COLLABORATION C APTURING ITS ESSENCE AT SC AD
Sarah L iu | Crist i Moore | Kidest Mu lu get a San de | Jen n y Nelson IDUS 7 1 1 .0 2 Met h ods of Con t ex t u al Research | Professor Sara Jo Joh n son
In IDUS 711 Contextual Research with Professor Sara Jo Johnson, we were presented techniques necessary to conduct useful research of a novel domain in context. We gained knowledge and expertise to contribute to the design process in user-centered products and systems. During this course we experienced the various contextual research methods, including interviewing, ethnographic research, contextual inquiry and cultural probing techniques. We learned how to gather and analyze a large quantity of user research data and information and then used this data to model the users behaviors.
2
PREFACE
3
4
PREFACE
3
DESIGN TEAM
7
RESEARCH DESIGN
5
FIELD WORK
29
RESEARCH FINDINGS
67
INNOVATION OPPORTUNITIES
101
CONTENTS
5
SARA LIU
MA Design Management
CRISTI MOORE
MFA Design Management
KIDEST MULUGETA SANDE MA Design Management
6
JENNY NELSON
MA Design for Sustainability
DESIGN TEAM
7
The focus of this course was ethnographic research which is a branch of anthropology that describes individuals’ culture. Our aim is to describe the user we are studying and to gain a deeper understanding of the field. To gain these insights, we pursued both secondary and primary research. Qualitative data was accumulated through participant observations, interviews, and questionnaires. This type of research relies heavily upon up close and personal experiences (and possible participation). From our research we came back with quotations, descriptions and experiences that were then put into different work models to help organize the data and show patterns we found.
8
RESEARCH DESIGN
9
We explored the various meanings and dimensions of collaboration as a class. We did this as individuals through Mind Mapping based upon secondary research. Upon meeting our client, the Collaborative Learning Center, we learned of CLC’s mission and goals; they not only align with SCAD’s mission, but also embody all that collaboration encompasses.
10
COLLABORATION DEFINED COLLABORATION | CAPTURING ITS ESSENCE
11
Interview/Visit | May 02.2011 | Josh Lind . CLC Creative Director
The Contextual Research class of spring 2011 worked on researching the present culture of collaboration at SCAD for our client The Collaborative Learning Center. This department at SCAD works with the departments across campus to help put together collaborative projects that involve students, faculty and an external partner. The CLC was created in response to the Southern Association of Colleges and Schools accreditation as well as the Quality Enhancement Plan for SCAD. They see that collaboration is an important part of design and for students to gain real world experiences before graduating; the CLC is hoping to make collaborative projects for students, faculty and external partners more accessible for all involved.
Studio / Classroom Experience | Collaborative Learning Center
For our research for this project we were looking into existing collaborative activity within the various schools across campus. We didn’t focus on any one type of collaboration within SCAD, we were interested in anything students and faculty were doing from informal personal projects outside of class to formal projects with an external partner.
Interview/Visit | May 02.2011 | Heidi . CLC
12
OUR CLIENT | COLLABORATIVE LEARNING CENTER COLLABORATION | CAPTURING ITS ESSENCE
13
Upon discussions with our client, we concluded that CLC is not trying to change collaboration as it currently exists, but rather understand how it works, attempt to capture its essence and find a way to share and create more opportunities for student learning through collaboration. It should be noted that various cultures exist across SCAD’s campus; each building | discipline having it’s own character. However, one common element is consistent in all; a bulletin board filled with flyers reaching out to students, to professors. The purpose? To connect. To collaborate. As our research and analysis progressed, we realized that flyers began to speak for the different departments; thus representing the essence of their very being.
14
PROJECT SCOPE COLLABORATION | CAPTURING ITS ESSENCE
To understand the present culture of collaboration at SCAD; defining its existence and capturing its essence.
“The coming together of designers from various disciplines along with other professionals to share knowledge and achieve common aesthetic, business, and social goals.” Arlene Gould | “Practicing Collaboration in Design”
15
To begin our work as a team, we strategically decided upon eight strong project questions to drive our research. According to Margaret LeCompte and Jean Schensul in “Designing and Conducting Ethnographic Research,” these questions are what researchers want answered about a particular problem, population, process or project. We were using the same “Who, What, When, Why, and How’s” that an investigative reporter or social scientist might use to find out the answers we needed.
16
PROJECT QUESTIONS COLLABORATION | CAPTURING ITS ESSENCE
What are the subcultures of collaboration at SCAD? How is a successful collaboration defined among student and faculty? What are the challenges of collaborating? What is the process/flow of collaborating from conception to completion? What types of collaboration exist? What networks of collaboration exist? Who and what drive the collaboration process? Why does interest in collaboration far exceed actuality?
17
Based upon Survey Data (Spring 2010 and Fall 2010) from the Collaborative Learning Center, the 2x2 represents a survey response of student participation in collaborative projects with other academic departments and those with external agencies. These were plotted along an x-axis of collaborating/not collaborating. Interest in collaborative projects was also plotted.
2.04
1.71
18
SURVEY DATA | INTERPRETATION COLLABORATION | CAPTURING ITS ESSENCE
INTEREST 4
3
NOT COLLABORATING
COLLABORATING 0
NEVER
1
RARELY
2
SOMETIMES
3
OFTEN
4
1
BUILDING ARTS COMMUNICATION ARTS
0 NO INTEREST
DESIGN FASHION FILM.DIGITAL MEDIA.PERFORMING ARTS FINE ARTS LIBERAL ARTS
19
It was determined that Team X would focus on Schools that reside in the collaborating and interested quadrant. The four representations remaining included a balance of those participating in collaborative projects with other academic departments and with external agencies.
20
SURVEY DATA | INTERPRETATION COLLABORATION | CAPTURING ITS ESSENCE
INTEREST 4 EXTERNAL AGENCIES EXTERNAL AGENCIES OTHER ACADEMIC DEPARTMENTS OTHER ACADEMIC DEPARTMENTS 3
NOT COLLABORATING
COLLABORATING 0
NEVER
1
RARELY
2
SOMETIMES
3
OFTEN
4
1
BUILDING ARTS COMMUNICATION ARTS
0 NO INTEREST
DESIGN FASHION FILM.DIGITAL MEDIA.PERFORMING ARTS FINE ARTS LIBERAL ARTS
21
During our first team meeting we wanted to better understand what collaboration at SCAD meant to us; to do this we started drawing an ecosystem of the school. Throughout the quarter we continued to build upon this ecosystem so it would fully encompass our understanding and what we had discovered during our research. Beyond the schools within the Savannah campus, we looked at collaborative events, administrative departments, and technologies that foster collaboration.
22
23
Various elicitation methods and tools were designed and explored to obtain data from both students and faculty in regards to collaborative activity within departments, with other departments, as well as external agencies.
24
METHODOLOGY | TOOLS COLLABORATION | CAPTURING ITS ESSENCE
Tools to understand all possible combinations of individuals and entities involved in a collaboration were elaborated upon. The connections and possibilities found appear unlimited. This visual places emphasis on the individual student at the center of the collaborative activity. That student may connect with another student, a group or team of students through a class setting, or with a professor. Each of these entities may also be linked with another, including an external partner. Above the horizontal axis represents connections or collaborations with others in the same major or discipline. Below the horizontal axis represents those collaborations that may occur between disciplines. Academic class is another variable that adds yet another dimension to the endless combinations of collaborative connections that can possibly occur, starting with a single student. 25
questions | student
questions | deans or faculty
Who initiated the project?
Who initiated the project?
How/what do collaboration opportunities arise?
How do collaboration opportunities arise within the School of ______?
Who initiates the project?
Who initiates the project?
What was the process?
What was the process?
Who was involved?
How much time was involved prior to course?
What drives the existence of collaboration?
What drives the existence of collaboration within the School of ______?
Objectives/goals/purpose of project
Objectives/goals/purpose of project
Would you suggest the key people that may are central to collaboration? List of faculty List of courses
To get the best understanding of collaboration within the School of ______, which departments would be the best to focus on and why (which have the strongest existence)? List of departments List of sponsors
How familiar are you with the CLC? Please tell us about your experience(s) working with them. Departments? External partners?
Are there particular Schools or departments across the campus you are interested in collaborating with, but not currently doing so? Schools Across Campus Diagram (pie charts) List of schools/departments Motivations/reasons/why? What might allow or create additional opportunities for collaboration? Ideas Foreseen opportunities What about collaboration works? List of experiences Value of experience (lessons learned) Advantages What is challenging about collaboration? Value of experience (lessons learned) Disadvantages What tools do you use to collaborate? How do you collaborate? Platforms Formats Show us/tell us where you work/meet for projects. Environments
How familiar are you with the CLC? Please tell us about your experience(s) working with them. Departments? External partners?
Would you suggest the key people within the School ______ that may provide the best insight into its existence of collaboration? List of faculty List of courses Are there particular Schools or departments across the campus that this School would be interested in collaborating with, but not currently doing so? Schools Across Campus Diagram (pie charts) List of schools/departments Motivations/reasons/why? What might allow or create additional opportunities for collaboration? Ideas Foreseen opportunities What about collaboration works? List of experiences Value of experience (lessons learned) What is challenging for the professors/students within the School of _____? Value of experience (lessons learned) We would love the opportunity to tour the building/department.
METHODOLOGY | INTERVIEW PROTOCOL COLLABORATION | CAPTURING ITS ESSENCE
introduction
Hi. We are _______ and ______, graduate students taking Contextual Research (IDUS 711) and our class is working on a project with the Collaborative Learning Center (CLC). CLC’s focus is to create collaborative opportunities involving students, professors and external partners, to enhance student development through real work experiences. This goal is driven by the Southern Associate of Colleges and Schools (SACS) accreditation for the improvement of education. To assist CLC, we would like to better understand current collaboration at SCAD, who and what defines this form of teamwork and the process by which it evolves and occurs. While we are looking at this from a holistic viewpoint across SCAD’s campus, our team is particularly interested in its existence within schools/departments that have a history of collaboration/teamwork with other departments and/or with external partners.
tools
Worksheets: The Who Schools Across Campus Diagram (pie charts) School Contact Sheet / Information / Contacts (slide from presentation) Consent Form Camera Post Interview Worksheet
27
While we were doing our field research we talked to
34 STUDENTS ACROSS MONTGOMERY, ARNOLD, ECKBURG,
GULFSTREAM AND HAMILTON HALLS
12 FACULTY MEMBERS, INCLUDING DEANS AND CHAIRS, AND
LEARNED ABOUT
41 DIFFERENT COLLABORATIVE PROJECTS HAPPENING AROUND THE
SCHOOL.
28
FIELD WORK
29
Interview | April 25.2011 | Students . School of Film. Digital Media & Performing Arts
30
IN THE FIELD | FACULTY AND STUDENTS COLLABORATION | CAPTURING ITS ESSENCE
“Creating the culture of collaboration.” Jeremy Moorshead | Chair: Animation Interview | May 10.2011 | Jeremy Moorshead . Chair of Animation
31
While we were doing research in the field we used elicitation tools to help us get the answers and information we needed to answer our project questions. In a reading from William Foote White we learned that to sometimes to trigger or stimulate the responses needed from interviewees it is helpful to use some sort of physical tool. For our research we developed various tools and methods to elicit information in regards to collaborative projects from the students and faculty being interviewed. We asked people to list the different projects they have been apart of, as well as having them show us on our tools.
32
IN THE FIELD | FACULTY AND STUDENTS COLLABORATION | CAPTURING ITS ESSENCE
Interview | April 27.2011 | Bob Fee . Chair of Design Management
33
International Festival | S2011 34
Fashion Show | S2011
COLLABORATIVE EVENTS COLLABORATION | CAPTURING ITS ESSENCE
Sidewalk Festival | S2011
35
Sand Arts Festival | S2011
Initial field research reveals more collaborative project activity exists within SCAD than depicted in surveys provided by CLC. Evidence hints that distinguishing between the criteria shown in this metric may provide richer insights towards the project scope. Team X will narrow our “who” to specific departments within our initial school focus that are involved with the more formal collaborative experience, those “above the radar.”
36
THE “WHO” COLLABORATION | CAPTURING ITS ESSENCE
GRAPHIC DESIGN
ARCHITECTURE
SPONSORED
INDUSTRIAL DESIGN
EXTERNAL
FASHION
NON SPONSORED UNDER THE RADAR
ABOVE THE RADAR
ANIMATION VISUAL EFFECTS
LIBERAL ARTS
CROSS DEPARTMENT
WITHIN DEPARTMENT INTERNAL 37
SCHOOL OF DESIGN Industrial Design Fibers Metals and Jewelry Furniture Design Design Management Design for Sustainability Service Design
SCHOOL OF FILM.DIGITAL MEDIA. PERFORMING ARTS Animation Film and Television Interactive Design Visual Effects Sound Design Performing Arts Motion Media Production Dramatic Writing Equestrian
SCHOOL OF FASHION Fashion Fashion Marketing Accessory Design Luxury Fashion Management
SCHOOL OF LIBERAL ARTS Liberal Arts Writing Art History Arts Administration Cinema Studies Teaching
39
SCHOOL OF DESIGN Industrial Design
Dean:Victor Ermoli Industrial Design Chair: Peter Solomon
“you have to lead by example� Peter Solomon | Chair: Industrial Design
Opportunity to be part of a design team and collaborative experience through scheduled class credit course. posted | Gulfstream | S2011
41
“Department credit is a concern about utilizing CLC. What’s important is how to get people to share the credit, getting faculty and chairs on board, if not, they won’t have the same passion.” Peter Solomon | Chair: Industrial Design
Student Workspace | Gulfstream
THE SUBCULTURE WITHIN COLLABORATION | CAPTURING ITS ESSENCE
Large industrial interior with open floor plan conducive to group gatherings and meetings. A visible flurry of activity occurs throughout the day. Constant communication between individuals is observed. Graduate Space | Gulfstream
"experts at following the design process" Faculty | Industrial Design
Show Room | Gulfstream
Classroom | Gulfstream 43
Applied Theory | Tools for Women | Industrial Design | W2009
“the company needs to realize they are getting ‘student’ product and idea generation with no boundaries.” Faculty | Industrial Design
44
COLLABORATIVE PROJECTS COLLABORATION | CAPTURING ITS ESSENCE
“success is based upon the professor, it takes a lot of nurturing and mentoring” Faculty | Industrial Design
scad.edu | Kids II | Industrial Design | W2009
10 week interactive project hosted by Kids II. The goal for each student was to create a toy that aids in the cognitive, emotional, and physical development of children.
45
SCHOOL OF FASHION Fashion
Dean: Michael Fink Chair: Carmella Spinelli
Senior photography student seeking unique SCAD fashion pieces and accessories to be featured in an underwater photo shoot for senior thesis. posted | Eckburg Hall | S2011
“you have to get connected� Student | Freshman: Fashion Design
47
“Group projects present awkward situations, other majors have very different styles and opinions in regards to collaboration.� Senior | Fashion Design
Entrance Corridor | Eckburg Hall
THE SUBCULTURE WITHIN COLLABORATION | CAPTURING ITS ESSENCE
Working Studio | Eckburg Hall
Student Work | Eckburg Hall
“really exclusive” Student | Junior: Fashion Design
Expansive spaces with large open studios flooded with natural light. Student work is proudly displayed throughout. There is ‘style in the air’. Eckburg Hall | S2011
Working Studio | Eckburg Hall
49
"They confronted the challenges, worked with each other-and with students outside their major-to strategize solutions.� Michael Fink | Dean: School of Fashion
Competition sponsored by Orta Blu denim manufactuers to design school uniforms for children in Sierra Leone, Africa. Teams of two or three students.
scad.edu | Kaleigh and Kourtney Wilson | Fashion and Fashion Marketing and Management | UNICEF-Sierra Leone and OrtaBlu | S2011
50
COLLABORATIVE PROJECTS COLLABORATION | CAPTURING ITS ESSENCE
“I really only connect and are friends with other fashion majors but they try to encourage breadth and interests with other disciplines.” Junior | Fashion Design
Partnership with ELLE magazine, the number one fashion magazine in the world. ELLE will select fashion design students to show their collections at New York Fashion Week as well to be featured in the magazine this Fall.
ELLE| Fashion Design | ELLE Magazine| S2011
51
Metals and Jewelry
“It’s easier to have friends in other majors when you need a skill set from another discipline.” Senior | Fashion Design
52
COLLABORATIVE PROJECTS COLLABORATION | CAPTURING ITS ESSENCE
Fibers
Photography 53
SCHOOL OF FILM.DIGITAL MEDIA. PERFORMING ARTS Animation Visual Effects
Dean: Peter Weishar Animation Chair: Jeremy Moorshead Visual Effects Chair: Barbara McCullough
“our students find each other� Peter Weishar | Dean: School of Film . Digital Media and Performing Arts
Senior student seeking Animator Artists, Sound Designer, Motion Media, and Fur and Hair Specialist for senior thesis. posted | Montgomery Hall | S2011 Fashion Design | Junior
55
Classroom | Montgomery
Classroom | Hamilton
These buildings have a heartbeat around the clock. Classrooms are structured for individual work but also encourage group debriefing with their conference tables. Montgomery Hall & Hamilton Hall | S2011 Faculty Offices | Montgomery 56
THE SUBCULTURE WITHIN COLLABORATION | CAPTURING ITS ESSENCE
Graduate Space | Montgomery
Meeting Room | Hamilton
“our students naturally work together” Jeremy Moorshead | Chair: Animation
57
scad.edu | director Sharon Ott | Farenheit 451 | Performing Arts Winter 2011
“The most ambitious thing we’ve ever done.” Peter Weishar | Dean: School of Film
58
COLLABORATIVE PROJECTS COLLABORATION | CAPTURING ITS ESSENCE
vimeo.com | Illustration by Ali Rotenberg | Ollie The Owl | Illustration and Animation | W2011
59
SCHOOL OF L I B E R A L A RT S Liberal Arts Art History
Dean: Robert Eisinger Art History Chair: Geoffrey Taylor Liberal Arts Chair: Nancy Emmeluth
Collaborative course “Story Savannah: Designing Relationships” allowed students to gain knowledge, experience and insight into the rich history of Savannah’s social architecture through personal narratives told by six constructive protagonists. pinup | Faculty Desk | S2011
SCHOOL OF LIBERAL ARTS
“YOU HAVE TO LOOK FOR IT” Faculty | Liberal Arts
61
Traditionally structured interior space comprised of individual classrooms with theatre style seating. Observed minimal group meeting activity within spaces - individuals come and go as class scheduling dictates.
Casual Space | Arnold Hall
Arnold Hall | S2011
Typical Classroom | Arnold Hall 62
THE SUBCULTURE WITHIN COLLABORATION | CAPTURING ITS ESSENCE
“[collaborations are] serendipitous.” Faculty | Liberal Arts 63
“Art history seems remote.� Art History Student
Massieschool.com | Art History Museum Studies| Massie Heritage Center
64
COLLABORATIVE PROJECTS COLLABORATION | CAPTURING ITS ESSENCE
“[the Cambodia project] was a tremendous amount of work to make happen, but we'd do it again.” Faculty | Liberal Arts Blog.lib.umn.edu | Fibers and Liberal Arts | Liberal Arts
65
The School of Design has been doing collaborative projects successfully for the past 12 years. Industrial Design has been the leader in this area, we decided to focus on this department to find how a successful collaboration comes about and is followed through upon. The Gulfstream building is very conducive to group projects; there are large open spaces for students to work in and many computers provided. Also, the many different majors within the building often take classes together thereby naturally collaborating with one another. And the Industrial Design department is very active in seeking out external partners to do projects with, as well they have many of these external partners contacting them in hopes of setting up a project. Within the School of Fashion students seem to naturally collaborate with one another, they seek input on their designs and work alongside one another. Also while working on projects they might need other expertise to help them finish, such as photography for final photos of their designs or architecture students to help build the fashion shows. We found that the School of Film, Digital Media and Performing Arts is very good at collaborating. Within this school it is natural for students from different majors to work on projects together because that is how the film world works. They often pass projects along as the different parts are finished until the final production. And for individual final and thesis projects the students will seek out others to work on their piece. During our research at the School of Liberal Arts we found that while they do some collaborative work it is not the main focus of the department. Many of the majors in this department feel remote and separate from others.
66
RESEARCH FINDINGS
67
Upon completion of field research, we gathered our data we started analyzing it. We organized all and began sharing with one another of our experiences in the field. We were interested in finding the different networks and types of collaboration most prevalent within SCAD. To achieve this we went through our transcripts of interviews and pulled out the relevant data, such as who was involved in projects and quotes that gave a sense of the community at the different departments.
68
SYNTHESIZING DATA COLLABORATION | CAPTURING ITS ESSENCE
“Collaboration is based on a recognition of limitation and the ability to trust others and allow them actionable entry into a situation.” Sharon Poggenpohl | “Practicing Collaboration in Design”
Collaboration | S2011 | Team X Cristi . Kidest . Jenny . Sarah
69
70
71
72
73
Within our narrowed focus alone, collaborative connections and networks were discovered within departments, as well as across the various disciplines, creating an elaborate and integrated web. This web is a visual of all connections found during our field exploration and observation. As one can see, cross-disciplinary collaboration is occurring at SCAD, both formal and informal.
74
INTEGRATED WEB COLLABORATION | CAPTURING ITS ESSENCE ARCH HISTORY
ART HISTORY
LIBERAL ARTS
ADVERTISING
WRITING
SEQUENTIAL ART
URBAN DESIGN
ARTS ADMIN ILLUSTRATION DESIGN
TEACHING CINEMA STUDIES VISUAL EFFECTS
INTERIOR DESIGN
LIBERAL ARTS | 211
GRAPHIC DESIGN SOUND DESIGN
ILLUSTRATION
ANIMATION
ARCHITECTURE
HISTORIC PRESERVATION
PRODUCTION DESIGN
COMMUNICATION ARTS | 1674
INTERNATIONAL PRESERVATION
PERFORMING ARTS DRAMATIC WRITING
MOTION MEDIA
PAINTING
BUILDING ARTS | 958
EQUESTRIAN
SERVICE DESIGN INTERACTIVE DESIGN
PHOTOGRAPHY
DESIGN FOR SUSTAINABILITY
FILM AND TELEVISION METALS AND JEWELRY DESIGN MANAGEMENT
LUXURY ACCESSORY DESIGN
FIBERS
FASHION MARKETING
FILM.DIGITAL MEDIA. PERFORMING ARTS | 2305
FINE ARTS | 674
INDUSTRIAL DESIGN
FURNITURE DESIGN
FASHION
FASHION | 668 DESIGN | 761
SCAD Savannah Enrollment statistics | S2011
75
These webs are further broken down into the types of collaborations we found at SCAD. Sharon Poggenpohl talks about the different types of collaboration in her article “Practicing Collaboration in Design.” She calls these types: Contribution Hand-off, a sequential work without much interaction between phases; Contribution Over-Lap, which implies a little exchange of information and adjustment on a short-term basis; and Collaboration which is constant feedback and sharing of information. We also showed on the web the networks of collaboration, these again are from Sharon Poggenpohl’s “Practicing Collaboration in Design.” These networks include, inter-personal, inter-disciplinary, multidisciplinary, inter-institutional and finally international. Our web does not show inter-personal networks because we concluded that all the departments we were researching have inter-personal projects happening, these are informal projects usually taking place outside of SCAD. The inter-disciplinary web shows collaborations taking place between different majors but in the same department. Mulit-disciplinary shows cross departmental collaborative projects. The inter-institutional web is showing projects that worked with an external partner and finally international is projects that are cross cultural or overseas.
76
PATTERNS DISCOVERED COLLABORATION | CAPTURING ITS ESSENCE
DESIGN FASHION FILM.DIGITAL MEDIA.PERFORMING ARTS LIBERAL ARTS
Sharon Poggenpohl | “Practicing Collaboration in Design” 77
TYPES DEFINED COLLABORATION | CAPTURING ITS ESSENCE
DESIGN FASHION FILM.DIGITAL MEDIA.PERFORMING ARTS LIBERAL ARTS
Sharon Poggenpohl | “Practicing Collaboration in Design”
COLLABORATION TYPES COLLABORATION | CAPTURING ITS ESSENCE
Contribution Handoff Contribution Overlap Collaboration
79
Contribution Handoff Contribution Overlap Collaboration 80
Contribution Handoff Contribution Overlap Collaboration 81
NETWORKS DEFINED COLLABORATION | CAPTURING ITS ESSENCE
Between an academic discipline and an international culture. Between two or more academic disciplines WITHIN ONE SCHOOL.
Between Individuals.
DESIGN FASHION
Between two or more academic disciplines BETWEEN SCHOOLS.
FILM.DIGITAL MEDIA.PERFORMING ARTS LIBERAL ARTS
Sharon Poggenpohl | “Practicing Collaboration in Design”
Between an academic discipline and an EXTERNAL AGENCIES.
NETWORK TYPES COLLABORATION | CAPTURING ITS ESSENCE
83
84
85
““it’s about: empowering the
students; creating a culture of collaboration” Jeremy Moorshead | Chair: Animation
Sharon Poggenpohl | “Practicing Collaboration in Design”
87
INTERNATIONAL
INTERINSTITUTIONAL
MULTIDISCIPLINARY
INTERDISCIPLINARY
INTERPERSONAL
Various models were utilized to assist in the organization and structure of data; which led us to various insights. These models include cultural, physical, sequence or task analysis, fish bone diagram, flow, and artifact. A flow model shows a birds eye view of an organization, it shows the different entities involved and their responsibilities as well as the communication paths between. A sequence model shows how a task takes place from beginning to end. It goes through all the actions that take place to reveal the intents and what matters to the users. An artifact model tells us how people work through the physical items they use. We used our model to show how the different departments collaborate through posted flyers. A cultural model shows us people’s expectations, values, policies and the approach they take to their work. Each bubble represents an individual or formal group and between each bubble the influence they have on each other is shown, as well as any breakdowns that happen. A physical model shows the environment where work takes place and how it either hinders or supports that work. A fishbone diagram shows the cause and effect of a certain event. The question we are answering with our diagram is one of our project questions: why does interest in collaboration far exceed actuality?
88
ARTIFACT MODEL DENOTES THE CHARACTER OF COLLABORATION
DESIGN FASHION FILM.DIGITAL MEDIA.PERFORMING ARTS
89
A Fishbone Diagram shows the cause and effect of a certain event. The question we are answering with our diagram is one of our project questions: why does interest in collaboration far exceed actuality? This problem was revealed in the “head of the fish”; major categories were placed at each bone of the fish. Through affinity diagramming, we generated ideas and insights from the data and identified factors that may be affecting the problem. The results were then analyzed and the ‘most likely causes’ were determined.
90
FISHBONE DIAGRAM DENOTES WHY INTEREST IN COLLABORATION EXCEEDS ACTUALITY
91
A Cultural Model shows us people’s expectations, values, policies and the approach they take to their work. Each bubble represents an individual or formal group and between each bubble the influence they have on each other is shown, as well as any breakdowns that happen. Influencers who affect the work are shown as bubbles and may represent an individual or more formal groups in an organization. Overlap of bubbles shows the extent of the effect on work. Arrows represent the direction of influence.
92
CULTURAL MODEL DENOTES COLLABORATIVE INFLUENCE/MOTIVATION AT SCAD
93
A Physical Model shows the environment where work takes place and how it either hinders or supports that work. We observed these places within the buildings and note the various characteristics of the environments pertaining to how individuals are currently using the space. The structures that define the space include the walls and other objects. Movement is also shown, denoting how the individuals move about it the space accomplishing their work. Breakdowns can be derived through the study of these physical models.
94
PHYSICAL MODEL DENOTES THE ENVIRONMENT OF COLLABORATION
DESIGN FASHION FILM.DIGITAL MEDIA.PERFORMING ARTS
95
A Flow Model shows a birds eye view of an organization, it shows the different entities involved and their responsibilities as well as the communication paths between. Each individual, group, or entity is shown as a bubble along with their individual roles or responsibilities. The arrows shown between individuals represents the flow, or communication between them. Artifacts are shown as small boxes and may represent a physical item, message, or concept. Large boxes represent places and lightning bolts represent breakdowns that could lead to opportunity implications.
96
ARTIFACT MODEL DENOTES THE CHARACTER OF COLLABORATION
97
A Sequence Model shows how a task takes place from beginning to end. It goes through all the actions that take place to reveal the intents and what matters to the users. Intents are in reference to what is intended to achieve. A trigger causes a sequence of actions. Steps are recognized as actions. Order loops reveal repetitive patterns of work. Breakdowns are show with lightning bolts.
98
ANIMATION
FASHION
INDUSTRIAL DESIGN
SEQUENCE MODEL DENOTES SEQUENCE OF COLLABORATIVE PROJECT FROM INCEPTION
INDUSTRIAL DESIGN
99
100
INNOVATION OPPORTUNITIES
101
INCENTIVES DENOTES THE CHARACTER OF COLLABORATION
There is an opportunity to reach outliers by generating collaborative projects through creative incentives.
HOW MIGHT WE -use niche markets such as design for the greater good and sustainability as a means to create collaborative projects? -provide external partners with a team of interns from different disciplines, further encouraging students to collaborate on a multidisciplinary level? -create a reward system that will compensate for accumulated hours of collaborative projects?
102
SELF-SELECT DENOTES THE CHARACTER OF COLLABORATION
There is an opportunity for the CLC to be involved in the construction of student driven projects.
HOW MIGHT WE -provide a database where students can search for projects or for other students in relation to their field or interest? -apply the cap to zero idea outside the animation department? -create a hub that can be student’s connection to everything “outside world”?
103
VERTICAL COLLABORATION DENOTES THE CHARACTER OF COLLABORATION
There is an opportunity to turn the ten-week restriction into a divider that will separate different phases of a project.
blurb.com | Illustration by Ali Rotenberg | Illustration and Animation | 2010
HOW MIGHT WE -extend the big pitch and senior soiree ideas to the faculty level? -help organize faculty so the quarter system is not a hindrance when securing sponsored projects?
vimeo.com | Animation by Karyn Rollins | Illustration and Animation | W2011
104
ACCOUNTABILITY DENOTES THE CHARACTER OF COLLABORATION
There is an opportunity in which a system can be developed to foster meaning and investment in collaborative projects.
HOW MIGHT WE -create a system where students and faculty can provide constructive criticism for teams? -create a routine that requires groups to share their motivations and reasons for being part of a collaborative project? -create a tutoring program or short-term class to teach what collaboration is and why it is important?
105
LET IT HAPPEN DENOTES THE CHARACTER OF COLLABORATION
There is an opportunity to build students’ confidence and to give them more freedom and choice within projects, this in return reinforces ownership and accountability.
HOW MIGHT WE -let students work in an environment where they can design their own course? -help CLC become the link between student driven projects and external partners?
106
107