| 1. |
- Göransdotter, Maria, 1968-
(författare)
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Transitional design histories
- 2020
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Design practices are to a large degree conceptually and methodologically based in ways of designing rooted in the 20th century. Some of the challenges that arise in contemporary design stem from an unawareness of design’s historicity, and the discrepancies between what design methods and concepts once were made to handle, and what we presently try to apply them to. This historicity of design, embedded in its methods, tools, and thinking, shape and limit what is possible to do in design. Unless we actively deal with the historicity of design’s central concepts, we risk inadvertently reproducing and reinforcing past norms and values in outcomes as well as in practices of design. Bringing history more actively into design can reframe the spaces in which to explore possibilities for how to go about designing differently.The program of transitional design histories presented in this thesis is formulated on the proposal that the historicity of designing should be made more present in design to support developing approaches and methods for responding to contemporary issues of complexity and sustainment. Design histories therefore need to work differently, taking an outlook in design practices rather than in design outcomes. I propose a methodology for making design histories as prototypes, combining a programmatic approach from practice-based design research with research methods in history that focus on analysing concepts and ideas. These transitional design histories do not provide solid foundations for, or explanations of, what design is or has been. Instead, they aim to make conceptual moves that support developing design practices capable of engaging with a complex ‘now’ and with uncertain futures. The aim is to support making conceptual moves through using historical perspectives in exploring if it would be possible to see, think, and do design in other ways. By shifting the outlook of design history from product to process – from things to thinking – an ambition is to sketch the contexts in which foundational concepts and central methods in design once came about. This shift of position can provide a provisional and propositional scaffolding that activates an awareness of how – and why – the ways we design have been formed over time.How transitional design histories could be made is here prototyped in three examples that take a starting point in concepts and themes central to Scandinavian user-centred and participatory design. As prototypes, these histories are constructed in slightly different ways, and aim to explore partially different aspects of mechanisms of design history and designing in relation to each other. The first prototype focuses on the concept of ‘participation’ related to turn-of-the century 1900 ideas, in the writings of Ellen Key. The second revolves around the concepts of use and users, more specifically the relationship between designed ideal or intended uses, in investigations of ‘dwelling habits’ in 1940s Sweden. The third prototype works with methods development in user-centered and participatory design, through examples of research into everyday domestic work carried out at the Hemmens forskningsinstitut (Home Research Institute) in the 1940s.
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| 2. |
- Auricchio, Valentina, et al.
(författare)
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Mapping Design Methods : A Reflection on Design Histories for Contemporary Design Practices
- 2021
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Ingår i: AIS/Design. - Milano. - 2281-7603. ; 8:15, s. 132-146
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Tidskriftsartikel (refereegranskat)abstract
- This article outlines a direction for a research endeavour bringing togetherdesign research and design historical research from a perspective of contem-porary design methods. There is a need to probe and question the historiesand geographies of design’s methods, to explore how they could contribute toexpanding conceptual foundations and develop new ways of designing.We are proposing a programmatic framework that brings design methods tothe attention of design history, and to historicity of design in design prac-tices, by sketching a map, a geography in time, to move toward a deeperunderstanding of the evolution of methods linked to the specific cultures andcontexts from which they emerge. It is a starting point for a wider researchproject, an example bringing design historical and design methodologicalresearch agendas closer to each other. Starting from interviews with Italiandesigners we highlight the need for a deeper and continued investigation intodesign histories of design methods.
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| 3. |
- Larsen, Henrik Svarrer, 1962-
(författare)
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Tangible participation : engaging designs and design engagements in pedagogical praxes
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation contributes to three fields within design research:- Explorations of a design space related to aesthetics of Tangible Interaction, which have led to a set of design imaginations as well as perspectives on salient design qualities.- Views on and a designerly example of knowledge construction related to Research through Design as well as to programmatic approaches to design research.- Rich and reflected examples of how to co-develop design and pedagogy in the field of profound disabilities.Through the programme Tangible Participation the research seeks and expresses alternatives by critical questioning and imaginations of change. Such alternatives are articu¬lated in a set of designs making the possible present.These designs have been part of collaborative question¬ing and imaginations in a long-term engagement with pedagogical praxes. Through this engagement, design and pedagogy have co-developed; and from this, the programme has matured and collaborative ways of criticality has been developed.The matured programme presented in this dissertation entails seven designs built and used in the pedagogical praxes as well as evolved framings able to generatively address a design space: a tangible interaction designer’s palette, a sensuous perspective, a compositional principle and potentials of tangibles for participation.
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| 4. |
- Dervishaj, Arlind
(författare)
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From Sustainability to Regeneration : a digital framework with BIM and computational design methods
- 2023
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Ingår i: Architecture, Structures and Construction. - : Springer Nature. - 2730-9886 .- 2730-9894. ; 3:3, s. 315-336
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Tidskriftsartikel (refereegranskat)abstract
- Design methods, frameworks, and green building certifications have been developed to create a sustainable built environment. Despite sustainability advancements, urgent action remains necessary due to climate change and the high impact of the built environment. Regenerative Design represents a shift from current practices focused on reducing environmental impacts, as it aims to generate positive effects on both human and natural systems. Although digital design methods are commonly employed in sustainable design practice and research, there is presently no established framework to guide a digital regenerative design process. This study provides an analysis of existing literature on regenerative design and digital design methods and presents a framework based on building information modelling (BIM) methodology and computational design methods, that can be applied to both urban and building design. This framework identifies digital tools and organizes indicators based on the pillars of climate, people, and nature for regenerative design, drawing upon a comprehensive analysis of literature, including standards, sustainability frameworks and research studies. The framework is illustrated through a case study evaluation. The paper also highlights the potential and limitations of digital methods concerning regenerative design and suggests possibilities for future expansion by incorporating additional quantifiable indicators that reflect research developments, to achieve positive outcomes.
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| 5. |
- Nygaard Ege, Daniel, et al.
(författare)
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VIRTUALLY HOSTED HACKATHONS FOR DESIGN RESEARCH : LESSONS LEARNED FROM THE INTERNATIONAL DESIGN ENGINEERING ANNUAL (IDEA) CHALLENGE 2022
- 2023
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Ingår i: Proceedings of the Design Society. - : Cambridge University Press. ; , s. 3811-3820
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Konferensbidrag (refereegranskat)abstract
- The International Design Engineering Annual (IDEA) Challenge is a virtually hosted hackathon for Engineering Design researchers with aims of: i) generating open access datasets; ii) fostering community between researchers; and, iii) applying great design minds to develop solutions to real design problems. This paper presents the 2022 IDEA challenge and elements of the captured dataset with the aim of providing insights into prototyping behaviours at virtually hosted hackathons, comparing it with the 2021 challenge dataset and providing reflections and learnings from two years of running the challenge. The dataset is shown to provide valuable insights into how designers spend their time at hackathon events and how, why and when prototypes are used during their design processes. The dataset also corroborates the findings from the 2021 dataset, demonstrating the complementarity of physical and sketch prototypes. With this paper, we also invite the wider community to contribute to the IDEA Challenge in future years, either as participants or in using the platform to run their own design studies. © The Author(s), 2023. Published by Cambridge University Press.
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| 6. |
- Rosenbak, Søren, 1987-
(författare)
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The science of imagining solutions : design becoming conscious of itself through design
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation addresses a paradox in design: we currently live in a day and age that is fundamentally conditioned by artifice on all scales, and principled by a deep sense of contingency and possibility. In this world, anything could always be something else. Design is a discipline uniquely capable of configuring artifice, instantiating it into a stream of different design artefacts that we are able to interact with. Beyond the comfort, joy and meaning these artefacts might bring to our lives, design in this way uniquely captures and shows forth possibility, not only on the scale of individual products, services etc., but also on the level of the artificial, in other words speaking directly to our contemporary human existence, to the sense of possibility as such.We can say that—distinct from other disciplines—design contributes knowledge through this very practice of possibilizing. Strangely, design displays a curious lack of consciousness of itself with respect to this unique capability, preferring to instead put its growing array of design methods and design thinking tool kits to use in the latest problem areas, thereby implicitly affirming the lack of any distinct knowledge contribution at its core. With a commitment to reverse this dynamic by exploring this very capability, this dissertation concerns the prototyping of a pataphysically infused design practice, as a way of making design more conscious of itself.Pataphysics, articulated by the poet Alfred Jarry at the turn of the 20th century Paris, and popularly referred to as ‘the science of imaginary solutions’, is a notoriously slippery substance, successfully eluding academic autopsy, let alone categorisation or definition. While critical design practice has extensively adopted methods and tactics from the avant-garde movements following and drawing on pataphysics—such as dadaism, surrealism and situationism—this dissertation seeks to rectify this incomplete lineage, by bringing out the timeless pataphysical impulse in design. This process of bringing out the pataphysical impulse, is what I discuss as an ‘infusion’ of pataphysics into my research practice.The research practice consists of a series of five different projects, carried out in the methodological tradition of research through design, where I explore pataphysics as a possible conceptual foundation for design. In each of the projects, design’s capability to possibilize, is brought out just beyond the edge of design’s disciplinary domain, making a self-conscious foray into contemporary problem areas: printmaking (Workcentre 7120), global mass surveillance (Meta(data) morphosis), smart cities (Designing for a City of Lies), future making (FutureDomestic Landscape), and design discourse building (Design Research Failures).By playing out across the material and immaterial, fluidly and consciously transgressing the actual and the imaginary in this range of different contexts, the dissertation shows what a pataphysically infused design practice is: a design that not only views its artefacts, experiments, and projects, but also itself, along with the world in which it operates, as imaginary solutions.In addition to the practice itself, one of the imaginary solutions produced through the research practice is the science of imagining solutions. This is a theory describing the way in which a design conscious of itself is uniquely able to show forth possibility to the world and to knowledge as large. It discusses the study of this capability as an ‘epiphenomenology of design’, and offers ‘quantum poetics’ as a nascent vocabulary for describing the aesthetics of this capability. Further, it offers a reconception of criticality in design away from a historical perspective, arguing that a design consciously engaging with the edge of its own domain, understood as the space where it can comfortably possibilize, is a critical design practice.Finally, this dissertation does not only concern design itself as a discipline, but with its focus on design’s unique capability to show forth possibility as such, more broadly speaks to a world that currently sees the sense of possibility being curtailed in numerous ways.
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| 7. |
- Rosenbak, Søren
(författare)
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A Closer Look at the UrbanIxD Summer School Design Fictions through the Meta-Lens of Agonism and Dissensus
- 2014
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Ingår i: The UrbanIxD Symposium Proceedings. - : UrbanIxD. - 9780956216939 ; , s. 1-6
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Konferensbidrag (refereegranskat)abstract
- By analyzing the collective output of interweaving design fictions from the UrbanIxD summer school, this paper explores the qualities in the creative process as well as the output through the meta-lens of agonism and dissensus. The understanding of these qualities and their interrelations is argued to present an opportunity for advancing urban interaction design as a hybrid discipline and design fiction as a design format.
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| 8. |
- Popova, Kristina, et al.
(författare)
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Vulnerability as an ethical stance in soma design processes
- 2022
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Ingår i: CHI '22. - New York : Association for Computing Machinery (ACM). - 9781450391573 ; , s. 1-13
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Konferensbidrag (refereegranskat)abstract
- We articulate vulnerability as an ethical stance in soma design processes and discuss the conditions of its emergence. We argue that purposeful vulnerability - an act of taking risk, exposing oneself, and resigning part of one's autonomy - is a necessary although often neglected part of design, and specifically soma design, which builds on felt experience and stimulates designers to engage with the non-habitual by challenging norms, habitual movements, and social interactions. With the help of ethnography, video analysis, and micro-phenomenological interviews, we document an early design exploration around drones, describing how vulnerability is accomplished in collaboration between members of the design team and the design materials. We (1) define vulnerability as an active ethical stance; (2) make vulnerability visible as a necessary but often neglected part of an exploratory design process; and (3) discuss the conditions of its emergence, demonstrating the importance of deliberating ethics within the design process.
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| 9. |
- Kular, Onkar, et al.
(författare)
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Bass Cultures: How Low Can You Go!
- 2023
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Ingår i: Falkenbergs teater, Smedjan & Art Inside Out, Halland.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Through the making of sound systems, bass cultures have been important in the development of underground musical genres from Reggae, Dub and Ska to Hip-Hop, Techno, Jungle and many more. For this two day sonic festival we were supported by musicians, DJs, and makers that in their own way have contributed and played an important role in the development of bass culture, through the making of sound systems, the organising of underground music and club culture in Sweden and beyond. Over two days the event hosted film screenings, workshops, talks, commissioned essays and DJ sets to showcase bass and sound system cultures, their creativity, history, and relevance today. The festival was organised by Right to design which is a practice-based platform run by Onkar Kular and Henric Benesch and through their artist-in-residency with Art Inside Out, Halland, Sweden.
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| 10. |
- Kular, Onkar, et al.
(författare)
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Bass cultures: How Low Can You Go!
- 2023
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Ingår i: Art Inside Out Journal: Den allmäna designbyrån, NR 16. ; , s. 16-29
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Through the making of sound systems, bass cultures have been important in the development of underground musical genres from Reggae, Dub and Ska to Hip-Hop, Techno, Jungle and many more. For this event we are supported by musicians, DJs, and makers that in their own way have contributed and played an important role in the development of bass culture, through the making of sound systems, the organising of underground music and club culture in Sweden and beyond. Over two days the event will host film screenings, workshops, talks and DJ sets to showcase bass and sound system cultures, their creativity, history, and relevance today. The following text provides and overview of the programme and complimentary texts introduce and frame the individual events.
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