Issue: writing

V.3:1 January 2008 www.designresearchsociety.org Design Research Society ISSN 1752-8445 Speaking On Clarity David Sless Director: Communication Research Institute of Australia

Communication, design, and we might productively talk about clari- Table of Contents: clarity ty have philosophical, practical and le- One of the ways in which people de- gal implications. Articles: scribe the quality of communication is 1 On Clarity to talk about its clarity. Insofar as de- Everyday talk about clarity in David Sless signers are involved in communication, communication clarity matters. Whether it is commu- In everyday language when describ- 8 Presenting Your Research nication with clients, stakeholders, fel- ing an item of communication, we can Ken Friedman low collaborators or users, the quality say that it is clear, it has clarity. So for of communication is important. Also, example we could say of a document Listings: in some areas of design—such as in- that its text is clear, it has clarity. 16 Current Research in Design: Tables of formation design—clarity is not just a When we say “this text is clear” or ‘it Contents from Leading means to an end, but is often an end in has clarity’, we are attaching the adjec- Design Journals itself. Making instructions, bills, forms, tive ‘clear’ or the noun ‘clarity’ to the websites, labels, way-finding systems noun ‘text’; thus, at least in grammar, 28 Upcoming Events Worldwide and so on clear and easy for people to the clarity is a property of the text. Artemis Yagou use is the raison d’être for information It follows that we can ask are what design. the characteristics of the text that give Calls Outside design, but with strong im- it this clarity and make it clear. In an- 15 Announcing: plications for design, are the advocates swer, we usually point to the text’s use DRS Special Interest Group on for clarity in language. Where these ad- of simple words, short sentences, sim- Experiential Knowledge vocates have been successful in influ- ple punctuation, and so on. Many peo- encing lawmakers, there is now a grow- ple then take the next step: to construct 28 AIEDAM Journal (Artificial Intelligence ing body of legislation which requires a clear text we must use simple words, for Engineering Design, Analysis and people to use clear language. For exam- short sentences, etc, thus giving the Manufacturing) ple, in Australia, where the Common- text the property of clarity, and simi- wealth Government initiated a plain larly to determine whether or not a text DRQ-DRS English policy in 1983, the regulations is clear we examine it to see if it has 2 Publication information governing financial advisers require simple words, short sentences, etc. If 6 DRS Membership information the information given to be ‘clear, con- it does, the document is pronounced cise and effective’. Similar laws and reg- ‘clear’; if not, then changes have to be 3 DRS 2008 Conference: Undisciplined! ulations exist in many jurisdictions. made to make the document ‘clearer’ . Revised deadlines Thus clarity in communication is of This simple logic and simple set of interest to many, and the ways in which rules, derived from the everyday gram- 7 New Fellows of the Design Research matical construction of language—that Society Nigel Cross

Continued p. 4 Q Design Research Quarterly Publication Information

Editor: Editorial Advisory Board: Dr. Peter Storkerson Prof. Ken Friedman, Chair Southern Illinois University, USA Norwegian School of Management, Norway and Danmarks Designskole, Denmark Associate Editors: Dr. Antti Ainamo Dr. Vesna Popovic Helsinki School of Economics, Finland Queensland University of Technology, Australia Prof. Tevfik Balcioglu Dr. Kristina Niedderer Izmir University of Economics, Turkey Hertfordshire University, UK Prof. Lin-Lin Chen Dr. Artemis Yagou National Taiwan University of Science and Technology, Taiwan AKTO Art and Design, Greece 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 University of Pretoria, South Africa . Dr. Chris Smith London Metropolitan University, UK We solicit your contributions: papers and articles on design research. Prof. Toshiharu Taura For information regarding submissions, contact Kobe University, Japan Peter Storkerson, [email protected] Prof. Necdet Teymur Emeritus, Middle East Technical University, Turkey

Design Research Quarterly 3:1 Jan. 2008 – 2 – www.designresearchsociety.org The City of Sheffield has a long asso- 10 years has created a new and delight- ciation with design and the study of ful city centre, surrounding our uni- design. Sheffield Hallam University versity with enjoyable spaces as well as is one of the oldest design academies public artworks, galleries and cafes. It in the world, starting out as Sheffield is also a very friendly city. School of Design in 1843 and today it is home to an interdisciplinary teaching I look forward to welcoming you to our and research centre that brings togeth- city in the middle of next year’s Eng- Invitation er the different arts and sciences that lish summer. We will have serious make up the landscape of 21st century work to do but we also aim to create an The fourth conference in our current design. The city was once a watchword enjoyable occasion for you to make new series is an important opportunity to for heavy industrial production, with friendships and renew old ones—the take stock. We will be using it to reflect a dark utilitarian image to match, but real glue of any community. on and develop the way we run these today, partly through the influence of events as well as aiming to provide its designers and artists, it is a centre Chris Rust an important oversight of the state of for new cultural industries. Imagina- the art in research across the design- tive work on urban design over the past

4th Biennial Conference

ing disciplines. We will to pay equal attention to the quality of content and Rigour in emerging design disciplines and professions the quality of your experience at the conference.

The conference theme, attending to 16-19July, 2008 the new kinds of designing that are emerging to challenge our framework of specialisms and reshape our field, will provide some focus for keynote Sheffield Hallam University,UK speakers and debates and you may find that relevant to your own work. However this is the main conference Provisional schedule (consult site) for the whole of our society and we are open to all research that informs 2007 01 Sep Call for Papers or arises from designing. 15 Nov Deadline for abstracts You can find out more about the con- DeDec–Feb Abstracts accepted ference theme and other aspects of the 01 Apr Deadline for full papers event at the conference website at www.drs2008.designinquiry.wikispaces.net 01 May Authors notifed where you can also join the confer- 01 Jun Deadline for corrected papers ence mail list to receive updates on the call for papers and the conference arrangements. The call for papers will be announced on 1st September 2007.

http://drs2008.designinquiry.wikispaces.net

Design Research Quarterly 3:1 Jan. 2008 – 3 – www.designresearchsociety.org On Clarity… continued from p.1

clarity is a property of texts—are used in instructions for This is further exacerbated by the fact that rules of usage clear writing, plain language, and the many, many guide- exist at many intersecting levels. A way of talking or writing lines for clear communication in all walks of life. in one context may be totally inappropriate in another. For This is both useful and misleading: useful, because it example a parent talking to a child would likely use a differ- suggests that by learning and applying simple rules we ent way of talking to that of an employer talking to an em- can achieve the desirable outcome of clear communication; ployee. The rules about rules of usage are different in each misleading, because, as research shows and arguments context. There are rules within rules and rules about rules. demonstrate, applying these rules is neither a necessary or One of the features of social life is that it provides many sufficient condition for achieving clear communication . contexts in which communication takes place, and increas- But it is not my intention here to catalogue the many ingly few of those contexts are necessarily shared. The gov- research findings that lead to this conclusion—the many ernment official writing a letter to a citizen is in a quite occasions in human conduct where misunderstanding, in- different context to the citizen trying to make sense of the comprehension, and disagreement arise because, despite the letter over the kitchen table, and the rules of usage in these efforts by well-meaning people who follow the rules, the contexts differ. communication is not clear. Rather, I want to explore how the ways in which we talk about communication, and the Conversation is the key arguments we use to demonstrate a point of view, inevitably It may seem, with all these different contexts and chang- lead us away from or towards clarity. ing usages and the endless opportunities for misunderstand- ing, that we are doomed to the curse of Babel. Not so. No About rules floodgates of incomprehension are in danger of opening and The starting point in the argument is with the nature of drowning us in confusion; that is, not as long as there are rules of usage in human communication. Rules of usage in opportunities for conversation. communication are human inventions: we try things out be- Considering how rules come about (trying things out tween us; if they work we use them again with each other; if between us and using them again with each other if they they keep working we keep using them; and we teach other work) provides a clue to why communication works despite people by showing them what we have done and describ- the opportunities for failure. At the heart of this joint action ing how we have done it. Somewhere along this process of is conversation and agreement between people. I cannot sit moving from trial to a consistent way of doing something, quietly in my own room and alone invent a new usage in we put the describing of how to do it ahead of the doing— communication. It can only become a new usage if I share we teach people by describing how to do something before it with others, perhaps only one other, and we agree to the they do it—and at this point the description becomes an new usage. Conversation is the key . articulated rule. Indeed, the process of sustainable and user-centred design This goes for language usage too. The single largest re- practice is suffused with conversation. In my own profes- pository of these rules of usage in a culture is a grammar sional design practice I describe our sustainable user-centred book. Dictionaries and style guides are also repositories of design process as consisting of seven stages. rules of usage. The problem is that usages continually change ahead of the articulated usage rules. The world changes and we make changes to it in such a way that the old ways of doing things no longer work and we have to invent new or different ways of doing things. We try them out, and those that work even- tually become new rules of usage. But there is some delay between a newly-invented usage becoming consistently used and its articulation as a rule. The result—with new usages continually appearing and old usages being abandoned or changed—is the inevitable creation of opportunities for mis- understanding, incomprehension and argument.

Continued p. 5 Q

Design Research Quarterly 3:1 Jan. 2008 – 4 – www.designresearchsociety.org On Clarity… continued from p.4

scoping benchmarking prototyping 11 2 3 testing 4

5 7 6 refining monitoring implementing

Figure 1

At each stage there are conversations between designers view or sound is biological. If we can see and hear clearly and participants. In particular, when it comes to the detail then we are safe from unseen, blurred, silent or muffled of teasing out current shared usages at the benchmarking, dangers and we don’t have to maintain a state of readiness testing and refinement stages we invite people to have con- for fighting or fleeing; any danger is a long way off, giving versations with us that help us find out what is wrong with us time to decide what to do about it, if anything. a current design or new prototype. The conversations are open ended and exploratory, yet at the same time structured Clarity of communication and conducted with rigour. When describing them to clients This literal meaning of clarity becomes subtly in- we call these conversations ‘diagnostic testing’, but that de- flected when the term ‘clarity’ is applied metaphorically to scribes what we do from the point of view of the outcome of communication. the conversation: data on faults in a design. What we actually When we talk about clarity literally, it makes sense to do in the ‘testing’ is have a conversation with one person at describe it as a quality of objects and media: absence of a time in which, with their help, we tease out the things in particles in the air or water, no objects in the line of sight a design that make it unclear and unusable. between the observer and the object, and so on—an unme- diated experience. What is clarity? But in communication, clarity is not achieved by an ab- How does all the foregoing relate to clarity? In a literal sence of mediation. Far from it. The clarity of, say, a docu- sense, clarity is an uninterrupted, undistorted view or sound: ment is achieved by the mediation of highly structured and seeing clear to the horizon, seeing the stars on a clear night, refined document design based on conversations about the seeing the bottom of a lake through clear water, seeing the document in its many contexts of reading, writing and usage, edge of a clearing after emerging from a forest, seeing the as well as by the application of rules of usage to its text. In landscape clearly from the top of a mountain, hearing a far saying “this text is clear”, all these processes of construction away church bell clearly. and reading are implicit; although unfortunately, in not be- But clarity is not just a physical phenomenon describable ing stated, they are sometimes forgotten or, worse, treated as in terms of the uninterrupted, unmediated, and undistorted if they did not exist. Saying “the meaning of the text is clear transmission of light or sound; significantly, it is an experi- to me” might wrongly imply that the meaning—the ‘content’ ence that we value. There is an important visceral and pal- of the text—comes to me unmediated; it is as if meaning is pable pleasure to be derived from clarity of both vision and simply transmitted from text to reader, or more ambitiously, sound. People pay for the pleasure of standing on the top of a from writer to reader. large building and having a clear view of the city; and if one But as with clarity in its literal sense, a visceral and pal- walks for a long time in a forest or jungle, there is a sense of pable pleasure is derived from clarity in its metaphorical pleasure and relief when one emerges into open grasslands. sense, expressed in statements like “It’s clear to me what It may well be that part of the experience of having a clear Continued p. 6 Q

Design Research Quarterly 3:1 Jan. 2008 – 5 – www.designresearchsociety.org Clarity… continued from p. 5 Design Research Society

this means”, “I understand clearly what is being said”, “It’s The Design Research Society is the multi-disciplinary clear to me what I need to do”, “They’ve made out their case learned society for the design research community very clearly”, and so on. Strong feelings of trust, closure, en- worldwide. lightenment, and satisfaction accompany these statements. Clarity in communication adds value. We have an international design research network in At its best, clarity is seen by readers as an endorsement around 40 countries comprising members who maintain of their own worth, because someone has made the effort contact through our publications and activities. on their behalf to make something clear. At its worst it is Our members are from diverse backgrounds, not only a form of deception where something has the superficial from the traditional areas of design, ranging from attributes of clarity—plain language and graphics—and expressive arts to engineering, but also from subjects misleads the reader into a false sense of security. like psychology and computer science. Conversely, readers finding a text unclear might imag- ine that the writer neither values them nor cares about their We: task, or that the writer is intent on deliberately attempting eeRecognize design as a creative act common to many to deceive them, or that the writer does not have the skills disciplines to make the text clear to them. Or faced with their own un- eeUnderstand research and its relationship with certainties, readers might also imagine that the failure is education and practice theirs, that they do not have the necessary skills to see what eeAdvance the theory and practice of design is ‘clearly’ in the text. eeEncourage the development of scholarship and Thus there is always the danger, when we use the gram- knowledge in design matical construction “this text is clear”, that we are beguiled eeContribute to the development of doctoral education into thinking that this is a simple statement about the qual- and research training ities of the text rather than a highly complex one about eeShare knowledge across the boundaries of design people, usages and rules. disciplines Indeed, making something clear for a reader involves eeFacilitate networks to exchange and communicate a designer in a great deal of effort, with continual refine- ideas, experience and research findings among ment and testing before the final ‘clarity’ is experienced by members readers. eeDisseminate research findings eePromote awareness of design research A paradoxical conclusion eeOrganise and sponsor conferences, and publish Thus the quest for clarity in communication is paradoxi- proceedings cal. The moment when all construction seems swept aside eeEncourage communications between members to reveal meaning and understanding directly is also the internationally moment when the construction has been subtly erected by eeRespond to consultative documents artifice and sensitive conversation. It is as if we build a fence eeCollaborate with other bodies to define and clarify the garden. eeLobby on behalf of members’ research interests eeRecognise excellence in design research through David Sless awards eeSponsor e-mail discussion groups and a monthly e-mailed newsletter: Design research News eePublish Design Research Quarterly to members

For Information or to Join The Design Research Society Online: www.designresearchsociety.org

Design Research Quarterly 3:1 Jan. 2008 – 6 – www.designresearchsociety.org Election of Fellows of the Design Research Society Nigel Cross

Most recent elections ratified by DRS Council: aa Professor Alan Bridges: Strathclyde University, UK aa Professor Toshiharu Taura: Kobe University, Japan

The current list of DRS fellows: bb Professor Michael Biggs: University of bb Dr. Christopher Nemeth: University of Chicago, Hertfordshire, UK USA bb Professor Alan Bridges: Strathclyde University, bb Professor Rivka Oxman: Technion, Haifa, Israel UK bb Dr. Lubomir Popov: Bowling Green State bb Professor Tom Cassidy: University of Leeds, UK University, USA bb Professor Lin-Lin Chen: National Taiwan bb Professor Vesna Popovic: Queensland University University of Science and Technology, Taiwan of Technology, Australia bb Professor Rachel Cooper: University of bb Professor Robin Roy: The Open University, UK Lancaster, UK bb Professor Chris Rust: Sheffield Hallam bb Dr. Linda Drew: University of the Arts, London, University, UK UK bb Professor Keiichi Sato: Illinois Institute of bb Professor David Durling: Middlesex University, Technology, USA UK bb Professor Stephen Scrivener: University of the bb Professor Alpay Er: Istanbul Technical University, Arts, UK Turkey bb Professor Erik Stolterman: University of Umeå, bb Professor Ken Friedman: Norwegian School of Sweden Management and Denmark’s Design School bb Professor Toshiharu Taura: Kobe University, bb Dr. Per Galle: Danmarks Designskole, Denmark Japan bb Professor Jack Ingram: University of Central bb Professor Michael Tovey: University of Coventry, England, UK UK bb Professor Robert Jerrard: University of Central bb Professor Sue Walker: University of Reading, UK England, UK bb Professor Martin Woolley: University of the bb Professor Kun-Pyo Lee: Korean Advanced Arts, UK Institute of Science and Technology, Korea bb Professor Pradeep Yammiyavar: Indian Institute bb Dr. Terence Love: Curtin University, Australia of Technology, Guwahati, India bb Dr. Deana McDonagh: University of Illinois and Beckman Institute, USA Honorary Fellows bb Professor Victor Margolin: University of bb Professor Nigel Cross Illinois, USA bb John Christopher Jones bb Professor Sanjoy Mazumdar: University of bb Professor John Langrish California, Irvine, USA bb Professor Thomas Maver bb Professor Judith Mottram: Nottingham Trent bb Professor Charles Owen University, UK

The Design Research Society has established a new grade of membership – Fellow of the DRS. Conferment of the title of Fellow of the Design Research tion to design research. Fellows must be full members Society acknowledges an established record of achievement of the Design Research Society, who satisfy the criteria in design research, and attainment of peer recognition as for election. a researcher of professional standing and competence. Fel- lows of the Society may use the personal suffix of FDRS. Full information and an application form are available on The purpose of the Fellow membership grade is not to the DRS website, under the ‘Fellows’ menu item. reward only the most exceptional people, but to provide an acknowledgement of consistent professional contribu-

Design Research Quarterly 3:1 Jan. 2008 – 7 – www.designresearchsociety.org Presenting Your Research

Ken Friedman Norwegian School of Management, Oslo

Conferences Every year, research scholars in every discipline and profes- If you have presented at twenty or thirty international sional practitioners in every field present their work to each conferences, you may feel this guide to be basic. Neverthe- other in conferences and seminars around the world. Today, less, it may contain useful ideas—and those who teach re- several dozen of these conference cycles take place in design search skills may want to share it with students. research and the allied fields of research-based professional As I see it, it is always possible to learn something new practice. For the readers of and useful from outstand- Design Research Quarterly, ing presenters. At confer- regular conferences include ences, I gain new insight the Design Research Soci- into presentation skills from ety, the International Asso- scholars such as Yukari Na- ciation of Societies of Design gai, Kun Pyo Lee, Ezio Man- Research, The Design Soci- zini or Saki Mafundikwa. ety, the Japanese Society Every year, I review Robert for the Science of Design, Anholt’s (2006) presenta- and the Korean Society for tion skills book, and I learn Design Science. Many also something valuable each attend the conferences of the time. I also polish my skills Design and Emotion Society, by attending David Durl- Design Forum, the Design ing’s Presenting On Screen History Society, the Nordic workshop at the Design Ad- Design Research Confer- vanced Research Training ence, the European Academy Wonderground conference, 2006 (DART). Those who want to of Design. Professional asso- master professional presen- ciation conferences in every field of design practice increas- tation welcome such opportunities. ingly sponsor research streams. Research papers at these This article is a written conversation that emulates a conferences cover a range of issues as wide as the different DART workshop or research seminar. We’re sitting to- fields of design process, design research, and design edu- gether around a table with cups of coffee or tea or glasses cation, the physical, digital, and social artifacts they create, of water. It’s a sunny afternoon outside, but the front of the and the social issues they influence. room is darkened for presentation materials. We’re rehears- One virtue of a conference is the opportunity to meet ing the papers we’ll present at a conference next month, colleagues from different cultures and nations, represent- sharing suggestions with each other on how to improve our ing a wide variety of schools, scholarly disciplines, and presentations. professional practices. Because of this, however, we speak We’re not reviewing or commenting on the content of pa- many different languages: different working languages and pers. We may offer ideas or suggestions for future research, dialects, and the different languages of our many disciplines and we may share ideas about what an author might do on and professions. Sharing ideas and learning from each other another occasion. Today, referees have made their decisions requires communicating our research effectively. This and the papers are complete. article is a simple guide to the basic elements of effective We’re here to help each author communicate ideas as ef- conference presentation for speakers who are still mastering fectively as possible. presentation style. Continued p. 9 Q

Design Research Quarterly 3:1 Jan. 2008 – 8 – www.designresearchsociety.org Presenting Your Research…continued from p.8

Most older scholars and scientists would have loved to Use these ideas and practice. have this kind of information at the start of our careers in academic life. We developed our skills slowly, improving our Stayin’ Alive ability gradually through years of public speaking. ‘Got the wings of heaven on my shoes. It is now forty-five years since my first presentation at a I’m a dancin’ man and I just can’t lose.’ conference. It was a small conference on international lan- Bee Gees guage with fifty or sixty participants. Nevertheless, it was international, and speaking to an international audience for John Badham’s 1977 movie Saturday Night Fever opens the first time was a challenge to a very young man. In the with Tony Manero strutting down a Brooklyn street as the years since, I have given presentations to audiences ranging Bee Gees perform their disco anthem, Stayin’ Alive. This from seminars and classes of a dozen or so to international scene captured the audience, drawing viewers into the story audiences of several hundred. While this experience has of a teenage paint store salesman in Brooklyn who spent his often been rewarding, it has sometimes been difficult and weekend nights in a disco. The premise of this story hardly even painful. It would have been a great help to have a book suggested a film classic, but the enthusiastic yet humble with explicit advice on presentation skills, in a well struc- charm of the actors and a simple story told well gave the film tured, easy-to-use format. This guide will help the reader a durable reputation, and the role of Tony Manero established find them. My experience suggests that beginning speakers John Travolta as a star. who read and use these resources do far better than those Presenting research at a conference is a bit like playing who do not. the role of Tony Manero in Saturday Night Fever. The role of Much of what I have learned about presenting research an ordinary session presenter is a career requirement rather can be summarized in a few brief pages. This article presents than a path to fame. Since most research topics interest spe- key issues. Read it, use it, and go further by using the free cialists, most sessions are relatively small. Those who do web resources. Then, get Robert R. H. Anholt’s Dazzle ‘em attend a session are primarily interested in their own work. with Style. Those who learn and apply the contents of this To influence the session audience, a presenter must make book will earn a strong reputation for solid presentations. his or her work interesting and memorable. Like an actor at What you learn here will take you a long way if you prac- the start of a career, the presenter who is not an established tice. You can improve any presentation by presenting it to figure must transform his or her role into star material. colleagues at your own university or design school before Mastering the art of presentation makes the difference presenting it in public. There are two reasons for this. The between dying on stage and staying alive. first is a chance to polish and improve your presentation Fortunately, every presenter who is willing to develop the in a relaxed and supportive environment with colleagues basic skills of good presentation has a good chance to mas- who know your work. The other is that you should use every ter the art. Basic presentation skills involve a simple set of minute of the conference to meet people you do not know actions, behaviors, and practices. Those who adopt these ac- and to hear about research that will help you to expand your tions, behaviors, and skills can develop a strong conference horizons. presence at the start of an academic career. Those who do At some conferences, I have been surprised to see masses often develop a better presentation style than experienced of earnest young researchers sitting around laptops to re- conference speakers who do not present their research well. hearse and review their presentations while sessions and Once a scholar learns the basics, repeated practice leads to even keynote speeches by leading scholars are relatively mastery in seminars, conferences, and lectures. empty. Rehearsing on-site wastes the time and money these This short article describes the basic skills and offers key people spend to attend a conference. We don’t go to confer- resources for those who wish to learn more. ences only to present what we learn before we arrive. We go If research is worth presenting, it is worth presenting to learn from others. It is in the sessions and the keynotes well. There are many reasons to master the art of presenta- that we learn something new. Every presenter should arrive tion. Good presentation helps the audience to understand ready to speak—and ready to hear others speak. the content and remember key points. Audiences remember

Continued p. 10 Q

Design Research Quarterly 3:1 Jan. 2008 – 9 – www.designresearchsociety.org Presenting Your Research…continued from p.9

speakers who help them to learn and remember the content communication comes from facial expressions and body of a presentation. This is a major source of speaking invita- language, 38% comes from vocal quality or tone of voice, tions and a good way to become visible in the competitive (and) 7% comes from the content, the actual meaning of academic job market. It is a good way to attract the attention the words.” of journal editors and book publishers. Speakers who read a text from pa- It also attracts the interest of scholars Four Golden Rules per lose the audience. It does not work. who work on similar topics, and lead- 1. Don’t do it. ing to effective scholarly and scientific Speak directly to the members of your Two legitimate questions deserve networks. This is an important step in audience. Explain your ideas as you answers here. Can you cover all the developing successful research for in- explain ideas to a colleague in a key issues and crucial arguments if creased learning and greater impact. face-to-face meeting. Never read your you present your ideas rather than Conference presentations take work. paper from a prepared text. reading the paper? Will the audience Those who invest the work will find pre- understand and remember your work senting a rewarding experience. Each 2 if you only present your key ideas in a presentation makes the next easier. Your speech must be careful, and clear. talk? Because the conference audience Pronounce every word. Master the tone You cannot cover every crucial ar- consists of specialists, most audi- and rhythm of spoken English. If gument in a short, spoken presenta- ences will identify with the speaker. English is not your native language, tion. You don’t have to. Your complete, Conference audiences want speakers rehearse with a native-born English written paper presents your research to succeed. Because those who attend speaker who can coach you on pronun- in full form. Interested readers will conferences session are primarily inter- ciation and speaking style. If English is find the key issues and crucial argu- ested in their own work, they want to your native language, rehearse with a ments, along with evidence, sources, learn something new that they can take foreign-born English speaker who can and references. Your live talk invites home and put to use. Any presenter who coach you on clarity and comprehensi- people to read your work. If you inter- makes research interesting and memo- bility for those who are not native-born. est them in your ideas, they will read rable offers valuable resources to those your paper. At most conferences, you who attend the session. Even though a 3 have twenty minutes of idea time. If session presentation sometimes seems Use PowerPoint slides to emphasize you use them well, readers will spend to be a minor conference role, speakers your main points and to present key an hour or two in careful reading. who deliver a solid, well-crafted paper evidence. Use clear, visible slides with Idea time is the key, and it answers every time they speak soon become vis- large, legible type. Use audio-visual the second question. A conference day ible for leading roles. resources only when you need them to is intense. Participants generally at- demonstrate processes, concepts, or tend a keynote by a well-known scholar 1. empirical evidence. Never use special or scientist before hearing six to ten Speak directly to the members of your effects or standard PowerPoint tricks. papers. The day is filled with dozens audience. Explain your ideas as you of small meetings, conversations, re- explain ideas to a colleague in a face- 4. unions, coffees, and dinners. Each has to-face meeting. Never read your paper Keep to the schedule. Never run over a stream of information for individu- from a prepared text. your time. Never. als to assimilate. George Miller’s (1956) The audience has come to listen to classic limit comes into play here: the you. The more directly you communi- magic number seven. As Edward cate, the more they understand. Tufte points out, there is no reason to limit visual artifacts How you interact with members of the audience is the to seven data points, stimuli, or information items. Miller key factor in communicating your work. A paper on presen- (2003) concurs, writing, “7 was a limit for the discrimina- tation by The Oceanography Society (2005: 20) points to tion of unidimensional stimuli (pitches, loudness, bright- communications research showing “55% of interpersonal ness, etc.) and also a limit for immediate recall, neither of

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which has anything to do with a person’s capacity to com- word. Master the tone and rhythm of spoken English. If Eng- prehend printed text.” That is the point: your presentation lish is not your native language, rehearse with a native-born is more complex than a visual artifact for immediate infor- English speaker who can coach you on pronunciation and mation and it is not the full-text paper for careful reading. It speaking style. If English is your native language, rehearse is a series of information stimuli in a crowded information with a foreign-born English speaker who can coach you on environment. clarity and comprehensibility for those who are not native- For a presentation, I hope that listeners will remember born. three to five key points. One of Miller’s (1956) key concepts This is a golden rule for conferences where people come is information chunking, a processing skill that allows us to together from many different nations, language groups, aggregate sets of objects into larger classes. This means that and dialect groups. While Anholt (2006), Alley (2003), and some of the evidence I present and some of the arguments I Todoroff (1997) offer excellent advice on presentation and use will come together in the key points that people remem- delivery techniques, they cannot tell a non-native English ber. What they remember, if I am skillful and lucky, is three speaker how to speak well. Native-born English speakers to five key points. In the crowded information environment must also master new skills. of a conference, that’s all I can hope for, even when I am a Many foreign-born scholars use English as a second, keynote speaker. If I can achieve three to five memorable third, or sometimes fourth language. Those who do often points, it means that some people will read my full paper. fail to pronounce words properly. In some cases, the tone That is what I want. If you take the time to survey session and rhythm of their native tongue makes their English in- participants after the session and again the next day, you’ll comprehensible. A member of my doctoral committee was find that few speakers leave three to five clear points with the best example of this I’ve ever heard. He spoke sixty-five listeners—and listeners remember far less the next day. If different languages. His grammar and spelling were perfect you make three to five clear points, you will be memorable. in a dozen or so, and excellent in several more. His reading Speak directly with your listeners. Use tone, rhythm, and knowledge and listening ability were excellent in the rest. pacing to create an appropriate sense of narrative flow. Use His listeners had problems when he spoke, when his thick emphasis and appropriate physical gestures to create a sense Czech accent made it difficult to understand him. of intellectual drama. The difficulties that a native English speaker may have Keep your eyes on the members of your audience with in understanding such speakers multiply dramatically when direct eye contact. Speak directly to individual members of a foreign-born speaker from one language group speaks the audience, shifting your attention to individuals in dif- English to the foreign-born listener from another language ferent parts of the room to create a sense of contact. Watch group. for reactions and interest to gauge your impact. With experi- The way to move beyond this communication barrier is to ence, you will learn how to adjust your presentation to hold approximate as closely as possible one of the major English an audience, changing the pace to create excitement for a language forms. These include BBC News British English, drifting audience, repeating key points when the audience NBC News or CBS News American English, CNN News does not seem to understand what you are saying. According English, ABC News Australian English, or CBC News Ca- to The Oceanography Society (2005: 20), you should “have nadian English. The news channels exemplify clear, com- your eyes on the audience 90 % of the time you are speak- prehensible pronunciation for worldwide audiences. Today’s ing, particularly at the opening, the closing, and at the end international broadcasting generally makes it possible for of each emphasized statement.” you to listen to one of these channels on a regular basis to In a conference session, you communicate the content of get the tone, rhythm, and feeling of spoken English. If you your paper by communicating memorable ideas. If you suc- are not an expert English speaker, choose one channel and ceed, you convert listeners into readers. learn to speak one form of English well rather than adapting Robert R. H. Anholt (2006: 119-156), Michael Alley (2003: language habits and patterns from several channels. 165-204), and Cindy Todoroff (1997: 89-104) all give excellent pointers on delivery and presentation skills.

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Before you present, rehearse your presentation with a na- Tufte summarizes his arguments in on “the cognitive tive-born English speaker. Ask for specific advice and coach- style of PowerPoint. Pitching out corrupts within” (Tufte ing on your pronunciation, tone, and rhythm. 2006: 156-185). If you are a native English speaker, practice at least once For many years, I avoided PowerPoint presentations for with foreign-born listeners. Most native speakers do not the same reasons that Tufte does. I made this decision be- speak clear, broadcast standard English. Even in live pre- cause I felt that direct audience contact permitted me to sentation, we are “broadcasters” to an audience of listen- emphasize the rhetorical development of my argument in ers. While English is my native tongue, I have worked with a presentation, adjusting it to audience needs in a way that foreign-born English-language audiences for many years. would be impossible with a planned sequence of slides. Through practice, I speak more slowly and clearly than na- In 2005, I began using PowerPoint. There were several tive English speakers do in their own nations. This has two reasons for the shift. The most important of these was the results. One is that my audiences always understand me. fact that visual headlines permit audiences to follow a presen- The other is that I no longer sound like a native speaker to tation more effectively than spoken words alone. This helps my countrymen. audiences who speak English as a second or third language When I visit native North America, people often praise that they do not use in daily communication. This is the kind my English and ask me where I come from. Many years ago, of audience you will meet at international conferences. I got so tired of explaining that I started to answer, “Norway” While most designers and design researchers use Pow- The law of unintended consequences took hold in a second, erPoint, many fail to use PowerPoint well. The challenge is unexpected question. using PowerPoint or Apple Keynote effectively. “Norway?” they’d ask. “Why do you speak such good The way to start is to ask three questions for each visual English?”. piece or slide you present. You should answer yes to each of There was only one answer left: “We watch all your these three questions before using the visual piece: “Will it movies.” add to my presentation? Does it relate to material covered in my talk? Is the graphic quality acceptable?” If you cannot 3. answer is yes to all three questions, delete the piece or revise Use PowerPoint slides to emphasize your main points and it. (The Oceanography Society 2005: 12) to present key evidence. Use clear, visible slides with large, The three key problems I see in many design research legible type. Use audio-visual resources only when you need presentations involve clutter of different kinds, visibility, and them to demonstrate processes, concepts, or empirical evi- legibility. dence. Never use special effects or PowerPoint tricks. Clutter takes two forms. The first is needless or irrele- A few years back, information design expert Edward Tufte vant images, including tricks openings, headlines that jump (2003) made international headlines when he published an around and dance, or cute illustrations. The second form of article in Wired magazine titled, “PowerPoint Is Evil. Power clutter is what Tufte calls “chart clutter,” rendering bars in Corrupts. PowerPoint Corrupts Absolutely.” bar charts in three dimensions, adding needless colors to Tufte is not opposed to effective presentation graphics. pie charts, and the like. Quite the contrary, he is one of the leading experts on the Visibility is a key issue. If the members of your audience effective, honest, and persuasive representation of visual in- cannot see your visuals, they will not understand or remem- formation. Tufte’s argument against PowerPoint is that most ber them. This generally takes such forms as careless use of PowerPoint techniques are ineffective and often dishonest. color, dark text against dark backgrounds, light text against They create noise rather than information. They use chart light backgrounds, color fades that render half the text less clutter and purposeless tricks that tend to confuse viewers visible than the other half, and text that is too small. rather than helping them to understand information and Legibility problems involve both too small text and too issues clearly. He argues that the worst feature of Power- much text. I generally suggest three to seven items on a slide Point is that PowerPoint tools and defaults change the way or five to seven lines of large, bold text. In most cases, more presenters build an argument, ultimately changing the way lines render text illegible to much of the audience. The one that they think.

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exception to this rule involves explicit includes visual material. This is a prob- definitions or quotations that I read The Oceanography Society (2005: 12-19) lem for skilled speakers. It is devastat- slowly and carefully to the audience. presents ten commandments for visual ing for beginning speakers. David Durling delivers a valuable aids, along with some principles on My worst speaking experiences have and entertaining workshop about pre- technological support. The command- taken place at conferences where the senting on-screen at the Design Ad- ments are: speakers before me went over time. In vanced Research Training Seminars. one case, we were both keynotes. The His Keynote overheads are available I. “Each visual aid shown must keynote before me went twenty min- free from the DART web site (Durling enhance, support, exemplify and/ utes over. Even though my speech was 2007). or facilitate understanding of designed for the scheduled time, the or- Anholt (2006: 73-117) offers an excel- material covered in your talk. ganizer asked me to make up lost time lent chapter on “visual displays: how to on the schedule to allow for coffee— II. All information presented visually (and not to) use them,” and Michael Al- and acted as though I had gone on too should be brief and concise. ley (2003: 93-164) provides an excellent, long when I was unable to make up for It should be presented in the detailed chapter on visual aids. the full twenty minutes. most comprehensible format and When you are standing on the plat- edited to the minimum number 4. Keep to the schedule. Never run late. form, fifteen or twenty minutes may of words possible. Never run over your time. Never. seem like nothing. Each of those min- Most conference sessions are de- III. Visual aids must be legible and utes is an eternity to the speaker whose signed for two or three twenty-min- clearly visible to the entire time you are wasting. ute presentations with ten minutes for audience. This is crucial in the conference for- questions from the audience. Some mat. In every session, three speakers IV. Two or three facts or information conferences have sessions with three share an hour, 20 minutes per speaker, points per image are best; six are twenty-minute papers followed by a with time for questions and answers. considered the absolute time for questions and answers to all You must keep to the schedule. maximum. presenters. In both systems, it is im- Rehearsing your presentation will portant to keep to your time. There are V. Do not load too much visual help you present your key points within three major reasons for this. material into a talk. your 20 minutes. Rehearsing will also First, conference sessions run paral- help you to make a better, more mem- VI. Use color for emphasis, distinc- lel. The schedule places papers in such orable presentation. tion and clarity. a way that participants can move be- The Oceanography Society (2005: 9) tween sessions during the change be- VII. Do not read your visual aids to calls for “death (or worse) to those who tween speakers. If you run over, you the audience instead of giving a run overtime.” Most research commu- make it difficult for people to change talk. nities today consist of scholars who gen- smoothly. erally oppose the death penalty—until VIII. Be aware of the “life span” of Second, running over your schedule you run three minutes into their time. each visual piece. is a waste of time. Unless you are the Jenkin Lloyd Jones, the distin- last speaker, the time you waste belongs IX. Rehearse your talk with your guished social reformer, made an ex- to the next speaker. Nothing is worse visual aids. ception to his pacifism for speakers than stepping to the podium as the who waste time: “A speech is a solemn X. Prepare visual aids that can be last speaker after two earlier speakers responsibility. The man who makes a accommodated by the technology have gone over time. People who pre- bad thirty-minute speech to two hun- on hand and the speaking pare their twenty minutes carefully at dred people wastes only half an hour environment.” home with repeated rehearsal and com- of his own time. But he wastes one mentary cannot cut their presentation in half, especially if the presentation

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hundred hours of the audience’s time-more than four days— That brings me to the end of this little guide. I’ll close which should be a hanging offense” (quoted in The Ocean- with a valuable checklist for effective presentations from the ography Society 1995: unpaged). first edition of Anholt’s (1994) book: “Checklist for Scientific Speakers who run over their allocated time cause the Presentations. most common problems at design research conferences. If ee Create an informative title. you develop a reputation for keeping to your time in confer- ee Place your presentation in the context of a major scientific ence sessions, you will dramatically increase the number of principle. invited presentations that come your way. This, in turn, will ee Focus on a single issue and adjust it to the interests of increase the impact of your research. your audience. Michael Alley (2003: 189-193), and The Oceanography So- ee Identify the underlying question you will address, divide ciety (2005: 9) both discuss ways to ensure that you are on it into sub-questions, and answer each question. time—with enough time to say everything important to your ee Follow a logical line of thought. Explain scientific con- success. cepts unambiguously with a minimum of professional jargon. The Next Step ee Avoid backtracking. Make sidetracks brief and always re- The reference list for this article includes several use- turn to the point. ful web sites with free resources on presentations and ee End with a concise, clearly formulate conclusion in the presenting. context of your chosen scientific principle. Stop after These include Alley (2007b), Durling (2007), and Tufte you’ve delivered the take-home message. (2007b). The Oceanography Society (2005) offers a complete ee Design visual displays to be simple, error-free, and clearly manual for easy download in PDF format. visible. I recommend seven outstanding books on presenting ee Practice your presentation to build confidence in delivery research in live conference format. Every university library skills.” should have them all. If your library does not, ask your li- brarian to order them. The best and most widely used among these is probably Ken Friedman Robert R.H. Anholt’s (2006) Dazzle ëEm with Style. The Art of Oral Scientific Presentation. Michael Alley’s (2003) The Craft of Scientific Presentations. Critical Steps to Succeed and Critical Errors to Avoid runs a close second. If you hold a seminar on presentation skills, Anholt should be your text. If Ken Friedman you only have time to read one book, I recommend Anholt. Ken Friedman is Professor of Leadership and Strategic Design at the Norwegian School Each of the other five books has virtues, and each empha- of Management in Oslo. This month, he takes on a new role as dean of design at sizes slightly different issues or approaches: Booth (1993), Swinburne University in Melbourne, Australia. He also holds a research appointment at Conradi and Hall (2001), Feibelman (1993), Tierney (1995), Denmark’s Design School in Copenhagen. In 2007, Loughborough University honored and Todoroff (1997). Friedman with the degree of Doctor of Science, honoris causa, for outstanding contri- These resources will help you to succeed in a research butions to design research career in academic life, science, industry, and government. As you gain experience, you will have a context into which you can integrate advice, adapting it to your needs and these books will become even more useful. While these books gen- References erally deal with scientific presentations, the advice they offer Alley, Michael. 2003. The Craft of Scientific Presentations. Critical Steps to Succeed and Critical Errors to Avoid. New York: Springer-Verlag. works for scholars in the humanities and for practice-based researchers in design and the arts. Alley, Michael. 2007a. “Rethinking the Design of Presentation Slides.” Writing Guidelines for Engineering and Science Students. Michael Alley, editor. Blacksburg, Virginia: College of Engineering, Virginia Polytechnic Institute and State University. URL: http://www.writing.eng.vt.edu/slides.html

References continued p. 15 Q

Design Research Quarterly 3:1 Jan. 2008 – 14 – www.designresearchsociety.org Presenting Your Research…continued from p.14 DRS Special Interest Groups ANNOUNCEMENT AND CALL:

Alley, Michael, editor. 2007b. Writing Guidelines for Engineering and Science In response to suggestions of international membership, Students. Blacksburg, Virginia: College of Engineering, Virginia Polytechnic the Design Research Society (DRS) has begun to set up Institute and State University. URL: http://www.writing.eng.vt.edu/ Special Interest Groups (SIGs) as a way of providing mem- Anholt, Robert R. H. 1994. Dazzle ëem with Style. The Art of Oral Scientific bers with a forum for your interests and to engage and Presentation. New York: W.H. Freeman and Company. work actively together around the world. The aims of SIGs Anholt, Robert R.H. 2006. Dazzle ëEm with Style. The Art of Oral Scientific are: Presentation. Second edition, revised. Amsterdam: Elsevier Academic Press.

Booth Vernon. 1993. Communicating in Science: Writing a Scientific Paper 1. SIGs are concerned with a developing area of research and Speaking at Scientific Meetings. Second Edition. New York: Cambridge in design and be able to demonstrate that. Ideally the University Press. area of interest should have implications for a range of Conradi, Martin, and Richard Hall. 2001. That Presentation Sensation. Let disciplines in design. the Best in the Business Show You How to Be Good, Be Passionate, Be Unforgettable. Harlow, Essex, UK: Pearson Education. 2. SIGs are international in scope – not bounded by a Durling, David. 2007. Presenting On Screen. London: Middlesex University School regional or institutional interest. The main aim is to of Design, Design Advanced Research Training. Design Advanced Research develop collaborations between DRS members. Training. URL: www.dartevents.net [Go to: Past Events, then scroll down and click on the button: Presenting On Screen.] Three SIGs have been proposed, the first SIG has been Feibelman, Peter J. 1993. A Ph.D. Is Not Enough! A Guide to Survival in Science. approved and the second is pending as follows: Reading, Massachusetts: Addison-Wesley Publishing Company.

Miller, George A. 1956. “The Magical Number Seven, Plus or Minus Two: Some CCSpecial Interest Group on Experiential Knowledge Limits on our Capacity for Processing Information.” Psychological Review, 63, 81-97. (approved) EKSIG is concerned with understanding the nature and role of knowledge in research and practice Miller, George A. 2003. “Response to The Magical Number Seven, Plus or Minus in order to clarify fundamental principles and practices Two.” The Work of Edward Tufte and Graphics Press. URL: http://www. edwardtufte.com/bboard/q-and-a-fetch-msg?msg_id=0000U6&topic_id=1 of using practice in research both with regard to research regulations and requirements, and research The Oceanography Society. 1995. “The Commitment.” Tips for Preparing methodology. Scientific Presentations. Arlington, Virginia: Office of Naval Research. URL: http://www.onr.navy.mil/about/speaking%5Ftips/committment.asp CC- Special Interest Group on Design for Health and Well The Oceanography Society. 2005. Scientifically Speaking. Tips for Preparing and Delivering Scientific Talks and Using Visual Aids. Rockville, Maryland: The Being (pending) The SIG will focus on bringing togeth- Oceanography Society. URL: http://www.tos.org/resources/publications er designers, design researchers, health professionals /sci_speaking.html and others responsible for the delivery of health care Tierney, Elizabeth P. 1995. How to Make Effective Presentations. Survival Skills services and products and ‘less traditional’ well being for Scholars. Thousand Oaks, California: Sage Publications. therapies.

Todoroff, Cindy. 1997. Presenting Science with Impact. Presentation Skills for Scientists, Medical Researchers, and Health Care Professionals. Toronto: DRS members are invited to join any Special Interest Trifolium Books. Group, or to propose new SIGs.

Tufte, Edward. 2003. “PowerPoint Is Evil. Power Corrupts. PowerPoint Corrupts Absolutely.” Wired, Issue 11.09, September. URL: http://www.wired.com/ wired/archive/11.09/ppt2.html

Tufte, Edward. 2006. Beautiful Evidence. Cheshire, Connecticut: Graphics Press. SIG page and contact information: Tufte, Edward. 2007a. “Ask E.T.: The magical number seven, plus or minus two: http://www.designresearchsociety.org/joomla/content/ not relevant for design.” The Work of Edward Tufte and Graphics Press. URL: http://www.edwardtufte.com/bboard/q-and-a-fetch- view/79/26/ msg?msg_id=0000U6&topic_id=1

Tufte, Edward. 2007b. “PowerPoint Does Rocket Science--and Better Techniques Current SIGs and SIG rules and regulations: for Technical Reports.” The Work of Edward Tufte and Graphics Press. URL: http://www.designresearchsociety.org/joomla/content/ http://www.edwardtufte.com/bboard/q-and-a-fetch- view/84/100/ msg?msg_id=0001yB&topic_id=1

Design Research Quarterly 3:1 Jan. 2008 – 15 – www.designresearchsociety.org Current Research in Design Tables of Contents from Leading Design Journals: Spring-Summer, 2007

Architectural Design, 77:6 Fabian Ostner (21) Studio Mumbai Architects (Bijoy and Prija Made in India ee Kodaikanal Hotel and Spa, Kodaikanal, Jain) (36-41) Nov.–Dec. 2007: Tamil Nadu, 2004; Midford Garden, ee Hiremath House, Kashid, Murud, 2006; issn: 0003-8504 web link Bangalore, 2003 Shroff House, Bandra, Mumbai, 2004; KK ‘bridging traditional building culture with a Shakti Resort, Leti, Uttaranchal, 2007; Raga India: architecture in the time of modern approach to architecture’ Jamshyd Sethna House, Nandgaon, Alibag, euphoria (6-11) Maharashtra, 2004; Nikhil Kapoor House, Tod Williams Billie Tsien Architects (22-23) Kazi K. Ashraf Kashid, Murud, 2003; Nilofer Kapadia e ee Banyan Park, Mumbai, 2003 e Salman Rushdie’s midnight’s children; the House, Satirje, Alibag, 2004 KK ‘known for producing lyrical designs that Husain-Doshi Gufa in Ahemdabad; MF KK ‘a collaborative, multidisciplinary firm are materially rich and spatially innovative’ Husain; Balkrishna Doshi; Vritra; integrating architecture, landscape and Vastupurusa; Surendran Nair’ One space, many worlds (24-29) interior design with product and furniture K K ‘holding up a barometer to the nation’s Ramish Biswas design’ identity’ ee SLOAP (Space Left Over After Planning); Rahul Mehrotra Associates (42-45) Jan Morris; emerging India; Nissel and TheIndia project (12-15) ee corner plot House, Chennai, 2003; rural Mehrotra; three different poses in three Sunil Khilnani campus for Tata Institute of Social K different modern dresses; second-hand K asking ‘what remains of the universalist Sciences (TISS), Tuljapur, Maharastra, Vegas/Dubai; change your clothes, change project of India’s political founders. Has 2004; house for a film maker, Alibag, near your lifestyle architecture, in the rush for market and Mumbai, 2001; house on an orchard, near KK Examining ‘how … housing developments economic success, lost its self- Ahemdabad, 2004; Laxmi Machine Works of … middle classes are creating townships understanding?’ (LMW) corporate office, Coimbatore, that intensify sprawl and further Tamil Nadu, 1998; restoration of Indian Panorama (16-17) decentralise cities’ ee software/IT; Peter Eisenman; tradition and Chowmahalla Palace, Hyderabad, 2002 technology; Balkrishna Doshi, Charles The visceral city and the theatre of fear KK giving ‘expression to the multiple worlds, Correa, Raj Rewal, Ranjit Sabikhi; global (30-33) pluralism and dualities that so vividly and transnational links; Shailja Patel; Ravi Sundaram characterise the Asian landscape’ ee Monica Narula, night vision, Sarai Media migritude; excess is good; Nargis; Satyajit Samira Rathod Design Associates (46-49) Lab, Delhi, 2004; traffic; Mrityunjay Ray; Ghautam Bhatia; modernitis plague; ee karjat farmhouse, Karjat, Maharashtra, Chatterjee, The Sensorium 1, Sarai Media Mulk Raj Anand’s challenge; mistries’ 2001; Interactive Maze, Colaba Woods, Lab, 2006; The Sensorium 2; Walter Mumbai, 2002; Palete, Mahalaxmmi, Chris Lee/Kapil Gupta (19) Benjamin’s suggestion ee Jewel Tech, Mumbai, 2002; Fort School, Mumbai, 2004; office interiors for Asian Mumbai, 2005; deGustibus, Mumbai, KK Explaining ‘how in Delhi … the media Age, Mumbai, 2002; tree house, Bharuch, 2007 provided the catalyst for mass hysteria Gujarat, 2000; Kishore Mariwala House, KK exploring the ‘issues that lie at the and psychosis during the summer of 2002’ Alibag, 2006 KK displaying ‘an exacting sense of materiality, intersection between architecture and Mumbai Architects (34-35) tactility and crafting combined with urbanism with a particular focus on ee world city; Suketu Mehta’s urban paean playful experimentation and innovation’ developing … for these environments’ The Maximum City; Greg Roberts’ para- TEAM (Snehansu Mukherjee and A.R. autobiography Santaram; most expensive Ramanathan) (20) real estates in the world; Rahul Mehrotra; ee Aishwarya at Baroda; Baroda, 1999; Amby Kapil Gupta; Nuru Karim, Quaid Valley Sahara Lake City Leisure Center Dongerwalla and Rahul Gore (AVSLC), Lonavla, Maharashtra, 2003 KK embodying ‘the new ebullient economy of India in the various townships, housing schemes, malls and new building types’

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Auroville: an architectural laboratory KK ‘Informed by research into and The background in Bangalore; architecture (50-55) experimentation with eco-friendly and critical resistance in a new modernity Anupama Kundoo construction methods’ .… ‘fundamentals (78-83) ee Sri Aurobindo Ghose; Mirra Alfassa, the of Indian tectonics in forming its Prem Chandavarkar mother; Antonin Raymond; Frank Lloyd architectural language’ ee Fatehpur Sikri; Jaisalmer or Jaipur; Indian Wright; Golconde; reinforced-concrete architecture; CR Narayana; Rao; LN Vastu Shilpa Consultants (Rajeev Kathpalia) building Chitale; Bennett Pithavadian; Narayan (66-67) KK how ‘the dream of building a new city’ is Chandavarkar; Pesi Thacker ee Arjun Machan, Ahmedabad, 2004; Imax “a magnet for architects around the world”’ KK Bangalore’s ‘architectural culture Theatre, Ahmedabad, 2002 continues … [to be] one of intellectualism, Local stone (a fragment) (56-59) KK ‘commentary on the cosmic and valuing the background, a sense of … Reinhold Martin mythological dimension of architecture contextualism over the … facadism of ee local grey granite, Sanjay Mohe, Indian and thus continues the larger-than- other cities’ Institute of Management (IIM), sandstone building imperatives of the practice’ cladding, Charles Correa, Raj Rewal, Life A trip to India (84-89) Architecture Autonomous (Gerard da Insurance Corporation of India (LIC) Michael Sorkin Cunha) (68) KK ‘a particular choice of stone can potentially ee SMLXL; Coorg; Jimmy Lim; Lim Sorkin ee Nrityagram Dance Village, Bangalore, set off a complex string of associations Design (LSD); minimal use of energy; 1994; Museum of Traditional Goan with geopolitical connotations’ natural ventilation; on-site waste Architecture, near Panjim, Goa, 2004 treatment and local materials; wooden Material formations (60-61) KK Practicing in Goa; ‘a unique culture and architectures; Dravidian holy places ee Achyut Kanvinde; Balkrishna Doshi and architecture that is evident in da Cunha’s KK ‘the delirious quality of global practice’; Laurie Baker; scenography and lively and rather Gaudíesque work’ ‘the unique chance to design one-off mythography; metal and glass panels; Urbana (69) residences for a lush, Garden of Eden-like substantiality and sustainability; Le ee A5 architects’ residence, Dhaka, setting’ Corbusier and Louis Kahn; Gandhian Bangladesh, 2002; NEK10, Dhaka, 2001 ethos; Reinhold Martin Bangalore architects (90-91) KK based in Dhaka; displaying ‘a heightened ee India Inc; Prem Chandavarkar; Anuradha Matharoo Associates (Gurjit Singh sense of material crafting within an Mathur and Dilip da Cunha; Delhi- Matharoo) (62-63) invigorated Modernist ethos’ Ahmedabad-Mumbai axis; architecture of ee Prathama Blood Center, Ahmedabad, In depth: inscribing the Indian landscape the background; Mathew &Ghosh 2000; Cattiva mobile blood-donation van, (70-77) Architects; Hundredhands 2005; house of Ashok Patel, Ahmedabad, Anuradha Mathur and Dilip da Cunha 2006; Ashwinikumar Crematorium, Surat, ee British surveyors; 18th century; maidan; Gujarat, 1999 Hobson-Jobson, an open space, an KK ‘Projects from private residences to public esplanade, parade-ground or green, in or facilities brandish a rough, impenetrable adjoining a town; Oval and Azad Maidans shell that conceals a cocoon of animated in Mumbai, a place released from the space.’ confines of programme, but held by space Anupama Kundoo (64-65) KK ‘a new, deeper reading of the landscape ee Wall House, Auroville, 2000; Creativity, that fully acknowledges the multiple uses Auroville, 2003; Pierre’s House, Auroville, and potential initiations of public spaces’ 1992

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Mathew & Ghosh Architects (92-97) Sharifa’s house (110-113) ee demonstrating ‘a profound understanding ee Mathew & Gosh office and design studio, Dr Adnan Morshed of its cultural and communicational Bangalore, 2004; Benjamin House, ee Grameen Bank, Bangladesh-based possibilities’ of ‘the theory and practice of Banaglore, 2001; SUA House corporate microfinance organisation, microcredit to architecture’ office, Bangalore, 2002; St Mark’s the rural poor, domestic space, bungalow, Shatotto: Architecture for Green Living Cathedral Resource Centre, Bangalore, reinforced concrete pillars, corrugated-tin (Rafiq Azam) (123) 2006; Kuruvila House, Bangalore, 2002; sheets ee Gulfeshan Apartment Building, Dhaka, Bhopal Gas Tragedy Victims Memorial KK ‘how a … loan from the Grameen Bank 2003; Meghna Residence, Dhaka, 2006; Competition, 2005 (Awarded Second allowed Sharifa and her family to build a Mizan Residence, Dhaka, 2004 Position); Trinity-Malabar Escapes at house and to realise what amounts to … KK dematerialising ‘the … anti-urban Stuber Hall, Fort Cochin, Kerala, 2004 more than … a permanent home’ boundary wall that characterises the city KK ‘a sustained dialect to the architecture … This is not a building! handmaking a school with new layerings of gardens, plantings that includes consummate materiality and in a Bangladeshi village (114-117) and … gardens in the air’ fine crafting, light as a medium, … good Kazi K Ashraf Ann Pendleton-Jullian (124) spatial possibilities’ ee Anna Heringer and Eike Roswag; Hand- ee Access Program Buildings; Asian Made School for METI, Rudrapur, Hundredhands (98-99) University for Women; Chittagong, northern Bangladesh, 2006; Aga Khan ee The Center of Hope, Tiruchchirapalli, Bangladesh, 2006 Award for Architecture; Kenneth F Brown Tamil Nadu, 2005; 69/70 Residency Road KK ‘the intersection between pragmatic Asia-Pacific Architecture Award; Kerry Hill; Bangalore, 2004 concerns and the ambitions of the Itsuko Hasegawa; Architectural Record; KK ‘a multidisciplinary design studio’; imagination’ Richard Ivy ‘focus[es] on the urban context … KK ‘how this collaborative community effort Saif Ul Haque Sthapati (125) questions of scale, character, spatial and has resulted in … inventive and intriguing ee Govinda Gunalanker Hostel, Chittagong, visual impact, and remaking the public design, realised … with traditional Bangladesh, 1998 domain’ materials and local skills’ KK ‘an architectural provocateur in response Chandavarkar and Thacker (100-106) to the urgency of place and time’ Subcontinental Panorama (118-119) ee Office interior for MindTree Consulting, ee Qurratulain Hyder; The River of Fire; Tsunami Design Initiative (TDI) (126) Bangalore, 1999; Hill Resort, Chikmagalur, paradigms for building in a hot-humid ee Tsunami Safe(r) House, various sites, Sri 2007; Biotech Innovation Centre, milieu; Team Architrave (Madhura Lanka, 2005 Hyderabad 2007; College and School of Prematilleke); C. Anjalendran of Sri Lanka; KK Winning ‘the Tsunami Challenge Nursing, Apollo Hospitals, Chennai, 2004; Shattoto:Architecture for Green Living Competition in 2005, … which called for ValueLabs Software Campus, Hyderabad, (Rafiq Azam); Ann Pendleton-Jullian and ideas for rebuilding efforts following the 2006; Rubix commercial complex, Piercy Conner Architects &Designers catastrophic tsunami in South Asia in Bangalore, 2007 2004’ KK ‘thoughtful and reflective responses as Kerry Hill Architects (120-121) architecture finds itself at a critical ee Amankora, Bhutan, 2007; ITC Sonar Madhura Prematilleke (Team Architrave) juncture in this city of a euphoric present’ Bangla Hotel, Kolkata, 2003 (127) KK committing to ‘creating innovative and ee Long House 1 ( Chandan and Nadhini De Mindspace (Sanjay Mohe) (107) regionally appropriate architecture’; ‘in Silva Residence), Colombo, 2003; Royal ee Office for Bharatiya Reserve Bank Note the vanguard of … a pan-Asian tropical Bakery, Colombo, Sri Lanka, 1999 Mudran, Bangalore, 2003 Modernism’ KK ‘’a robust architecture’ that ‘can KK ‘the architectural ethos of Bangalore that accommodate – and indeed thrive upon mediates between a modulated Piercy Conner Architects & Designers (122) – the manner in which it is used, misused Modernism and the contingencies of the ee SymHomes Mk1, Kolkata, 2006 or otherwise ‘Asianised’’’ city’s specificities’

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Boston Institute of Contemporary Art AD+ Spiller’s Bits AD+ Unit Factor (130-133) On green design (part 2): the basic Gods are in the Details: The Ambika Jayne Merkel premises for green design (146-147) Temple at Jagat (158-159) ee Diller Scofidio + Renfro; clamp-like shape; Ken Yeang Adam Hardy glass-and-steel skin; Water Café; harbour ee integrated with nature; balancing the ee The Ambika Temple; Jagat; complex views; glass-walled elevator; mediatheque; biotic content; ameliorating biodiversity; designs; goddess Ambika; Nagara 325-seat theatre; Perry Dean Rogers Mewah Oils Headquarters; Kuala Lumpur; tradition; Latina shrine form; Shekhari Partners of Boston landscaped ecological bridges; human- mode; aedicular structure KK ‘how the interiors are individualised and made ecosystems; layer-cake method; KK ‘the lessons that contemporary architects energised … in a scheme that minimises sieve-mapping might learn from this ancient structure’ the location’s drawbacks and turns a visit KK second of three parts; ‘How a prospective Architectural Design, 78:1 into an art experience in its own right’ site can provide the essential springboard Special Issue: Cities of Dispersion for eco-masterplanning’ AD+ Interior Eye Jan.–Feb. 2008: Casa Kike, Costa Rica (134-137) AD+ Yeang’s Eco-Files issn: 0003-8504 web link Jeremy Melvin McLean’s Nuggets (148-149) Urbanism Without Density (6-11) ee Gianni Botsford; computer-generated Will McLean Rafi Segal, Els Verbakel fractal patterns; traces regulateurs; two ee Checking Out Kakamigahara Crematorium KK ‘Sprawling, low-density urban volumes; elevation on stilts; tall in Japan; human termini; Aldo Rossi’s environments throughout the world begs engineers; timber frame Rationalist Palais de Death; Hunter S. the question: What constitutes a city?’: KK ‘infusing ‘traditional practices with a Thompson; Professor Hilary J. Grainger; rethinking public space, the ‘challenges technological sophistication that Distressingly Banal: the architecture of and opportunities’ presented enhances rather than sets itself against early British crematoria; death redesigned local conditions’ ee The public and the V2 (12-15) AD+ Article Bruce Robbins AD+ Building Profile Sensible objects for digital environments KK The Blitz: Was World War Two ‘a DSDHA (138-143) (150-153) watershed after which the ideal intact city Helen Castle Valentina Croci and its community were ultimately ee Iliffe Yard; nursery architecture; CABE; ee temporary; interactive installations; destroyed?’ Hoyle Early Years Centre; RIBA award; dotdotdot; Laura Dellamotta; Giovanni British Construction Industry Award; Sure Gardi; Fabrizio Pignoloni; Alessandro Terminal distribution (16-21) Start initiative Masserdotti; involvement of the visitor; Albert Pope KK discovering a ‘practice that thrives on the RFID (radio frequency identification) KK After modernism, for whom are cities heady mixture that educational buildings KK developing ‘interactive installations with a being designed? offer, combining social engagement with participative dynamic’; communicating Public lifestyle in the low-density city complex client needs’ messages ‘through the immediate and (22-27) exclusive involvement of the visitor’ AD+ Practice Profile Alex Wall Good Natured Stuff (144-145) AD+ Userscape KK Could shopping centers be ‘urban sprawl’s Neil Spiller Forming Climatic Change (154-157) redemption?’ ee David Green’s Logplug; John Frazer’s Steve Hardy, Werner Gaiser Evolutionary Architecture; Zoomorphic ee the environments; ecology and design; Dennis Dollens; Cloud 9; Enric sustainability (EES) research cluster; Ruiz Geli; aviaries Brette Steele; Mike Weinstock; Steve KK ‘on nature and what the odd naughty leaf Hardy; Werner Gaiser; environmental has contributed to art and architecture tectonics; BAD over the years’ KK ‘a new series edited by Michael Weinstock … The activities of the units are brought under the spotlight’ Continued p. 20 Q

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Old dispersions and scenes for the Urban voids grounds for change reimagin- Mur Island, Graz, Austria (100-101) production of public space: the construc- ing Philadelphia’s vacant lands (68-73) Vito Acconci tive margins of secondarity (28-33) Deenah Leob KK a cultural center as a ‘missed the Bruno de Meulder ee ‘Cities…can simultaneously experience opportunity to rejuvenate areas of the city KK Belgium as one open city: the ‘logic of this contraction and expansion.’ beyond the historic core’ unbroken urbanscape’ and ‘reinserting Urban [im]plants tactics for recombining Architecture and dispersal (discussion) informal spaces’ landscape and collective space in (102-107) Bonheiden, Belgium (74-79) Water and asphalt: the projection of Rafi Segal, Els Verbakel, Stan Allen, Marcel Els Verbakel, Elie Derman isotropy in the metropolitan region of Smets, Sarah Whiting, Margaret Crawford KK making settlements livable in areas of Venice (34-39) cc‘What constitutes public space in the natural beauty ‘by creating public spaces Paula Viganò contemporary city? Can the public sphere that use the town’s original landscape as KK the Veneto region as ‘an alternative still exist in the urban context? Should the base material.’ definition of the dispersed territory’ public space be fought for by architects User-focused public space (M)UTOPIA in and urban designers? Or… is it the Intermittent cities on waiting spaces and Denmark (80-83) landscape architects alone who have been how to inhabit transforming cities (40-45) Serban Cornea quick to realise the potential of the empty Claudia Faraone, Andrea Sarti KK ‘MUTOPIA’: bringing ‘to public space a spaces in our cities as a ripe terrain for KK the ‘Transient contemporary city’ and strong sense of delight and playfulness, change?’ ‘highly dynamic, ready-made urban culture’ while demonstrating an overriding Reinvigorating childhood (110-113) String block vs superblock patterns of concern with the end user.’ Howard Watson dispersal in China (46-53) Royal Dutch Military Police Campus: Zvi KK the ‘pared down spaces’ and ‘brave, Kjersti Monson Hecker’s landscape urbanism (84-87) graceful subtlety of Caruso St John’s KK the chinese ‘superblock’ as the ‘unit of Rafi Segal redevelopment of the Bethnal Green urban planning’: its raisons d’etre and KK a police campus in a dispersed urban Museum of Childhood in East London.’ better alternatives for market-driven environment ‘with a notion of the urban economies Kieran Timberlake Associates (114-119) that creates a city within a wall’ Jayne Merkel In the our beautiful future (54-57) Ville-Port, Saint-Nazaire The Historic KK building for the 21st century: ‘developing Martha Rosler Periphery (88-93) new materials and ways to save energy … KK a project in ‘imagining alternative publics Manuel de Solá-Morales and fabrication drawn from the to rescue the utopian hopes of modernity’ KK addressing ‘the structural, visual and automobile, aeroplane and shipbuilding Archipelago of the Negev desert: a mnemonic divisions that have grown up industries’ temporal/collective plan for Beer Sheva, over time between a working port and Natural methods of interaction or natural Israel (58-63) seaside resort’ interaction in the everyday digital world Rafi Segal Nam Van Square, Macau (94-99) (120-123) KK creating connectivity in a city of multiple Manuel Vicente Valentina Croci communities without a central core ee ‘a plaza that was able to assimilate the past KK ‘more natural ways for people to interact Peripheral landscapes, El Caracol, Mexico forms of the historic city without with digital environments through City (64-67) absorbing the symbolism of its colonial physical or tactile triggers.’ Jose Castillo history’ KK providing leisure, open space and exchange between communities where ‘unplanned illegal development exists cheek by jowl with developer-driven housing’

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Putting the isquoIrsquo back into architec- Aesthetic evolutionary algorithm for fractal- Design in the Australian taxation office ture (124-125) based user-centered jewelry design (19-39) (55-67) Neil Spiller Somlak Wannarumon, Erik L.J. Bohez and John Body KK the ‘spatial experimentation of the work of Kittinan Annanon Information design for strategic thinking: Charlotte Erckrath’ ee computational aesthetics; evolutionary Health of the System Reports (68-77) art; interactive evolutionary design; Radical interface: AA New Media Research Julian Jenkins iterated function system fractal; jewelry Initiative (126-129) design High-reliability organizations: changing the Joel Newman, Theodore Spyropoulos, Vasilis culture of care in two medical units (78-90) Stroumpakos Prediction of stress in fillet portion of spur Daved van Stralen KK a research initiative that calls for gears using artificial neural networks architecture ‘to abandon its hold on the M.S. Shunmugam and N. Siva Prasad Book reviews: formal qualities of the physical in favour of ee artificial neural network; backpropagation In the bubble: designing in a complex a mode of experience that provides an algorithm; fillet geometry; finite element world. John Thackara interface that fully reflects the way we method; spur gear; Taguchi method inhabit space today’ The design of dissent: socially and Comparing mathematical and heuristic politically driven graphics. Milton Glaser On green design (part 3): the basic approaches for scientific data analysis and Mirko Ilic premises for green design (130-133) Aparna S. Varde, Shuhui Ma, Mohammed Ken Yeang Maniruzzaman, David C. Brown, Elke A. The graphic imperative: international KK ‘the alternatives that are on offer to Rundensteiner and Richard D. SissonJR. posters for peace, social justice and the designers who want to ensure comfortable ee comparative study; computational environment, 1965–2005. Boston: internal conditions in their buildings.’ estimation; heat treating of materials; Massachusetts College of Art, 2005 heuristic methods; mathematical AD+ McLean’s Nuggets (134-135) modeling Will McLean The Design Journal: 10:1 KK The de- and re-materialisation of the art Design Issues: 24:1 Winter 2007 object , ‘Documenta’ Winter 2008 issn: 1460-6925 web link issn: 0747-9360 web link Artificial Intelligence for Diversification, design, strategic planning Engineering Design, Analysis and Introduction: Design and organizational and new product development: a jewelry Manufacturing: 21:4 Design change (2-9) industry knowledge transfer partnership Computing and Cognition Richard Buchanan G. Penfold 2008 ISSN: 0890-0604 Web Link Managing as designing: lessons for Designing the interface between dementia organization leaders from the design patients, caregivers and computer based The routine design–modular distributed practice of Frank O. Gehry (10-25) intervention modeling platform for distributed routine Richard J. Boland, Jr., Fred Collopy, Kalle Gowans et al. design and simulation-based testing of Lyytinen, Youngjin Yoo distributed assemblies (1-18) A case study of a touch based interface for Product development as a vehicle for M. Taner Eskil, Jon Sticklen and Clark in-car audio systems organizational change (26-35) Radcliffe Bjelland et al. Sabine Junginger ee distributed simulation; modular modeling; Student use of virtual and physical off-the-shelf parts; proprietary On the case study method of research and modelling in design development – an information; routine design teaching in design (36-40) experiment in 3D education Maggie Breslin, Richard Buchanan C. Charlesworth ZIBA Design and the FedEx project (41-54) Maggie Breslin

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Review: The (ir)relevance of technology: creating a Congestion & movement: cities, crowds & You have to pay for the public life: selected culture of opportunity by design Chandigarh Essays of Charles Moore. Kevin Keim (ed.) Anthony Pannozzo Michael Chapman and Steffen Lehmann Michael Todd McCulley ee ‘…The biggest contribution to the bottom Sustainable mobility services in Kolkata line is a keen understanding of consumer Design Management Review, 18:4 Sukanta Biswas opportunities coupled with the The State of Design Management management of design and technology to Review: Education innovatively fulfill those opportunities.’ Vital Nourishment: Departing from Fall 2007 Happiness. François Jullien. Arthur issn: 1460-6925 web link The best strategy is the right strategy Goldhammer tr. Zone Books Sohrab Vossoughi Design methodology as a migration from Tony Fry ee achieving consistency through ‘a pyramid analytic methodology of rational steps’ Design Studies, 28:5 Darius Mahdjoubi K Sep. 2007 K ‘…Design’s value lies in its integrative Transforming into Dell 2.0: the customer’s issn: 0142-694x web link perspective.’ strategic role in design innovation Kristina Goodrich Capturing and analysing own design Design strategies for technology adoption cc‘where Dell is headed today as it blends an activity (463-483) Alonzo Canada, Pete Mortensen, Dev Patnaik awareness of marketplace realities with a Owain Pedgley KK a framework for uniting innovation and nuanced assessment of user preferences’ ee design activity; research methods; success in the marketplace industrial design; reflective practice; Visual thinking: a leadership strategy Design value: a framework for practice-led research Mark Dziersk measurement cc‘Dziersk urges designers to communicate Diagnosing the creativity of designers: Thomas L. Lockwood with those responsible for strategy by individual feedback within mass higher KK ten categories on the basis of which taking advantage of their talent for education (485-497) ‘return on investments in design’ can be visualization and storytelling, “languages” Karl K. Jeffries measured that can powerfully convey content…’ ee creativity diagnostics; design education; evaluation; reflective practice Innovation in organizations in crisis What does it mean to be design-led? Todd Cherkasky, Adrian Slobin Michael Beverland and Francis Farrell, Less is more original? (499-512) K K innovation as a disciplined process and KK four qualities with implications for Ann Heylighen, Paula Deisz and Ilse M. the catalysts and capabilities that managers Verstijnen support it ee design process; creative design; Design Philosophy Papers, 3-4 2007 Insights at the nexus of design and ISSN 1448-7136 web link productivity business success Toward a framework of product develop- What is so sustainable about services? the Thomas Walton ment for global markets: a user-value- truth in service & flow based approach (513-533) Managing the evolution of Microsoft’s Carleton B. Christensen Suzan Boztepe hardware business cc‘This paper contrasts the original, ee user-centered design; product adaptation; Andy Cargile commonsense reasoning which makes the cultural factors; user value; ethnography Measuring the future brand effect of idea of a service economy seem plausible graphic design in the first place with the way it has Evaluating spaciousness in static and Gert L. Kootstra typically been elaborated in the literature. ’ dynamic media (535-557) K Arthur E. Stamps II K using five criteria ‘to quantify the brand The existential self as locus of sustainabil- ee spaciousness; virtual reality; simulation impact of specific designs’ ity in design Philippe d’Anjou

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Design Studies, 28:6 Should new products look similar or Information Design Journal, 16:1, Nov. 2007 different The influence of the market 2008 issn: 0142-694x web link environment on strategic product styling Special Issue: Discourse, (30-48) Cognition and Communication The role of design in the development of Oscar Person, Jan Schoormans, Dirk Snelders issn: 0142-5471 web link technology-based services (559-583) and Toni-Matti Karjalainen Marina Candi ee design management; design strategy; The metapragmatics of remediated text e e case studies; design activity; design marketing; product development; styling design practice; innovation; service design Volker J. Eisenlauer and Christian R. Problem analysis and thinking tools: an Hoffmann An underlying cognitive aspect of design empirical study of non-hierarchical mind creativity: Limited Commitment Mode mapping (49-69) Problems in the Field: Instructions on how control strategy (585-604) Vasilije Kokotovich to resolve conflicts in the workplace M.H. Kim, Y.S. Kim, H.S. Lee and J.A. Park ee conceptual design; creativity; design Gillian Harvey KK limited Commitment Mode control cognition; design education; thinking tools Rhetoric in advertising: attitudes towards strategy; creative design; design cognition; verbo-pictorial rhetorical figures design processes; protocol analysis Investigating the cognitive behavior of generating idea sketches through neural Renske van Enschot, Hans Hoeken and Banking on social capital: towards social network systems (70-92) Margot van Mulken connectedness in distributed engineering Yinghsiu Huang Research challenges: research challenges in design teams (605-622) ee drawings; computer supported design; narrative persuasion Andreas Larsson visual reasoning; neural network Melanie C. Green ee collaborative design; distributed design; engineering design; teamwork; know-who Information Design Journal, 15:3 User centred information design practices 2007 and processes at the Australian taxation The development of a design behaviour Special Issue: Discourse, office questionnaire for multidisciplinary teams Cognition and Communication Nigel Martin, Shirley Gregor and John Rice (623-643) issn: 0142-5471 web link Miranda A.G. Peeters, Harrie F.J.M. van Tuijl, Review: Isabelle M.M.J. Reymen and Christel G. Rutte Discourse cohesion in text and tutorial Flow: the psychology of optimal experience. ee design behaviour; teamwork; dialogue Mihalyi Csikszentmihalyi questionnaire; engineering design Arthur C. Graesser, Moongee Jeon, Yan Yan, Dev Kumar Bose Zhiqiang Cai Design Studies, 29:1 Review: Jan. 2008 Problems in the Field The Cambridge handbook of multimedia issn: 0142-694x web link Linguistics markers of coherence improve learning. Richard E. Mayer (ed.) text comprehension in functional contexts Caroline Pelletier Design research: a revolution-waiting-to- Ted Sanders, Jentine Land, Gerben Mulder happen (4-11) Business discourse Francesca Bargiela- Kees Dorst Interview Chiappini, Catherine Nickerson, Brigitte Using structural cues to guide readers on Planken. in research and practice in applied User evaluation of HCI concepts for the internet defining product form (12-29) linguistics. Christopher N. Candlin and Jan Spyridakis, Kathryn A. Mobrand, Elisabeth David R. Hall (eds). Bahar Sener and Paul Wormald Cuddihy, Carolyn Y. Wei ee design management; design strategy; Kaija Pelsmaekers marketing; product development; styling Research Challenges Reading aloud and the delay of feedback: explanations for the effectiveness of reader protocols Leo Lentz, Henk Pander Maat

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International Journal of Art and Creating new identities in design education KK ‘Three accounts of dissertation research Design Education (308-313) are given that incorporate studio activity 26:3, Oct. 2007 Hannah Rose Mendoza, Claudia Bernasconi, as a central agency of inquiry in issn: 1476-8062 0260-9991 web link Nora M. MacDonald conceptualising and theorising issues.’ ee graphic arts; interior decoration; Navigating a way through plurality and Winter art education project (238-250) landscape architecture; students; fashion social responsibility (19-26) Timo Jokela design; design – study & teaching ee art– study & teaching; art teachers; David A. Gall community arts projects; artists & Visual art as a vehicle for educational ee cultural identity; multicultural education; community; European Union research (314-324) teaching methods; diversity in education; Richard Hickman art in education Electronic paint: understanding children’s ee art– study & teaching; art students; rts; A (con)text for new discourse as semiotic representation through their interactions education – research; learning; teaching with Digital Paint (251-263) praxis (27-42) John Matthews, Peter Seow The evaluation of community arts projects Marie Fulkova; Teresa M. Tipton ee artists’ materials; children; painting; and the problems with social impact ee art; modern– 21st century educational digital art; programming software methodology (325-335) technology; art– study & teaching; Paul Clements research; art teachers; digital media; Artists becoming teachers: expressions of ee art – study & teaching; social problems; congresses identity transformation in a virtual forum community arts projects; artists & From obstacle to growth: Dewey’s legacy of (264-273) community; social impact Adams, Jeff experience-based art education (43-52) ee art – study & teaching; art students; art Can the process of transition for incoming Eva Van Moer; Tom De Mette; Willem Elias teachers; artists; identity (psychology); secondary pupils be supported through a ee critical thinking; museum visitors; design – study & teaching creative art project? (336-344) museums – educational aspects; visual Lyn Matthews education; people: John Dewey – views on Towards a theory that links experience in ee art – study & teaching; education – education the arts with the acquisition of knowledge curricula; school children; self-esteem (274-284) A visual culture art education curriculum Ylva Dahlman Black History Month and African Caribbean for early childhood teacher education: ee education – curricula; design– study & student learning in art (345-353) re-constructing the family album (53-62) teaching; graphic arts– study Paul Dash Laura Traf KK teaching; John Dewey, Charles Peirce; ee African Americans – history; art – study & ee art – study & teaching; research; curricu- Michael Polanyi teaching; African American history month; lum planning; art teachers – training of; design– study & teaching nostalgia in art; teaches – psychology Aesthetics; popular visual culture, and designer capitalism (285-295) Gestalt: a learning theory for graphic Duncum, Paul International Journal of Art and design education (63-69) ee aesthetics; art– study & teaching; Design Education Ian Jackson capitalism; dolls; consumer goods; 27:1, Feb. 2008 ee experiential learning; gestalt psychology; everyday life issn: 1476-8062 0260-9991 web link graphic arts – study & teaching; design – study & teaching; learning ability A Stitch in time: gender issues explored The necessity of studio art as a site and through contemporary textiles practice in a source for dissertation research (4-18) sixth form college (296-307) Kristin Baxter, Hugo Ortega López, Dan Serig, Hyde, Wendy Graeme Sullivan ee art – study & teaching; art students art ee art – study & teaching; research; art – teachers; artists; art– modern– 21st provenance; art – philosophy; artists’ century studios; art – research

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The use of projective drawings to deter- Effects of visual-auditory incongruity on KK an empirical study of ‘distinctive modes of mine visual themes in young Kuwaiti product expression and surprise teaching and learning’, assessing women impacted by the Iraqi invasion Geke D.S. Ludden , Hendrik N.J. Schifferstein ‘practicum pedagogy in promoting design (70-82) KK ‘how sounds contribute to the overall understanding and the professional Yvonne Pepin-Wakefield experience of a product’s expression’ preparation of students’ ee art therapy; research; art – themes; Materials in products selection: tools for motives; projective techniques; psychic including user-Interaction in materials The use of design practice to teach trauma; women artists – study & teaching selection mathematics and science (19-44) Craft-Art as a Basis for Human Activity lse van Kesteren , Pieter Jan Stappers , Sjef de Stephen John Norton (83-90) Bruijn ee technology practice; design; mathematics Seija Karppinen KK ‘defining the sensorial properties of and science learning; perceptions ee art – study & teaching; research; materials required to create a desired KK using ‘technology and design practice …to education; humanistic; art – philosophy; user-interaction with the product’ integrate the study of mathematics so multicultural education – activity students could produce and explain a Path-dependent foundation of global programs; handicraft – study & teaching useful artifact’ design-driven outdoor trade in the The intertextual method for art education northwest of England The locating of emotion within a creative, applied in Japanese paper theatre –a study Mary B Rose , Terence Love , Mike Parsons learning and product orientated design and on discovering intercultural differences KK an exploration of ‘path dependency in the technology experience: person, process, (p91-104) design-based outdoor clothing and product (45-57) Martina Paatela-Nieminen equipment sector in the northwest of the David Spendlove ee multicultural education; art – study & United Kingdom in the 1960s’ ee creativity; learning; emotion; person; teaching culture in art; kamishibai in process; product Unstated contributions – how artistic education; Japanese paper KK locating emotion across the triad of Inquiry can inform interdisciplinary ‘Person, Process and Product’; ‘meta- Review: research theorising the place of emotion within a Making a difference: global citizenship in Chris Rust creative, learning and product orientated initial teacher training (book). B. Baughen, M. KK oversight of ‘how research in the creative design and technology experience’ Baughen, M. Glackin, G. Hopper, S. Inman disciplines might contribute to knowledge and understanding’.…‘how incomplete or The contribution of project-based-learning International Journal of Design tacit contributions to inquiry can be a to high-achievers’ acquisition of techno- 1:2, Aug. 2007 issn: 1991-3761 web link valuable and sometimes necessary part of logical knowledge and skills (59-77) the enterprise of creating knowledge’ David Mioduser, Nadav Betzer Fluency as an experiential quality in ee project-based learning; design learning; International Journal of augmented spaces design styles; technological knowledge; Technology and Design Education Jonas Löwgren high-achievers 18:1, Jan. 2008 KK ‘Interaction design would benefit from issn: 0957-7572 web link KK using ‘Project-Based-Learning (PBL), as attempts to articulate experiential pedagogical means for supporting the qualities of digital products and services.’ Metaphor and pedagogy in the design students’ knowledge acquisition and practicum (1-17) Towards female preferences in design – problem-solving process’ Cheri Logan a pilot study ee practicum pedagogy; metaphor; graphic Lishan Xue , Ching Chiuan Yen design; learning discourse; design KK an investigation of ‘gender perception as knowledge it relates to product language, identity, and preferences’

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The technology fair: a project-based Reverse engineering of aesthetic products: Optimisation of a bow riser using the learning approach for enhancing problem Use of hand-made sketches for the design autogenetic design theory (525-540) solving skills and interest in design and intent formalization (413-435) S. Vajna, J. Edelmann-Nusser, K. Kittel, A. technology education (79-100) M. Mengoni, M. Germani, F. Mandorli Jordan Alexandros C. Mettas, Constantinos C. ee reverse engineering; design intent; Journal of Engineering design Constantinou character lines; hand-made sketches; e 19:1, 2007 e decision-making; hands-on activities; cognitive perspective issn: 0954-4828 web link problem-solving; science fair; technology Principal component and Voronoi skeleton fair; university–school partnership A comparative study on quality design of alternatives for curve reconstruction from KK using test data and reflective diaries to fixture planning for sheet metal assembly noisy point sets (437-457) assess technology fairs in ‘the (1-3) O. Ruiz, C. Vanegas, C. Cadavid development of positive values and Bing Li, Ying Hu, Hui Tang,Hongjian Yu,Hong ee curve reconstruction; surface attitudes in technology education’ Hu reconstruction; unorganised points; range ee fixture planning; sheet metal assembly; Rehearsal of professional practice: impacts imaging; principal component analysis; quality design of web-based collaborative learning on the Delaunay triangulation; Voronoi skeleton future encounter of different disciplines Analytic network process-based model for Repairing triangle meshes built from (101-117) selecting an optimal product design scanned point cloud (459-473) Ahmet Fatih Karakaya, Burcu Senyapılı solution with zero-one goal programming J-P. Pernot, G. Moraru, P. Véron ee architecture; design communication; (15-44) ee reverse engineering; integrated design; interdisciplinary collaboration; interior Wan-Li Wei,Wen-Chih Chang geometric modelling; holes in meshes; architecture; web-based collaborative ee new product development; product triangle mesh deformation; approximated learning design solution; Fuzzy Delphi method; curvature variation minimization; shape KK a case study of web-based collaborative analytic network process; zero-one goal manipulations learning in design education and bringing programming ‘different disciplines …together’ Case Study - surface reconstruction from Rapid preliminary helmet shell design point clouds for prosthesis production Journal of Engineering design based on three-dimensional anthropomet- (475-488) 18:6, 2007 ric head data (45-54) N. Vukainovi, T. Kolek, J. Duhovnik issn: 0954-4828 web link Hong Liu, Zhizhong Li, Li Zheng ee 3D scanner; reverse engineering; surface ee helmet design; 3D anthropometry; Computational methods to support reconstruction; surface registration; rapid computer-aided design sketching, reverse engineering, and prototyping; medical prosthesis optimization of shapes (391-394) Analysis of marginal cost of durability and A new framework for the definition and Editorial cost per day: a first step towards a rational recognition of free form features (489-504) choice of durability (55-74) Semantic-based operators to support car T. R. Langerak, J. S. M. Vergeest Joseph H. Saleh sketching (395-41) ee feature recognition; free form feature; ee durability; design life time; marginal cost; V. Cheutet, C. E. Catalano, F. Giannini, M. template matching; feature definition cost per day; satellite design Monti, B. Falcidieno, J. C. Leon Shape optimisation of parts in dynamic ee aesthetic design; semantic-based Covariance structural models of the mechanical systems with respect to fatigue modelling; shape grammar; two- relationship between the design and (505-523) dimensional sketches; ontology customer domains (75-95) P. Häussler, A. Albers Marin Guenov ee shape optimisation; fatigue analysis; ee covariance structural equation models; ultibody systems axiomatic design; quality engineering; requirements engineering

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