Co-Designing Team Synergies Within Metadesign
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Privacy When Form Doesn't Follow Function
Privacy When Form Doesn’t Follow Function Roger Allan Ford University of New Hampshire [email protected] Privacy When Form Doesn’t Follow Function—discussion draft—3.6.19 Privacy When Form Doesn’t Follow Function Scholars and policy makers have long recognized the key role that design plays in protecting privacy, but efforts to explain why design is important and how it affects privacy have been muddled and inconsistent. Tis article argues that this confusion arises because “design” has many different meanings, with different privacy implications, in a way that hasn’t been fully appreciated by scholars. Design exists along at least three dimensions: process versus result, plan versus creation, and form versus function. While the literature on privacy and design has recognized and grappled (sometimes implicitly) with the frst two dimensions, the third has been unappreciated. Yet this is where the most critical privacy problems arise. Design can refer both to how something looks and is experienced by a user—its form—or how it works and what it does under the surface—its function. In the physical world, though, these two conceptions of design are connected, since an object’s form is inherently limited by its function. Tat’s why a padlock is hard and chunky and made of metal: without that form, it could not accomplish its function of keeping things secure. So people have come, over the centuries, to associate form and function and to infer function from form. Software, however, decouples these two conceptions of design, since a computer can show one thing to a user while doing something else entirely. -
Introduction: Design Epistemology
Design Research Society DRS Digital Library DRS Biennial Conference Series DRS2016 - Future Focused Thinking Jun 17th, 12:00 AM Introduction: Design Epistemology Derek Jones The Open University Philip Plowright Lawrence Technological University Leonard Bachman University of Houston Tiiu Poldma Université de Montréal Follow this and additional works at: https://dl.designresearchsociety.org/drs-conference-papers Citation Jones, D., Plowright, P., Bachman, L., and Poldma, T. (2016) Introduction: Design Epistemology, in Lloyd, P. and Bohemia, E. (eds.), Future Focussed Thinking - DRS International Conference 20227, 27 - 30 June, Brighton, United Kingdom. https://doi.org/10.21606/drs.2016.619 This Miscellaneous is brought to you for free and open access by the Conference Proceedings at DRS Digital Library. It has been accepted for inclusion in DRS Biennial Conference Series by an authorized administrator of DRS Digital Library. For more information, please contact [email protected]. Introduction: Design Epistemology Derek Jonesa*, Philip Plowrightb, Leonard Bachmanc and Tiiu Poldmad a The Open University b Lawrence Technological University c University of Houston d Université de Montréal * [email protected] DOI: 10.21606/drs.2016.619 “But the world of design has been badly served by its intellectual leaders, who have failed to develop their subject in its own terms.” (Cross, 1982) This quote from Nigel Cross is an important starting point for this theme: great progress has been made since Archer’s call to provide an intellectual foundation for design as a discipline in itself (Archer, 1979), but there are fundamental theoretical and epistemic issues that have remained largely unchallenged since they were first proposed (Cross, 1999, 2007). -
Fashion Design
FASHION DESIGN FAS 112 Fashion Basics (3-0) 3 crs. FAS Fashion Studies Presents fashion merchandise through evaluation of fashion products. Develops awareness of construction, as well as FAS 100 Industrial Sewing Methods (1-4) 3 crs. workmanship and design elements, such as fabric, color, Introduces students to basic principles of apparel construction silhouette and taste. techniques. Course projects require the use of industrial sewing equipment. Presents instruction in basic sewing techniques and FAS 113 Advanced Industrial Sewing Methods (1-4) 3 crs. their application to garment construction. (NOTE: Final project Focuses on application and mastery of basic sewing skills in should be completed to participate in the annual department Little pattern and fabric recognition and problem solving related to Black Dress competition.) individual creative design. Emphasis on technology, technical accuracy and appropriate use of selected materials and supplies. FAS 101 Flat Pattern I (1-4) 3 crs. (NOTE: This course is intended for students with basic sewing Introduces the principles of patternmaking through drafting basic skill and machine proficiency.) block and pattern manipulation. Working from the flat pattern, Prerequisite: FAS 100 with a grade of C or better or placement students will apply these techniques to the creation of a garment as demonstrated through Fashion Design Department testing. design. Accuracy and professional standards stressed. Pattern Contact program coordinator for additional information. tested in muslin for fit. Final garment will go through the annual jury to participate in the annual department fashion show. FAS 116 Fashion Industries Career Practicum and Seminar Prerequisite: Prior or concurrent enrollment in FAS 100 with a (1-10) 3 crs. -
A Glossary of User-Centered Design Strategies for Implemen- Tation Experts
TBM ORIGINAL RESEARCH A glossary of user-centered design strategies for implemen- Downloaded from https://academic.oup.com/tbm/advance-article-abstract/doi/10.1093/tbm/iby119/5232646 by guest on 07 December 2018 tation experts Alex R. Dopp,1, Kathryn E. Parisi,1 Sean A. Munson,2 Aaron R. Lyon3 1Department of Psychological Abstract Science, University of Arkansas, User-centered design (UCD), a discipline that seeks to ground Implications Fayetteville, AR 72701, USA the design of an innovation in information about the people 2 Practice: Use of shared language around user-cen- Department of Human Centered who will ultimately use that innovation, has great potential tered design (as presented in this glossary) can Design and Engineering, University of Washington, Seattle, WA to improve the translation of evidence-based practices from maximize the usefulness of interdisciplinary 98195, USA behavioral medicine research for implementation in health care efforts to promote the implementation of evi- 3Department of Psychiatry and settings. UCD is a diverse, innovative field that remains highly dence-based practices through improved design. Behavioral Sciences, University of variable in terms of language and approaches. Ultimately, we Washington School of Medicine, produced a glossary of UCD-related strategies specifically for Seattle, WA 98195, USA experts in implementation research and practice, with the goal Policy: Policymakers who wish to promote a of promoting interdisciplinary collaboration in implementation user-centered culture in health services should efforts. We conducted a focused literature review to identify consider the value of tools like this glossary in key concepts and specific strategies of UCD to translate into developing shared language and interdisciplinary the implementation field. -
Methods for a Critical Graphic Design Practice
Title Design as criticism: methods for a critical graphic design p r a c tic e Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/12027/ Dat e 2 0 1 7 Citation Laranjo, Francisco Miguel (2017) Design as criticism: methods for a critical graphic design practice. PhD thesis, University of the Arts London. Cr e a to rs Laranjo, Francisco Miguel Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) University of the Arts London – London College of Communication February 2017 First submission: October 2015 2 Abstract This practice-led research is the result of an interest in graphic design as a specific critical activity. Existing in the context of the 2008 financial and subsequent political crisis, both this thesis and my work are situated in an expanded field of graphic design. This research examines the emergence of the terms critical design and critical practice, and aims to develop methods that use criticism during the design process from a practitioner’s perspective. Central aims of this research are to address a gap in design discourse in relation to this terminology and impact designers operating under the banner of such terms, as well as challenging practitioners to develop a more critical design practice. The central argument of this thesis is that in order to develop a critical practice, a designer must approach design as criticism. -
The Future of Visual Communication Design Is Almost Invisible Or Why Skills in Visual Aesthetics Are Important to Service Design
ServDes2018 - Service Design Proof of Concept Politecnico di Milano 18th-19th-20th, June 2018 The future of visual communication design is almost invisible or why skills in visual aesthetics are important to service design Mark Roxburgh [email protected] School of Creative Industries, Faculty of Education and Arts, University of Newcastle, University Drive, Callaghan, Australia, 2308 Jemimah Irvin [email protected] nib Health Insurance, Locked Bag 2010, Newcastle, Australia, 2300 Abstract Over the past 20 years there has been an increase in post-secondary visual communication education in Australia while the growth of the industry itself has been low, meaning an increasing number of graduates compete for a limited pool of jobs1. The use of visualisation in human centered and service design approaches provides alternative employment opportunities for these graduates. This paper presents a case study of a visual communication honors research project that is indicative of those opportunities and the potential benefits of having highly skilled visual practitioners involved in human centered and service design processes. Furthermore, we argue that a consideration of the aesthetics of the visualisation methods used in this context is essential and that visual aesthetics should be a significant part of the service design skillset. KEYWORDS: visual communication, visual aesthetics, visual research methods, visual storytelling, visual skills 1 Average annual employment growth for visual communication in Australia: Historical 2010 – 2017, 0.69%. Forecast 2018 – 2024, 1.4% (Do, 2017). Introduction Whilst we use a visual communication honors design research project as a case study to argue our case, it is not our intention to provide a detailed account of the project, a step by step guide of the methods of research and an analysis of its success or failure. -
Warts-And-All: the Real Practice of Service Design
Warts-and-all: the real practice of service design Dr Yoko Akama School of Media and Communication RMIT University GPO Box 2467V Melbourne Victoria 3001 Australia Tel: +61 (0)3 9925 9807 Fax: +61 (0)3 9639 1685 e-mail: [email protected] www.rmit.edu.au Introduction Service design practice, discourse and education are still nascent in Australia where most designers are trained in fields such as industrial design, architecture, communication design, and to a lesser degree, interaction design (a field that is equally nascent). Academic research on service design has so far been limited (Kimbell and Seidel 2008) and much of the knowledge generated from business contexts has been proprietary (Tether 2008). These factors have led to a lack of critical engagement in examining and investigating the complex contexts that surrounds service design projects. This also adds to the challenging obstacles for designers seeking to establish and embarking upon a service design-led practice in Australia. The paper critiques service design case studies that are often documented and reported in a manner that abstracts and generalises the realities of this field as obstacles to understanding the ‘real’ practice of service design. Through attempts to clarify, systematise and advocate the benefit of service design, authors might gloss over the messy realities and the contextual knowledge grounded in action. This has resulted in practice-based knowledge being ‘lost in translation’. This is a critical shortfall. It becomes a disadvantageous factor in developing learning frameworks for designers in similar contexts to Australia who are seeking models, methods, case studies and discourse on service design from established agencies and research institutions on service design across Europe. -
Creativity and Evolution: a Metadesign Perspective
Elisa Giaccardi and Gerhard Fischer Creativity and Evolution: A Metadesign Perspective Abstract In a world that is not predictable, improvisation, evolution, and innovation are more than a luxury: they are a necessity. The challenge of design is not a matter of getting rid of the emergent, but rather of including it and making it an opportunity for more creative and more adequate solutions to problems. Whereas user-centered and participatory design approaches (whether done for users, by users, or with users) have focused primarily on activities and processes taking place at design time, and have given little emphasis and provided few mechanisms to support systems as living entities that can be evolved by their users, metadesign is an emerging conceptual framework aimed at defining and creating social and technical infrastructures in which new forms of collaborative design can take place. Metadesign extends the traditional notion of design beyond the original development of a system to include co-adaptive processes between users and systems, which enable the users to act as designers and be creative. This paper presents the results of our studies and design activities in the last two decades at the Center for LifeLong Learning & Design of the University of Colorado at Boulder. Keywords Metadesign, design time, use time, multidimensional design space, open systems, adaptable interaction, embodiment, co-creation, co-evolution, social creativity, boundary objects, seeds, mediators, SER process model, critics, reuse, affect. Introduction In a world that is not predictable, improvisation, evolution, and innovation are more than a luxury: they are a necessity. The challenge of design is not a matter of getting rid of the emergent, but rather of including it and making it an opportunity for more creative and more adequate solutions to problems. -
Adding UX in the Service Design Loop: the Case of Crisis Management Services
Interaction Design and Architecture(s) Journal - IxD&A, N.37, 2018, pp. 47-77 Adding UX in the Service Design Loop: The Case of Crisis Management Services 1 1 Karim Touloum , Djilali Idoughi , Ahmed Seffah2 1 University A. Mira of Bejaia, Bejaia, Algeria 2 Innovation and Software Department, Lappeenranta University of Technology, Finland {karim.touloum, djilali.idoughi}@univ-bejaia.dz [email protected] Abstract. Focus on user experience (UX) has been a growing trend in service design (SD), as it has various benefits. As it will be demonstrated in this paper, developing an efficient, yet usable crisis management service requires a deep understanding of the experience of all stakeholders involved in the crisis. While many SD studies have proposed different principles, practices and tools, there is a lack of a practical comprehensive design framework that empowers designers to integrate effectively UX in the SD lifecycle. In this paper we propose a methodological framework called UXD-IS (User eXperience Design of Interactions and Services) that combines UX characterization and touchpoints analysis. The framework has been validated through a case study related to flooding crisis management. The investigations reveal that the framework is a powerful support tool during the first phases of the development of a new service or the improvement of an existing one. Keywords: user experience, service design, interactive service, design framework, touchpoints, user journey, crisis management. 1 Introduction Crisis management services are undergoing major and fundamental changes in all countries around the world. This is a result of a number of convening forces including public budget cuts, demographic shifts, massive immigration, urbanization, environmental challenges, terrorism risks and rapid technological change [1, 2]. -
Speaker Biographies
Postgraduate Research & Writing Conference Creative Connections Tuesday 5th July 2016 DMU Hugh Aston, 4th floor (4.10-15) Speaker biographies Julia Reeve Julia is a DMU Teacher Fellow and co-ordinates the East Midlands Centre for Writing PAD: her research involves applying creative, arts-based methods to the teaching of theory in order to deepen learning and increase engagement. Julia is the Research ELT Officer for the Graduate School, and joined the CELT team in June 2015. Her role involves the design, development and evaluation of online courses for PhD researchers, and work towards a Virtual Graduate School at DMU. Julia is particularly interested in inclusive approaches to learning design, with an emphasis on visual learning. Before moving into teaching, Julia worked as a designer in the fashion industry, and then spent around 10 years as a lecturer in Further Education. She joined DMU in 2006, and worked as a Senior Lecturer in Art, Design & Humanities for 9 years, delivering Critical & Contextual Studies across a range of Fashion programmes. Kaye Towlson Kaye Towlson, Academic Team Manager (Information Literacy and Teaching), DMU Teacher Fellow, De Montfort University. Kaye has worked as a Librarian for many years; she ran the business information service at DMU and has worked as a subject Librarian with responsibility for a variety of Humanities subjects. Her research interests include information literacy and employability, visual and creative learning techniques and digital identity. She has experimented with visual learning techniques within a library and information literacy and other contexts. She is interested in using visual and creative techniques to overcome textual barriers for visual learners and visual disciplines. -
Theoretically Comparing Design Thinking to Design Methods for Large- Scale Infrastructure Systems
The Fifth International Conference on Design Creativity (ICDC2018) Bath, UK, January 31st – February 2nd 2018 THEORETICALLY COMPARING DESIGN THINKING TO DESIGN METHODS FOR LARGE- SCALE INFRASTRUCTURE SYSTEMS M.A. Guerra1 and T. Shealy1 1Civil Engineering, Virginia Tech, Blacksburg, USA Abstract: Design of new and re-design of existing infrastructure systems will require creative ways of thinking in order to meet increasingly high demand for services. Both the theory and practice of design thinking helps to exploit opposing ideas for creativity, and also provides an approach to balance stakeholder needs, technical feasibility, and resource constraints. This study compares the intent and function of five current design strategies for infrastructure with the theory and practice of design thinking. The evidence suggests the function and purpose of the later phases of design thinking, prototyping and testing, are missing from current design strategies for infrastructure. This is a critical oversight in design because designers gain much needed information about the performance of the system amid user behaviour. Those who design infrastructure need to explore new ways to incorporate feedback mechanisms gained from prototyping and testing. The use of physical prototypes for infrastructure may not be feasible due to scale and complexity. Future research should explore the use of prototyping and testing, in particular, how virtual prototypes could substitute the experience of real world installments and how this influences design cognition among designers and stakeholders. Keywords: Design thinking, design of infrastructure systems 1. Introduction Infrastructure systems account for the vast majority of energy use and associated carbon emissions in the United States (US EPA, 2014). -
Reverse Metadesign: Pedagogy and Learning Tools for Teaching the Fashion Collection Design Process Online
7th International Conference on Higher Education Advances (HEAd’21) Universitat Politecnica` de Valencia,` Valencia,` 2021 DOI: http://dx.doi.org/10.4995/HEAd21.2021.13181 Reverse Metadesign: Pedagogy and Learning Tools for Teaching The Fashion Collection Design Process Online Daria Casciani, Chiara Colombi, Federica Vacca Design Department, Politecnico di Milano, Italy. Abstract The present article discusses the experience of redesigning the pedagogy and learning tools of a pillar course at the School of Design of Politecnico di Milano, the Metadesign studio course. Metadesign is a design methodology that leads to the concept definition of a new product or service through a research process that synthesizes design goals, technological and productive constraints, market context, and consumption trends for a consumers’ group of reference. It represents a unique methodological approach characterizing a design education as it provides a consolidated research practice able to support the design process. The course structure foresees the reconstruction in phases and the development of all the contextual elements—product, space, service, communication artifact, etc.—that come into relation with the to-be- designed object and influence its characteristics. This process enables creating the "abacus" of components to use in a design activity. Considering the ever- increasing need to reshape the whole education system because of the paradigmatic change pushed by digital transformation and the urgency for on- distance courses posed by the COVID-19 emergency, the article presents a renewed "reversed" course structure. It highlights strengths and opportunities for further improvements representing a solid base for innovating a fashion design education. Keywords: Metadesign; fashion design; learning-by-doing; reflection-in- action; deductive reflection; virtual learning environments.