From Product Design to Design for System Innovations and Transitions
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Design for the Triple Top Line: New Tools for Sustainable Commerce
www.corporate-env-strategy.com Tools for Sustainable Design Design for the Triple Top Line: New Tools for Sustainable Commerce William McDonough and Michael Braungart* The triple bottom line has been, and remains, a useful tool for integrating sustainability into the business agenda. Balancing traditional economic goals with social and environmental concerns, it has created a new measure of corporate performance. A business strategy focused solely on the bottom line, however, can obscure opportunities to pursue innovation and create value in the design process. New tools for sustainable design can refocus product development from a process aimed at limiting end of pipe liabilities to one geared to creating safe, quality products right from the start. This new design perspective creates triple top line growth: products that enhance the well being of nature and culture while generating economic value. Design for the triple top line follows the laws of nature to give industry the tools to develop systems that safely generate prosperity. In these new human systems, materials become food for the soil or flow back to industry forever. Value and quality are embodied in products, processes and facilities so ecologically intelligently designed, they leave footprints to delight in rather than lament. When the principles of ecologically intelligent design are widely applied both nature and commerce can thrive and grow. ᮊ 2002 Published by Elsevier Science Inc. William McDonough is an architect, industrial Tel.: q49-40-8797-620; fax: q49-40-8797-6226; designer, and educator. He is the founding prin- E-mail: [email protected]. cipal of William McDonough&Partners, Architec- ture and Community Design. -
Choosing a Mixed Methods Design
04-Creswell (Designing)-45025.qxd 5/16/2006 8:35 PM Page 58 CHAPTER 4 CHOOSING A MIXED METHODS DESIGN esearch designs are procedures for collecting, analyzing, interpreting, and reporting data in research studies. They represent different mod- R els for doing research, and these models have distinct names and procedures associated with them. Rigorous research designs are important because they guide the methods decisions that researchers must make dur- ing their studies and set the logic by which they make interpretations at the end of studies. Once a researcher has selected a mixed methods approach for a study, the next step is to decide on the specific design that best addresses the research problem. What designs are available, and how do researchers decide which one is appropriate for their studies? Mixed methods researchers need to be acquainted with the major types of mixed methods designs and the common variants among these designs. Important considerations when choosing designs are knowing the intent, the procedures, and the strengths and challenges associated with each design. Researchers also need to be familiar with the timing, weighting, and mixing decisions that are made in each of the different mixed methods designs. This chapter will address • The classifications of designs in the literature • The four major types of mixed methods designs, including their intent, key procedures, common variants, and inherent strengths and challenges 58 04-Creswell (Designing)-45025.qxd 5/16/2006 8:35 PM Page 59 Choosing a Mixed Methods Design–●–59 • Factors such as timing, weighting, and mixing, which influence the choice of an appropriate design CLASSIFICATIONS OF MIXED METHODS DESIGNS Researchers benefit from being familiar with the numerous classifications of mixed methods designs found in the literature. -
Volume 2, Issue 3, Autumn 2018
The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit. -
Introducing New Design Disciplines Into a Traditional Industrial Design Program
NordDesign 2016 August 10 – 12, 2016 Trondheim, Norway Introducing New Design Disciplines Into a Traditional Industrial Design Program Bryan Howell, Camilla Gwendolyn Stark, Tyler James Christiansen, Ryan Hunter Hofstrand, Janae Lois Pettit, Samantha Nieves Van Slooten, Kathryn Joyce Willett Brigham Young University [email protected], [email protected], [email protected], [email protected], [email protected], [email protected], [email protected] Abstract The disciplines of design and design research are rapidly transforming. Sanders and Stappers (2013) illustrate how traditional design disciplines focused on product are being replaced with emerging disciplines focusing on “people in the context of their lives.” As an industry veteran and experienced design educator, I am well versed in the traditional method of effectively making consumer-oriented objects, but in the rapidly evolving world of contemporary design this expertise seemingly becomes less relevant each year. This paper reviews the quiet reframing of our sponsored third year industrial design studio course to explore aspects of emerging design disciplines, sharing five student projects that demonstrate the natural evolution in mindset from product-oriented to context-oriented problem definitions. Finally, it discusses how these emerging disciplines align with the values of the millennial generation and the importance educators include training in new disciplines to remain relevant in the contemporary design world. Keywords: Design -
Provocation Ii
FRIDAY, 25 SEPTEMBER 2020 ● 3.00 PM – 6.30 PM (CEST) THE DIGITAL MULTILOGUE ON FASHION EDUCATION PROVOCATIONS PROVOCATION I PROFESSOR DILYS WILLIAMS [∆] DIRECTOR OF CENTRE FOR SUSTAINABLE FASHION Professor Dilys Williams FRSA is the founder and Director of Centre for Sustainable Fashion, a University of the Arts London Research Centre, based at the London College of Fashion. Dilys’ work explores fashion’s relational ecological, social, economic and cultural elements to contribute to sustainability in and through its artistic, busi- ness and educational practices. Trained at Manchester Metropolitan University and holding a UAL professorship in Fashion Design for Sustainability, Dilys publishes widely on fashion and sustainability in peer-reviewed aca- demic journals and published books. Dilys’ work draws on extensive experience in lead womenswear designer roles for international collections, including at Katharine Hamnett, Liberty and Whistles. This industry expe- rience is complemented by a longstanding internationally recognized teaching and research portfolio centered on the development of sustainability centered design practices, based on principles of holism, participation and transformation design. She is a member of the UNFCCC Global Climate Action in Fashion and sits on advisory committees for Positive Luxury and the Global Fashion Agenda. Her place on the Evening Standard London’s Progress 1000 list in 2015, 2016 and 2017 evidences the public and academic influence of her work alongside regular appearances on broadcast television, radio and magazines including recent appearances on BBC World, Sky News, Radio 4, WWD,The Gentlewoman, Vog ue and Elle magazine. PROVOCATION II ASSISTANT PROFESSOR KIMBERLY JENKINS [∆] RYERSON UNIVERSITY AND FOUNDER OF THE FASHION AND RACE DATABASE Kimberly Jenkins, M.A. -
Liz Falletta ______
Liz Falletta _____________________________________________________________________________________ CONTACT University of Southern California Phone: (213) 740 - 3267 INFORMATION Price School of Public Policy Mobile: (323) 683 - 6355 Ralph and Goldy Lewis Hall, 240 Email: [email protected] Los Angeles, CA 90089-0626 Date: January 2015 TEACHING University of Southern California, Los Angeles, CA APPOINTMENTS Price School of Public Policy Associate Professor (Teaching), July 2014 – present Assistant Professor (Teaching), January 2009 – May 2014 Clinical Assistant Professor, July 2007 – December 2008 Lecturer, June 2004 – June 2007 Iowa State University, Ames, IA College of Design, Department of Architecture Visiting Lecturer, January 2003 – May 2003 University of California Los Angeles, Los Angeles, CA School of Architecture and Urban Design Co-Instructor (with Mark Mack), October 2002 – December 2002 Southern California Institute of Architecture (SCI-Arc), Los Angeles, CA Instructor, August 2000 – December 2000 Associate Instructor, June 2000 – August 2000 EDUCATION University of Southern California, Los Angeles, CA Master of Real Estate Development, 2004 Southern California Institute of Architecture, Los Angeles, CA Master of Architecture, 2000 Washington University, St. Louis, MO Bachelor of Arts in Architecture, Philosophy Minor, magna cum laude, 1993 COURSES University of Southern California TAUGHT Price School of Public Policy Design History and Criticism (RED 573), Summer 2004 – present Community Development and Site Planning (PPD -
Introduction
Introduction One way to understand the ongoing amplification and extension of design is to see how it is being driven by market and societal demand. With a public that is familiar with design thinking and social design, there is a kind of design renaissance today where those who are not necessarily from within the design community see its value. This “pull” that design currently enjoys is evident in several ways: those working in consultancies are adding a more Downloaded from http://direct.mit.edu/desi/article-pdf/36/2/1/1716215/desi_e_00584.pdf by guest on 26 September 2021 balanced approach to traditional business-heavy perspectives at the request of more sophisticated clients; those in corporations are building in-house design capabilities to meet the needs of their internal constituents; and those working in and for non-profits are translating and facilitating authentic insights regarding the underserved who desire to be engaged in more humane and equi- table ways. There is another way that design continues to expand and it is through its own “push” mechanism. It is a healthy sign when a discipline—not seeking to rest on its own laurels—takes on a con- tinuous and collective reflection-in-action. Like the concept of a learning organization, designers are busy pushing beyond their own set of boundaries, approaching design itself as a learning dis- cipline where action and course correction are constantly at play. The authors in this issue, adopting the latter approach to developing design, push themselves and the discipline beyond the status quo. Though they use different terms to describe the idea of incompleteness and the opportunity to expand, their message is uniform: design is but one dimension in our complex world and yet it serves an important function in the shaping of larger wholes. -
Changing Cultures of Design Identifying Roles in a Co-Creative Landscape
Changing Cultures of Design Identifying roles in a co-creative landscape Marie Elvik Hagen Department of Product Design Norwegian University of Science and Technology ABSTRACT The landscape of design is expanding and designers today are moving from expert practice to work with users as partners on increasingly complex issues. This article draws up the lines of the emerging co-creative design practice, and discusses the changing roles of the designer, the user as a partner, and design practice itself. Methods and tools will not be considered, as the roles will be discussed in terms of their relations. The co-design approach breaks down hierarchies and seeks equal participation. Research suggests that the designer needs to be responsive or switch tactics in order to take part in a co-creative environment. A case study exploring co-creative roles complements the theory, and finds that the designer role needs to be flexible even when having equal agency as partners and other stakeholders. Sometimes it is necessary to lead and facilitate as long as it is a collaborative decision. Bringing users in as partners in the process changes the design culture, and this article suggests that Metadesign can be the holistic framework that the design community need in order to understand how the different design practices are connected. KEYWORDS: Co-design, Co-creativity, Roles in the Design Process, Participatory Design, Metadesign, Cultures of participation, Design Agenda 1. INTRODUCTION This article seeks to examine how the role of the designer, the role of the user and the role The landscape of design is changing. -
Narrative Problems of Graphic Design History
233 Victor Margolin Narrative Problems of Graphic Design History The problem of method in the construction of narratives is particularly acute in the field of graphic design history. Various publications have brought attention to the subject of graphic design history, but have not marked a course for the full explanation of how graphic design developed as a practice. Three major texts by Philip Meggs, Enric Satue and Richard Hollis address the history of graphic design, but each raises questions about what material to include, as well as how graphic design is both related to and distinct from other visual practices such as typography, art direction and illustra Victor Margolin is associate professor tion. The author calls for a narrative strategy that is of design history at the University of Illinois, Chicago. He is editor of more attentive to these distinctions and probes more Design Discourse: History, Theory, deeply into the way that graphic design has evolved . Criticism, author ofThe American Poster Renaissance and co-editor of Discovering Design : Explorations in Design Studies (forthcoming). Professor Margolin is also a founding editor of the journal Design Issues. University of Ill inois, Chicago School of Art and Design m/c 036 Chicago Illinois 60680 Visible Language, 28:3 Victor Margolin, 233·243 © Visible Language, 1994 Rhode Island School of Design Providence Rhode Island 02903 234 Visible Language 28.3 Narrativity becomes a problem only when we wish to give real events the form of a story.' Introduction In recent years scholars have devoted considerable attention to the study of narrative structures in history and fiction. -
Modern Architecture & Ideology: Modernism As a Political Tool in Sweden and the Soviet Union
Momentum Volume 5 Issue 1 Article 6 2018 Modern Architecture & Ideology: Modernism as a Political Tool in Sweden and the Soviet Union Robert Levine University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/momentum Recommended Citation Levine, Robert (2018) "Modern Architecture & Ideology: Modernism as a Political Tool in Sweden and the Soviet Union," Momentum: Vol. 5 : Iss. 1 , Article 6. Available at: https://repository.upenn.edu/momentum/vol5/iss1/6 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/momentum/vol5/iss1/6 For more information, please contact [email protected]. Modern Architecture & Ideology: Modernism as a Political Tool in Sweden and the Soviet Union Abstract This paper examines the role of architecture in the promotion of political ideologies through the study of modern architecture in the 20th century. First, it historicizes the development of modern architecture and establishes the style as a tool to convey progressive thought; following this perspective, the paper examines Swedish Functionalism and Constructivism in the Soviet Union as two case studies exploring how politicians react to modern architecture and the ideas that it promotes. In Sweden, Modernism’s ideals of moving past “tradition,” embracing modernity, and striving to improve life were in lock step with the folkhemmet, unleashing the nation from its past and ushering it into the future. In the Soviet Union, on the other hand, these ideals represented an ideological threat to Stalin’s totalitarian state. This thesis or dissertation is available in Momentum: https://repository.upenn.edu/momentum/vol5/iss1/6 Levine: Modern Architecture & Ideology Modern Architecture & Ideology Modernism as a Political Tool in Sweden and the Soviet Union Robert Levine, University of Pennsylvania C'17 Abstract This paper examines the role of architecture in the promotion of political ideologies through the study of modern architecture in the 20th century. -
Joequackenbushresume.Pdf
Joseph A. Quackenbush [email protected] www.josephquackenbush.com Curriculum Vitae Education M.F.A. Graphic Design, Rhode Island School of Design, Providence, RI, 1996 Radcliffe Publishing Course, Harvard University, Cambridge, MA, 1986 B.A. English, Oakland University, Rochester, MI, 1983 Current Positions at Massachusetts College of Art and Design Professor, Graphic Design Department Chairperson, Graphic Design Department Coordinator of MFA program in Design (Dynamic Media Institute) Director of the Creative Continuum and Creative Edge design and business programs Teaching Experience Massachusetts College of Art and Design Undergraduate Classes Sophomore Studios / Visual Systems Component Graphic Design One Typography One Typography Two Typography Three Information Architecture One Information Architecture Two Graphic Design Four Portfolio Degree Project Design Research Designing Stories (elective) Graduate Classes in The Dynamic Media Institute Seminar: Contemporary Issues in Dynamic Media Seminar: Historical Issues in Dynamic Media Seminar: Thesis Document I Seminar: Thesis Document II Rhode Island School of Design Undergraduate Classes BGD Studio I, Spring 2001 BGD Studio II, Fall 1997 – 2004 Graphic Design Elective, Spring 1996 Strategic Design, Spring 1998 Strategic Design, Spring 1999 Typography II, Spring 2002 –2004 Visual Poetry, Fall 1996 Visual Communication, Fall 2000 Joseph A. Quackenbush [email protected] www.josephquackenbush.com Graduate Classes Thesis Programming,. Wintersession 1998 – 2004 Thesis Seminar, -
Transformation Towards Industrial Sustainability
KES Transactions on Sustainable Design and Manufacturing I Sustainable Design and Manufacturing 2014 : pp.769-783 : Paper sdm14-024 Case study of an organisation trying to re-imagine its place in the supply chain: transformation towards industrial sustainability Lloyd Fernando 1, Steve Evans 2 1 University Of Cambridge, IFM, Centre for Industrial Sustainability, CB3 0FY, UK [email protected] 2 University Of Cambridge, IFM, Centre for Industrial Sustainability, CB3 0FY, UK [email protected] Abstract: Purpose: The paper identifies existing sustainability frameworks that help companies in decision-making, strategy and new thinking. The paper presents a case study to analyse the applicability of the different frameworks for planning for transformation towards industrial sustainability. The most popular frameworks such as cradle to cradle and the natural step are explored as an alternative design and production concept to the strategy of eco- efficiency. Design/methodology/approach: The paper reports the results of exploratory case studies observed through document analysis and interviews. Findings: The transformation to industrial sustainable system necessitates a fundamental redesign of products and the production system of industrial material flows within which they circulate. Cradle-to-Cradle design defines a broad framework for creating eco-effective industrial systems, but for businesses to put this framework into practice they need both the right technologies and the right strategies, which implies a need to collaborate with different actors & stakeholders across the system. Originality/value: It was found that the framework of cradle-to-cradle design can help inspire new thinking and improve shared understanding through structured discussions with other actors in the system.