a more design research is being done primarily the challenges. desirable, equitable, attractive, healthy or within the research profile “New media, Maria Hellström Reimer, professor of the theory changeable everyday existence. public spheres and forms of expression”. and practice of design at Malmö University, This type of complex connection This profile focuses on studies of digitally ­director of studies at the Design Faculty foto : H ironori T sukue

Doctors of design contribute and develop

konstfack university college of arts, crafts sustainable society. The research is driven new recruitment. Among other things, we and design is Sweden’s largest third-level by a strong social commitment and charac­ have employed three alumni of the Design artistic educational institution and has terised by a view of knowledge and learning Faculty, who have also all received the Facul­ cutting-edge expertise in design, visual in which methods and theoretical perspec­ ty’s design research prize for the best thesis. communication, the applied arts and art. tives based on both artistic/practical and These doctors of design help ensure that Our educational programme is currently scientific discourses work together. design education is developed in relation to largely at the bachelor’s and master’s de­ Konstfack works closely with the Design contemporary design research and society’s gree levels but Konstfack feels it is high time Faculty even though we no longer have any increasing needs. Konstfack’s rector is on to let this cutting-edge expertise also have of our own doctoral students registered at the board of the Faculty and one of our a presence at the doctoral level. We have the Faculty’s graduate school. guest lecturers is the Faculty’s international therefore begun a collaboration with KTH However, the need for these courses secretary. Royal Institute of Technology to strengthen is increasing as the number of doctoral Konstfack perceives an increasing need our educational and research environment students increases. A number of designers for support via the Design Faculty, not with more doctoral students and externally with undergraduate and master’s degrees only for doctoral courses but also for the funded research projects. from Konstfack are already participating in national, Nordic and international networks The overall aim of Konstfack’s research is the Faculty’s activities in that they are regis­ that are maintained and constituted via the to unite the practices of doing and creating tered as doctoral students at other member Faculty’s seminars, lectures and visits. with the radical rethinking of the individ­ institutions. Bo Westerlund ual-society-environment relationship that Konstfack works actively to supply professor of industrial design

is demanded by the transition to a more expertise and is in an intensive period of and director of the Design Faculty PHOTO: MALMÖ HÖGSKOLA

16 • THE DESIGN FACULTY 08–14 08–14 THE DESIGN FACULTY • 17 Mette Agger Eriksen 1. D! is a very important cross-institution­al involved, it seems to become a platform en­ schools has surely been a part of making faculty with strong international con­ abling continual interaction with other new this happen here in Scandinavia. Thus, cur­ nections. Especially for the PhD scholars and senior scholars broadening perspec­ rently design research (e.g. practice-based, Award-winning alumni tives in relation to the home institution. programmatic and with experiments and Additionally, D! has been a strong actor and design work at its core, etc.) is in my experi­ voice in establishing a Swedish network, ence increasingly recognised within design acknowledgement and vocabulary of prac­ education and research institutions. These tice-based design research. approaches are also increasingly recog­ nised as important in various funding calls/ share their stories 2. To me D! becomes a platform enabling programmes. However, in the future there continual interaction with other new Of the 19 doctors of design who at the time of writing have participated in the Design is still lots of work to do in terms of encour­ and senior scholars broadening perspec­ aging the broadening and acceptance of Faculty’s graduate school, five have won awards worth SEK 10,000 kronor and our Design tives in relation to my home institution design research practices in other research at Malmö University – and in addition to Research Award for the best thesis. Here they talk about their experiences of the Faculty’s domains as well. Danish environments and networks I also graduate school, about how the view of design research has developed, and about what engaged in as a PhD scholar. Particularly 4. I currently have a postdoc position at the thematic seminars/internats played­ an Malmö University (Sept 2012–Sept 2014) – they are doing today. important role to me, in terms of pushing­ in many ways continuing and building upon me to explore new theoretical areas related the research interests and topics of my doc­ to design research. toral studies (materiality and co-designing Otto von Busch 3. Design is becoming more and more Four questions practices). However, now I am doing this in 1. The Design Faculty has been a fantastic established as a research field, especially in 3. Parallel with the time the Design Faculty relation to public and especially municipal 1. What was your experience of the meeting place and very inspiring. There the Nordic countries, and design research has existed, in my view the field of design sustainable urban transition practices – training offered by the Swedish are so many ways of approaching design, here also has a clear link to social issues, research has generally matured rapidly – which nicely matches with my background Faculty for Design Research and and because the topic is so new, it is really politics and philosophy, which I think is both in Sweden and internation­ally. The in architecture. Research Education? fruitful to bring together the resources and beneficial. It means that the research can faculty’s close integration with the Nordes be able to access many perspectives. really raise the field up and not be primarily design research conferences and summer 2. What did the graduate school give technical. you? 2. The workshop events in particular helped make it possible to talk about meth­ 4. I am now a professor of textile design at 3. What are your thoughts on how the ods in a freer way, to be able to seek sup­ Konstfack and most of my research is on Martin Avila field of design research has developed port from other designers who are working fashion and politics. 1. I appreciate D!’s general framework integrative proposals that are difficult to on an international postdoc financed by in recent years, its status and future? with similar issues. Otherwise it’s easy to that delegates the theme and organisa­ make in traditional specialised research. the Swedish Research Council entitled 4. What are you doing today? make one’s research “technique heavy”. tion of each meeting to the schools/com­ Symbiotic Tactics. Design Interventions for 4. I hold a senior lecturer position at Kon­ panies involved, even though they fall Sensitizing to Ecological Complexity. The stfack and am responsible for design for within a yearly strategy from D!. project will be develop­ed through col­ sustainable development at the indus­trial I have always enjoyed, and have tried to laborations with research institutions in design department. At the moment, how­ be open to the variety of agendas of each Sweden, Argentina and South Africa. ever, I am living in Argentina and working meeting.

2. Logistically, with the possibility to travel,­ meet people and perform work. Intellec­ tually, with stimulating discussions­ that often took me out­side of my own practice and frame of work and study.It made it possible for me to meet other design researchers and ­educators, and partic­ ipate in conferences,­ and also gave me access to information on funding.­ It has always been important for me to be part of D!’s activities because as a foreigner in Sweden, D! has been my window to the national landscape of design education and research.

3. I believe that design is going through a very productive crisis (one that stretches far beyond the “design field”) and that necessarily leads to the reassessment of the field and to more diversified practices. In my view, the future of design research lies in being capable of produc­ ing transversal (across disciplines) and

18 • THE DESIGN FACULTY 08–14 08–14 THE DESIGN FACULTY • 19 recognised, and somewhat robust overall in the community. While the “designerly ways” and activities of design research are generally accepted and valued by its core community, there is still a long way In brief to go before it is adequately recognised by the larger design community and other Lisa Lindström, academic disciplines. We, as a community, Cooperation with SVID chairman of the have to continue demonstrating that design At the time of writing, the Design Fac- board of SVID and research and its activities can produce ulty and the Swedish Industrial Design­ CEO of the Swedish knowledge that is unique, rigorous and rel­ design agency Foundation (SVID) are developing a Doberman evant. Personally, moving forward, I would joint project for launch in June 2014 – like to see an increased level of self-criticism ­www.designresearch.se. The website and tighter measures of quality for design is a search page for design research research projects or publications. Evalua­ and is aimed at researchers,­ students tion of design activities can be fairly loose Congratulations Martin Avila, and business people in design. Visitors and subjective in general. Assessment of will be able to search for all types of our alumnus and senior lecturer in indus­ good or great research endeavours is also design-­related research by author, trial design at Konstfack and the holder often very tricky. When mixed together, the subject, key words, type of publication­ of a doctorate in design from the School result can often be very diluted, substand­ and more. The aim of designresearch. of Design and Crafts at the University of ard or even lame. I feel we ought to be more se is to raise the profile of design-re- Gothenburg. Martin is the first person to be demanding and preoccupied by the quality lated research and show how it is awarded an international postdoc position of the work that we do in design research. I developing society in many different by the Swedish Research Council in the field have seen a lot of very remarkable and thor­ fields and providing new knowledge of artistic research specialising in design. ough design research works out there, but and new solutions. The project is entitled “Symbiotic tactics. there is also a massive amount of subpar or SVID also publishes the journal Design interventions for understanding crappy projects around. It is hard to argue Swedish Design Research Journal twice Camille Moussette and sensitizing to ecological complexity” or convince people of the value of design a year in both Swedish and English and is a collaboration with the Multidisci­ 1. My experience of the D! activities has 3. It’s challenging to try to answer this research when the work doesn’t radiate editions. The Faculty’s students plinary Institute of Vegetal Biology in Cor­ been very positive. I started my doctoral question briefly. In short, I feel the design quality, professionalism or just passion! ­participate in this journal with such doba, Argentina and the African Centre for studies in Umeå as the only PhD student research field is maturing and establishing contributions as research articles. The 4. Since January 2013, I’m working at Apple at the department, and I had very few relatively solid foundations despite its short Cities in Cape Town, South Africa. The aim in California, in the Input Devices group. journal can be downloaded or ordered reference points and other perspectives history. Elementary concepts, ideas and of the Swedish Research Council’s funding We refine existing input devices like the via www.­ svid.se/designresearchjour- with which to tackle my design research processes of design research have been is to promote international mobility for keyboard and mouse, but we also prototype nal activities. The D! network and its members examined for 10-15 years or more, and have newly graduated researchers who hold a

and develop new interfaces for people to PHOTO: EMIL NORDIN provided a forum to share challenges and been shared and tossed around intellec­ Swedish doctorate. interact with technology in various ways. experiences, bad or good, related to doctor­ tually by many so they have become fairly al studies and research in design. The value of meeting in person, and multiple times, Design research with breadth with many professors, researchers and Bo Westerlund 4. I work as a professor of industrial doctoral students from outside your own 1. The activities have led to incredibly design at Konstfack, where I am in charge The great breadth of subject matter being department is precious. You discover how valuable encounters between re­ of the first-cycle (undergraduate) pro­ addressed by students at the Design design research and doctoral studies are searchers and doctoral students in de­ grammes, but I am also involved in im­ Faculty can be illustrated with the cases framed and realised elsewhere in Sweden, sign research and adjacent disciplines. plementing third-cycle (doctoral) studies of Noor Adila Mohd Rajili and Martin Scandinavia and across the world. and research in the field of design. Bergman. Noor Adila has a background in 2. Among other things, the graduate jewellery design and is doing research at 2. The research school helped me connect school has shown how broad the field Lund University’s Department of Design with an extended group of researchers and of design research is. The school also Sciences in the field of practice and PhD students, and ultimately develop an provided opportunities to come into knowledge creation in jewellery design. understanding of the design research field contact with extremely relevant and Her work is partly about identifying what and its practitioners: who is working on important encounters with other types of knowledge the practitioners what, how the research is done or present­ disciplines, which have so much to have, how they gained that knowledge, ed, which tools and best practices are most contribute to the understanding of and how it is transferred into creative and common, what are the main traditions design research and also design work. innovative jewellery designs. and directions in the design discipline(s), The encounters are organised around Martin has a master’s degree in product etc. The regular meetings held across relevant themes, with readings, pres­ development with an industrial design Sweden allowed me to visit other schools entations, workshops and discussions, speciality. He is now doing industrial design and institutions, visit their everyday reality so that participants have the opportu­ research, focusing on functional surfaces for postgraduate studies, and ultimately nity to deepen their knowledge. and how emotions are linked to surface develop my own network of contacts and 3. Design research has absolutely design. In other words, he has modified collaborators. Overall, D! network allowed become better known, at least among the world-­famous methodology of Kansei me to better frame my doctoral project, certain groups like designers, colleges Engineering to also include surfaces, which by positioning myself and my activities in and universities, but also among a means that he is currently at the forefront relation to the rest of the field, locally and number of research funding bodies. of the field’s development. internationally.

20 • THE DESIGN FACULTY 08–14 PHOTO: LOUISA JOHANSSON - SZUCS Workshop events a source of knowledge

The workshop events (“internat”) form the backbone of the Design Faculty’s gradu- This might involve a context where we ex­ began with a much-appreciated workshop the company’s identity and searched for its plore dreams, problems, issues or conflicts.” session on the theme “The Purgatory of DNA. In another session we were guided ate school and are held four times a year. They provide an introduction to the various Social Design”. through the American organisational theo­ Focus on social innovations ­methods, theories and fields of design research, and give the doctoral students the Presentations by the doctoral students retician Donald Schön’s works with the help One of our latest workshop events focused are always part of the workshop events. of design theoretician Erik Stolterman. opportunity to build networks and gain an overview of current design research. on social innovations, an increasingly This time it was the turn of Helena Kraff at Our director of studies, Maria Hellström important field of design. To shed light the School of Design and Crafts at the Uni­ Reimer, teaches at Malmö University, where on this, and above all to underline the versity of Gothenburg, who presented her she arranged a workshop event on the the design faculty is thus a national centre is planned and led by the graduate school’s “As an example, the workshop event in possibilities of design, an open full-day research project “A designerly approach – theme “Re-Assembling the Social”. The for design research. Its aim is to develop management group and is held at various Citerna led us in our thesis work to continue seminar was arranged, entitled “Designing in place development”. Andrew Whitcomb, event was devoted entirely to Bruno Latour, design as a field of knowledge in order to member institutions throughout Sweden. exploring how an invitation is formulated Publics, Publics Designing: Design Roles in from the same school, researches design a French sociologist known for his studies respond to social, economic and technolog­ This gives each institution the opportunity without presuming what the problem is, but Social Innovation”. In addition to the Design methods and spoke about “Exploration in of knowledge building and the philosophy ical challenges in society in a sustainable, to present its own research. Sometimes rather allowing the invitation to take shape Faculty, the organisers included Mötesplats Collaborative Design”. The workshop event of science. With this focus, Professor Torben innovative and aesthetically aware manner. a workshop event is held abroad; for ex­ in an interaction between the participants. Social Innovation (Meeting Place Social In­ concluded with a lecture by Anna Rylander, Elgaard Jensen, who researches in user-driv­ Most of our work therefore involves oper­ ample, we have studied social innovations novation) and the Department of Industrial researcher at the Business & Design Lab at en innovation at Aalborg University, gave a ating a graduate school, which currently in Citerna in Italy, “Transdisciplinary and Design at Konstfack. the University of Gothenburg, on the theme lecture, there were discussions on the topic has more than 50 doctoral students, all collaborative learning processes in design” Advanced & summer courses Judging by the audience’s size, there is “Design Experiments & Pragmatism”. of “Reading Latour” and a workshop was registered at one or other of our member at Parson’s The New School in New York, As a complement to the basic course, the great interest in this topic. The topics of held on “Mapping controversies” with design institutions throughout Sweden. and “Social Innovation and Critical Design” Design Faculty also offers advanced courses the lectures and panel debates covered Schön in Tranås and Latour in Malmö researcher Alex Wilke from Goldsmiths. In in special research fields, methods or theo- The basic course provides an introduc­ at Goldsmiths, University of London. everything from the role of the designer Another example of workshop event themes addition, PhD students Zeenath Hassan retical constructs. These courses are given tion to the various methods, theories and Kristina Lindström and Åsa Ståhl, grad­ by the member institutions, at their initia- and researcher, the possibilities and chal­ is “Design practice – knowledge production and Henrik Svarrer Larsen presented their fields of design research, and gives the doc­ uate doctors of design whose joint thesis is tive or are commissioned by the Faculty. It lenges, to who defines the problems and and knowledge need”. Some 20 students respective projects “Participation as an Act toral students the opportunity to build net­ entitled “Patchworking Publics-in-the-Mak­ is also possible to start projects or special what various types of cooperation might met in the town of Tranås at a company of Mediation” and “Tangible Participation; interest groups, which can then receive works and gain an overview of current de­ ing. Design, Media and Public Engagement”, funding from the Faculty. In addition to look like. The entire seminar is documented called Materia, which was founded by one of Programmatic Design Research and Design sign research both in Sweden and abroad. say that the workshop events provide the these courses, every second year a summer at our website. them – Kersti Sandin, now professor at Carl Engagements in a Pedagogical Praxis”. Since The training provides a common founda­ space to explore and deepen pre-existing school for doctoral students from through- The day before the seminar, Otto von Malmsten Furniture Studies, Department of the Design Faculty began, 31 such workshop out the Nordic region is held in cooperation tion in the subject of design research for all interests and contribute to decisive impuls­ Busch, professor of textiles at Konstfack Management and Engineering at the Insti­ events have been held, the latest at the with the Nordes network. doctoral students regardless of their back­ es for continued work, sometimes at a very and assistant professor of integrative fash­ tute of Technology at Linköping University. Swedish School of Textiles in Borås on the ground and research field. The basic course concrete level. ion at Parson’s the New School for Design, In a workshop session we delved deeply into theme of “Materialities”.

22 • THE DESIGN FACULTY 08–14 08–14 THE DESIGN FACULTY • 23 The Design Faculty’s doctors of Members design up to and including May 2014 – who support and contribute

Carl Jörgen Normark, The User as Interface Designer – Personalizable Vehicle The Design Faculty functions as a national resource for The Need to Think Big User Interfaces (Luleå University of Technology, planned for 20140611) design research.­ Together with our member institutions, Johan Blomkvist, Representing Future Situations of Service Prototyping which are listed below, we support and initiate design re- in Service Design (Department of Computer and Information Science, search and help make the field visible to research funding Linköping University 20140506) bodies and other interested parties. Katarina Wetter Edman, Design for Service: A framework for articulating ­designers’ contribution as interpreter of users’ experience (Business Blekinge Institute of Technology & Design­ Lab, School of Design and Crafts, University of Gothenburg – and Internationalise! University of Borås 20140404) The Swedish School of Textiles Mads Høbye, Designing for Homo Explorens: Open Social Play in Chalmers University of Technology ­Performative Frames (School of Arts and Communication, Malmö Department of Architecture ­University 20140328) Department of Product and Production Development Kristina Lindström and Åsa Ståhl, Patchworking publics-in-the-making: The University of Gothenburg design, media and public engagement (School of Arts and Communication, School of Business, Economics, and Law Malmö University 20140124) School of Design and Crafts Oskar Jonsson, Furniture for Later Life: Design Based on Older People’s School of Engineering, Jönköping University Experiences of Furniture in Three Housing Forms (Department of Design Department of Mechanical Engineering Sciences, Faculty of Engineering, Lund University, 20131206) Karlstad University Ingela Lindahl, Visual aesthetics in product development: A bal­ ance ­between commercial and creative imperatives (Department of Konstfack University College of Arts, Crafts and Design ­Management and Engineering, Linköping University 20131115) KTH Royal Institute of Technology Doctoral education in design is in a formative stage all over the world. Fabian Segelström, Stakeholder Engagement for Service Design: How School of Computer Science and Communication stakeholder insights for service design are formed and communicated School of Industrial Engineering and Management ­Sweden, through the Design Faculty, has had a unique and strong position (Department of Computer and Information Science, Linköping University School of Technology and Health 20131025) in developing doctoral­ education in design, which is reflected in its Linköping University Markus Jahnke, Meaning in the Making: Introducing a hermeneutic Department of Computer and Information Science exceptional growth and results since its founding in 2007. ­perspective on the contribution of design practice to innovation (­Business Department of Management and Engineering & Design Lab, School of Design and Crafts, University of Gothenburg Linnaeus University 20130728) around the world there are differences and public sectors. This provides new further motivation has been the increasing Department of Design Ulrika Wänström Lindh, Light Shapes Spaces: Experience of Distribution of in approaches to the subject of design, in horizons for the future development of the call for and funding for such developments Luleå University of Technology Light and Visual Spatial Boundaries (School of Design and Crafts, University methodologies for carrying out research, Design Faculty. in Europe. Department of Business Administration, Technology and Social Sciences of Gothenburg, 20121213) and in experiences with industrial and Knowledge exchange on an international In the EU research and innovation Lund University Camille Moussette, Simple Haptics: Sketching Perspectives for the Design of societal applications. There is also an basis is necessary to further develop doc­ programme Horizon 2020, there are more Department of Design Sciences, Faculty of Engineering Haptic Interactions (Umeå Institute of Design, Umeå University 20121030) increasing amount of examples, theoret­ical toral education in design. A networked or­ opportunities for design ­research and Malmö University Mette Agger Eriksson, Material Matters in Co-designing (School of Arts and depth and recognition of the subject and its ganisation and knowledge exchange across doctoral education than in any previous­ School of Arts and Communication (“K3”) contributions across academic, industrial institutions, faculty and students increases EU funding programme. Launched in 2014, Communication, Malmö University 120613) Mälardalen University the critical mass and quality within the new it will distribute €80 billion over 7 years to Martin Avila, Devices: Hospitality, Hostility and Design (School of Design and but rapidly developing field. Knowledge research networks, ­projects and platforms.­ Crafts, University of Gothenburg 20120420) Stockholm University Department of Computer and Systems Sciences and exper­iences are generated relevant to Design is mentioned­ specifically­ in the Ho­ Åsa Wikberg Nilsson, Rethinking Designing: Collaborative probing of work multiple contexts, cultures and beneficiaries rizon 2020 topic ‘Societal Challenges’, along and workplace change (Division of Innovation and Design, Department of Södertörn University of design research, which contributes to the with related­ interests­ such as “sustain­ Business Administration, Technology and Social Sciences, Luleå University School of Natßural Sciences, Technology and Environmental Studies of Technology 20120224) competence and competiveness of doctoral able and ­inclusive environments”,­ “social Umeå University students and their future employers. The ­innovation and creativity” and “new forms Phillip Tretten, Information Design Solutions for Automotive Displays: Focus Umeå Institute of Design Design Faculty demonstrates this across of innovation”, and doctoral education and on HUD (Department of Business Administration, Technology and Social Sweden and, increasingly, on a Nordic basis, networks are targeted through the dedicat­ Sciences, Luleå University of Technology 20110513) and: Interactive Institute through the bi-annual summer doctoral ed funds. More than previous programmes, Henric Benesch, Kroppar under träd – en miljö för konstnärlig forskning school organised with Nordes – the Nordic Horizon 2020 emphasises­ characteristics­ of (Bodies under trees – an environment for artistic research (School of Design Swedish Industrial Design Foundation (SVID) Design Research Network – and a planned design ­research including interdisciplinari­ and Crafts, University of Gothenburg 20100226) common doctoral course. ty, demonstration, public participation and Bo Westerlund, Design Space Exploration: co-operative creation of pro­ industrial and ­societal application. posals for desired interactions with future artefacts (School of Computer International secretariat and future Doctoral positions and research are Science and Communication, KTH Royal Institute of Technology 20091106) development increasingly coordinated, centralised and Kajsa G. Eriksson, Concrete Fashion: Dress, Art, and Engagement in Public The Design Faculty’s strong position and funded on a European level, Swedish, Space (School of Design and Crafts, University of Gothenburg 20090122)

network of institutions, graduates and Nordic and EU funding programmes are in­ Otto von Busch, Fashion-able: Hactivism and Engaged Fashion Design results represent a unique contribution to creasingly aligned. Responding to and shap­ (School of Design and Crafts, University of Gothenburg 20081024) developing doctoral design education not ing the topics in Horizon 2020 represents­ only on a Swedish but on a Nordic, Europe­ an unprecedented oppor­tu­nity for future an and international basis. This has been a development of design, doctoral education motivation behind creating an international in Sweden and the Design Faculty.

secretariat for the Design Faculty in 2013. A Ramia Mazé, International Secretariat

24 • THE DESIGN FACULTY 08–14 08–14 THE DESIGN FACULTY • 25 www.designfakulteten.kth.se