| 1. |
- Ehrnberger, Karin, et al.
(författare)
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Becoming the Energy AWARE Clock : Revisiting the Design Process Through a Feminist Gaze
- 2013
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Ingår i: Experiments in Design Research. - Köpenhamn : The Royal Danish Academy of Fine Arts, Schools Architecture, Design and Conservation. - 9788778303165 ; 5
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Konferensbidrag (refereegranskat)abstract
- This paper explores the border between technology and design (form giving) from a feminist perspective. Looking at the energy system and how it has been integrated in the household, we want to address the underlying structures that have been built into the ecology of electrical appliances used in daily life, preserving certain norms that could be questioned from both a gender and a sustainability perspective. We have created an alternative electricity meter, the Energy AWARE Clock, addressing design issues uncovered in an initial field study. In this paper, we will make parallels to these issues. We also use feminist technoscience studies scholar Donna Haraway’s theory of the cyborg in order to clarify useful concepts that can be derived from feminist theory and that can act as important tools for designers engaged in creative processes. From our own experience with the Energy AWARE Clock this approach has great potential for questioning and rethinking present norms within sustainability and gender, from the viewpoints of design research and design practice.
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| 2. |
- Fridh, Kristina, 1961
(författare)
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The Uncompleted Materiality of the Void
- 2013
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Ingår i: The Reader, Umeå, Umeå School of Architecture, "Rethinking the Social in Architecture", conference 6–8 February 2013. ; , s. 77-79
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In different traditional Japanese works of art “the Void” [ku], which is connected to Zen Buddhism, is central. The void is given a changeable shape in the Noh theatre, ink paintings, landscape gardening and architecture, among other things. In crafts, for example, the glazing of the tea bowls in ceramics used in the Japanese tea ceremony has crackled and the shape is often asymmetrical, non-perfect. Here a “hidden beauty” is expressed, something incomplete, and the observer is involved, fills in himself and completes the form. The incomplete evokes a subjective experience of beauty, and the phenomenon has created several Japanese aesthetic notions and concepts of beauty, such as shibui and yugen. This “non-perfect” creates a relation to materials – the involvement of a perceiving subject forms a link between subject and object that dissolves the borders between them and this link is the material and the materiality. Several contemporary Japanese architects are influenced by these ideas from tradition, among others Kengo Kuma and Toyo Ito. Kuma stretches and examines the boundaries for the materiality of materials to create new contexts in unexpected applications of materials, which causes surprising, haptic experiences. Through the stage-setting of this experience of ”non-perfection”, a mental process is started, which connects to the way in Japanese tradition to conceive space as a procedural, changeable experience connected to a perceiving subject – a subjective sense of space. Space is a mental experience, not an object, and in several articles and publications, Kengo Kuma has expressed his aim of forming what he calls “anti-objects”. He has started the Kengo Kuma Laboratory in the University of Tokyo, Department of Architecture, and in the studio, students, doctoral students, researchers and practitioners meet to experiment with materials and evaluate the results of research. In the work of Toyo Ito, architecture and engineering meet. Ito wants to create another relation to materiality than in Modernism. He challenges the materiality of materials in a similar way like Kengo Kuma by designing buildings in collaboration with engineers, among others Mutsuro Sasaki. He experiments with materials, their load and span capacity and structurally. Ito wants to liberate buildings from rigid grids and modular systems and inject materiality to form spatial flow and enhance the physical experience of space and the sensuous connections to material and materiality. Visually, Ito’s and Kuma’s architecture differ by the choice of materials; Ito chooses materials like concrete and glass which is associated with industrial production and Kuma prefers materials connected to craft. However, the point of departure is the same, to use stage-setting as a tool in the design work. Unexpected, incomplete experiences and perceptions are evoked through the materials and links are created between human being and building and this starts a procedural experience of space and materiality. Ito, as well as Kuma, connects to the Japanese tradition where space is a mental, changeable process, and the point of departure for changeability is that there is something incomplete, a void, enclosed in the experience.
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| 3. |
- Homlong, Siri
(författare)
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Like or dislike : aesthetic judgements on textile patterns
- 2013
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Ingår i: Proceedings from the 2nd International Conference for Design Education Researchers, 14-17 May 2013, Oslo, Norway. - 9788293298007 ; , s. 731-742
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Konferensbidrag (refereegranskat)abstract
- In different areas of handicraft and textile production, teachers, researchers, purchasers and others have to judge products based on different factors such as function, aesthetics, taste and so on. The whole process of designing – from ideas and visions to finished product – includes aesthetic judgements: In the first planning phase, several sketches are made that can later be changed, adjusted and further developed. When a product is finished, further judgements are needed: designers and artisans evaluate the result of their efforts, teachers judge the works of pupils or students and purchasers or consumers judge the suitability of the textile based on their particular needs. Because different persons make different choices when making or buying a textile product, it is interesting to study people’s experiences of fabrics as well as their reasons for making certain aesthetic judgments. This article presents a study of judgments and values expressed when designed printed fabrics were displayed for designers, teachers of textile crafts, consumers and schoolchildren. The present study shows that subjects make their judgements on the basis of formal, functional, cultural and emotional contents. These aspects should therefore be in focus in design work and design education.
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| 4. |
- Klarén, Ulf, 1944-
(författare)
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Catching the Aesthetic Dimension: On Aesthetic Experience of Colour and Light
- 2013
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Ingår i: AIC Colour 2013 12th Congress of the International Colour Association 8-12 July, 2013 Newcastle upon Tyne, UK, Proceedings.. - Newcastle: 2013 The Colour Group (Great Britain) www.colour.org.uk. - 9780901623027 ; , s. 989-992
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Konferensbidrag (refereegranskat)abstract
- This paper springs from a project about concept formation in the field of colour and light. It is based on own reflections and on scientific and scholarly references. It is an attempt to describe a conceptual approach to aesthetic experiences of colour and light relating them to different levels of experience: categorical perception, direct experience and indirect – cultural – experience. Art and design have a special and complex relation to the different levels of experience. Artistic works can serve as ”models” or “examples” – indirect experiences – for how we may attend to light and colour in our direct approach to the world. They are also, as appearances, direct experiences. The emotional content we can experience in a piece of art or a designed object is symbolic in a special way; perceptual patterns of colour, light and form, abstracted from their normal context in life, can be used as symbols for felt life in pieces of art and in designed objects. What we are used to calling formal aesthetics belongs primarily to the categorical – basic – perception. Adopting a reflective attitude we consciously attend to this perceptual process of understanding and open up for reflection on experiences as such.
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| 5. |
- Klarén, Ulf, 1944-, et al.
(författare)
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Colour and Light in Design : - Levels of experiencing colour and light
- 2013
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Ingår i: Proceedings from the 2nd International Conference for Design Education Researchers, 14-17 May 2013, Oslo, Norway. - 9788293298007 ; , s. 743-752
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Konferensbidrag (refereegranskat)abstract
- : In our designed culture, every environment, object and picture is analyzed from the viewpoint of colour and light. Colour and light play an important role in social life and culture. This paper springs from an epistemological project about concept formation in the field of colour and light. Based on own observations and scientific and scholarly references it presents a graphic model describing possible constituent relations between colour and light experiences. Design is the art of using knowledge – implicit or explicit – about how humans perceive, experience, and relate to the world around. In design all senses are involved, but when dealing with colour and light we can confine ourselves to vision; designers must understand the conditions of visual perception. Human experience of colour and light has many sources; the given cultural context (conventional meanings of colour and light), the direct experience of the world around (colour and light expressions) and the basic perceptual functions (formal aspects of colour and light). There is need for distinct concepts and concise approaches to understand coherence of aesthetic and functional expressions. Design education calls for coherent and well defined structures that can be used to describe connections and distinctions between experiences of different kinds.
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| 6. |
- Lindstrand, Fredrik, 1973-
(författare)
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Competent Toddlers : A Study of Engagement, Social Interaction and Meaning Making In Front Of The TV Screen
- 2013
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Konferensbidrag (refereegranskat)abstract
- Based on the results from a Swedish research project, this paper investigates young children's meaning-making in relation to moving images in a preschool context. The specific focus of the paper is to look at if – and how – two year-old children can be said to make meaning during the screening of a series of short animated films at their preschools. What kind of meanings are made and how are they communicated by the children? How do the films become resources for childrens meaning making and to what extent can social interaction with peers and preschool teachers be said to influence childrens meaning making during the screening of the films? The results presented are based on analyses of both interaction in front of the TV screen and of the animated films.The theoretical framework is based on a social semiotic (Hodge & Kress, 1988; Kress, 2003; van Leeuwen, 2005) and multimodal (Kress & van Leeuwen, 2001; Jewitt, 2009) approach, which implies a view of communication and representation as a social process of signmaking. Both theories are united in a common interest in understanding how people communicate and make meanings with a wide range of resources, or modes. Semiotic resources are used both to produce and interpret texts, in the same way as signs are made both externally and internally. The analyses of both interaction and of the animated films were guided by the theoretical assumptiom that all texts simultaneously construct different types of meanings through three metafunctions (Jewitt & Oyama, 2001; Iedema, 2001; van Leeuwen, 2005). They represent some aspect of the world (the ideational metafunction); represent and construct relations between represented and interactive participants (the interpersonal metafunction); and are organised as coherent texts (the textual metafunction). Meanings are made through the use of various modes in relation to these different aspects.The project included studies at eight preschools spread over three Swedish municipalities. Approximately 150 children in the ages from two to four participated in the project. They watched the films in groups of four to six children. Nine screenings were recorded with video camera and mp3 recorders. All video material was transcribed multimodally and analysed by means of the social semiotic and multimodal framework presented above. Aspects that were attended to specifically in the transcriptions included verbal interaction, gaze/eye movements, gestures, posture, mimics and motions. Apart from the filmed material, interviews were made with children, parents and preschool teachers. The role of the interviews was to construct a background in terms of how moving images were used in the preschools and how familiar the children were with different kinds of media etc. Accordingly, interviews were transcribed more thematically than the video material.The paper shows that the children indeed make meaning in relation to the fillms and that they make a number of forms of meaning during the screenings. The meanings are made in different modes and are influenced by a number of factors, such as the social interaction with peers and preschool teachers, whether or not the stories are familiar to the children from before, and the childrens previous experiences of moving images . The paper also shows that the young children are highly competent in practicing literacy skills during the screenings, exemplified by their expertise in interpreting various aspects related to film languageReferencesBanks, Marcus (2001): Visual Methods in Social Research. London: SAGE Publications.Hodge, Robert & Kress, Gunther (1988): Social semiotics. Ithaca, New York: Cornell University Press.Iedema, Rick (2001): “Analysing film and television: a social semiotic account of Hospital: an Unhealthy Business”. In Van Leeuwen, Theo & Jewitt, Carey (red): Handbook of Visual Analysis. London: SAGE Publications. P 183-206.Jewitt, Carey (ed.)(2009): The Routledge Handbook of Multimodal Analysis. London & New York: Routledge.Jewitt, Carey & Kress, Gunther (eds)(2003): Multimodal literacy. London: Routledge. Jewitt, Carey & Oyama, Rumiko (2001): “Visual meaning: a social semiotic approach”. In van Leeuwen, Theo & Jewitt, Carey (eds): Handbook of Visual Analysis. London: SAGE Publications. P 134-156Kress, Gunther (1993): “Against arbitrariness: the social production of the sign as a foundational issue in critical discourse analysis”. In Discourse & society, vol 4(2). P 169-191.Kress, Gunther (1997). Before writing. Rethinking the paths to literacy. London: Routledge.Kress, Gunther (2003): Literacy in the New Media Age. London: Routledge.Kress, Gunther; Jewitt, Carey; Ogborn, Jon; Tsatsarelis, Charalampos (2001): Multimodal Teaching and Learning. The Rhetorics of the Science Classroom. London: Continuum.Kress, Gunther & van Leeuwen, Theo (2001): Multimodal Discourse. The modes and media of contemporary communication. London: Arnold.Lindstrand, Fredrik (2006) Att göra skillnad. Representation, identitet och lärande i ungdomars arbete och berättande med film. Doctoral thesis. Stockholm: HLS Förlag.Lindstrand, Fredrik (1998) "Snuttefilm i förskolan - en studie av engagemang och meningsskapande". In Rönnberg, M. (ed.): Blöjbarnsteve. Uppsala: Filmförlaget.Van Leeuwen, T. (2005) Introducing social semiotics. London & New York: Routledge.
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| 7. |
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| 8. |
- Mazé, Ramia
(författare)
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Design Practices and the Micropolitics of Sustainability
- 2013
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Ingår i: Proceedings of Architecture in Effect. Rethinking The Social in Architecture.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Sustainable development involves multiple discourses and practices at multiple levels in society, in which there are competing and conflicting formulations of what constitutes ‘sustainability.’ Sustainability involves struggles around definitions and priorities, among those maintaining or gaining influence, struggles set within a pluricentric society in which interests are often in competition at a time of rapid globalization, conflicts over diminishing resources, and rising risk factors. These struggles trickle down into policies, regulations, taxes – and designs – which embody particular discourses, ideals and priorities, implying profound changes to how we live and how we live together. Sustainable development, on a variety of levels, is and essentially, a matter of the political. Design is increasingly taking on roles in sustainable development – and, thus, in its politics. At the macropolitical level, design may be commissioned for the UN Environment Program, a Green Party, or grassroots political action; by companies implementing corporate social responsibility, product developers applying environmental certification standards, or cities implementing Rio Local Agenda programs. Micropolitical roles of design, the focus here, involve instituting discourses and practices of sustainability deeply in the everyday life of consumers and citizens. Embedded in the intimate spaces and embodied routines of everyday life, design mediates access to and control over resources, and it shapes how people identify and comply with particular ideals and ways of living. Here, I evoke two general areas in which the design role is growing – ‘sustainable consumption’ and ‘sustainable communities’. In these roles, design is engaged in mediating how and by whom resources are accessed and controlled, and which or whose interests are made visible in sustainable development. In reducing domestic energy consumption and steering sustainable processes in communities, profound changes to the social organization of everyday life are at stake. Just as sustainable development is a political matter, so is design.
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| 9. |
- Mazé, Ramia
(författare)
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Socio-Ecological Innovation : Cases of sustainable urban development and design
- 2013
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Ingår i: Proceedings of the ERSCP-EMSU Conference (Istanbul, Turkey, Jun)..
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Recent decades have seen a significant shift in how profound and intractable problems such as poverty, disease, violence or environmental deterioration are handled. While such problems have traditionally been handled through national social and spatial policies in European welfare states such as Sweden, there has been a substantial redistribution to the market, regions and communities. This is embodied in the term ‘social innovation’, which marks a critical shift in how, where, and by whom societal problems are handled. Practices of social innovation involve a reconfiguration of relations between the state and citizens, relations that are may be (co-)produced in ways that are regionally, socially, and spatially specific. This paper (in the short form of ‘preliminary findings’) explores the ‘how’ of social innovation through three case studies concerning urban resources issues such as food, water, waste and land use. Building on arguments that design has become central to the (co-)production of social innovation, I examine the role of designers and design artifacts in framing and staging (co-)production within households, neighborhoods and civic arenas. Locating social innovation as the reconfiguration of society from within, I discuss these as examples through which wider social practices and systems, beliefs and authority, may be profoundly altered.
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| 10. |
- Sandberg, Fredrik, et al.
(författare)
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The struggles of co-creation : The highs and lows of involving stakeholders into the service design process
- 2013
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Ingår i: Collaborative Systems for Reindustrialization. - Berlin, Heidelberg : Springer Berlin Heidelberg. - 9783642405426 - 9783642405433 ; , s. 415-422
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Konferensbidrag (refereegranskat)abstract
- This paper presents our experiences from a research project on how to co-develop new methods for idea generation within a service design practice. As an example the paper describes how service designers used two visual inquiry methods together with customers and employees in different service situations. The results show that that there is great potential in developing methods for co-design work based on design approaches. This project relies on a mindset where materials of different kinds, that can be organized and reorganized in different ways are used. This supports a way of creating knowledge that facilitates production of other results than the purely verbal. We have also realized that it requires a great amount of work to achieve a great result.
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