Participatory Design, the Spirt of Place, and The
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The Dilemma of Education in Participatory Design: the Marketplace Value Vs
Session 1725 The Dilemma of Education in Participatory Design: The Marketplace Value vs. Community Value Kun-Jung Hsu Department of Construction Technology Leader University, Taiwan. Abstract The concept of “participatory planning/design” has gradually become one of the main themes in professional design and social science. However, because behavioral patterns in space design are closely related to the values of the designers concerned, the pursuit and construction of a good place is a basic and normative proposition in the proceeding of planning and design. This paper explores the dilemma of education in participatory design and reveals the contradiction between marketplace values and community values in practice. Also, this paper utilizes the production possibility curve and the choice theory of demand side to analyze the concept, value judgment, decision-making, and constraints of planning/design behavior. Introduction The ideal of advocacy planning first proposed by Davidoff in the mid 1960’s. The professional planners and designers who support this view vow to make planning for the needs of the disadvantaged groups and persons their top priority. They jointly opposed urban redevelopment policy propelled by bulldozers, and advocated the development of participatory planning methods through democratic processes. The normative discourse proposes that public space planning and design be regarded as requiring direct public participation in the decision-making processes in formulating public space. Environment-Behavior study (E-B study) adopts problem-oriented approaches that emphasize the need for interaction between design and research [6]. Following the development of E-B Study, the normative viewpoint of participatory planning and design has gradually become one of the main themes in professional design and social science [3, 7, 8]. -
Exploring the Design Potential of Wearable Technology and Functional Fashion Design
Wearable Technology and Functional Fashion 1 Exploring the Design Potential of Wearable Technology and Functional Fashion Design By Jensin Wallace BFA, Textile Design, Rhode Island School of Design Submitted to the Graduate School of the University of Cincinnati Masters of Design School of Design, Art, Architecture and Planning 2014 Wearable Technology and Functional Fashion 2 Phyllis Borcherding Abstract Wearable technology is a growing field at the intersection of fashion and technology. Apparel and technology designers are unsure of how best to merge the strengths of their independent fields to create products that can be easily integrated into an individual’s lifestyle. The aim of this research is to create a conceptual framework that combines functional apparel design values with interaction design values in a model that could theoretically be used inter- disciplinary for the future development of wearable technology products. ProJect-based research was conducted to create a wearable technology prototype that explored the potential of a multifunctional and technologically enabled knitted garment. The framework was developed using the findings from this process with an emphasis on user centered design techniques. Wearable Technology and Functional Fashion 3 Table of Contents Introduction…………………………………………………………………………………......................................………4 Methodology……………………………………………………………………………………………………………………….......5 1 Interdisciplinary Boundaries………………………………………………………………………….……………………….7 1.1 Technology in Everyday Life 1.2 Knitwear: -
The American Lawn: Culture, Nature, Design and Sustainability
THE AMERICAN LAWN: CULTURE, NATURE, DESIGN AND SUSTAINABILITY _______________________________________________________________________________ A Thesis Presented to the Graduate School of Clemson University _______________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Landscape Architecture _______________________________________________________________________________ by Maria Decker Ghys May 2013 _______________________________________________________________________________ Accepted by: Dr. Matthew Powers, Committee Chair Dr. Ellen A. Vincent, Committee Co-Chair Professor Dan Ford Professor David Pearson ABSTRACT This was an exploratory study examining the processes and underlying concepts of design nature, and culture necessary to discussing sustainable design solutions for the American lawn. A review of the literature identifies historical perceptions of the lawn and contemporary research that links lawns to sustainability. Research data was collected by conducting personal interviews with green industry professionals and administering a survey instrument to administrators and residents of planned urban development communi- ties. Recommended guidelines for the sustainable American lawn are identified and include native plant usage to increase habitat and biodiversity, permeable paving and ground cover as an alternative to lawn and hierarchical maintenance zones depending on levels of importance or use. These design recommendations form a foundation -
Communication Design: Material Artefact, Immaterial Influence Culture–Practice–Discourse: a Theoretical Framework for A
Volume 15 Paper 04 SMT VOLUME 15 ASTRACT KEY WORDS Communication Design: Material Communication design is a purposeful activity that and culturally produced it can also be conceived as a Communication Design, Artefact, Immaterial Influence involves human subjects and relations, is tied to action, discourse. This paper considers the relationship between Practice, Culture, Discourse, representation and is context-bound. Furthermore, design culture, practice, and discourse and proposes an PAPER 04 Production, Critical ‘effective’ communication design can be understood as emergent theoretical framework for critically reflecting on Culture–practice–discourse: Practice, Theory accomplishing its purpose in having a desired influence on communication design as a discursive practice—a practice a theoretical framework an individual’s belief, values, behaviour, or action, and is that both shapes and is shaped by culture and wider for a critical approach a basic concern of the design practitioner. In this regard, discourses, that is both regulated and has the potential to to communication design design practice knowledge—‘practice’ meaning both transform its operations. professional situations and preparing for such situations AUTHOR Veronika Kelly by increasing expertise—can be conceived as being created in and by a particular culture, at the same time that it also creates culture. As design practice knowledge is socially Culture–practice–discourse: a theoretical framework for a critical approach to communication design Volume 15 Paper 04 INTRODUCTION world’. As ‘culture’, ‘practice’ and ‘discourse’ can be understood differently, taking into consideration 1 – In this paper the terms Communication design1 that is ‘effective’ in achieving the scholarship of Michel Foucault, Donald Schön, ‘communication design’ and its purpose can be conceived as having a desired and Norman Fairclough helps inform examination ‘design’ are used interchangeably. -
Participatory Design of Classrooms: Infrastructuring Education Reform in K-12 Personalized Learning Programs
Journal of Learning Spaces Volume 7, Number 2. 2018 ISSN 21586195 Participatory Design of Classrooms: Infrastructuring Education Reform in K‐12 Personalized Learning Programs Julie M. Kallio University of Wisconsin ‐ Madison The redesign of the physical spaces of classrooms and schools has become a prominent feature in many K‐12, personalized learning schools, though it is often dismissed as a peripheral aspect of change. Through observations and interviews at four public schools, I examine the affordances of these new spaces and the narrative of their design. I situate these spaces‐turned‐places as pedagogical artifacts in a participatory design process to examine how educators and students create functional and meaningful learning spaces. Reframing the physical spaces in this way suggests how the spaces may be supporting the sustainability of the reform. In an ongoing inquiry into personalized learning (PL) educational reform that redesigns school systems to support reforms in urban, suburban, and rural districts, I heard student‐centered, agency‐based models of learning educators and students speak at length, often unprompted, (Rickabaugh, 2016). PL draws on progressive ideas of about the ways they had modified their classrooms and engaging students as agents in their own learning with the buildings, from knocking down walls to adding sofa chairs support of digital technologies (Patrick, Kennedy, & Powell, and lamps (Author, et al., 2015). To them, their physical 2013). Educators often use the phrase “voice and choice” as spaces held meaning toward their efforts of transform what two strategies of engaging students as agents in their teaching and learning looks like in their schools. -
Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles
This is a repository copy of Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles.. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/89265/ Version: Accepted Version Article: Shin, MJ, Cassidy, T and Moore, EM (2015) Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles. Fashion Practice, 7 (2). 175 - 198. ISSN 1756-9370 https://doi.org/10.1080/17569370.2015.1045354 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Design Reinvention for Culturally Influenced Textile Products: focused on traditional Korean bojagi textiles Meong Jin Shin, Tom Cassidy and E.M. Moore Dr. Meong Jin Shin is a researcher working with Tom Cassidy who is a professor in the School of Design, University of Leeds and Edel Moore is a lecturer in the same department. -
Environmental Justice + Landscape Architecture: a Student's Guide
ENVIRONMENTAL JUSTICE LANDSCAPE ARCHITECTURE a students’ guide This guide was written by three masters of landscape architecture students who wanted to learn more about how landscape architecture can promote social justice and equity through design. In 2016 we became the student representatives for the ASLA's Environmental Justice Professional Practice Network so we could better connect the important work of professionals, academics, and activists working towards environmental justice with students. This guide is a response to our own desires to educate ourselves about environmental justice and share what we learned. It is a starting-off place for students - a compendium of resources, conversations, case studies, and activities students can work though and apply to their studio projects. It is a continuously evolving project and we invite you to get in touch to give us feedback, ask questions, and give us ideas for this guide. We are: Kari Spiegelhalter Cornell University Masters of Landscape Architecture 2018 [email protected] Tess Ruswick Cornell University Masters of Landscape Architecture 2018 [email protected] Patricia Noto Rhode Island School of Design Masters of Landscape Architecture 2018 [email protected] We have a long list of people to thank who helped us seek resources, gave advice, feedback and support as this guide was written. We'd like to give a huge thank you to: The ASLA Environmental Justice Professional Practice Network for helping us get this project off the ground, especially Erin McDonald, Matt Romero, Julie Stevens, -
A Framework for Organizing the Tools and Techniques of Participatory Design
A Framework for Organizing the Tools and Techniques of Participatory Design Elizabeth B.-N. Sanders, Eva Brandt* and Thomas Binder* MakeTools, LLC The Danish Center For Design Research* 183 Oakland Park Ave. The Danish Design School Columbus OH 43214 Copenhagen, Denmark [email protected] [email protected] [email protected] ABSTRACT Participatory design practices have developed The field of Participatory Design (PD) has grown rapidly significantly since the pioneering work of the 80’s over the last 20 to 30 years. For more than two decades reported in, for example, Greenbaum and Kyng (1991) non-designers have been increasingly involved in various and Schuler and Namioka (1993). Where the early work design activities through a large number of participatory was mainly conducted by researchers and was guided by design projects all over the world. The project aims in PD attempts to open up the design of ICT systems to the have developed from being mainly about ICT participation of future users, participatory design today development to today include, for instance, space design, spans across a broad spectrum of domains and makes use product development, industrial design, architecture, of a broad repertoire of tools and techniques in both service- and transformation design. As every project is commercial, community oriented and research contexts. unique, it is necessary to decide which design The tools and techniques have different origins and have approach(es), methods, tools and techniques to use in a been developed for different purposes. In the tradition of specific project. Thus many practices for how to involve Scandinavian systems design there has been a strong people in designing have been used and developed during emphasis on the cooperative aspect of participatory the years. -
Graphic Design in the Postmodern Era
Graphic Design in the Postmodern Era By Mr. Keedy This essay was based on lectures presented at FUSE 98, San Francisco, May 28, and The AIGA National Student Design Conference, CalArts, June 14, 1998. It was first published in 1998 in Emigre 47. Any discussion of postmodernism must be preceded by at least a provisional definition of modernism. First there is modernism with a capital "M," which designates a style and ideology and that is not restricted to a specific historical moment or geographical location. Modernist designers from the Bauhaus in Germany, the De Style in Holland, and Constructivism in Russia, share essentially the same Modernist ideology as designers like Paul Rand, Massimo Vignelli, and Eric Spiekermann. Its primary tenet is that the articulation of form should always be derived from the programmatic dictates of the object being designed. In short, form follows function. Modernism was for the most part formed in art schools, where the pedagogical strategies were developed that continue to this day in design schools. It is a formalist, rationalist, visual language that can be applied to a wide range of circumstances. All kinds of claims can and have been made in an effort to keep Modernism eternally relevant and new. The contradiction of being constant, yet always new, has great appeal for graphic designers, whose work is so ephemeral. Then there is the modern, with a small "m." It is often confused with Modernism with a big M, but being a modern designer simply means being dedicated to working in a way that is contemporary and innovative, regardless of what your particular stylistic or ideological bias may be. -
Culturalistic Design: Design Approach to Create Products
CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Except where reference is made to the work of others, the work described in this thesis is my own or was done in collaboration with my advisory committee. This thesis does not include proprietary or classified information. Brandon J. Allen Certificate of Approval: Bret Smith Tin Man Lau, Chair Professor Professor Industrial Design Industrial Design Tsai Lu Liu George T. Flowers Assistant Professor Dean Industrial Design Graduate School CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen A Thesis Submitted to the Graduate Faculty of Auburn University in Partial Fulfillment of the Requirements for the Degree of Master of Industrial Design Auburn, Alabama May 9, 2009 CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Permission is granted to Auburn University to make copies of this thesis at its discretion, upon request of individuals or institutions and at their expense. The author reserves all publication rights. Signature of Author Date of Graduation iii THESIS ABSTRACT CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Master of Industrial Design, May 9, 2009 (B.I.D., Auburn University, 2005) 93 Typed Pages Directed by Tin Man Lau Designers have a unique process for solving problems commonly referred to as design thinking. Design thinking, especially on a cultural level can be used to tackle a wide range of creative and business issues. Design thinking with true cultural infusion is known as “Culturalistic Design”, and can have profound and varying effects on product designs. -
Collaboration Design: Impact Factor of Cross- Culture
Collaboration Design: Impact Factor of Cross- Culture A Case Study of Design Background Student and Handicraftsman of Taiwan Indigenous Tien-Li Chen *, Man- Li Huang** * College of Design Graduate Institute of Design Doctoral Program NTUT, [email protected] ** College of Design Graduate Institute of Design Doctoral Program NTUT, [email protected] Abstract: This article looks at impact factors of cross culture in collaboration Design. The collaboration of 7 students with design backgrounds and 7 handicraftsman who have knowledge of production to develop cultural goods, cultural elements applied to the design mode. Taiwan in recent years has actively promoted cultural and creative industries in various places with Taiwan Indigenous Peoples, especially the most notable achievement is the Paiwan craft art. The team in July 2012 through a participatory design process, and cross cultural collaboration produced 10 works. These will be the study sample for in depth analysis of the collaborative process mode. This study adopted the methods such as documentary analysis, in depth interviews and participant observation that attempt to construct a model of cross cultural collaboration and cultural elements applications. Lastly model as cross cultural collaborative design interactive reference. The research significantly provides the lessons and suitable models emphasized on the transformation and development of cultural and creative industries especially for aboriginal craftsmen and government. Key words: Collaboration, Cross- Culture, Taiwan Indigenous, Cultural Product, Impact Factor 1. Introduction In traditional design education, students tend to achieve their goals through the design process, with a lack of understanding of the culture. There needs to be respect for the point of view of the cultural and ethnic culture as value-added elements, you need to be more careful with the use of culture. -
Exploring Design Dialogues for Ageing in Place Adam Drazin And
Exploring Design Dialogues for Ageing in Place Adam Drazin and Simon Roberts ABSTRACT: Ethnographic work conducted by the Digital Health Group, Intel Ireland, explores the questions of how concepts of health and independence relate to peoples’ lives in later life. This paper serves to present artistic approaches to the design of the material culture in elderly homes in Ireland, and aims to highlight and discuss the merits and problems of such approaches. Through writing ‘in miniature’ about specific experiences and homes, we propose that it is possible to develop explorations of material objects in the home which, rather than presenting material contexts as ter- minal ‘conclusions’ to the research process, use them as provoking and questioning resources for engaged dialogical encounters with informants. KEYWORDS: ageing, design, the home, Ireland, anthropological praxis, applications of anthro- pology, material culture Pru is 90 years old. We spent two days with 38). Pru looks for affirmation that her strategic her in her home in County Cork, Ireland, and placing of the television is a good idea, as if in asked her about the various material objects anticipation of some unspecified concatena- around her home, including the small TV in tion of health crises or slow deterioration of her bedroom: the body. This is a field that is currently receiv- ing immense attention by design and ethnog- Anthropologist: ‘Do you watch a bit of TV up here?’Pru: ‘Not TV. I haven’t connected it yet. raphy, as a part of a project of independent Much like the walking stick. That’s when I won’t living in later life, through deploying the ma- be going out so much.