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1-7-2008

Design Research Quarterly Volume 3, Issue 3

Peter Storkerson

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V.3:3 July 2008 www.designresearchsociety.org Design Research Society ISSN 1752-8445 research II

Jorge Frascara and Dietmar Winkler On Design Research Jorge Frascara, Dietmar Winkler

Editor’s Introduction: Table of Contents: Communication design, generally, is an outlier in the larger field of design, by virtue of its non-participation in empirical research and its lack of interest in the Article: kind of accountability to performance that is taken for granted elsewhere. DRQ 1 Jorge Frascara and Dietmar Winkler on is presenting articles to examine communication design and its relationship to Design Research research and disciplinarity, particularly with regard to education. The last issue examined design education within the institutional context of 3 From the Editor university art schools and departments. In this issue, we have an overview of communication design education and research from two senior communication Listings: design educators and practitioners: a colloquy that links a vision of the social goals 15 Current Research in Design: Tables of and responsibilities that can give communication design significance with actual Contents from Leading and operational requirements of research informed practice and education. Design Journals

Jorge Frascara and Dietmar Winkler on Design 23 Upcoming Events Worldwide Research Artemis Yagou Jorge Frascara discussed elsewhere (Frascara 2007) some of the many ways in DRQ-DRS which visual communication design practice, education and research fall short 2 Publication information of meeting the needs of society. In the following article Dietmar Winkler (DRW) and Jorge Frascara (JF) will further elaborate on the problem, to outline some of 24 DRQ subscription the ways in which design research could – or should – develop. In the process, DRS Membership information indispensable references to the current state of design education and practice will surface, as ways to recognize the three fronts on which change should happen.

DRW: An Achievable Social Contract for this Century: One emancipated step for design education and practice … and mankind, because it is much too urgent to postpone till tomorrow.

Vision without action is merely a dream, action without vision is merely passing time, but action with vision can change the world. Nelson Mandela

All disciplines go through evolutionary stages. At the end of the last century, design’s conceptual thinking, was still anchored in the knowledge of tradition- al technical guilds and the aesthetics of the decorative arts. Design is still pri- marily providing visualization and formatting skills. The assortment of projects Continued p. 4 Q Design Research Quarterly Publication Information

Editor: Editorial Advisory Board: Dr. Peter Storkerson Prof. Ken Friedman, Chair Norwegian School of Management, Norway and Danmarks Associate Editors: Designskole, Denmark Dr. Vesna Popovic Dr. Antti Ainamo Queensland University of Technology, Australia Helsinki School of Economics, Finland Dr. Kristina Niedderer Prof. Tevfik Balcioglu Hertfordshire University, UK Izmir University of Economics, Turkey Dr. Artemis Yagou Prof. Lin-Lin Chen AKTO Art and Design, Greece National Taiwan University of Science and Technology, Taiwan Prof. Nigel Cross Open University, UK Prof. Clive Dilnot Parsons The New School for Design, USA Design Research Quarterly is is a peer reviewed journal, published Dr. Troels Degn Johansson in January, April, July and October by the Design Research Society. Denmark’s Design School, Denmark Prof. Pekka Korvenmaa Design Research Quarterly and its contents are published under University of Art and Design, University of Art and Design, the Creative Commons Attribution - Noncommercial - NoDerivs 3.0 Finland License. < http://creativecommons.org/licenses/by-nc-nd/3.0/ > Prof. Kun-Pyo Lee You are free to Share—to copy, distribute and transmit the journal or Korea Advanced Institute of Science and Technology, Korea journal articles. Under the following conditions: Dr. Joao Lutz 1 Attribution UniverCidade, Brazil ee You must attribute work in the manner specified by the author or Prof. Sanjoy Mazumdar licensor (but not in any way that suggests that they endorse you University of California at Irvine, USA or your use of the work). Prof. Donald Norman 2 Noncommercial Nielsen Norman Group and Northwestern University, USA ee You may not use any part of this journal or work in it for com- Prof. Sharon Poggenpohl mercial purposes. Hong Kong Polytechnic University, China 3 No Derivative Works Prof. M.P. Ranjan ee You may not alter, transform, or build upon any part of this jour- National Institute of Design, India nal or work in it. Dr. Elizabeth B.-N. Sanders MakeTools, USA Prof. Marian Sauthoff Design Research Quarterly is archived on-line: www.drsq.org. University of Pretoria, South Africa Dr. Chris Smith We solicit your contributions: papers and articles on design research. London Metropolitan University, UK For information regarding submissions, contact Prof. Toshiharu Taura Peter Storkerson, [email protected] Kobe University, Japan Prof. Necdet Teymur Emeritus, Middle East Technical University, Turkey

Design Research Quarterly 3:3 Jul. 2008 – 2 – www.designresearchsociety.org From the Editor: Discovering What We Don’t Know Peter Storkerson

As we know, disciplines are not simply collections of facts, Middletown was widely read, and it transformed Ameri- findings, or things known. They are also objects of study in cans’ pictures of themselves ‘telling Americans “who we are,” themselves. Any student of a discipline studies not only the “what we want,” and “what we believe.”’ (Igo p.3) Middletown knowledge contributed by the field but the field itself. A dis- is credited as instrumental to the emergence of mass society, cipline enframes and transforms the knowledge it compris- not just by what it found, but by social construction: creating es, by providing a taxonomy, defining interrelations between a self-fulfilling social belief in the existence of “averageness” its taxa and, in particular, by defining what is inside and as that mass society. It also permanently altered the rhetoric of outside of its domain, thus, what should be studied or dis- discourse on social issues to one in which popular beliefs could regarded, how it should be studied, and what can be done be trumped by data. with the results. Middletown revealed averageness as a realm of inquiry that As a communication designer, I have long been mysti- had been in plain sight, waiting to be looked at. The earlier in- fied by my field’s lack of disciplinary interest in the processes terests in problems such as deviance were not displaced but in- at its heart: how the configuring of abstract elements in space corporated and subsumed under more comprehensive categories and time constructs meaning. Without a disciplinary container, of grounded social theory that developed into a new, powerful knowledge is borrowed and syncretic, an admixture of practical technology supporting a broad range of social analysis and en- experiences and facts appearing sui generis, without reasoning gineering for a broad variety of purposes: a discipline. or dialogue. No matter how many such fragments are brought How might this apply to design? One common notion of together, they do not themselves produce a whole. design, as a pragmatic approach to addressing problems (rather Nevertheless, there is no interest in a disciplinary under- than a systematic, disciplinary study of human interface) looks standing of of communication design. It is as if there is no need like the social science interest in problems and deviance pre- for it, or it is trivial, or it is invisible. ceding the leap. Communication design seems further behind, Sarah Igo’s ‘The Averaged American’ (Igo, 2007) describes at the time when norms were the teachings of the churches, the origin of a new discipline in sociology: the empirical study and the received knowledge of the ancients. In the main, its ap- of norms of behavior and beliefs in one’s own society. The major proaches are intuitionist: its teachings based on traditions; its event defining the arrival of this new discipline is a still famous instructional methods based on the atelier tradition of learning 1929 study, ‘Middletown’ by Robert and Helen Lind. It was a from the master. an overview of the town of Muncie Indiana based on historical What caused, the leap taken by Middletown? Igo attributes studies and survey research. it to ‘several streams—scientific, institutional, commercial, and Surveys were not new, but they had been focused on ag- cultural” … ‘and from the waging of war to the expansion of gregate data (census), or on problems such as deviance or mar- national media.’ (Igo p.8), that is, the forces of modernization. ginal groups: ‘accident prevention, child welfare, truancy, and Other design fields such as experience design and HCI are ac- venereal disease as well as Czechs, Greeks, Finns, and wid- tively researching and developing disciplinary knowledge, so it ows.’ (Igo p.29). What Middletown sought was not deviance but may be that communication design simply becomes obsolete: typicality or ‘averageness’: to discover what it actually was. It its functions absorbed into other fields. avoided defining the issues to study. It was organized accord- ing to a general, anthropological taxonomy of work, family, raising children, leisure, religion and civic activities. Within Igo, Sarah (2007) The Averaged American: Surveys, citizens and the making that organization, it was possible for the issues and essential of a mass culture. Cambridge, Harvard University Press dimensions of the town to reveal themselves – the urbaniza- tion and industrialization of an agrarian culture, patriotism, a sharp social division into two classes, race, the effects of the automobile on sexual relations, and so forth.

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has not significantly changed: posters, book jackets, menu of design? Where are the intellectual resources, the holding and CD covers, reports, pamphlets, books, and now web tanks for research on color, readability/legibility, visual lan- pages. The only additions over the past decades have been guage and visual literacy (beyond Itten, Gerstner, Klee, Kan- graphic and typographic information explications (useful dinsky, Dondis, etc.)? Where is the vision of institutions like in newspapers, magazines, textbooks, and exhibitions) and the Kansas City Art Institute? Their leadership seems totally a current interest in the evolution of internet-related com- out of touch with contemporary reality. At the University of munication. The content, even the context of design, is still Illinois, I found greater interests and deeper understanding usually researched, declared, and defined by others. In short, of communication and visual literacy among students in little has changed. Graphic designers provide style but not software engineering, robotics, and linguistics than among contents or context. undergraduate and graduate students majoring in design. The electronic communication world of today is impa- If universities fail to recognize that, even in 2008, design tiently waiting for design to emerge from its technical and education is being taught at vocational skill levels, nothing vocational cocoon to begin initiating, facilitating, and man- will happen. If universities threaten to and finally jettison aging new concepts as intelligent authors, researchers and the anti-intellectual programs in design education, or force developers of content. Designers have technical tools for them to grow deep connective roots with the other true cam- typography, graphics, illustration, movement and sound. pus disciplines, then, and only then, will we see movement Those tools afford the opportunity to construct information toward fulfilling design’s potential. By the same token, when environments and to begin to author content related to com- accrediting agencies in the U.S. like NASAD (National As- plex contexts and sociological issues. This gives designers sociation of Schools of Art and Design) and the other profes- opportunities to bite-off projects of larger scope and greater sional spokes-organizations, like AIGA (American Institute social relevance. of Graphic Arts) openly express dissatisfaction with the edu- Is it not strange that after fifty years of supposedly out- cation delivered by the majority of American schools, some- standing design education taught by graduates from pres- thing will happen and very fast. tigious schools, the contents/quality of design education has not increased or become more sophisticated? Instead, JF: design education has been compacted and condensed, and Social relevance the Gibbs schools now list preparation for graphic design Social relevance is indispensable if the design effort is to next to criminal justice, and other social, health, and pro- make sense and push the development of design research, grammatic careers in hospitals, physician offices, clinics, education and practice. One must find a need to be addressed; insurance companies, geriatric and assisted living facilities, it can be an extreme need, such as teaching Africans to avoid including cosmetology, and body massage. Design has come AIDS contamination, or a simpler need, like making phone a long way, baby! Unfortunately, down hill. bills easier to understand. Most of the efforts in the design The American Institute of Graphic Arts was founded as a profession are now directed at activating the consumer small, exclusive New York club in 1914, just about the time market; hence this article will not deal with that side of the of the emergence of marketing and business sciences, and profession, which is well taken care of. Confronting impor- about twenty years later than the American Medical Associa- tant human problems would put our best resources to the tion. Researchers at medical schools and teaching hospitals test. In front of such problems, deficient design responses represented by the AAMC (Association of American Medical become immediately visible. Solving complex social prob- Colleges) have been responsible for many medical break- lems requires concerted intelligent research and action; one throughs. As major centers of medical research, the nation’s cannot just resort to routine knowledge and methods. One medical schools and teaching hospitals conduct more than need not go far away and look at tragic settings to find inter- half of all extramural research sponsored by the National esting problems. Everyday needs, such as properly laying Institutes of Health. From new approaches in prevention out scientific communication (i.e. cutting down the time it and diagnosis to successful treatments and cures, research takes to a medical doctor to consult pharmaceutical infor- advances pioneered at AAMC member institutions have dra- mation in a document), or designing devices that facilitate matically improved the health of our nation. So, what hap- pened to the AIGA and the other “professional associations”

Continued p. 5 Q

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older people perform daily tasks (bottle openers and the like), Interdependence is undeniable, and the need to take action to can provide a long list of possibilities for the development of achieve sustainable development more urgent than ever before. design responses to genuine daily needs of people. June Zeitlin, Executive Director, Women’s As Dietmar notes, the demand for design intervention Environment and Development Organization is normally determined by the client. If designers want to be socially relevant, we must become active agents in the Design must be involved in issues more complex than identification of problems, because clients only see a need social entertainment. The United Nations Millennium Dec- for design when that need has become obvious. Corpora- laration agreement was adopted by a hundred eighty-nine tions and government agencies normally know about only world leaders, highlighting the following concerns, among advertising, corporate image, publication design and signage. others: People at large – from the top to the bottom of education and ccHuman values and principles of conduct; financial power – do not see the possibilities that design ccPeace, security and disarmament; could offer in the management of daily life, or in addressing ccEconomic development, poverty eradication; ills in society. Unfortunately, good examples of such designs ccEnvironmental preservation, protection and do not abound, nor are they publicly visible; good design is rehabilitation; often invisible. Scientific content specialists, such as com- ccHuman rights and participatory governance; puter engineers, medical doctors and lawyers are normally ccProtecting the vulnerable sectors of society, such as the ones who prepare communication documents, leaving the young, aged, and underprivileged because of the designers out of the picture. To complicate things fur- lack of health services, education, economic support, ther, not all designers are good document designers, most or opportunities; are trained as specialists in styling. In addition, people tend ccGlobal focusing on the special needs of countries; in general to accept things as they are, believing – in a quasi ccStrengthening the relationships between nations; fatalistic way – that the way they are is the way they have to ccHumanitarian assistance. be. Karel van der Waarde in Belgium (van der Waarde 2006), (http://www.un.org/ Karen Schriver in the USA (Schriver 1997) and David Sless millennium/declaration/ares552e.htm) in Australia (Penman & Sless 1994) are good examples of designers who generate useful design work through an ef- In view of the enormously long list of severe and poten- fort to demonstrate to clients the difference they can make to tially devastating social world problems, including over-pop- the client’s management of activities. They work on the ba- ulation, economic melt-downs and famine, it would be of sis of an informed practice, building on existing knowledge conspicuous importance and urgency that educational in- through a consistent implementation of research methods stitutions, and the design programs they house, join forces, in their design processes. form consortia or other cross-institutional curricular col- laborations, and pledge unambiguous commitment to de- DRW veloping pragmatic educational programs that support the An invitation to shape human existence for the urgent timetables, goals, and objectives of the UN Millen- better nium Declaration, which is just about to pass its first de- cade’s milestone. We face many development challenges, but it is no good tackling Even the brief list above presents enormous opportunities them piecemeal. Each of them affects all the others. We need to for conceptualizing large information environments through tackle them all together, with a common strategy, a clear timetable, research, which is ideal for communication design, as each and measurable targets. of the possibilities relies on communication skills. But most UN Secretary-General Kofi Annan designers have been ill prepared for these tasks by their in- stitutions. There is a distinct difference between graphic de- Activists do not ask, ‘why act’?, but rather ‘when’?, ‘where’? and ‘how’? These dedicated and courageous individuals are important partners in the quest for a better, fairer and safer world. Secretary-General Kofi Annan Continued p. 6 Q

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sign as useless styling and communication design as a way dexterity the device required was above the ability of many of supporting a social discourse between diverse segments potential users. This is the beauty of designing for specific of society. Thus, design programs should: contexts with specific users in mind; it becomes possible to eedevelop efficient and supporting communication tools evaluate the quality of the design response. The difficulties to promote solutions for problems; are perceived during the development of the product, when eeoffer federal, state, and local governments their they can be fully addressed. services to facilitate local, regional, national, and inter- I taught a workshop on user-centered communication national efforts for developing and disseminating design with Guillermina Noël at the invitation of Chris My- innovative plans for achieving the goals within reason- ers at the Philadelphia University of the Arts. When a team able timeframes; of students showed their first redesign of a pharmaceuti- eefacilitate the adoption of their plans. cal leaflet to the users, the users indicated their preference to the existing one. It took an effort to reposition students and eliminate the aesthetic preferences they had acquired to JF produce something that was genuinely better than the exist- Professional relevance ing design. Without including user research in the design In addition to the social relevance we are proposing here process, there is little hope that a novel and good design as a departure point, the design response to a problem can proposal will be created. become professionally relevant. This happens when the When defining the purpose of an intervention, the ob- process followed and the methods used support the valid- jectives must be achievable and measurable. There have to ity and reliability of the solutions proposed. A well-solved be good grounds to believe that what is intended is achiev- design problem becomes a methodological model that can, able on the basis of previous experience, or on some other with some adaptive effort, be transferable to other situations. indicator that could support the objectives proposed. The Given the current lack of education in reliable methods objectives proposed should relate to measurable or verifi- within the Communication Design curricula, research- able results, making it possible to assess whether the ef- based professional practice confronting human problems fort was worthwhile, the extent to which the objectives were can become an integral source of new information for design achieved, and what corrective actions might improve the to expand its knowledge base. performance of the design. This might imply an iterative alternation between design and research, certainly involving Defining a purpose for a design intervention the user population. A design intervention must have a clearly stated purpose: it should be based on the recognition and definition of a reality Information gathering that needs to be changed. To do this, it is essential to estab- Once the purpose of an intervention has been defined – and lish the operational objectives of the project, that is, what possibly, re-defined – one has to identify the full scope of the project is supposed to do (not how it is supposed to look) intended users of the existing or proposed design device, so (Cross & Roy 1975), and to recognize the intermediate objec- as to really understand how the design is or shall be used. tives that must be met in order to achieve the final ones. The Information gathering requires imagination, insight and final objectives of any communication design project focus tenacity. It also requires sensitivity and an unprejudiced ap- on the response of the public. This response can be verified proach. Skills in listening and observing without imposing in attitudes, knowledge, or behavior. heavy personal filters are rare. It is always difficult to step Here are a couple of examples. At the Master of Medical into someone else’s shoes. Social anthropology can teach Design of the University IUAV of Venice students dealt with us a great deal about the observation of people’s behaviors. real problems perceived at the hospital and after the patients When one designs objects or communications one has to be go home. One student designed a device to help old people aware that users do not come empty and naked. People use manage the daily taking of multiple drugs. The device was products in very many ways that are often unrelated to their smart, linking visual design, mechanics and electronic com- intended purposes. People come to a product with guesses munications, but when discussing the proposal with the Di- and expectations derived from their personal experiences rector of Geriatrics, the director pointed out that the manual Continued p. 7 Q

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and needs. As design researchers, we need to recognize the between patterns. The system associated letters to back- difficulties we face when trying to get to know “the other”: ground patterns. Once the patterns were distinguished, the their histories, expectations, and particular needs. children were able to transfer that ability to the perception of shapes and edges. (Nelson et al 1981, Frascara 1980). Method, but not only method When Ronald Shakespear changed the public name of his The design process cannot be reduced to a mechanistic set client and called “Subte” to “Subterraneos de Buenos Aires” of steps. Method without imagination contributes very little (the underground trains operator), he was taking advantage to the design profession and the solution of complex design of popular language to establish a brand that already had projects. Having a set of steps to follow helps achieve a rea- deep roots. sonable level of performance, but if one seeks a high level This was work done with imagination, open mind- of performance, one should remember Niels Bohr, when he edness, and alertness to a broad field of possibilities: in- said to a colleague: “No, no, you are not thinking; you are dispensable components of good research, which goes just being logical.” (Frish 1979, 1) beyond the mechanic application of proven methods. Defining the purpose of a design project and including a thorough array of intermediate objectives requires an alert mind, flexible strategies, good working memory, and a clear DRW idea of the final goal. Many times, this involves abandoning A call for institutional, professional and individual a strategy that seemed logical but was the result of tunnel altruism: professional concern for the welfare of vision. others Michael Burke was designing diagrams and pictograms When Susan Hockfield, President of MIT (Massachusetts explaining how to assemble a device to illiterate Africans Institute of Technology) outlined her ambitious agenda when it became apparent that they could not understand for that institution in 2006, her vision was clearly broader graphic information. Instead of making the information and wider than producing mere technologically keen, inge- clearer, or larger, or supporting it with verbal explanations, nious gadgets and processes, or notoriety and financial suc- he made a paper model that could be cut out and assembled cess. She was looking for transformational advances that as a way to demonstrate how the real object should be put change society for the better, including advances in educa- together. tion, health, and medicine. In her efforts, she asked for the Working for a patient with aphasia, Guillermina Noël re- melding of social and physical sciences with all other tech- alized that instead of designing a tool to help the patient nological disciplines to bring about a truly positive revolution communicate verbally, so he could again interact socially, with direct benefits for the world citizenry. She envisaged a she could better achieve her final objective by designing a “great circle” of research disciplines informing a “cauldron board game, so the patient could interact without resorting of intellectual collaboration”. to his very reduced speech. In research on the effectiveness of different safety mes- The significant shift from simple to complex design sages for the backs of school buses, I found that the best thinking strategy was not to write a new message or to select a new Her address continued a half-century of MIT history. It did typeface, but to wash the buses. not actually begin with Robert W. Mann in the late 1960s, During World War II, Tom Nelson learned how pilots but he contributed greatly as engineer, rocket scientist, and were able to estimate their altitude without instruments, developer of the world’s first biomedical prosthetic device. He through the types and scales of surface textures they saw changed my approach to design at that time. I had worked on on the ground, and how very simple animals like cats and the design of the inauguration material for another new MIT crocodiles distinguish visual textures from one another, but president, which he oversaw, and we became good friends. not shapes. He hypothesized that visual patterns could help As he freely shared his knowledge and attitudes with Univer- teach letters to children whose lack of immediate memory prevented them from learning the shapes of the letters. Working with me, he developed a system for teaching let- ters to children that capitalized on the ability to distinguish Continued p. 8 Q

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sity of Massachusetts graduate students, I began to recognize fields as a unified field, mostly in the hands of printers serv- him not just as an engineer, but also as a leader in the field ing the state or religion and their constituents, from which of design, turning design into an intelligent discipline. the universities and the publishing industry emerged. Then Mann was involved in sensory aids evaluation and Braille broadsides offering opposing political positions and the op- computer translation systems for the blind: applying his portunities for social dialogue enabled journalism to emerge, pioneering in computer-aided design and his experience while the inclusion of announcements of skills, products, in powering rocket systems to his commitment to helping and services ushered in the advertising industry. Then, the those with disabilities. From the mid 1960s, his research emerging technologies of photography, cinema, video, and was focused primarily on the application of technology to digital typography, design, and communication further im- human disabilities. Mann’s “Boston Arm” was the first ar- pacted each of the areas, as specialization separated and re- tificial limb to rely on a combination of biology and technol- fined them. The various needs in education, health, welfare, ogy for its control: using the electrical impulses, connecting government, industry, and commerce allowed specialized brain and muscles to “power” biomechanical devices. Mann areas of expertise to emerge in the categories of informing, studied anatomy, skeletal joints, the biomechanical role of educating, and entertaining, separately, but also in many cartilage, measurements of skeletal and tissue pressures, possible and varied combinations. and also the behavioral and emotional ramification of his The current situation in design education is confusing. design – a truly multidisciplinary approach to designing. On post-graduate levels, institutions are struggling to evolve The public still credits engineering and science almost positions. What is most interesting is that many schools pres- exclusively for the success of moon explorations, while the ent courses that deal with office and project planning and scientists involved recognize this amazing human success management or translation of traditional problems through as collaboration in form of sharing responsibilities, not only emerging technologies, but very few deal in any depth with across disciplines and expertise, but continents, peoples, and the complex, expansive and pervasive field of human com- global politics. While listening to why Robert Mann made munication. Undergraduate education makes great distinc- the switch from “powering rockets to empowering people,” tions between visual and technical design subjects and it became very clear that “design” as it was and still is taught isolates design from the rest of the university. There is little at most art/design schools, is irrelevant. Mann’s chart of crossover between design projects and the core university disciplinary interactions showed a decision tree of great com- education as represented by its “distribution requirement” plexity branching out from the project to very specific areas courses. There is no deep introduction into the evolution from the biological, behavioral, social and material sciences; of thought, language, and logic; the new generations know mechanical, electronic and computer engineering; among little about communication, at least beyond Marshall McLu- many others. He said: “Success? You can’t just measure the han headlines and information bytes – I know, he would be tip of the iceberg. That part of perception belongs to the horrified. The result is that those who are asked to reveal the public and journalists. They like to focus on the heroic. But culture to others are not better informed or educated than the designer needs to look at the whole – lock, stock, and the general public, sometimes less. barrel – the major submerged part – and be responsible for Cannot the demise of true graphic imaging – concen- the good as well as the ‘warts and all’ of the project.” tration and endurance of skilled and time-consuming in- Designers are responsible for the entire design process, teractions between hand and eye, tools and materials, and from beginning to end, not just that part in which they see decisions and choice from a larger range of technologies are themselves as experts or which provides them with notoriety. tested, rather than the expedience of software packages like What is the long-term effect of a design solution on a culture, Adobe Illustrator or Photoshop – be laid directly at the feet of on behavior, relationships? While the designed object may the majority of design educators? Have not they themselves be ephemeral, the negative or positive impact is lasting. It been trained in their graduate programs to abandon their is true that even research directions that result in little, can craft and become institutional administrators and politicians, contribute greatly to better understanding, when informa- full of talk but totally incapable of crafting an image or letter- tion is openly shared. form? But then, did not this approach to image-collage start Looking at the chronology – the progression from Guten- berg’s legacy – communication design started like many Continued p. 9 Q

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already with designers like Bradbury Thompson at Yale, who knowledge reservoir considerably. Henriques proposed the institutionalized the process of blending photographs, type, Tree of Knowledge System (2004), also known as the ToK and appropriated graphics, like cuts of maps and historical System, for the theoretical unification of scientific knowl- images, graphic marks and signets, and who, as stated by edge. It depicts knowledge as consisting of four levels or Communication Arts, “influenced the design of a generation dimensions of complexity, namely Matter, Life, Mind, and of art directors”? Only the association with Armin Hofmann, Culture, that correspond to the behavior of four classes of and faculty like Inge Druckery, Philip Burton and others, objects: material objects, organisms, animals, and humans; rounded out the visual design experience at Yale. and four classes of science: physical, biological, psychologi- The past decade ended on many positive tones. Buckmin- cal, and social. Henriques argues that developing such a ster Fuller closed out the last century, and left for design system for integrating knowledge is not just an academic en- a vital legacy of synergy, suggesting a vigorous discourse terprise in an increasingly complex world. The fragmented between disciplines (which has not been realized as of yet state of knowledge can be seen as one of the most pressing by most design programs, especially those housed in art social problems of present time. schools or remote from interactions with the other vital dis- In many ways design resembles the incoherence that ciplines). Fuller asked designers to understand relationships psychology tries to bring into focus through the analogy of – possible interactions, independence and interdependence the Tree of Knowledge System: recognizing that there is no between all disciplines – progressing from isolation to syn- single agreed upon definition, no agreed upon subject mat- ergy, recognizing the discrete advantages of the contribu- ter; that there is a proliferation of overlapping and redundant tions, revelations, and influences of disciplines upon each concepts, a large number of paradigms with fundamentally other, acting together or sharing knowledge to find solutions different epistemological assumptions, and that specializa- for complex problems, and create greater effect than could tion continues to be increasingly emphasized at the expense be produced by the disciplines operating independently or of generalization, thus encouraging further fragmentation. in parallel. The ToK System offers the opportunity of moving academic Fuller’s lifelong goal was to initiate the development of knowledge toward the interlocking of fact and theory into a a Comprehensive Anticipatory Design Science in an at- coherent, holistic view of knowledge, by offering new per- tempt to foreshadow and solve humanity’s major problems spectives on how knowledge is obtained because it depicts through high technology, by providing more and more life how science emerges out of culture and that the four di- support for everybody, with fewer and fewer resources. Full- mensions of complexity correspond to four broad classes er’s “Spaceship Earth” envisaged a positive way of finding of science. answers to his recurring question: “Does humanity have In trying to translate the Tree of Knowledge into design, a chance to survive successfully, and if so, how?” He was it becomes clear that the education that most designers re- not alone; many futurists recognized that his time, defined ceive does not prepare them for a world of complexification, by divisive tendencies to inhibit, separate, and control na- which requires the integration of knowledge from various tions, races, religions, sciences and humanities, synthesis disciplines, or provides the analytical tools to foster informa- would be the right banner to unify human beliefs. As his- tional syntheses. The vocational aspects of design education, tory seems to attest, the absence of a collective worldview traditional and electronic, prevail. condemns humanity to endless conflicts that inevitably stem from incompatible, partially correct, locally situated systems JF of justification. Thus, from the perspective of Gregg Hen- Identifying the intellectual resources required riques, a clinical psychologist and faculty member of the A design project is normally interdisciplinary. Very seldom Combined-Integrated Doctoral Program at James Madison does a designer work on a product to be used by designers. University, there are good reasons to have a shared knowl- Even in that case, does one know how to approach design- edge about humanity; more could be achieved, on higher ers? Does one know how designers perceive, learn, remem- and greater levels, and to the benefits of more people. ber, interact with information and use it? Can one refer to A good example of efforts by other disciplines may make “designers” as (if they were) a homogenous group? Although clear the great dynamic paradigm shifts that have trans- pired in the latter part of the twentieth century altering the Continued p. 10 Q

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the segmentation of the public is an indispensable strate- IBM or Microsoft office desk, geared to support the annual gy when it comes to designing effective communications, company goal declaration, even if the image may be engross- every segment is formed by a cluster of profiles: profiles ing and commanding attention. These assignments with- that share many traits but that also differ in many ways out context teach little about the complexity in intercultural from one another. When working on traffic safety commu- communication. nications planning and trying to reach the 18 to 24 year-old Depending on the intellectual isolation of the designer, males who were highly exposed to the risk of collision, I a solution can turn out to be destructive rather than con- had to go through a long process of fine-tuning. Conven- structive. Designers should remember the responsibility of tional information about the psychological and social pro- physicians to the medical oath (“first, do no harm”), even file of the age and gender group was too general. Males 18 if, on the surface, this seems a preposterous request for the to 24 appear over-represented in the statistics, but looking current design vocation. It is not an unreasonable demand closer, only 3% of that population was involved in injury for a profession that wishes to be admitted to an association collisions. The question was: is this a random occurrence, of disciplines. It is true that the ephemeral works of commu- or are there definable differences between this 3% and the nication designers rarely inflict lasting physical pain. But it remaining 97? is also clear, that without question, and with great frequency, An important step in any research project is to recognize their work alters to its detriment, the culture for which they the personal limitations one has in terms of the knowledge are responsible. required to confront a problem and to identify who could Designs alter interactions between segments of society. have the required knowledge and experience. When I began Because of its institutional and corporate sponsorship, de- to do research in traffic safety I hired an expert for the first sign habitually increases rather than reduces the distance set of focus groups I organized. This expert was used to do between the privileged and disadvantaged by its one-sid- research for marketing, and his approach had to be adjusted edness and through the careless heightening of anxieties as we went along, because some practices of marketing re- in persons who confront their need to comprehend obtuse, search – like deception – are not acceptable in social research, opaque, and dense vernaculars or legalese, in communica- or at least in the kind of dialogue I wanted to establish with tions produced by institutions, corporations, and religious the participants. This experience, nevertheless, served me and federal agencies for their mercantile, banking, invest- to understand the mechanics of the method. ment, marketing and political goals. Communication design By my experience, traffic safety research groups are a often wastes valuable time and resources of learners and good case of interdisciplinarity, involving social scientists, citizens who seek information through precise, fast, and road engineers, health personnel, public servants, police of- reliable modes. The work often obscures and obfuscates in- ficers and law makers, and working with private groups such stead of easing the comprehension of competing and incon- as Mothers Against Drunk Driving. gruous issues. Expedient, shallow concepts interfere with logical decision-making in the public arena, even though DRW democratic governance requires informative communica- All communication, in many ways, deals with conflict resolu- tion, and each citizen’s social contract, at birth, promises tion, especially if author or sender of the message and receiv- equal access to all services as well as free speech and move- er inhabit different psychological, behavioral, educational, ment. But most importantly, designers, without blinking, economic, social, political/ideological, religious or cultural willfully estrange and separate rather than bring together, platforms or environments. Philosopher Hans Georg Gad- warping social perceptions of human worth, not just for a amer believed that a fusion between two or more horizons moment but for decades to come. is always necessary to aid in any communication process. Communication design programs rarely deal with the com- JF plex issues encountered in the process of negotiation to level Outlining a method to meet a purpose the communication planes for better understanding. Stu- There are methods that serve as general structures for the dents resolve issues, disconnected from a real and pragmat- organization of the steps of a design process. At a higher ic context, mostly from their own experience, even though level of detail, there are methods that help in the finding everybody does know that one cannot save whales from an Continued p. 11 Q

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of reliable information and methods that help creating new 9. Feedback to design development. information. The headings of all design and research meth- ods, however, are empty intentions. Methods help intelligent Each one of these steps involves research. The richest of action be efficient, they do not help incompetent imitators these steps in variety of possibilities might be “information do good research. gathering,” since there we can find literature research, fo- Methods in design research need to be adapted to prob- cus groups, anthropological observation, expert interviews, lems, and need to develop as one moves forward in a project. user interviews, role playing (including user trips), and user Methods provide good checklists and departure points. They testing. help remember that that should be done, and when. Other However, as I said above, design and research methods methods help define “how” something could be done: help- only help intelligent action, they do not generate it. ing to chart future moves and permitting the generalization Under the name of the widely spread “participatory de- of procedures. But more than taking an off-the-shelf, ready- sign” method, I have seen inadequate objects designed with made structure to meet the purpose of a design project, de- users, or by following users’ wishes too far. Participatory de- signers need to depart from existing knowledge, conscious sign when used by a sensitive and experienced designer can that every design situation benefits from new knowledge, be a useful help; in the hands of an inexperienced designer it that is, if one wishes to find the best possible response to a can provide the mistaken feeling of being right, even when design problem, and if one aspires to enriching the collective one is not. Participatory design is viewed by many as the Fer- reservoir of the profession. Note that I say “response” and rari of the user focused design research methods. A Ferrari, not “solution.” I do not think design problems can be solved, however, would not help a blind person drive. It will not even they can only be reduced. One can conceive responses that help an ordinary driver. The priorities of a project involve are always possible to improve at a future stage, when more choices, choices are judgment calls, and judgment involves information becomes available, or when a more intelligent assigning value to information, an operation that is too com- designer meets the problem. plex and varied to be definable by a series of steps. The general model I tend to use as a departure point To make things more complicated, Alexander adds: “We for my design process is based on work by Christopher Al- know that we shall never find requirements which are totally exander, Nigel Cross, Robin Roy, John Chris Jones, Bruce independent. If we could, we could satisfy them one after the Archer, Gregory Bateson, and David Sless, who have specifi- other, without ever running into conflicts. The very problem cally discussed design methods, but I also derive my way of of design springs from the fact that this is not possible be- working from Ron Easterby, Harm Zwaga, Anthony Wilden, cause of the field character of the form-context interaction.” Edward Hall, Ronald Shakespear, Richard Saul Wurman, (Alexander 213) This calls for a discussion of the situations Claude Lévi-Strauss, Jean Paul Sartre, Gilles Deleuze, Felix of inplementation. Guattari, Herbert Spencer, Jean Piaget, Edgar Morin, Maria Montessori and many others listed in the references below. The situation of implementation Method and substance are always intertwined; ways of work- Many designers have moved from a concern with objects to a ing are ways of thinking, and they affect not only how we concern with people. The design of an object is only a means do things, but also what we do. My design process generally to meet a need that affects people. We have to understand involves nine steps: people’s needs and wishes, and create the objects that meet 1. Contact with the client them. The objects that we create are embedded in people’s (or initiation of project by myself); actions and situations. They become contextualized, rede- 2. Information gathering; fined, and transformed through use. We must be sensitive 3. Conception of the design strategy, including to the environments where our design products come to life performance specifications; and to the people who use them. 4. Design development and production; In the education field we should change from designing 5. Evaluation of the product or parts thereof; teaching aids to designing teaching situations. The success 6. Refinement; of a learning experience cannot be trusted to the design of 7. Implementation; a teaching aid. The whole activity has to be planned so that 8. Performance evaluation; Continued p. 12 Q

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the teaching aid contributes its best to the experience. Many To close details enter this terrain, but certainly the teacher’s actions, ccThe more one knows a problem, the better one can deal the student’s actions and the environment in which the in- with it. tervention occurs, contribute to the learning event and must ccExisting knowledge is normally insufficient to deal with be seen as part of the design problem. This problem is not a new situation: hence the need for research. only intellectual, but also emotional. We know that people ccResearch is always useful, not only to produce a good learn better when they want to learn. We should think not design proposal, but also to defend it. only in cognitive terms when designing teaching aids, but ccEvery design problem is interdisciplinary, and therefore also in motivational terms. The material should both mo- it requires information and experts from various areas tivate the teacher to teach and the student to learn, and it of knowledge. should become, in a way, theirs. ccEvery design project involves the design of how to collect Something similar affects the working environment. We information that is sufficient, precise and reliable. should move from the design of work stations to the design ccThe methods used to collect the information must be of work. Despite all we know today about ergonomics, it is appropriate, since this determines the reliability of the not possible to invent and design the perfect chair on which a information collected, that is, its defendability. person could be sitting for eight hours a day, five days a week, ccThe frontiers of applicability of the information collected without becoming physically fatigued in one way or another. must be clear, since this defines its external validity, that It would be wiser to design a work pattern which, including is, the relevance of the conclusions to other situations. the design of furniture and tools, would be centered on the ccThe interpretation of results should be carefully attend- design of the activities to be performed, on the efficiency ed to. This establishes the internal validity of a con- of the person’s work, and also in support of the person’s clusion, that is, the degree to which the cause-effect wellbeing. Henry Ford’s idea of the efficiency of the assem- relationship affirmed by the conclusions of a research bly line has for long been recognized as flawed, based on a process is defendable. misconception of human work. Good design research, aimed at solving a performance problem, often uncovers a social The purpose of research in design is to orient the practice; problem. All this of course, defines the design problems as it should help make things well. At a higher level of abstrac- interdisciplinary. Design problems are not only technical, tion, it can be oriented toward the development of theories they are above all, human. and methods. Design practice can involve research, but in and of itself, design practice is not research. Without research Evaluating the design intervention we are left with intuition based on existing knowledge. Every design intervention is a working hypothesis. In order Research involves the generation of new knowledge; it to evaluate the extent to which the objectives of a project have is different from information gathering, which is only the been met, these objectives must have been clearly articulated organization of existing knowledge. Information gathering from the beginning, and criteria for the assessment of the could be the first step of a research program. Studies at the design action must have been spelled out. A design prod- Master level in design are oriented at equipping the student uct must respond to a number of concerns; the more the with the existing knowledge of a design field: the student concerns can be articulated before and during the design becomes a master in a clearly defined terrain, acquiring an process, the better the response will be. The evaluation of experience that can become a methodological model for de- performance should go beyond comparing different alter- sign and research. Doctoral research must be oriented at natives, because testing alternative solutions ­only allows us to choose the best option available, not the best option possible.

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the generation of new knowledge. But without a meaningful problem research is useless, however carefully developed it Dietmar Winkler may be. Meaningful problems are great motivators for intel- Dietmar R. Winkler, educated in design in Hamburg, Germany, is pro- ligent action, they defy people to think well. fessor emeritus at the University of Massachusetts Dartmouth. He is Research helps reduce doubts and increase certainty. It the former director of the School of Art and Design at the University of helps make informed choices. To conceive the best strategy Illinois at Urbana-Champaign. He also held the Joyce C. Hall-Chair as di- to confront a complex problem, we need to go beyond exist- rector of the Center for the Study of Form, Image, and Text at the Kansas ing models and see the wider picture, working interdisci- City Art Institute. Prior, for approximately twenty years, he was a senior plinarily and with intelligence. Intelligence (from the Latin faculty member of the Design Department, the dean of the College of intus-legere, ‘to read inside’), is the ability to find differences Visual and Performing Arts, and an adjunct faculty member in the cogni- between things that are normally seen only as similar, and tive science program of the Psychology Department at the University of find similarities between things that are seen normally Massachusetts Dartmouth. as only different (Hofstadter). It is the ability to make dis- Since 1960, he has been examining professional design practice and tinctions, find connections, particularly between disparate the education of design and communication subjects. His interdisciplin- things or apparently isolated events (Bateson). ary interests have been to expand narrow traditional visual and form/func- There are four conditions that must be met to develop tion literacies to include user-based design in behavioral, social, and cul- useful advanced research in design: the problem should be- tural contexts. He is a member of the editorial board of advisors to Visible long in the design discipline, the methods used should be Language journal for which he has written on design and educational a model for the profession; the topic should be socially rel- issues. Other papers have appeared in publications of AIGA, ICOGRADA, evant; the process should involve the users. and TipoGrafica. Intelligent research is a way to acquire dependable and In design practice, he has worked as type and design director, respon- useful information. A way to discover answers to meaning- sible for the development and implementation of various long-term pub- ful questions by applying scientific procedures to attain reli- lication programs, identity systems, and design and production staffing able new knowledge (Ary et al). Researchers are permanent plans at Brandeis University, Harvard Business School, Massachusetts doubters. Institute of Technology, University of Massachusetts Dartmouth, as well as the WGBH Educational Foundation. His design work has been Jorge Frascara, Dietmar Winkler awarded, exhibited, and published by art director clubs of Boston, New York, and St. Louis, the Type Directors Club of New York, the American Institute of Graphic Arts. Reviews and visual presentations have also ap- peared in publications and books of the national and international profes- sional media: Art Direction, Communication Arts, Graphis (Switzerland), Idea Magazine (Japan), Novum Gebrauchsgrafik (Germany), Print, among others.

Jorge Frascara Professor Emeritus, Department of Art and Design, University of Alberta; Fellow of the Society of Graphic Designers of Canada; Member of the Icograda Past-Presidents Forum; Member of the Editorial Boards of Design Issues (Carnegie Mellon University/MIT), and Information Design Journal (John Benjamins); International Fellow, Society for the Science of Design (Japan), Advisor, Doctoral program, University IUAV of Venice, Italy, and contributor to its Master in Medical Design. He has organized several international conferences and design educa- tion projects, has been advisor and reviewer of several design education programs and has lectured and made presentations in twenty-six coun-

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tries. He was Chairman of Art and Design at the University of Alberta Hartley, James (2004). Designing instructional and informational text. In Jonassen, D. H. (Ed.), Handbook of Research on Educational Communications and Technology (1981-86), President of Icograda (1985-87), and Convener of the ISO TC145 (2nd. ed.). Mahwah, N. J. USA: Erlbaum, pp. 917-947 SC1 WG2, Design Criteria for Public Information Symbols (1977-84). Higginbotham, James B., and Cox, Keith C. (1979). Focus Groups Interviews: A Reader. He is the author of Communication Design (Allworth Press, 2005); Chicago, USA: American Market Association. Hofstadter, Douglas (1979). Gödel, Escher, Bach: An eternal golden braid. New York, User-Centred Graphic Design, Mass Communication and Social Change USA: Vintage. (Taylor & Francis, London, 1997); and editor of Designing Effective Lakoff, George & Johnson, Mark (1980). Metaphors we Live by. Chicago, USA: University of Chicago Press. Communications (Allworth press, 2006); of Design and the Social Lévi-Strauss, Claude (1969). The Raw and the Cooked. New York, NY: Harper and Row. Sciences, Making Connections (Taylor & Francis, 2002); of Graphic McGuire, William J. (1985). Attitudes and Attitude Change. In Lindzey, G. & Aronson, E. (Eds.) The Handbook of Social Psychology, Vol.2, third edition. New York, USA: Design, World Views (Kodansha, Japan, 1990); and of the ISO Technical Random House, pp. 233-346. Report 7239, Design and Application of Public Information Symbols (ISO, Meurer, Bernd (1994). The Future of Space. Frankfurt, Germany: Campus Verlag. Geneva, 1983). He has also published three books in Spanish and more Miller, G. A. (1956). The magical number seven, plus or minus two: Some limits on our capacity for processing information. The Psychological Review 63, 81-97. than 50 articles internationally. Morin, Edgar (1977/1992). Il Metodo. Milano, Italy: Feltrinelli. He has juried many design exhibitions and competitions and has con- Nelson, Thomas M., Nilsson, Thomy and Frascara, Jorge (1981). Information in letter backgrounds and acquisition of reading skills. Reading Improvement, 18 (No.4), ducted research with the support of various Canadian organizations, has 287-94. been Board of Directors Member, Communication Research Institute of Ogilvy, David (1983). Ogilvy on Advertising. New York, USA: Crown Publishers. Penman, Robyn and Sless, David (1994). Designing Information for People. Hackett, Australia (CRIA) and Editorial Advisor, Tipográfica, Argentina. His profes- Australia: Communication Research Institute of Australia. sional experience includes illustration, film animation, advertising and Rimbert, Pierre (2008). A quoi servent-ils? Le Monde-Diplomatique, 99, Juin-juillet 2008. Retrieved June 2008 from: www.monde-diplomatique.fr/mav/99/ graphic design, and now concentrates on research and development of Schriver, Karen (1997). Dynamics in Document Design. New York, NY: John Wiley. visual communications for safety and information design. Shakespear, Ronald (2003). Señal de Diseño. Buenos Aires, Argentina: Infinito. Spencer, Herbert. (1968). The Visible Word. London: Hastings House. Tinker, Miles A. (1963). Legibility of print. Aimes, USA: Iowa University Press. References Tufte, Edward (1983). The Visual Display of Quantitative Information. Cheshire, Alexander, Christopher (1979). Notes on the Synthesis of Form. Cambridge, Mass. Connecticut, USA: Graphics Press. USA: Harvard University Press. van der Waarde, Karel (2006). Visual information about medicines for patients. In Appleton, J. (1975). The Experience of Landscape. London, UK: John Wiley. Frascara, J. Designing Effective Communications. New York, USA: Allworth, 38-50. Ary, D., Jacobs, L.C., Razavieh, A. & Sorensen, C. (2006). Introduction to Research in Wilden, A. (1987). The Rules Are No Game. New York, USA: Routledge & Kegan Paul. Education. Toronto, Canada: Thomson/Wadsworth. Wright, Patricia (1981). Informed design of forms. Information Design Journal, vol. 2. Bateson, Gregory (1972). Steps to an Ecology of Mind. New York, USA: Ballantine. Cross, Nigel & Roy, Robyn (1975). in Keynes, Milton (Ed.) A Design Methods Manual. UK: Open University. Bocchi, G. and Ceruti, M. (Eds.) (1992). La Sfida della Complessità. Milano, Italia: Feltrinelli. Deleuze, Gilles and Guattari, Felix (1987). A Thousand Plateaus. Minneapolis, USA: University of Minnesota Press. Easterby, Ronald and Graydon, I. R. (1981). Evaluation of Public Information Symbols, ISO Tests 1979/80 Series, Report 70. Birmingham, UK: University of Aston. Easterby, Ronald and Zwaga, Harm (1976). Evaluation of Public Information Symbols, ISO Tests 1975 Series, Report 60. Birmingham, UK: University of Aston. Enriques, Gregg. (2004-05). The tree of knowledge. Journal of Clinical Psychology, December 2004 and January 2005. http://en.wikipedia.org/wiki/ Tree_of_Knowledge_System Frascara, Jorge (2007). Hiding Lack of Knowledge: bad words in design education. Design Issues, vol. 23 No. 4, pp 62-68, 2007. Frascara, Jorge (2004). Communication Design. New York, USA: Allworth Press. J. Frascara (2002). People-centered Design: Complexities and Uncertainties. In DesignResearchQuarterly Frascara, J. (Ed.) Design and the Social Sciences: Making Connections. London, Past issues on the web UK: Taylor & Francis, pp. 33-39. Frascara, Jorge (1999). Cognition, emotion and other inescapable dimensions of http://www.drsq.org human experience. Visible Language, 33.1, pp 74-89. Frascara, Jorge (1997). User-Centred Graphic Design: Mass Communication and Social Change. London, UK: Taylor & Francis. Frascara, Jorge (1980). Pattern Design and Literacy for the Retarded. Icographic, 14, 14-15. Frish, O.R. (1979). What Little I Remember. New York, USA: Cambridge University Press. Gibson, J. J. (1979). The Ecological Approach to Visual Perception. Boston: Houghton Mifflin. Hall, Edward (1966-1990). The Hidden Dimension. New York, USA: Random House.

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Architectural Design, 78:4 Metabolism and morphology (26-33) Membrane spaces (74-79) Special Issue: Protoarchitecture: Michael Weinstock Michael Hensel, Achim Menges Analogue and Digital Hybrids cc an account of the dynamics of natural KK Developing membrane structures: ‘the Jul.– Aug. 2008: metabolisms … [suggesting] … an agenda findings of a series of membrane-research issn: 0003-8504 web link for the development of metabolic mor- studios’ phologies of buildings and cities Versatility and vicissitude: an introduction Aggregates (80-87) to performance in morpho-ecological Material performance (34-41) Michael Hensel, Achim Menges design (6-11) Michael Hensel, Defne Sunguroglu, Achim cc [arguing] for a better understanding of the Michael Hensel, Achim Menges Menges behaviour of … [aggregates] … in order cc Redefining the utilitarian debate on per- cc researching ‘the characteristics of wood in that they can be used in their loose form … formance by redefining form ‘as the multi- order to explore how a material’s variable [requiring] … a radical departure from tude of effects, the milieu of conditions, behaviour and its response to extrinsic architectural design based on assemblies modulations and microclimates that stimuli might substantially contribute to and assembly processes performance-oriented design’ emanate from the exchange of an object Environmental intensifiers (88-95) with its specific environment–a dynamic Manufacturing performance (42-47) Aleksandra Jaeschke relationship’ and performance as ‘the Achim Menges cc developments in fibre-reinforced compos- synthesis of this dynamic … making form cc Freeform construction, a collaborative ite material and function less of a dualism and more of effort to develop construction-scale rapid Engineering ecologies (96-101) a synergy that aspires to integral design manufacturing processes solutions and an alternative model for Peter Trummer sustainability’ Performance-orientated design precursors cc a shift from physics to biology as the and potentials (48-53) underlying paradigm of engineering … and Form, force and structure: a brief history Michael Hensel with it a fundamental change in the way (12-19) cc the potential of past approaches to pas- we conceive and practise architecture Remo Pedreschi sive environmental modulation as a re- c Designing morpho-ecologies: versatility c The work of Robert Maillart, Pier Luigi worked spatial paradigm for design that and vicissitude of heterogeneous space Nervi, Eduardo Torroja, Felix Candela, interrelates material, spatial and environ- (102-111) Heinz Isler and Eladio Dieste … illustrate mental dynamics with dynamic patterns of Michael Hensel, Achim Menges the important changes and contributions habitation that have taken place and how they influ- cc theoretical and methodological framework ence the way we think about performance Inclusive performance: efficiency versus for morpho-ecological design in architec- from an engineering point of view. effectiveness towards a morpho-ecological ture, illustrating it further with two proj- approach for design (54-63) ects that combine research and design Form, force, performance: multi-parametric Michael Hensel, Achim Menges structural design (20-25) cc morpho-ecological approach to design … Klaus Bollinger, Manfred Grohmann, Oliver [challenging] … some of the most deeply Tessman entrenched dogmas of architecture as a c c challenging the ‘20th century classifica- material practice, such as the notion of tion of structures according to defined efficiency in design and construction building typologies [that] was central to engineering design’ Complex brick assemblies (64-73) Defne Sunguroglu cc current research on ‘brick … [as] … a material with unlimited possibilities, almost completely ignored by modern technology’

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AI EDAM: Artificial Intelligence Human-competitive evolved antennas The interaction design research triangle of for Engineering Design, Analysis (235-247) design practice, design studies, and design and Manufacturing: 22:3 Jason D. Lohn, Gregory S. Hornby, Derek S. exploration (4-18) Special issue on genetic program- Linden Daniel Fallman ming for human-competitive de- cc a case study showing a human-competi- cc a model of interaction design research signs tive design of an evolved antenna that was that has evolved at the Umeå Institute of Aug. 2008 deployed on a NASA spacecraft in 2006 Design, Umeå University, in Sweden issn: 0890-0604 Web Link Automated ab initio synthesis of complete Crafting a place for interaction design Human-competitive machine invention by designs of four patented optical lens research in HCI (19-29) means of genetic programming (185-193) systems by means of genetic programming Jodi Forlizzi, John Zimmerman, Shelly John R. Koza (249-273) Evenson cc Genetic programming now routinely John R. Koza, Sameer H. Al-Sakran, Lee W. cc a new model of interaction design re- delivers human-competitive machine Jones search in HCI intended to allow designers intelligence for problems of automated cc how genetic programming has been used to participate more evenly as an invention machine to automatically design and can serve as an automated Design—indicating through signs (30-45) synthesize complete designs for four invention machine. M. Cecilia C. Baranauskas, Rodrigo Bonacin optical lens systems that duplicated the cc proposing a framework in which we have Evolutionary synthesis of kinematic functionality of previously patented lens articulated ideas coming from semiotics mechanisms (195-205) systems Hod Lipson to conduct work in interactive system cc Discusses the application of genetic Machine invention of quantum computing design circuits by means of genetic programming programming to the synthesis of com- Prototyping social interaction (46-57) (275-283) pound two-dimensional kinematic mecha- Esko Kurvinen, Ilpo Koskinen, Katja Battarbee Lee Spector and Jon Klein nisms, and benchmarks the results against cc A prototype is not only a representation … cc The use of genetic programming in the one of the classical kinematic challenges but … consists of both the representation automatic invention of quantum comput- of 19th century mechanical design. and the social interaction the participants ing circuits that solve problems of poten- create together. Automated synthesis of mechanical tial theoretical and practical significance. vibration absorbers using genetic program- Emergent interaction: creating spaces for Evolving blackbox quantum algorithms ming (207-217) play (58-71) using genetic programming (285-297) Jianjun Hu, Erik D. Goodman, Shaobo Li, Ben Matthews, Marcelle Stienstra, Tom Ralf Stadelhofer, Wolfgang Banzhaf, Dieter Ronald Rosenberg Djajadiningrat c Suter c an automated methodology for open-end- cc methodological concerns such as how we cc a genetic programming system that uses ed synthesis of mechanical vibration should seek to understand what is built some new techniques to develop and absorbers based on genetic programming and how it is used—the implementation improve quantum algorithms and bond graphs. of technology and its appropriation Design Issues: 24:3 Cooperative body–brain coevolutionary The design of implicit interactions: making Summer 2008 synthesis of mechatronic systems (219-234) interactive systems less obnoxious (72-84) Interaction Design Research in Jiachuan Wang, Zhun Fan, Janis P. Terpenny, Wendy Ju, Larry Leifer HCI c Erik D. Goodman issn: 0747-9360 web link c The values and principles that govern good desktop computing interactions may Introduction (1-3) not apply when we apply computing to the Shelly Evenson, Jodi Forlizzi, John … rest of our lives. Zimmerman

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User interface design principles for Embedded brand: the soul of product The mathematics of brand satisfaction interaction design (85-107) development (37-46) Chris Rockwell Adream Blair-Early, Mike Zender Guido Stompff cc As a company establishes a brand, the cc What designers need to improve interface cc Stompff asks if a brand’s essence can be expectations increase for that brand to design is a conceptual framework that can understood and conveyed intuitively.… as deliver with equal or better quality–the spur innovation. … The parameters and themes employees absorb as unstated but price of success for big brands, which principles … we hope, as Winterowd very real dimensions of the corporate must constantly innovate and over-deliver suggests, … will have the power to not culture. if they are to maintain reputation and only organize material, but also drive mindshare. Experiential design drives an established inventive development. brand to a youthful market (45-52) Design Philosophy Papers, 1:2008 Design Management Review, 18:4 Judi Jacobs, Jeff Hackett ISSN 1448-7136 web link The Designful Company cc how the company’s in-house creative team The liquid drop: exposing & utilising Spring 2008 designed a youth-inspired, interactive difference in the design process issn: 1460-6925 web link experience …to deliver a compelling Britt Östlund, Annika Olsson, Bodil Jönsson commentary on safety and, more subtly, The designful company (p9-15) cc When a group of researchers from physics, to introduce the corporate brand to a new Marty Neumeier engineering and social science met to audience cc To succeed, companies must be agile, discuss ageing and the involvement of nurture inventiveness, and have an enter- How tangible is your brand? (52-57) older users in design innovation, the idea prise-wide appetite for radical ideas. Mary Weisnewski of the sphere arose in the discussion and cc the tale of a consulting firm that looked to became the focus for understanding The road to authentic brand is littered with branding not only as a way to nurture user-driven innovations. design (15-20) client loyalty and generate new work but David Lemley HCI: towards a critical research position also as a path to sustaining the internal cc An abiding employee commitment to the Eric Stolterman & Anna Croon Fors values, mission, and identity of its brand .… [is] an evangelical spirit that cc We explore and propose a research posi- business marks the intersection of brand building, tion by taking a critical stance against business strategy, and design. Inventing brands: opportunities at the unreflective acceptance of digital technol- nexus of semiotics and intellectual ogy and by acknowledging people’s life- Brand inside meets brand outside (19-28) property (57-66) world as a core focus of inquiry. Karl D. Speak, Gilman Hanson, James G. Conley, J. Duncan Berry, Laura cc their work to determine Argosy’s brand DeWitt, Mark Dziersk ethos, as well as the steps they take lever- Debate cc how a clear understanding of the messag- aging that reality to create a robust Intro es and power inherent in the visual dimen- brand platform that motivates employ- Anne-Marie Willis sion of a brand can be linked with … other ees and engages the target market unique content to extend the range and Everyday truths? The socio-cultural role of brand in business competitiveness of offerings William McNeill & Carleton Christensen value creation (27-37) Achieving brand-driven business success What is so sustainable about services? Caroline A.A. Meads, Pradeep Sharma, (65-74) C. Christensen cc The benefits of brand can accrue not only Connie Birdsall, Neil Johnston to companies and consumers but also to cc Brand-building, when done correctly, society at large.…fostering loyalty and embraces more than visual design ele- profits to nurturing corporate social ments, encompassing a firm’s product responsibility to stimulating the funda- and service line brands, as well as the mental human desire to come together as corporate brand, all linked in a logical a group. and well-conceived strategy that also informs employees’ behaviors. Continued p. 18 Q

Design Research Quarterly 3:3 Jul. 2008 – 17 – www.designresearchsociety.org Current research… continued from p. 18

Voice of sustainment Deciding about design quality: design Focus on the learning styles of freshman The gap in the ability to sustain perception during a European tendering design students (254-266) Tony Fry procedure (387-409) Halime Demirkan, Ö. Osman Demirbaş cc to explore how we might think about the Leentje Volker, Kristina Lauche, John L. cc This study explores learning styles of gap between rhetoric and action as it Heintz, Hans de Jonge freshman design students.… Findings exists alongside what still remain con- cc Systematic consideration of stakeholder showed that the distribution of design fused articulations of the actual problems input and expert evaluation do not pre- students … was concentrated in assimilat- by those organisations who claim to be clude a holistic judgement including both ing group with coordinates close to the ‘change agents’ setting out to deliver rational and emotional aspects of archi- intersection of the axes of the Learning ‘solutions’ tectural quality. Implications for models of Style Type Grid. … Freshman design stu- quality perception and selection proce- dents are more related to the analytical Design Studies, 29:4 dures are discussed. skills of theory building, quantitative 2008 analysis and technology. … They have issn: 0142-694x web link RE: Definitions of use (410-423) better behavioural skills compared to Johan Redström Acquiring information from linkography in perceptual learning skills. cc The paper analyses relations between protocol studies of designing (315-337) design and use with focus on how open a Candidate worldviews for design theory Jeff W.T. Kan, John S. Gero design (process) is with respect to defini- (267-303) cc This paper proposes methods to acquire tions of use through use.… It transforms Per Galle information from linkography in protocol the relation between design and use into a cc a method by which the philosophy of studies.…Cluster analysis is able to group question not of who, but of how. design may develop sound metaphysical the linkograph into meaningful clusters, foundations (‘worldviews’) for design while entropy measures the opportunities Design Studies, 29:3 theory and generate philosophical insights for idea development of a team and can 2008 into design at the same time also reflect the opportunistic contribu- issn: 0142-694x web link tions of individual participants. Viewpoint The role of timing and analogical similarity Design education in Brazil (304-312) Workflow Integration Matrix: a framework in the stimulation of idea generation in Ricardo Manfredi Naveiro, Regina Celia de to support the development of surgical design (203-221) Souza Pereira information systems (338-368) Ian Tseng, Jarrod Moss, Jonathan Cagan, A. Jalote-Parmar, P. Badke-Schaub Kenneth Kotovsky Design Studies Award (313) cc [using] theories of human behaviour in cc the effects of open goals, fixation, and problem solving … to provide evidence- priming, as well as their implications in Information Design Journal, based decision-making for the develop- design problem solving 16:2, 2008 ment of new surgical technologies issn: 0142-5471 web link The impact of tangible user interfaces on Barriers and enablers for creating shared spatial cognition during collaborative Does the taxman need a face? effects of understanding in co-design projects design (222-253) including photographs and examples in a (369-386) Mi Jeong Kim, Mary Lou Maher tax form; a field experiment with senior Maaike Kleinsmann, Rianne Valkenburg cc The use of TUIs changed designers’ spatial citizens in The Netherlands (85-100) cc This paper explores what the barriers and cognition, and that these changes affected Carel van Wijk, Anja Arts enablers are for the creation of shared the design process by increasing their An interview with Louis Rosenfeld (101-106) understanding during a co-design process ‘problem-finding’ behaviours leading to Saul Carliner in industry. … The effectiveness of creat- creative design. ing shared understanding is not only dependent on face-to-face communication, but also on project management and project organization.

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Are animated demonstrations the clearest design education…to provide an impetus Designing a utopia: an architectural studio and most comfortable way to communicate for the study and a springboard for discus- experience on David Harvey’s Edilia on-screen instructions? (107-124) sion regarding the relevance of traditional (181-191) José Marconi Bezerra de Souza, Mary Dyson Filipino arts in a predominantly Nese Gurallar Yesilkaya Westernised educational system. cc a studio project in order to … improve Research challenges (125) progressive thinking and critical thought How can we create the conditions for in the design education of architectural Literary potential: the unexplored powers students’ freedom of speech within studies students — and also future architects. of reading (126-132) in art? (133-143) Frank Hakemulder Miranda Matthews Art at the mall: a look at the aesthetics of cc how the dynamics of students’ voice can popular mall art culture (192-201) Typography and disciplinary identity in be productively brought into teaching Ilona Szekely academic writing (133-147) situations cc Where does an art student, or the general Louise J. Ravelli, Sue Starfield public learn about buying art? How much, The contemporary art of collaboration Research watch (148-155) if any, of this process is happening in the (144-157) art class? Sheridan Hon Book Review cc [confounding] the effects of a comprehen- The ‘Night owl’ learning style of art Communicating rights: The language of sive school’s limitations .… [by allowing] students: creativity and daily rhythm arrest and detention. Frances Rock hundreds of participants of all ages to (202-209) (156-158) collaborate in a partnership … to engage Sy-Chyi Wang, Jin-Yuan Chern with art as a creative process. cc [examining] the deep-rooted ‘night owl’ Persuasive messages: The process of image of art practitioners and … [calling influence. William Benoit, Pamela Benoit White heat or blue screen? digital technol- for] … a consideration of the time for (159-161) ogy in art & design education (158-167) learning in art Natascha Radclyffe-Thomas International Journal of Art and cc international research on the adoption of Book Reviews (210-215) Design Education ICT in schools and colleges, specifically … Arts-based research in education: founda- 27:2, Jun. 2008 examples of good practice in art and tions for practice. Melisa Cahnmann-Taylor issn: 1476-8062 web link design education and reviews trends in and Richard Siegesmund (eds.) technology to determine the benefits and Autonomy of artistic expression for adult limitations for future practice Art rules: Pierre Bourdieu and the visual learners with disabilities (116-123) arts. Michael Grenfell, Cheryl Hardy Graham C. Young The act of looking: Wolfgang Iser’s literary cc [confirming] The use of computer technol- theory and meaning making in the visual The problem of assessment in art & design. ogy (CT) in art … to offer the chance for arts (168-180) Trevor Rayment (ed.) self-fulfilment for disabled artists by Olga M. Hubard increasing control over artistic choices cc the process through which five teenagers and providing for self expression with only discover meaning in an abstract sculpture minimal assistance required from others by artist Isamu Noguchi:… how the young viewers arrived at a series of readings that Insights into the integration of traditional were elicited by the qualities of the work filipino arts in art and design education: and that built upon each other in a sort of voices from the academe (124-132) snowballing process Cynthia B. Loza, Allan B. de Guzman, Regalado T. Jose cc the first segment of a qualitative study that explores the feasibility of integrating traditional arts in Philippine art and

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International Journal of Design Perspectives (Teaching) degree for primary pre-service 2:1, Apr. 2008 The nature of design practice and implica- teachers at Massey University in New issn: 1991-3761 web link tions for interaction design research Zealand. Erik Stolterman DEPTH2: developing professional knowl- Three-in-one user study for focused cc Science is not the best place to look for edge in D&T secondary initial teacher collaboration approaches and methods on how to education (255-263) Turkka Kalervo Keinonen, Vesa Jääskö, Tuuli approach design complexity.… Any at- Gwyneth Owen-Jackson Mattelmäki tempt by interaction design research to c cc [research on] a visual tool for discussing c a human-centered design approach … produce outcomes aimed at supporting the aspects of professional knowledge which applies a set of methods to speed design practice must be grounded in a that student teachers are required to up and focus on the design process fundamental understanding of the nature develop and this formed the basis of this of design practice. The product ecology: understanding social research.… Findings indicate … a growth product use and supporting design culture International Journal of in their knowledge and a development in Jodi Forlizzi Technology and Design Education the complexity of their understanding.… c c product ecology as a theoretical design 18:3, Jul. 2008 from a generalised understanding to a framework to describe how products issn: 0957-7572 web link more specific and sophisticated one. evoke social behavior, to provide a road map for choosing appropriate qualitative Learning in DEPTH: developing a graphical DEPTH–developing professional thinking research methods and to extend design tool for professional thinking for technol- for Finnish technology teachers (265-273) culture within HCI by allowing for flexible, ogy teachers (221-229) Esa-Matti Jarvinen, Jouni Hintikka, Arto design-centered research planning and Frank Banks, Frank Karsikas opportunity-seeking cc case studies from the second phase of an cc the Finnish case contributing to the inter- international project—Developing national DEPTH study: .…The DEPTH tool Design, risk and new product development Professional Thinking for Technology appeared to work well with most of the in five small creative companies Teachers (DEPTH2) teachers. Robert N. Jerrard, Nick Barnes, Adele Reid cc five small creative companies … studied in DEPTH2: design & technology trainee Using DEPTH as a framework for the detail over extended periods of the new teacher’s use of a subject construct model determination of teacher professional product development lifecycle to enable reflective critique of school development (275-284) experience (231-246) P. John Williams How to rate 100 visual stimuli efficiently David Barlex, David, Marion Rutland cc the use of the DEPTH model in the devel- Yaliang Chuang, Lin-Lin Chen cc an inquiry into the case of a design & opment of professional development for c c two computer-based methods … for ob- technology one-year Postgraduate secondary teachers of engineering taining attribute rating data, based on Certificate in Education (PGCE) trainee’s Viewpoints of higher education teachers multiple attribute scales, for a large num- interpretation of their school-based expe- about technologies (285-305) ber of visual stimuli rience in England using the DEPTH ap- Adel Bouras, Virginie Albe proach of subject knowledge, pedagogic Design Case Studies cc questionnaires and interviews to identify knowledge and school knowledge Perceptual information for user-product the opinions of teachers in a training interaction: using vacuum cleaner as Using the DEPTH model to facilitate institute for master technicians…. The example learning in an integrated Science and results indicate that teachers essentially Li-Hao Chen, Chang-Franw Lee Technology pre-service primary teacher perceive technology as an applied science c c [a study] to identify which product designs course (247-253) for which the ultimate purpose is progress for parts and directions are most effective, Gary O’Sullivan and consumption. and then propose how perceptional infor- cc development of an Integrated Curriculum mation could best be designed to facilitate Science and Technology subject offering user-product interaction as part of the Bachelor of Education

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Book Reviews Re : focus design Remanufacturing strategies to support International handbook of technology Craft and the limits of skill: handicrafts product design and redesign (321-335) education: reviewing the past twenty years. revivalism and the problem of technique Peggy Zwolinski, Daniel Brissaud Marc J. de Vries, Ilja Mottier (eds) (183-193) cc the factors affecting the success of a Peter Betjemann remanufacturing operation from a wide Analyzing best practices in technology cc The era of the Arts and Crafts Movement range of products that have been success- education. thus developed ways of thinking about fully remanufactured.… [illustrating] the Marc de Vries, Rod Custer, John Dakers, Gene craft that are sceptical of practised, way the methodology is used in … rede- Martin (eds) learned or reproducible technique. This signing products from a remanufacturing essay probes the implications of that perspectives and developing new Journal of Design History epistemological shift, considering its products 21:2 Summer 2008 effects on the aesthetics of craft, on the ISSN: 0952-4649 web link Parameter analysis for the application of class dynamics of handicrafts revivalism the principle of direct and short transmis- Useful reading? designing information for and on the popularization of a medieval sion path: a valve-actuator design case London’s victorian cab passengers (121-141) style. study (337-357) Paul Dobraszczyk Book Reviews Sridhar S. Condoor; Ehud Kroll cc how the largely anonymous designers of … A cultural history of fashion: from the cc parameter analysis as a tool to create the extraordinary range of information catwalk to the sidewalk. Rebecca Arnold effective configurations incorporating designed for London’s cab passengers in fundamental design principles the nineteenth century … sought to ad- Encyclopedia of furnishing textiles, dress the perceived needs and abilities of Design evaluation of digital consumer floorcoverings and home furnishing their intended readers, and … how actual products using virtual reality-based practices 1200-1950. Stella Beddoe readers responded functional behaviour simulation (359-375) Hyungjun Park, Jeong-Soo Son, Kwan-Heng Originality and Jones’ The Grammar of Gender, taste & material culture in Britain Lee Ornament of 1856 (143-153) and North America, 1700-1830. Matthew cc a novel approach to design evaluation of a John Kresten Jespersen Craske digital consumer product, which can cc how the Grammar came about and … its satisfy [the] requirements … to allow all design intentions Stories from home: English domestic the people involved in the design process interiors, 1750-1850. Emma Ferry Empire of glass: F. & C. Osler in India, to experience its realistic appearance and Journal of Engineering design 1840-1930 (155-170) functional behaviour … using virtual 19:3 Jun. 2008 Deepika Ahlawat issn: 0954-4828 web link reality-based functional behaviour cc [giving] political meaning to the consump- simulation. tion habits of the Maharajas during the The Parameter design considering the Durability choice and optimal design late Victorian and Edwardian eras and … impact of design changes on downstream lifetime for complex engineering systems [engagning] with the identities this kind of processes based upon the Taguchi method (377-400) cosumption created in a wider discourse (299-319) Joseph H. Saleh of empire D. Xue; S. Y. Cheing; P. Gu cc the durability choice problem of complex cc a new systematic approach for parameter Translating properties into functions (and engineering systems, as seen from the design considering the impact of design vice versa): design, user culture and the customer’s perspective and in the face of changes on downstream processes.… in creation of an american and a european car, network externalities and obsolescence [which] … design parameters with poten- 1930-70 (171-181) effects tial changes are modelled as noise param- Gijs Mom eters, while design parameters without cc a functionalist, user-centred and quasi- potential changes are described as con- evolutionary theory of agency and techni- trollable parameters cal change in the history of design

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Journal of Urban Design, Volume Integration of immersive walking to analyse Museums as urban catalysts: the role of 13 Issue 1 2008 urban daylighting ambiences (99-123) urban design in flagship cultural develop- ISSN: 1469-9664 (electronic) 1357- Souha Tahrani; Guillaume Moreau ment (195-212) 4809 (paper) cc the methodology of ‘sunlight effects’ Carl Grodach analysis of both real and virtual worlds and cc an aspect of the flagship cultural strategy Cities afoot—pedestrians, walkability and … a framework for a comparison that has received surprisingly little focused urban design (1-3) attention—the role that urban design and Walking and rhythmicity: sensing urban Space syntax and walking in a new urbanist context play in realizing project outcomes and suburban neighbourhoods (5-28) space (125-139) Perver K. Baran, Daniel A. Rodriacuteguez, Filipa Matos Wunderlich Envisioning citizenship: toward a polity Asad J. Khattak cc Walking practices … [as] choreographed approach in urban design (213-229) cc whether space syntax measures in New wholes of multiple place rhythms,… [im- Michael Rios Urbanist and conventional suburban pacting] … on the rhythmical continuums cc [argument] for a polity approach in the neighbourhoods are associated with the of urban places, influencing and suggest- planning and design of public space ing their tempo. walking patterns of residents in these Haussmann and Le Corbusier in China: communities,.… relationships between the Planning for child pedestrians: issues of land control and the design of streets in number of leisure trips and all three syn- health, safety and social justice (141-145) urban redevelopment (231-256) tactical measures Brian D. Johnston Daniel Benjamin Abramson cc using contrasting cases of morphological The relationship of neighbourhood built Journal of Urban Design, Volume change and street design to examine the environment features and adult parents’ 13 Issue 2 2008 walking (29-51) ISSN: 1469-9664 (electronic) 1357- political-economic basis of urban design. Mariela Alfonzo, Marlon G. Boarnet, Kristen 4809 (paper) Preferences for car-restrained residential Day, Tracy Mcmillan, Craig L. Anderson areas (257-267) c Hippodamus rides to Radburn: a new c beyond examining correlations of individu- Aloys Borgers; Daniëlle Snellen; Jos Poelman; model for the 21st century (163-176) al built environment features and walking, Harry Timmermans Fanis Grammenos, Barry Craig, Douglas to begin to test proposals about which cc effects of restrained car access on prefer- Pollard, Carla Guerrera composite characteristics of the built ences for new residential areas … how … cc the Hippodamian grid … concept in its environment … may have the greatest effects can be compensated for impact on walking historical context and attempts to refor- mulate it in a contemporary planning Urban greenways, trail characteristics and framework that encourages walking trail use: implications for design (53-79) Greg Lindsey; Jeff Wilson; Jihui Anne Yang; Toward modernist urban design: Louis Christopher Alexa Kahn’s plan for central Philadelphia cc how remote sensing technologies and (177-194) geographic information systems (GIS) can Non Arkaraprasertkul be used to enhance modelling of urban cc the debate between architect Kahn and greenway trail traffic and … relationships planner Edmund Bacon.… the economic between … trail design and trail use needs of the public realm … [versus] the powerful form and the system of move- How far, by which route and why? a spatial ment at large analysis of pedestrian preference (81-98) Asha Weinstein Agrawal; Marc Schlossberg; Katja Irvin cc a survey of pedestrian trips to transit that examined the trip lengths and route choic- es made by people walking to five rail transit stations in California and Oregon

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2008 15-18 Oct. Copenhagen, Denmark 19 Jun. London, UK Ethnographic Praxis in EKSIG2009: Experiential 3-6 Sep. Falmouth, UK Industry Conference Knowledge and New Networks of Design: http://www.epic2008.com Methodologies Design History Society http://www. Annual Conference 24-27 Oct. Osaka, Japan experientialknowledge.org.uk/ http://www. ICDHS 2008 The 6th networksofdesign.co.uk/ International Conference 3-5 Sep. Hatfeld, UK on Design History and Writing Design: Design History 4-5 Sep. Vienna Design Studies Society Annual Conference Infoconnectivity http://www.cscd.osaka-u. http://sitem.herts.ac.uk/ IIID Expert Forum Traffic ac.jp/user/icdhs2008osaka/ artdes_research/tvad/ Guiding Systems index.html writingdesign.html http://www.iiid- expertforum.net/ 27-28 Oct. Malmo, Sweden 1-3 Oct. Lisbon, Portugal Sustainable Innovation 08 IADE Anniversary Conference 18-20 Sep. Odense, Denmark www.cfsd.org.uk http://www.iade.pt Second International DREAM Conference: 31 Oct. London, UK Digital Content Creation Research into Practice http://www. Conference dreamconference.dk/ http://www.herts.ac.uk/ artdes1/research/res2prac/ 21-24 Sep. Seoul, South Korea confhome.html Tenth International Conference on Ubiquitous Computing 19-22 Nov. Istanbul, Turkey http://www.ubicomp.org DESIGN CINEMA 2008 ‘Design-en-scène’: 3rd 30 Sep.-4 Oct, International Design and Bloomington, USA Cinema Conference Participatory Design http://www. Conference designcinema2008.org http://www.pdc2008.org 2009 6-9 Oct. Hong Kong Design & Emotion - 1-3 Apr. Aberdeen, UK Dare to Desire 8th International DesignResearchQuarterly www.sd.polyu.edu.hk/de2008/ Conference of the European Past issues on the web http://www.drsq.org Academy of Design 9-12 Oct. Lisbon, Portugal http://www.ead.lancs.ac.uk/ Society for the History of Technology 50th 18-20 jun. Paris Anniversary Conference DD4D – Data Designed http://www. for Decisions historyoftechnology. VisionPlus : joint IIID, org/fiftieth.html OECD conference http://www.iiid.net

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