Maps: Kathi Burke Cover quote: Paul Graham
Cumulus Dublin 2013 Conference Programme
Hand drawn type: Pat Mooney
Conference Programme Edited by Alex Milton
Conference Programme
Edited by Alex Milton. Published on occasion of Cumulus Conference 7-9 November 2013, NCAD, Dublin, Ireland.
Contents: Letter of Welcome ...................................................................................... 5 Schedule ................................................................................................. 10 Location .................................................................................................. 15 Keynote Lectures ..................................................................................... 18 Oral Presentations................................................................................... 21 Poster Presentations ............................................................................. 150 Workshops ............................................................................................. 153 Institute of Designers in Ireland Awards Exhibition ............................... 169 Organisation ......................................................................................... 172 Acknowledgements................................................................................ 174
Kate Krebs
Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome
Letter of Welcome – Professor Alex Milton, NCAD I am delighted to welcome you to Dublin, and the National College of Art and Design, for the Cumulus Conference 2013. The three-day conference, to be opened by the Lord Mayor of Dublin, Oisín Quinn, features presentations, exhibitions and workshops that embody the conference theme. Today’s global recession forces design practice, research and education to address a number of questions: s #ONSUMPTION (OW CAN DESIGN lND A BALANCE BETWEEN EXCESS and austerity s 'ROWTH n (OW CAN DESIGN STIMULATE SUSTAINABLE ECONOMIC GROWTH s 2ESEARCH n )S DESIGN RESEARCH AND DEVELOPMENT A LUXURY WE CAN STILL AFFORD s %DUCATION (OW CAN WE CHANGE PEDAGOGICAL CONTENT AND DELIVERY METHODS TO BECOME MORE EFlCIENT WHILE MAINTAINING STANDARDS s %NVIRONMENTS (OW CAN WE USE DESIGN TO CREATE PLACES AND SPACES FOR RENEWAL AND GROWTH s 7ELLBEING (OW CAN DESIGN IMPROVE OUR WELLBEING AND WELFARE IN THE FACE OF PUBLIC SECTOR CUTS AND lNANCIAL HARDSHIP s #OMMUNITIES (OW CAN DESIGN BRING LOCAL COMMUNITIES TOGETHER TO WORK ON PROJECTS THAT IMPROVE HOW WE LIVE WORK AND PLAY
Dieter Rams 4
Cumulus Conference Dublin
We propose that in the deepest recession since the great depression of the 1930s we need to turn the modernist mantra ‘less is more’ on its head as
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Vibrant economies are built on innovation, but with this comes an ethical responsibility that Design, the engine of the previous decades unsustainable consumerism and excess needs to address. This conference hopes to stimulate discussion on how design researchers, practitioners and EDUCATORS CAN RESPOND TO TODAY S lSCAL CONSTRAINTS AND STIMULATE GROWTH and renewal in our economy, culture and society. After all you can’t impose austerity on the imagination! This international conference is intended to act as platform for sharing ideas and concepts about contemporary design research in this age of austerity. Contributors were invited to submit research that addresses contemporary approaches to design research, with the conference committee and review panel welcoming research through, for and into design. 4HE CONFERENCE COINCIDES WITH $UBLIN $ESIGN 7EEK n .OVEMBER a celebration of design including walks, talks, launches, exhibitions and workshops. The festival’s audience includes the designers who design things, the business community who purchase design services and most importantly, the public who are the end users of all designers’ services. We are delighted to be hosting the Institute of Designers in Ireland Awards exhibition during the Conference, and hope you will take some time to view the exhibition, and catch some of the events occurring throughout Design Week. The conference will be held across two historic venues, the National College of Art and Design and Smock Alley Theatre. 4HE .ATIONAL #OLLEGE OF !RT AND $ESIGN .#!$ OCCUPIES A UNIQUE position in art and design education in Ireland. It offers the largest
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Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome
the reduced budgets of governments, business and people demand ‘more for less’, and develop a ‘New Deal’ for design.
range of art and design degrees in the state at undergraduate and postgraduate level. In the past many of the most important Irish artists, designers and art teachers have studied or taught in the College. It has long been the central and most important art and design educational institution in Ireland. 4HE ORIGINS OF THE #OLLEGE DATE FROM WHEN 2OBERT 7EST HAD A PRIVATE DRAWING SCHOOL IN 'EORGE S ,ANE $UBLIN WHICH WAS TAKEN OVER BY THE $UBLIN 3OCIETY LATER THE 2$3 4HROUGHOUT THE EIGHTEENTH CENTURY THERE were three schools: Figure Drawing, Landscape and Ornamental Drawing and Architectural Drawing. The School of Modelling was added in 1811 and from 1854 the Department of Science and Art, London controlled the institution. In 1877 it was renamed The Dublin Metropolitan School of Art. The Department of Education took control in 1924, and twelve years later it became the National College of Art. In 1971 the National College of Art and Design was established by act of AN T/IREACHTAS AND IS NOW GOVERNED BY A BOARD !N "ORD APPOINTED BY THE Minister for Education and Skills. The College has been a recognised college of the National University of Ireland since 1996; in 2011 it became A 2ECOGNISED #OLLEGE OF 5NIVERSITY #OLLEGE $UBLIN 5#$ IT BECAME A 2ECOGNISED #OLLEGE OF 5NIVERSITY #OLLEGE $UBLIN 5#$ The College’s campus is situated in Thomas Street, in the historic Liberties area of Dublin. In 1998 the College opened its new wing, the School of Design for Industry, and now houses all of its activities on the Thomas Street campus. Smock Alley is located a short walk away from the NCAD, in the vibrant 4EMPLE "AR AREA $UBLIN S NEW CULTURAL QUARTER )T WAS THE lRST 4HEATRE 2OYAL BUILT IN $UBLIN *OHN /GILBY OPENED IT IN AS PART OF THE 2ESTORATION OF THE "RITISH MONARCHY AND +ING #HARLES )) IN )T WAS THE lRST CUSTOM BUILT THEATRE IN THE CITY AND STILL REMAINS IN
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Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome
substantially the same form, making it one of the most important sites in European theatre history. The theatre closed in 1787. The building was then used as a whiskey store until Father Michael Blake bought it to set a church. When the bell tolled IN YEARS BEFORE THE #ATHOLIC %MANCIPATION THE lRST #ATHOLIC BELL to ring in Dublin in nearly 300 years was heard. The facade boasts ornate stained glass windows and the original ceiling plasterwork remain in the Smock Alley as a witness of this time. In 1989, the church was deconsecrated due to falling numbers of parishioners. After a six-year renovation, Smock Alley Theatre reopened its doors as Dublin’s oldest newest theatre in May 2012. Besides recovering ITS OLD PURPOSE 3MOCK !LLEY IS ALSO THE NEW HOME OF 4HE 'AIETY 3CHOOL OF !CTING n 4HE .ATIONAL 4HEATRE 3CHOOL OF )RELAND For more than a century, Smock Alley put Irish theatre on the European MAP ACTING AS THE VERY CORE OF AN )RELAND STRIVING TO lND ITS OWN VOICE !S such the organizing committee felt it was a perfect venue for the Cumulus COMMUNITY TO lND A COLLECTIVE VOICE AND VISION (OSTING THIS CONFERENCE IN )RELAND IS AN EXCITING AND TIMELY OPPORTUNITY TO exchange ideas and foster new working relationships with leading design educators and practitioners across the globe. We look forward to meeting all the delegates and hope you enjoy the conference and Dublin’s legendary good craic! Professor Alex Milton Conference Chair (EAD OF THE &ACULTY OF $ESIGN National College of Art and Design, Ireland
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Jonathan Ive Cumulus Conference Dublin
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Thursday 7th November Registration, Cultural Tours and Exhibition Opening Venue: NCAD       AM n PM #5-5,53 7/2+).' '2/50 DESIS 6ENUE $( .#!$ AM n PM #5-5,53 7/2+).' '2/50 $ESIGN )NNOVATION 6ENUE (#( .#!$ PM n PM 2%')342!4)/. 6ENUE (#( ,ECTURE 4HEATRE .#!$ PM n PM #5-5,53 "/!2$ -%%4).' 6ENUE -EETING 2OOM .#!$ 2.00pm - 5.30pm #5-5,53 7/2+).' '2/50 8 &ILES 6ENUE (#( .#!$ 2.00pm - 5.30pm #5-5,53 7/2+).' '2/50 &ASHION 4EXTILES 6ENUE (#( .#!$
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Institute of Designers in Ireland Awards Exhibition
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Poster Presentations
Oral Presentations
Keynote Lectures
Location
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Letter of Welcome
Schedule
PM n PM /&& #!-053 7/2+3(/0 ,EARNING 0LACES n ,EARNING "EYOND THE 3CHOOL 'ATE Venue: Fumbally Exchange, 5 Dame Lane, Dublin 2.30pm - 5.30pm .#!$ #!-053 4/523 6ENUE #ONFERENCE 2OOMS 3TUDIOS ,IBRARY !RCHIVE 2.30pm - 5.30pm #5,452!, 6)3)43 Venue: Various locations within Dublin such as IMMA AND THE 'UINNESS 3TOREHOUSE PM n PM 7%,#/-% 2%#%04)/. ).34)454% /& $%3)'.%23 )2%,!.$ %8()")4)/. /0%.).' 6ENUE .#!$ 'ALLERY
Friday 8th November Keynotes & Long Papers    Venues: NCAD and Smock Alley Theatre     8.30am - 9.00am ,!4% 2%')342!4)/. .%47/2+).' 2%&2%3(-%.43 6ENUE 3MOCK !LLEY &OYER 3MOCK !LLEY "ANQUET (ALL 9.00am - 9.15am 7%,#/-% 30%%#(%3 #ONFERENCE #HAIR 0ROFESSOR !LEX -ILTON Cumulus President, Professor Luisa Collina Venue: Smock Alley Auditorium
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2.00pm - 3.30pm 7%,,"%).' 6ENUE -EETING 2OOM .#!$ COMMUNITIES 2 6ENUE (#( .#!$
10.30am - 11.00am #/&&%% "2%!+ 6ENUE 3MOCK !LLEY "ANQUET (ALL
3.30pm - 4.00pm #/&&%% "2%!+ 6ENUE 3MOCK !LLEY "ANQUET (ALL .#!$ 3TAFF 2OOM
11.00am - 1.00pm %$5#!4)/. 2%3%!2#( Venue: Smock Alley Auditorium %$5#!4)/. 2%3%!2#( Venue: Smock Alley Boys School
4.00pm - 5.30pm %$5#!4)/. 2%3%!2#( Venue: Smock Alley Auditorium %$5#!4)/. 2%3%!2#( Venue: Smock Alley Boys School
11.00am - 1.00pm CONSUMPTION 6ENUE (#( ,ECTURE 4HEATRE .#!$ COMMUNITIES 1 6ENUE (#( .#!$
4.00pm - 5.30pm %.6)2/.-%.4 6ENUE (#( ,ECTURE 4HEATRE .#!$ '2/74( 6ENUE (#( .#!$
1.00pm - 2.00pm 0!#+%$ ,5.#( .%47/2+).' /00/245.)49 6ENUE 3MOCK !LLEY "ANQUET (ALL .#!$ &OYER
PM #/.&%2%.#% $)..%2 6ENUE 3MOCK !LLEY "ANQUET (ALL
2.00pm - 3.30pm %$5#!4)/. 2%3%!2#( Venue: Smock Alley Auditorium %$5#!4)/. 2%3%!2#( Venue: Smock Alley Auditorium 2.00pm - 3.30pm %.6)2/.-%.4 6ENUE (#( ,ECTURE 4HEATRE .#!$
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Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome
9.15am - 10.30am KEYNOTES 7ERNER !ISSLINGER 0AUL !DAMS Venue: Smock Alley Auditorium
Saturday 9th November Workshops, Short Papers and Posters. Venue: NCAD 9.00am - 10.00am 0%#(! +5#(! 6ENUE (#( ,ECTURE 4HEATRE .#!$ 0%#(! +5#(! 6ENUE (#( .#!$
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Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome
9.00am - 10.00am 0/34%2 02%3%.4!4)/.3 Venue: NCAD Foyer
City route map
10.00am - 10.30am #/&&%% "2%!+ 6ENUE .#!$ 3TAFF 2OOM %NVIRONS 10.30am - 1.00pm 7/2+3(/03 Venues: Various within NCAD 1.00pm - 2.00pm Lunch 6ENUE .#!$ 3TAFF 2OOM &OYER 2.00pm - 4.30pm 7/2+3(/03 Venues: Various within NCAD 5.00pm - 6.00pm #,/3).' 30%%#(%3 2%#%04)/. #UMULUS "OARD #UMULUS $UBLIN #UMULUS 'REENSIDE $ESIGN #ENTER 6ENUE (#( ,ECTURE 4HEATRE .#!$ 7.00pm on $%3)'. 7%%+ #,/3).' 0!249 Venue: TBC
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City site map
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NCAD site map
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Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome
Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome
Keynote Lectures Werner Aisslinger
Paul Adams
The works of the designer Werner Aisslinger, born 1964, cover the spectrum of experimental, artistic approaches, including industrial design and ARCHITECTURE (E DELIGHTS IN MAKING USE OF THE LATEST TECHNOLOGIES AND HAS helped introduce new materials and techniques to the world of product design like in his unique gel furniture with the collection “soft cell“ and THE CHAISE hSOFTh FOR :ANOTTA IN 4HE h*ULI CHAIR #APPELLINI v WAS THE lRST ITEM OF FURNITURE TO USE A NEW TYPE OF FOAM CALLED hPOLYURETHANE INTEGRAL FOAMv AND BECAME THE lRST 'ERMAN CHAIR DESIGN TO BE SELECTED AS a permanent exhibit at the MoMA in New York since 1964. In the process he has created striking designs and received awards from all over the world — from Milan’s Compasso d’Oro to the Design Prize of the Federal 2EPUBLIC OF 'ERMANY THE 2ED $OT !WARD OR &8 !WARD IN THE 5+ 7ERNER Aisslinger´s “loftcube“project became one of the most discussed modular and transportable housing projects within the last years.
0AUL !DAMS IS THE (EAD OF 0RODUCT $ESIGN AT )NTERCOM WHERE HE LEADS future product design and the product roadmap. Paul is broadly recognised AS ONE OF THE LEADING THINKERS IN SOCIAL DESIGN AND TECHNOLOGY (IS WORK has been widely published and cited, Fortune magazine described Paul as �one of Silicon Valley’s most wanted“, and his talk on the future of the web IS ONE OF THE MOST VIEWED PRESENTATIONS ONLINE 0AUL PUBLISHED HIS lRST BOOK 'ROUPED IN WHICH CONTINUES TO BE A PRIMARY REFERENCE FOR SOCIAL marketing and design.
(IS WORK IS EXHIBITED IN THE PERMANENT COLLECTIONS OF INTERNATIONAL MUSEUMS SUCH AS THE -USEUM OF -ODERN !RT -O-! AND THE -ETROPOLITAN Museum in New York, the French Fonds National d´Art Contemporain in Paris, the Museum Neue Sammlung in Munich, and the Vitra Design -USEUM IN 7EIL 'ERMANY 7ERNER !ISSLINGER LIVES AND WORKS IN "ERLIN
This talk was made possible by the kind support of the Goethe-Institut Irland
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0RIOR TO )NTERCOM 0AUL WORKED AS THE 'LOBAL (EAD OF "RAND $ESIGN AT Facebook, leading design and marketing projects with the worlds leading BRANDS AND AD AGENCIES INCLUDING .IKE 0 ' 5NILEVER #OCA #OLA AND Starbucks. Paul also worked in product management at Facebook and was one of the companies foremost speakers on the future of marketing and social design. 0RIOR TO &ACEBOOK 0AUL LED SOCIAL RESEARCH AT 'OOGLE WHERE HIS WORK WAS FOUNDATIONAL IN BUILDING 'OOGLE (E IS A PATENT HOLDER FOR THE IDEAS BEHIND #IRCLES AND ALSO WORKED ON 'MAIL 9OU4UBE AND -OBILE 0RIOR TO 'OOGLE 0AUL WORKED IN RESEARCH AND DESIGN CONSULTANCY FOR CLIENTS INCLUDING THE ""# 4HE 'UARDIAN 6ODAFONE AND 5+ 'OVERNMENT AND AS an Industrial Designer at Dyson. Paul holds a Master of Science in Interactive Media from the University of Limerick and a Bachelor of Design in Industrial Design from NCAD.
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Oral Presentations
& RESEARCH 1
Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome EDUCATION
11.00am - 1.00pm Education & Research 1 Smock Alley Auditorium
EDUCATION & RESEARCH 1
PIVOT Dublin Ali Grehan, Dublin City Council, Ireland Offshore Artschool: an educational heterotopia Cathy Gale, Kingston University, England Design Research and Development: An Austerity Process Irish Malig, Anthro-Tec Inc, USA Back to school: contextual inquiry and the design of task furniture for learning Caoimhe Mc Mahon, Alex Milton & Simon Dennehy, NCAD, Ireland Testing the waters – can the use of visual sensibilities in teaching information literacy be successful in art and design and beyond Alke GrÜppel-Wegener & Katy Vigurs, Staffordshire University, England Collaborative Competition: Generating Excellence in the Design Classrooms of the Austere Economy Amy M. Johnson, University of Central Oklahoma, USA
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& RESEARCH 1
PIVOT Dublin
Ali Grehan, Dublin City Council, Ireland PIVOT Dublin is a Dublin City Council initiative, devised and co-ordinated by Dublin City Architects, because cities that value and apply design in how they think plan and act are more humane, attractive and competitive.
Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
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Oral Presentations
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Letter of Welcome EDUCATION
PIVOT Dublin captures design in all its diversity - from product, craft, fashion and graphic design, to architecture and urban design, as well as the new digital design cultures that reflect Ireland’s success in animation, lLM AND THE GAMING INDUSTRY 4HROUGH 0)6/4 )RISH DESIGN SPEAKS TO THE WORLD WITH A UNIQUE VOICE AND CHARACTER n THAT OF STORY TELLING EMPATHY creativity, conversation, ambition, humour and optimism.
PIVOT Dublin connects design to community by: s 0ROMOTING DESIGN AS A RESOURCE THAT CAN HELP US ADAPT innovate and grow s )NSPIRING A CULTURE OF INTERDISCIPLINARY COLLABORATION s 6ALUING AND CULTIVATING OUR NATIONAL AND international network s /FFERING OPPORTUNITIES TO EXPLAIN DEMONSTRATE AND celebrate design’s positive impact s 4RANSLATING IDEAS TO ACTION THROUGH PROJECTS
This presentation will discuss how PIVOT Dublin has impacted on the education of the City and its Citizens.
Born out of Dublin’s bid to be designated World Design Capital in 2014, PIVOT Dublin has established itself as a focus for Irish design initiatives and created a resurgence of international interest in Irish design.
!S A PROBLEM lNDING AND PROBLEM SOLVING DISCIPLINE DESIGN IS INFUSED INTO ALL ASPECTS OF MODERN LIFE YET lNDS ITS ROLE LITTLE UNDERSTOOD UNDERFUNDED AND OVERLOOKED )NNOVATION BY DElNITION EMBRACES NEW mechanisms and ideas, yet has become framed within an entirely reductive commercial agenda and research funding has become increasingly elusive. As a fusion of the concrete and the digital domains of design, this paper employs ‘designerly’ thinking as a method of resolving a design problem: the visibility and value of design research in education. This methodology embraces institutional and commercial constraints as limitations used to stimulate new boundaries of practice and theory.
Design is about more than aesthetics, design can help us to adapt, innovate and grow. Design is a way of working; it’s an approach, a way of solving puzzles, problems and challenges. Design starts from the user’s perspective and products, services and systems that meet our needs are more beautiful, useful and long lasting. Design is also about the exchange and development of ideas. It requires communication, networking and negotiation. These are Irish strengths. These are manifested in a global network of connections and relationships that give Ireland strength and influence beyond its size. These are our resources.
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Offshore Artschool: an educational heterotopia
Cathy Gale, Kingston University, England c.gale@kingston.ac.uk
The Offshore Artschool is conceived a critical tool through which to argue for design research inherent, but conflicted, socio-cultural value. It is a project through which designs future can be articulated in a spirit of CREATIVE AND INTELLECTUAL DISRUPTION 2ATHER THAN CONFORMING TO REDUCTIVE
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EDUCATION & RESEARCH 1
& RESEARCH 1
notions of design research, or acquiescing to education as a product, the Offshore Artschool is a research-in-action project: an inter-institutional school within a school: an educational heterotopia. As a social, political, technological and commercial resource, design research represents a nexus of innovation, service and exploration. As such, the Offshore Artschool contributes to an emerging alternative to restructuring the curriculum, cutting resources and reducing speculative research. As a response to current design concerns, the Offshore Artschool refers to $EPARTMENT AT THE 2#! 0AUL %LLIMAN S 7ILDSCHOOL AND $UNNE AND 2ABY S CRITICAL APPROACH TO DESIGN "OTH WITHIN AND BEYOND THE EDUCATIONAL institution, the Offshore Artschool is based on a boat, the Costa Academia: A mOATING CAMPUS 4HIS HETEROTOPIA PAR EXCELLENCE &OUCAULT IS PART MOOC, combining digital media to engage wider audience participation, part experiential. By intermittently convening in educational design studios the projects aims to exploit the stimulation of design community debate and produce research outcomes. Although open-ended this educational heterotopia has a precise and determined function, to consistently make the case for design through research and design as research.
Design Research and Development: An Austerity Process Irish Malig, Anthro-Tec Inc, USA
Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome EDUCATION
OPPORTUNITIES TO FULlL UNMET USER NEEDS AND DESIRES 4HE PROCESS PROVIDES the insights that inform and inspire design teams, and reduce the technology research and development costs of engineering by identifying the ideal product experience to deliver. It is a methodology for making sure the right choices are being made at every decision point. To design AND DEVELOP AS IN THE CASE OF PHYSICAL PRODUCTS WITHOUT THE BENElT OF research, is in itself, a luxury. Attempting to cut costs by jumping over research and right into design, to save dollars early in the process, raises risks and can result in costly course corrections in later stages of development, especially in tooling. Case studies show costs of changes rise exponentially in the later stages of the development process. The cost of research is small compared to the overall cost of development to manufacturing to market, all of which could be informed by design research. Skipping the design research phase can also result in a product that falls flat in the marketplace. The brand damage and long-term cost of coming out with the wrong product are an order of magnitude more expensive than the cost of research at the outset to help ensure market success. Changes in the product development process are expensive by nature. Design research and development has always been an austere necessity that reduces project costs and increases return on investment by creating PRODUCT SOLUTIONS THAT ARE MORE lNELY TUNED FOR SUCCESS AND CONNECT deeply with users.
Whether you are a cash-starved start-up, or a major corporation responding to budget constraints, upfront design research and development is an austere process for ensuring that products are brought to the marketplace successfully. Appropriately designed research programs meet business goals, and differentiate products by unearthing
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EDUCATION & RESEARCH 1
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Back to school: contextual inquiry and the design of task furniture for learning
Caoimhe Mc Mahon, Alex Milton & Simon Dennehy, NCAD, Ireland caoimhemcmahon@gmail.com
There exists a lack of appropriate contextual research on today’s learning environments that can be accessed by those designing for learning and those making decisions about the purchase of task furniture. There also currently exists a disconnection between cutting edge ergonomic research and the solutions being provided by those designing for learning. Often designers, architects and those purchasing task furniture do not fully understand learning, the learner and the learning environment. Conversely, it has been reported by those in the manufacturing and design community that schools and educational bodies will only purchase the cheapest and most conservative task furniture solutions available. The majority of ergonomic studies have investigated the working postures of learners in a lecture-based classroom setting. These studies focus on the forward and backward postures associated with reading, writing and listening activities, which do not reflect 21st century pedagogies. Studies such as these, along with anthropometric data handbooks, have HISTORICALLY FORMED THE BASIS FOR THE DESIGN OF TASK FURNITURE 'UIDELINES FOR posture in the learning environment are based on the right-angled posture currently found in these publications, a posture which has evolved rather THAN BEING SCIENTIlCALLY PROVEN TO BE ADVANTAGEOUS Ultimately this lack of relevant information and breakdown in communication has had a negative impact on the learning experience and wellbeing of students and educators alike.
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Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome EDUCATION
This paper will attempt to describe design research activities undertaken as part of the ongoing TFE Task Furniture in Education project, a Marie #URIE &0 )!00 )NDUSTRY !CADEMIA 0ARTNERSHIPS AND 0ATHWAYS FUNDED programme, which is based in the National College of Art and Design .#!$ $UBLIN )RELAND 4HERE WILL BE A FOCUS ON THE OUTPUTS OF THE lRST YEAR OF THIS PROJECT with particular emphasis on the outcomes of a pilot study undertaken in a primary school where research techniques such as observation, interviewing and introduction of a new furniture solution were used to build up a picture of the needs and aspirations of the educators and learners. It will then be outlined how this simple, cost effective piece of DESIGN RESEARCH UNCOVERED SEVERAL KEY INSIGHTS WHICH HAD A SIGNIlCANT impact on the subsequent direction of the TFE project. The aim of the project is to use design research activities to join the dots between governing bodies, educators, students, designers and ergonomists and improve the resources available to those who wish to engage with designing for learning.
Testing the waters – can the use of visual sensibilities in teaching information literacy be successful in art and design and beyond? Alke GrÜppel-Wegener & Katy Vigurs, Staffordshire University, England
a.c.groppel-wegener@staffs.ac.uk k.vigurs@staffs.ac.uk
This paper presents the initial stages of a research project that seeks to investigate the extent to which an innovative approach to improving art and design students’ levels of academic literacy (using pictorial metaphors TO CATER FOR THEIR VISUAL SENSIBILITIES CAN BE TRANSFERRED EFFECTIVELY TO OTHER types of learners across subject disciplines and institutions.
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The innovative approach developed by the lead author is called the ‘Fishscale of Academicness’ and was initially inspired by an analogy communicated in the work of Dr Claire Penketh (Beaumont and Penketh, 4HIS ANALOGY LIKENING ACADEMIC TEXTS TO DEEP WATER lSH IN THE context of developing undergraduate students’ reading skills, has been extended and developed into a lecture and seminar activity to support students to better determine the provenance of secondary sources that they use in their research and essay writing. The approach comprises a detailed visual analogy, a design activity and group discussion, which help students to understand the importance of different types of sources for different purposes. Existing strategies to develop students’ conception of information discernment include the use a numeric rating system to CHARACTERISE DIFFERENT SOURCES EG "ALUSEK AND /LIVER HOWEVER THE strategy proposed here draws upon visual images and discussions which lead to students designing their own personalised metaphors. Piloting of the approach with students from an art, design and media background indicated a positive impact on the students’ awareness and use of secondary sources in their academic writing. This research PROJECT NOW ATTEMPTS TO FURTHER DEVELOP THE INITIAL lNDINGS THROUGH WIDER implementation. This means that the Fishscale project will be delivered AND EVALUATED WITH STUDENTS IN THE lELDS OF ART DESIGN MEDIA AND education, as well as in different institutions to gain a better sense of the concept’s effectiveness and potential transferability. This paper will introduce the Fishscale concept and then outline and reflect upon the challenges of developing a research methodology across institutions and disciplines. We aim to conclude with a report ON THE PROGRESS OF OUR RESEARCH TO lND OUT WHETHER A VISUAL METHOD FOR illustrating the academic practice of questioning secondary sources’ provenance can be effective not only within the art and design disciplines, but beyond them.
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Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome EDUCATION
References: Balusek, K. and Oliver, J. (2012) An Assessment of Students’ Ability to Evaluate
EDUCATION
Sources using a scale. Presentation at ISSOTL conference 22.-27. October 2012
& RESEARCH
Beaumont, C. and Penketh, C. (2010) Evaluating the Undergraduate Experience to
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improve and Access Course. Presentation at Flying Start Symposium at Liverpool Hope University, 10. June 2010
Collaborative Competition: Generating Excellence in the Design Classrooms of the Austere Economy Amy M. Johnson, University of Central Oklahoma, USA ajohnson54@uco.edu
Designers are the quintessential poster children for doing more with less. Our ability to innovate within very tight constraints is both our “super power� and our Achilles’ heel. This is especially true in design classrooms WHERE MONEY FOR FACILITIES TECHNOLOGY AND FACULTY HAS BEEN SIGNIlCANTLY reduced. Make no mistake, design faculty are demoralized by these losses, however to our credit the design persona quickly sees this pool of shrinking resources as a challenge that requires innovation. The design approach quickly changes the question from how will we survive to how can we CREATE EXCELLENCE THAT WILL OUTSHINE OUR PREVIOUS PERFORMANCE (OW WILL we do it in a way that engages faculty and students in a cultural shift WHERE COMPETITION FOR RESOURCES BECOMES A DRIVER NOT A HINDRANCE -ORE important how will we prove our advancements to administrators who may HAVE LITTLE KNOWLEDGE OF DESIGN LET ALONE OUR PROGRAM NEEDS Two concepts common to the questions above are collaboration and competition, and used in combination the two are a powerful pedagogical mechanism. The Collaborative Competition model views competition not as a threat but as an opportunity to evolve and excel. Students work together
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to improve outcomes for each other while maintaining the desire to be the best. A common experience in sports, collaborative competition is founded on the principle that competition is an invaluable and objective method for evaluating performance for individuals and programs. Students are measured against not only their past performance but the performance of peers and peer institutions. The design approach has always used collaborative brainstorming and analysis to generate more diverse and higher quality outcomes, but internal and external competition inspires students and faculty to try harder and push even further. The key to the Collaborative Competition model is independently verifying results by systematically entering the work into local, regional, national and international juried competitions in order to generate data to quantify progress in a format that is readily understood by both internal and external stakeholders. This paper will describe the Collaborative Competition model that is being used at a regional university in the US to create “more from less” while generating important data to argue for increased program funding. The paper will highlight curricular advancements including the introduction of complex projects at earlier stages and present data that OBJECTIVELY QUANTIlES INCREASED PROlCIENCY THROUGHOUT ALL LEVELS OF THE graphic design program.
Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome EDUCATION
11.00am - 1.00pm Education & Research 2 Smock Alley Boys School
EDUCATION & RESEARCH 2
The Future is Now: Designing a Sustainable Fashion Program for an Age of Austerity Carolina Obregón, Jorge Tadeo Lozano University, Colombia Fashion design communities: research on the previous background for co-designing in fashion teaching 0ARDO #UENCA $ESAMPARADOS ,UPANO -ARIO (ERNANDIS /RTU×O "ERNABÏ 5NIVERSIDAD 0OLITÏCNICA DE 6ALENCIA 5NIVERSITË )UAV DI 6ENEZIA %SCUELA 3UPERIOR DE !RTE Y $ISE×O DE 6ALENCIA 3PAIN )TALY
Less in more – the ultimate context Helen McAllister & Nigel Cheney, NCAD, Ireland Designing for Efficiencies and Beyond in the Built Environment Nadia Elrokhsy, Cary Ng and Eulani Labay, Parsons The New School for Design, USA
A teleological applied research investigation into how different institutions might collaborate on problem focused, interdisciplinary, creative design projects for the built environment, using BIM (Building Information Modelling) software as the common host Stephen Edge & Colin Stuhlfelder, Leeds College of Art & Glyndwr University, England & Wales The learning Journey of an Architectural Student: Pedagogical delivery of learning and use of BIM David Morton, Northumbria University, England
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& RESEARCH 2
The Future is Now: Designing a Sustainable Fashion Program for an Age of Austerity
Carolina ObregĂłn, Jorge Tadeo Lozano University, Colombia carolina.obregont@utadeo.edu.co
Based on my experience in designing a new sustainable fashion CURRICULUM THIS PAPER WILL ADDRESS TWO QUESTIONS (OW CAN WE CHANGE pedagogical content and delivery methods to attend the contemporary PROBLEMS OF AUSTERITY AND CLIMATE CHANGE !ND HOW CAN DESIGN EDUCATION bring local communities together to work on projects that improve their OWN STANDARD OF LIVING AND BENElT THE ENVIRONMENT Fashion education in Colombia has recently transitioned from technical to professional programs. I designed the new curriculum for a professional PROGRAM THAT WILL OPEN IN AT 5NIVERSIDAD *ORGE 4ADEO ,OZANO IN BogotĂĄ. Based on previous research and work in sustainable design education, and inspired by new courses in sustainable fashion elsewhere, I designed 30 courses with sustainability as the linking objective throughout the curriculum. The curriculum seeks for students to innovate and look for design opportunities within the community at large with a focus on local economic and social problems. Fashion design students often feel disenfranchised with greater issues of the society and would like to contribute but are not sure how to do it. This new program looks at how fashion design can confront the critical issues of the larger society and come up with solutions. For example, the program seeks for students to work together with people from the community who participate in the design process, so both learn skills with the universities technical training program. By fostering an open, creative and energetic environment, the STUDENTS AND COMMUNITY WILL BENElT FROM A PLATFORM OF COLLABORATION active participation, improved design, production and manufacturing processes. This in itself is a bold change from a silos mentality.
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Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
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Letter of Welcome EDUCATION
The program has support from the university directives that want to see this as a pilot for incorporating a sustainability vision, theory and practice into other curriculums. I suggest that Latin American universities have the possibility of being at the forefront of a sustainable shift in education. Our current era of austerity and climate change can take advantage as a way of forming future-oriented designers that have their priority a concern with the environment, the society and the economy. Fashion designers educated through a sustainability curriculum will see themselves as agents of change that can be part of the solution. The local community´s involvement is intended to create jobs to make an ecologically sustainable design process viable. I hope to share this exciting new development with other participants at the Cumulus conference in Dublin.
Fashion design communities: research on the previous background for co-designing in fashion teaching
Pardo Cuenca Desamparados, Lupano Mario & Hernandis OrtuĂąo BernabĂŠ, Universidad PolitĂŠcnica de Valencia, UniversitĂ Iuav di Venezia & Escuela Superior de Arte y DiseĂąo de Valencia, Spain & Italy deparcue@upvnet.upv.es, mlupano@iuav.it, bhernandis@degi.upv.es
/VER THE PAST DECADE DESIGN RESEARCH BASED ON $ESIGN PARTICIPATION $0 has been guiding generative design processes within a vast range of disciplines. Currently the change from a product perspective to a purpose perspective has enabled new practices for design transformation to emerge; thus forcing the participants to change the methods in order to ADDRESS THE NEW EMERGING SOCIAL NEEDS I E "URNS #OTTAM 6ANSTONE 7INHALL 3ANDERS B
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& RESEARCH 2
In the fashion domain, transformation design seeks open-source solutions and focuses on the social debate around sustainable fashion as well as the practice of techniques and methods working with CO CREATION 3ANDERS 3TAPPERS (OWEVER FEW RESEARCHES HAVE CONDUCTED $0 AS A WORKING METHOD FOR FASHION DESIGN PROJECTS in the classroom. /UR PURPOSE FOCUSES ON THE INTRODUCTION OF A WORKING METHOD $0 FOR fashion projects in the classroom that from the generative design stage will enhance the term “collective creativity� and the participant roles exchange; thus, achieving students fashion thinking reconstruction.
Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
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Letter of Welcome EDUCATION
It is hoped that the use of these design tactics will help to transform student’s fashion thinking by changing the more sustainable relationships among the company, designers and no-designers. Moreover, this study leads us to new researches about how to deal with the use of open-source and open-wear in the classroom.
Less in more – the ultimate context
Helen McAllister & Nigel Cheney, NCAD, Ireland mcallisterh@ncad.ie, cheneyn@ncad.ie
This research investigates co-design and co-creation theoretical bases in order to introduce them into the classroom practice. Through a focus group, the precedents are explored and the suggestions are assessed. A SUBSEQUENT WORKSHOP WAS CONDUCTED WITH TWELVE FASHION STUDENTS OF lRST second and third grade at the University IUAV of Venice. This workshop put into practice the considerations derived from the previous method by implementing various design tactics aimed towards the innovation in co-creation through offline co-creation communities working at different stages of mass customization by means of the exchange of roles. 4HE ASSESSMENT OF THE EXPERIMENT LED BY lVE EXPERTS WAS APPLIED THROUGH observation techniques and “think aloud� methods. At the end of each workshop the participants were offered a questionnaire in order to measure both their satisfaction and commitment levels. The results showed that participants proved to be more involved in the CREATIVE PROCESS STRENGTHENING SELF ESTEEM CONlDENCE AND CREATIVITY while removing uncertainties and reducing anxiety and confusion when they shared their ideas with the community.
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@!LL TOO OFTEN CREATIVE PRODUCTIVE REASONING IS SEEN PURELY AS A MOVING away-from existing solutions, only to be done when sparked by a crisis’ $ORST P While we are in the midst of austerity, we should not see austerity as a mere problem to solve, an anomaly in our norm; instead to see this cyclical experience as an imperative to Design as a rich opportunity for change. 4HE PERVIOUS NATURE OF $ESIGN WITH NO lXED IMPERIAL VIEWS ALLOWS FOR adaptation, transferability of experiential practices and knowledge that challenge surrounding conditions and situations with ease. This paper aims to set out how certain established Textile practices and methodologies can have impact in contemporary design educational strategies facing limited resources. The paper will unpack the twofold NATURE OF THE SUBJECT DOMAIN OF THE 4EXTILE !RT !RTEFACT 4!! #OURSE morphing from the embroidery in design course at NCAD into that of the textile applied design pathway. The subject is paired with a teaching strategy that has enriched the student learning.
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EDUCATION & RESEARCH 2
‘Making unites dexterity with imaginative response, enabling long term EXCURSIONS THROUGH DIFFERENCES #OHN P
& RESEARCH 2
While austerity is seen as anti to innovation, for many the continuum of RELEVANT LOW TECH PRACTICES AND METHODS THAT ARE ROOTED IN THE MAKER CRAFT lELDS REmECT AND INFORM THE INTERDISCIPLINARY NATURE OF CONTEMPORARY practices and professions in design. At the core of the subject domain, IS THE AFlNITY WITH MAKING AND AN ENGAGEMENT WITH THE PROCESS 4HE NOW buzz term of ‘Up-cycling’ has always been a core element in the tradition OF EMBROIDERY NOW THIS ELEMENT IS lRMLY EMBEDDED IN THE MATERIALITY sustainability debates.
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Organisation
Institute of Designers in Ireland Awards Exhibition
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Letter of Welcome EDUCATION
http://dab.uts.edu.au/research/conference. p131-139 Dunin-Woyseth H. / Nelsson F. (2012) ‘Doctorateness in Design Disciplines’
EDUCATION
Negotiating Connoisseurship and Criticism in Practice-related Fields’
& RESEARCH
www.FORMakademisk.org Vol. 5 Nr2 Art3 p1-11
2
Designing for Efficiencies and Beyond in the Built Environment
Nadia Elrokhsy, Cary Ng and Eulani Labay, Parsons The New School for Design, USA elrokhsn@newschool.edu
Interdisciplinary increasingly needs ‘the ability to communicate and get into dialogue with other knowledge producers, in one’s own, as well as OTHER DISCIPLINES AND lELDS $UNIN 7OYSETH AND .ILSSON P The TAA undergraduate experience offers a solid foundation whereby the proactive learner builds a repertoire of skills that informs practices of the INDIVIDUAL MAKER CRAFTS PERSON WITH THAT OF CONTEMPORARY INDUSTRY NEEDS WHICH IN TURN IDENTIlES RESEARCH SPECIlCITY AND NICHE PATHWAYS The TAA undergraduate experience offers a solid foundation whereby the proactive learner builds a repertoire of skills that informs practices of the INDIVIDUAL MAKER CRAFTS PERSON WITH THAT OF CONTEMPORARY INDUSTRY NEEDS WHICH IN TURN IDENTIlES RESEARCH SPECIlCITY AND NICHE PATHWAYS 4HE TEACHING STRATEGY USES REmEXIVE REmECTIVE OF EXPERIENTIAL PRACTICES THAT are informed by relevant real life contextualization. References: Cohn S. (2012) (edit.) ‘Unexpected Pleasures; the art of design of contemporary jewellery’ New York, Rizzoli International Pub. Inc. Dorst K. (2010) DTRS8 – Design Thinking Research Symposium 8’
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3TUDENTS AND FACULTY AT 0ARSONS 4HE .EW 3CHOOL FOR $ESIGN TOOK A lRST step at integrating strategic design methods and tools that explored designing for sustainability, going beyond environmental design and EFlCIENCIES 4HE COURSE WAS DESIGNED TO CHALLENGE OUR NOTION OF INTERIOR design praxis and pedagogy, by considering the following questions: h(OW CAN WE EXPLORE WHAT CONDITIONS ARE NEEDED DESIRED ENCOURAGING THE INTERIOR DESIGNER TO QUESTION MORE BROADLY THE ROLE SHE HE PLAYS IN THE EVOLUTION OF THE DESIGN BRIEF ITSELF v !ND MORE SPECIlCALLY h7HAT DESIGNED CONDITIONS "IRGIT -AGER WOULD SUPPORT CIVIC ENGAGEMENT IN @LIVING MORE WITH LESS v 2ECENT ECONOMIC DISASTERS STEMMING FROM AN APPETITE FOR OVER CONSUMPTION AND DESIRE FOR OWNING MORE (EINBERG AND ,ERCH EDS AND -EADOWS 2ANDERS AND -EADOWS HAVE HIGHLIGHTED THE NEED AND BENElTS OF ALTERNATIVE SYSTEMS LOCAL AND ALTERNATIVE forms of exchange, collective and collaborative trends, design for social innovations, which are often supported by socio-technical systems (EINBERG AND ,ERCH EDS "OTSMAN AND 2OGERS $%3)3 .ETWORK Starting with a real-world challenge - New York City’s need for more one
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AND TWO PERSON DWELLING UNITS #ENSUS !D!04 .9# STUDENTS WERE asked to design alternative scenarios to ever-more compact, individuallyowned, urban insertions. Alternative trends in the shared and collaborative served as a backdrop, setting the stage, identifying users and desired experiences, over time, that design could support. A, co-requisite, digital modelling course allowed students to explore how 3D modelling software MIGHT BE USED IN THE DESIGN PROCESS -C'RATH AND 'ARDNER STORY BUILDING TELLING GIVING EXPRESSION TO THE USERS EXPERIENCES AND the potentials for more enjoyable, connected, living-less consumption in food, water and energy. Furthermore, students were guided through collaborative problem-setting workshops and exercises designed to aid in the development of their individual design briefs, incorporating research ON BEHAVIOUR CHANGE "* &OGG HABITS AND RITUALS ESPECIALLY WITH REGARD TO hCOMFORT CLEANLINESS AND CONVENIENCEv 3HOVE AND SERVICE DESIGN THINKING METHODS AND TOOLS 3TICKDORN AND 3CHNEIDER This essay presents the framework and the lessons learned in the implementation of a studio course focused on the impact of interiors on civic life, questioning, what and in what manner we consume, and WHY 4HE DISCIPLINE OF INTERIOR DESIGN ALONG WITH ITS RELATED lELDS IN the built environment, can contribute and support a move away from behaviours, habits and rituals that further our propensity for consuming more products, while designing the conditions for more successful shared, collaborative, interactions and experiences between people.
Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
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Letter of Welcome EDUCATION
A teleological applied research investigation into how different institutions might collaborate on problem focused, interdisciplinary, creative design projects for the built environment, using BIM (Building Information Modelling) software as the common host Stephen Edge & Colin Stuhlfelder, Leeds College of Art & Glyndwr University, England & Wales
steve.edge@leeds-art.ac.uk, c.stuhlfelder@glyndwr.ac.uk
Interdisciplinary team working in the design and construction industry is often mirrored in academe, where the complementary disciplines of architecture, structural engineering, technology, planning etc., work together in teams on ‘live’ projects. This is especially the case in larger universities with built environment faculties, and at post grad level )$"% #AMBRIDGE 4HE "ARTLETT AND 4HE !! ,ONDON BUT REGRETFULLY interior design is not always included. Similarly there is little evidence at undergraduate level of cross-institutional, interdisciplinary student projects, which interplay with the staff team’s research projects and BIM. Furthermore in 2011 the UK government announced that any architectural or Construction Company interested in tendering for work on a government building contract from 2016 onwards, will have to use BIM (Building )NFORMATION -ODELLING SOFTWARE )N THIS AGE OF AUSTERITY THE CHALLENGE of inculcating BIM literacy nationwide over the next few years is already having a considerable impact on the building industry’s SME’s and training agencies, and this paradigm shift is creating similar problems for built environment educators as well. Interior design students don’t necessarily need to know how to use BIM to design buildings in the way in which architects or engineers do,
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EDUCATION & RESEARCH 2
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however they will increasingly need to know how e.g. BIM tests green BUILDING TECHNOLOGIES FOR (EALTHY "UILDING #ONCEPTS ("# AND EQUALLY as important what their interoperable role will be in this new BIM vision for the future. Similarly architectural technology students will need to know how interior designers operate, how they generate creative ideas and problem solve. Interior design students don’t necessarily need to know how to use BIM to design buildings in the way in which architects or engineers do, however they will increasingly need to know how e.g. BIM tests green BUILDING TECHNOLOGIES FOR (EALTHY "UILDING #ONCEPTS ("# AND EQUALLY as important, what their interoperable role will be in this new BIM vision for the future. Similarly, architectural technology students will need to know how interior designers operate, how they generate creative ideas and problem solve. Therefore as a response to these challenges to educators and disciplines, 3TEPHEN %DGE 0ROGRAMME ,EADER "! (ONS )NTERIOR $ESIGN ,EEDS #OLLEGE OF !RT ,#! AND $R #OLIN 3TUHLFELDER 0ROGRAMME ,EADER "3C !RCHITECTURAL 4ECHNOLOGY 'LYNDWR 5NIVERSITY HAVE DESIGNED A COLLABORATIVE STUDENT centred project,which will build on their respective disciplinary expertise AS PRESENTED IN ,ONDON IN 3EPTEMBER AT THE #2%34 #ONSORTIUM FOR 2ESEARCH %XCELLENCE 3UPPORT AND 4RAINING 3USTAINABLE #OMMUNITIES Symposium. The paper will describe how and why the two institutions are collaborating ON A CREATIVE TECHNICAL INTERDISCIPLINARY BRIEF WITH THEIR RESPECTIVE students. The brief will emphasise the principles of the ‘Basic Design’ COURSE PIONEERED BY (ARRY 4HUBRON IN THE LATE S AT ,#! AND THE results will be captured in the students BIM models. The project will also be hosted by award winning sustainable design experts; London architects Fielden Clegg Bradley Studios.
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Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
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Location
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Letter of Welcome EDUCATION
References: www.bimtaskgroup.org
EDUCATION
http://crest.ac.uk/crest-symposia/
& RESEARCH
www.tate.org.uk/whats-on/tate-britain/display/bp-spotlight-basic-design
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www.fcbstudios.com/
The Learning Journey of an Architectural Student: Pedagogical delivery of learning and use of BIM David Morton, Northumbria University, England david.e.morton@northumbria.ac.uk
"UILDING )NFORMATION -ODELLING ")- HAS MADE A CONSIDERABLE IMPACT by changing the way in which we access building design information and interrogate the construction process and buildability of the building before any physical building has begun. This ability to abstract and simulate the ‘real’ in the virtual is now being seen in the Schools of Architecture in the UK. As with the dawn of CAD, where there was considerable concern over the PEDAGOGIC BENElTS OF A @NEW WAY OF NAVIGATING THE DESIGN PROCESS ")- IS THE NEW CALLER AT THE DOOR OF ARCHITECTURAL PEDAGOGY (OWEVER THIS TIME the move is more of a paradigm shift requiring new ways of representing our design intent. Does this mean that architectural education requires NEW METHODOLOGIES IN TEACHING 4HE DRAWN INFORMATION VIA ")- ENABLED students, is more than mere representation, they signify actual design intent that corresponds seamlessly with structure, buildability and design in use. The idea of showing drawn sections of your proposed scheme and making models to describe the intent of the design has,via BIM, the ability to be ‘all encompassing’. The making, thinking, doing, drawing is now abstracted from a virtual model.
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Institute of Designers in Ireland Awards Exhibition
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Letter of Welcome EDUCATION
This paper describes the current research being undertaken within the Architectural and Architectural Technology Department of Northumbria University. Current studies into the impact of BIM in the learning journey commenced in 2012. The study focuses around the need for representation in the outputs of the students and how these abstractions form the stepping-stones of the learning journey. As a direct comparison, studies also focus on students who have used BIM to abstract and simulate their building project.
EDUCATION & RESEARCH 2
A transition to BIM in the professional world requires a paradigm shift in terms of the design process and especially time spent in different PROJECT PHASES (OLNESS !DAPTATION OF THE TECHNOLOGY IN DESIGN modules and programs within schools will also need to move in terms of reshaping their curricula and projects in order to create graduates skilled in application of this type of approach to architectural and technological design. There is a learning curve to be navigated within schools, by those teaching and those learning to ensure that they understand the conventions of BIM and command the functionality of the approach in order to enhance their design learning journey.
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11.00am - 1.00pm Consumption Harry Clarke Lecture Theatre, NCAD Research into a Conceptual Model for Democratic, Disposable and Sustainable Fashion Samantha Vettese Forster, Edinburgh Napier University, Scotland Buyers as users. What design studies can say about economic agency Philippe Gauthier, Université de Montréal, Canada New service models in a time of crisis. Exploration of strategies for subversion, intervention and resistance Ida Telalbasic, Politecnico di Milano, Italy Consumption, Pedagogy, and Practice: Redressing Inequity Leslie Becker, California College of the Arts, USA Designing for a ‘smart society’. How design can generate a more sustainable production-consumption process Loredana Di Lucchio, Angela Giambattista & Enza Migliore, Sapienza University of Rome, Italy Surplus Debt: Turning the Back on Austerity by Turning Debt Upside Down Søren Rosenbak, Umeå Institute of Design, Denmark
Noam Chomsky Cumulus Conference Dublin
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CONSUMPTION
Samantha Vettese Forster, Edinburgh Napier University, Scotland s.forster@napier.ac.uk CONSUMPTION
Fashion is often perceived to be an unethical, wasteful, non-essential DESIGN INDUSTRY ,ANDlLL SITES CONSISTENTLY CONTAIN DISCARDED BUT NEVERTHELESS FUNCTIONAL GARMENTS 2ECYCLING AND DOWN CYCLING SCHEMES including charity shops and importing second-hand goods to developing countries have limited success in actually reducing waste, the carbon FOOTPRINT AND IN STIMULATING SIGNIlCANT ECONOMIC PROlTS Modern fashion, in general, produced a linear trajectory of styles that were widely accepted before rejection for the next fashion. Modernism embraced constant change and this was reflected in fashion; the most elemental example being the ‘disposable dresses’, brought out with commercial success in the mid 1960s. Postmodern fashion has a more eclectic, individualistic progression, yet the rate of disposal, and impact to society is perceptibly higher. In this current climate, some fashion practitioners have attempted to address these issues by creating fashion in sustainable materials and processes, or have accentuated their ethical manufacturing methods. Others have moved towards creating fashion that is designed to be ‘classical’, ‘timeless’ with ‘heritage’ and a form of personal ‘narrative’ embedded in the design so that the brand and garments are viewed as investments rather than changeable fashion. The ‘make do and mend’ tenet has popular recognition, even if not widely practiced. Also, in several innovative projects involved in fashion and textiles, garments with a changeable appearance have been created to prolong the usability and aesthetic appeal of fashion.
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Institute of Designers in Ireland Awards Exhibition
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Poster Presentations
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Letter of Welcome
Research into a Conceptual Model for Democratic, Disposable and Sustainable Fashion
This research project, which the conference paper will contribute to, intends to rethink and propose a new model for fashion, based partly on the idea of ‘cradle to cradle’ design. This model will also be established on the premise that fashion is not ‘timeless’ and that the changes BROUGHT IN AND BROUGHT OUT BY FASHION STYLES HAVE POSITIVE MEANING n to society and individually.
CONSUMPTION
The project proposes to create a conceptual collection of ‘disposable’ fashion garments, using pioneering, entirely recyclable, dyed, nonWOVEN POLYPROPYLENE TEXTILES SIMPLIlED PATTERN CUTTING TECHNIQUES AND manufacturing methods, that allow inexpensive production, with practice led research into the processes documented. The collection will be based on a variety of ongoing research methods that will contribute to the research project as a whole. This includes a contextual framework of where the concept of ‘disposability’ sits within contemporary design, the sociological meaning of ‘change’ in fashion, particularly to women, and primary, ethnographic research around the habits of womens’ consumption of Modern fashion design. This project is intended to project a theoretical, democratic fashion model that has the ability to create industry in a consumerist economy and be sustainable.
Buyers as users. What design studies can say about economic agency Philippe Gauthier, UniversitĂŠ de MontrĂŠal, Canada philippe.gauthier.2@umontreal.ca
Working toward the creation of a more sustainable world, critics of consumption and consumerism have proved paradoxical for many
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Designers usually answer these critics by engaging their practice in a global lessening of the detrimental environmental impacts of whatever goods they produce, and many standards have been introduced to guide THEM IN THAT ENDEAVOUR (OWEVER SUCH EFFORTS CAN BE SEEN AS COUNTER productive from the point of view of consumers, as it tends to multiply THE DIFlCULTIES OF LIVING UP TO ONES STANDARDS OF RESPONSIBLE CONSUMPTION (OWEVER DESIGN CAN OFFER A DIFFERENT PATH FOR DESIGNERS WISHING TO embrace sustainability. If one takes seriously the claims presented by those PROMOTING THE DESIGN lELD AS A WAY TO STIMULATE MARKETS ONE IS THEN FORCED to consider that design conceals some sort of truthful knowledge about ECONOMICAL AGENCY (ENCE THAT KNOWLEDGE SHOULD BE ABLE TO CONTRIBUTE TO A better understanding of market dynamics, which in turn can be used either to boost consumption, or to fend off consumers from over consumption. In this paper, we will indicate how that approach translated into two research projects. These will demonstrate some of the perspectives OPENED UP BY SUBSTITUTING THE lGURE OF THE CONSUMER OF PRODUCT IN CONSUMER STUDIES WITH THE lGURE OF THE USER OF CONSUMER MARKETS 3UCH A substitution represents an interesting take on the contribution of design studies and design thinking to the economic analyses of consumption, and to the conception of consumer information.
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Institute of Designers in Ireland Awards Exhibition
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Letter of Welcome CONSUMPTION
DESIGNERS $ESIGN AFTER BEING DElNED AS A WAY TO HARNESS HUMANITIES need for the ever-increasing power of the industrial and commercial COMPLEX AT THE DAWN OF THE 88TH CENTURY ACTUALLY CAME TO MATURITY AS A discipline by working with the economic forces that had created todays market society but now widely lambasted by society In a sense, design got drafted by industrial forces, and contributed towards the social emancipation of the Trente glorieuses, making consumption the key achieve a full realization of oneself. In that sense, designers became instrumental IN THE OVER DEVELOPMENT OF CONSUMPTION THAT IS NOW UNDER THE lRE FROM THE many movements that seek the creation of a sustainable world.
New service models in a time of crisis. Exploration of strategies for subversion, intervention and resistance Ida Telalbasic, Politecnico di Milano, Italy only.type.ida@gmail.com CONSUMPTION
If we understand that Service Design is “an approach that combines different methods and tools from various disciplines, and a new way of thinking as opposed to a new stand-alone academic discipline� 3TICKDORN 3CHNEIDER THEN WE ARE FORCED TO EXPLORE THE FARTHEST opportunities that this discipline can provide. This is especially true if the current economic crisis is “a crisis of the real economy, of an old FORM OF PRODUCTION AND CONSUMPTIONv +EYNES AND hWHAT IS NEEDED IS A program of more profound structural change, of a radical transformation of infrastructures and institutions that will be the precondition for a new, QUALITATIVELY DIFFERENT PERIOD OF GROWTHv 3CHUMPETER With this in mind, the theoretical framework ultimately encompasses disciplines such as sociology with topics such as unemployment, age OF ACCESS VIRTUAL REAL INTERACTIONS AND ECONOMICS WITH TOPICS SUCH AS social economy, collaborative consumption, new business models and complementary currencies. Complementary currency is a standardized UNIT MEDIUM OF EXCHANGE THAT CIRCULATES IN PARALLEL TO CONVENTIONAL MONEY 7HY DO ) SPEAK OF AN ALTERNATIVE CURRENCY 4HIS IS DUE TO THE ECONOMIC CRISIS BECAUSE THERE IS A DElCIT OF CASH mOW AND WE NEED TO lND alternative models to sustain our activities. The spaces where this can happen can be both physical and digital spaces where the convergence of people and activities are based on a common need for interaction. What needs to be designed is a service model within cities affected by the socio-economic crisis and to explore collaborative and creative spaces by THE MEANS OF DE CENTRALIZED EXCHANGE 4HE SPECIlC AIMS OF SUCH A SERVICE
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CONSUMPTION
)F THE QUESTION IS ABOUT THE ROLE OF DESIGN IN lNDING A BALANCE BETWEEN excess and austerity, then the answer, in my opinion, lies in the transformation of idle capacity of skilled professionals currently without a job into opportunities. This could be achieved by giving shape to a service with its evidences as a framework to adapt to current conditions in peerto-peer interactions, multiplied with other peer-to-peer interactions. If a successful long-term and not only crisis-driven model could be designed, PROTOTYPED AND GLOBALLY REPLICATED BASED ON THE DEBT CREDIT SYSTEM AND KNOWLEDGE ECONOMY ENORMOUS BENElTS OF ACCESS TO PRODUCTS AND SERVICES THEN IT COULD ENHANCE ECONOMIC EFlCIENCY AND DISTRIBUTE SOCIAL CAPITAL while promoting new forms of entrepreneurship.
Consumption, Pedagogy, and Practice: Redressing Inequity
Leslie Becker, California College of the Arts, USA lbecker@cca.edu
Beginning with my graduate studies in design and ethics many years ago, I have maintained an active interest in the relationship between design and consumerism. For the past several years I have been teaching a Visual 3TUDIES COURSE TITLED h3TUFF )RRESISTIBLE /BJECTS v )T MAY SEEM AT lRST to be a tantalizing engagement with the latest gadgets of this century and the most iconic ones of the last; however, the course delves into the orchestration of images and objects that drive desire in consumer culture. More recently, I have been examining how pedagogy and practice might BENElT FROM FOCUSED CRITICAL REmECTION ON THE GROWING WEDGE BETWEEN
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would be the creation of relationships, qualities and realization of needs through a complementary currency and here the word “currency� would act as metaphor that gives value to things.
rich and poor. Two questions arise: What pedagogical steps might be taken to address designs role in consumption when teaching future studio PRACTITIONERS 7HAT OPTIONS ARE POSSIBLE FOR PRACTITIONERS WHO RATHER automatically produce proposals and sign contracts for work that makes MOSTLY lDUCIARY SENSE CONSUMPTION
I will briefly trace designs love affair with consumerism (Peter Behrens and !%' !)'! S EARLY TWENTIETH CENTURY ARCHIVES "AUHAUS DESIGN PEDAGOGY Next I will examine pedagogical resistance to altering content. While most design schools have necessarily revised curricula to offer mastery of technical skills required to produce work, they have been, I would argue, far less rigorous in the re-invention of course-based project contents (Who ARE SHOULD BE THE CLIENTS 7HO BENElTS 7HO IS HURT AND INADEQUATE in the critique of many contemporary practices. Students seem eager to develop the latest app to make shopping a better experience or to share thoroughly trivial observations on social screens. To address the two problem areas of pedagogy and practice, I raise the following questions: Beyond the slippery set of technical skills taught in design schools, what characterizes a design education that is not wholly tethered to COMMERCE 7HAT SHOULD BE THE EDUCATIONAL INSTITUTION S RELATIONSHIP TO EXTERNAL COMMERCIAL ENTITIES INCLUDING SPONSORSHIP -ANY PRACTICES ON THE OTHER HAND HAVE SHIFTED THEIR CONTENT TO OFTEN SUPERlCIAL SERVICES DESIGN THINKING INNOVATION STRATEGY ENTREPRENEURSHIP ALL FURTHERING and strengthening designs connection to commerce. What, however, might A HYBRID PRACTICE LOOK LIKE (OW CAN DESIGNERS STRIKE A BALANCE BETWEEN COMMERCE AND WORK THAT BENElTS THE UNDERSERVED 3IMPLY STATED DESIGN PEDAGOGY AND PRACTICE HAVE BEEN AND CONTINUE TO BE PROlT CENTRIC IN A world that is increasingly split between wealth and poverty. This paper will attempt to redress the inequity embedded in how we learn to become designers and how we practice design.
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Loredana Di Lucchio, Angela Giambattista & Enza Migliore, Sapienza University of Rome, Italy CONSUMPTION
loredana.dilucchio@uniroma1.it
The paper reports the results of a research in progress that the authors are carrying out to investigate and experiment new processes of ‘designproduction-consumption’ in order to obtain a real social innovation. The research grows out of the observation that today the role of design, together with its creative processes, are experiencing a deep transformation due to two complementary macro-phenomena: s THE EXPONENTIAL GROWTH OF TECHNOLOGICAL INNOVATIONS and the evolution of information and communication processes; s THE ECONOMIC CRISIS AND THE ENVIRONMENTAL EMERGENCY arisen from the process of overproduction triggered during the 20th century. According to the Design approach, these macro phenomena result in a REDElNITION OF THE PROCESS FROM MANUFACTURING TO CONSUMPTION s ON ONE SIDE THANKS TO THE NEW INFORMATION TECHNOLOGY THE PROCESS was reduced both in terms of physical location and in terms phases and actors, reconstituting a handmade approach in which the creator coincides with the manufacturer. s ON THE OTHER SIDE TO FACE CURRENT CRISIS THE PROCESS IS FOCUSING attention on the logic of low environmental impact, consumption reduction, re-use philosophy and practice of recycling.
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Designing for a ‘smart society’. How design can generate a more sustainable production-consumption process
From a methodological point of view, the research focuses on the overlap of three operative tools: s THE @DESKTOP MANUFACTURING WHICH ALLOWS HIGH mEXIBILITY of the work, a customization of the results, an open trial of the materials and an indifference to the economies of scale; s THE @SMART TECHNOLOGIES WHICH TRANSFORM THE interactions from functional to cognitive ones, paving the way to a scenario of contents and performances sharing; s THE @DO IT YOURSELF WHICH SHIFTS THE FOCUS FROM the simple practice of consumption to the practice of production for their own needs while reducing the economic, environmental and social impacts.
CONSUMPTION
The research goal is to imagine a different ‘design player’ which grows OUT OF THE CONVERGENCE BETWEEN DESIGNER THE CLASSICAL ONE @PROSUMER 4OFmER AND @MAKER !NDERSON 4HIS NEW PLAYER COULD BE able to represent, today, a potentially virtuous alternative to the current economic production and social structure and, if properly developed, which can open more sustainable social, economic and environmental scenarios 7EINBERGER The expected result aren’t simply new products but a sort of ‘assembly layouts of products’ that can be realized, managed and implemented by a large community of people using an open-source practice.
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Søren Rosenbak, Umeü Institute of Design, Sweden expecting@slightchanges.com
COMMUNITIES 1
This paper introduces and examines the concept of ‘surplus debt’ as a call of action in the current age of austerity. Ever since the dot-com BUBBLE SNOWBALLED THE 7ESTERN WORLD INTO A NOTION OF PERMANENT lNANCIAL stagnation, economy has entered the public sphere as a natural starting point as well as ending point for discussion: Everything simply revolves AROUND THE LACK OF MONEY #RIPPLED WITH DEBT MANY GOVERNMENTS AND companies tighten the belt with large cutbacks. As one of the results, the youth unemployment is historically high. The macro-economic crisis has a huge influence on the individual - people get ill from debt and depressed from feeling idle and essentially superfluous. In this very real juxtaposition between macro-economy and individual wellbeing, surplus debt is a not an answer but a game changer. As the direct opposite of conventional capital debt, surplus debt is the spontaneous, unconditional gift exchange between strangers. Thus, the global lack of imagination INHERENT IN THE lNANCIAL CUTBACK FORMULA IS REVERSED INTO LOCAL INNOVATIVE NON lNANCIAL INITIATIVES FOR BETTERING THE EVERYDAY LIVES OF OTHERS 5SING the highly successful Danish movement ‘Fucking Friendly’ as a case study, the qualities of this new concept for meaningful interaction are examined and evaluated. As a new paradigm for creating local and meaningful experiences beyond any monetary agenda, surplus debt holds a vast, untapped potential for all the design disciplines. In this sense, the paper is more than anything an invitation for further action, research and discussion.
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Surplus Debt: Turning the Back on Austerity by Turning Debt Upside Down
11.00am - 1.00pm Communities HCH 2.03, NCAD Engaging a community of older people about design of technology for older people: How can we include the user? Christopher Soraghan, Sonja Hermann & Gerard Boyle, Trinity College Dublin & St. James’s Hospital, Ireland Keep the Change: Reconsidering Design Solutions for Homelessness in Pasadena, California Arden Stern, Art Center College of Design, USA
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Localizing the global and globalizing the local through creative craft practices Chamithri Greru & Britta Kalkreuter, Heriot-Watt University, Scotland The politics of design: re-evaluating the role of speculative, critical and citizen-led design practice in Australia and the United Kingdom Jacqueline Lorber Kasunic, Tania Leimbach & Sasha Abram, University of Technology, Sydney, Australia Think Play: Using Grassroots Movements as Educational Opportunities Emma Gieben-Gamal & SĂłnia Matos, Edinburgh College of Art, Scotland
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Christopher Soraghan, Sonja Hermann & Gerard Boyle, Trinity College Dublin & St. James’s Hospital, Ireland csoraghan@stjames.ie, hermanns@tcd.ie, gboyle@stjames.ie
COMMUNITIES 1
Engineers and designers have traditionally designed technology for older people in the lab environment without input from the end user. The authors at a large academic teaching hospital wished to bridge the gap between designers and end users by going directly to the user’s home and assessing technology use as well as context of use of technology. We wanted to see how technology design impacted on older users in the community and what they might suggest to improve it. INTERVIEWS PARTICIPANTS YEARS OF AGE WERE CARRIED OUT IN IN THE ,IBERTIES $UBLIN )RELAND ! BESPOKE UNIVERSAL DESIGN SURVEY TOOL was developed for the interviews to determine how well a technology was designed for each person. The interviewers assessed a social alarm WHICH ALL PARTICIPANTS HAD AND SOME GENERAL TECHNOLOGY THAT THE USERS HAD SOME DIFlCULTY USING E G 46 MOBILE PHONE
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The authors learned of the importance of direct contact - of seeing and touching what the user experienced in terms of technology use. A number of preconceptions from the engineering team were challenged by this engagement process. Technology design overall was poor. Simple usability principles were not followed. This disabled older users WHO TEND TO HAVE DElCITS IN SIGHT AND DEXTERITY AND WHO HAD LESS technology exposure than a younger counterpart. A number of design improvements were put forward by the older users but it was a challenge to get input from the older users who tended to be more SATISlED WITH POOR DESIGN
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Engaging a community of older people about design of technology for older people: How can we include the user?
The authors are continuing to engage with older people in the community in further projects, since as a hospital, we need to discover new ways of prescribing care for older people in the community after they have been discharged. Mainframe healthcare of older people is not sustainable due to the looming surge in the number of older people in Ireland. Technology needs to be designed to support healthcare that can take place in the HOME E G TELE HEALTHCARE AS WELL AS A STRUCTURED SUPPORT SERVICE IN THE COMMUNITY THAT THEY CAN UTILISE E G A MAP OF LOCAL ASSETS 5SER CENTRED DESIGN IS SEEN AS AN EFFECTIVE METHOD OF DESIGNING lT FOR USE PRODUCTS (AVING ALREADY ENGAGED CLINICIANS INDUSTRY ACADEMIA AND other stakeholders, the authors need to include the community in any developments to ensure time and money is not wasted in designing technology that does not meet the needs of the older person.
Keep the Change: Reconsidering Design Solutions for Homelessness in Pasadena, California Arden Stern, Art Center College of Design, USA astern2@artcenter.edu
)N THE WAKE OF THE 'REAT 2ECESSION DRACONIAN BUDGET CUTS TO HOMELESS SERVICES IN THE 5NITED 3TATES HAVE EFFECTIVELY SHIFTED lNANCIAL responsibility for these services from government to philanthropic foundations, individual donors, and private businesses. This paper will analyze both the context and development of an undergraduate product design course, centred on the design of a fundraising platform to mitigate homelessness in Pasadena, in order to more broadly consider the role that academic humanitarian design interventions might play in the ongoing shift from public funding and social services to private donation and social innovation models. The course, Change on the Street, was launched at Art Center College of Design in September 2012 through a partnership between the college’s Designmatters social impact department and the
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The inclusion of diverse stakeholders in the course’s design research PROCESS RANGING FROM LOCAL GOVERNMENT OFlCIALS TO FORMERLY HOMELESS Pasadena residents, underscored the ideological conflicts of promoting the continued privatization of municipal homeless services. Such increased public dependence upon private funding, combined with a decreased emphasis on policy change and advocacy, is characteristic of a dominant neoliberal ideology that bolsters free markets through the reduction of government regulation and expenditure alongside the privatization of public enterprise. Prominent critiques of design-driven social innovation, and, more broadly, of the corporatization of humanitarian aid, have addressed the inherent paradox of applying market solutions to problems CREATED BY NEOLIBERAL CAPITALISM :IZEK 4ONKINWISE *OHNSON 7ITH RESPECT TO DESIGN EDUCATION INITIATIVES SUCH AS #HANGE ON THE Street, reliance upon external sponsors from the private and privatizedpublic sectors can prevent students from generating non-marketdriven solutions to social problems like homelessness. With the goal of contributing to evolving dialogues on how design interventions might be structured to foster socially and economically responsible design, this paper will outline the institutional and economic barriers to alternative design solutions in the Change on the Street project to argue for the crucial role of critical discourse in academic design settings.
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#ITY OF 0ASADENA (OUSING $IVISION THE &LINTRIDGE #ENTER FOUNDATION and the Pasadena Chamber of Commerce. Students were challenged to re-purpose decommissioned parking meters to collect funds for homeless services in Pasadena. This academic project was part of a broader cityled effort to mitigate panhandling through the re-direction of funds to designated parking meters, devised to modify public behaviour and attract THE ADDITIONAL lNANCIAL SUPPORT OF LOCAL BUSINESSES
Localizing the global and globalizing the local through creative craft practices
Chamithri Greru & Britta Kalkreuter, Heriot-Watt University, Scotland gcg30@hw.ac.uk, b.kalkreuter@hw.ac.uk
*ENNY -OON PROPOSED THAT EXPERIENCES ARE THE FULCRUM OF SUCCESSFUL learning tasks when socio-cultural influences and individual factors LEVERAGE THE OUTCOME OF ENGAGEMENT *ENNIFER ! -OON Yet we struggle to provide empirical evidence relating to creative craft practices when explaining how such dynamism is possible and acquirable. This paper argues that sharing knowledge tacitly on a local vs. global platform could create a successful design environment and a new set of design skills which improve not only the way we live - work or play; but the way we acknowledge the differences of cultures and creative practices, and adjust them to our own cultural and social personas.
COMMUNITIES 1
The paper highlights an Eastern and a Western approach to designing and making by being based on a Creative Scotland funded residency EXCHANGE PROGRAMME 2E3IDE BETWEEN 3COTLAND AND )NDIA IN "Y doing so it seeks to consider the socio-cultural and individual connotation of creativity through the perception of the globalized western role of ‘designer-maker’ and localized eastern model of ‘community of practice’. 2ATHER THAN IDENTIFYING THESE TWO APPROACHES AS SEPARATE ENTITIES THE paper cites examples of how we could introduce a new interface of interactivity and collaboration by submitting both these world views to mutual knowledge exchange. 0RESENTING THE RESULTS OF 2E3IDE THE PAPER EXPLAINS HOW ARTISANS construct a new form of experiential learning via ‘appresentation’. By collaborating with local and global communities, participants shared
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The data gathering takes a phenomenological approach through inductive, qualitative methodologies like participant interviews, observation, interactive engagements and artisan logs. The four voices in the paper represent individual and collective perspectives of artisans’ cultural engagement and craft makings. COMMUNITIES 1
The case study reveals the participants’ reflection on another culture’s creativity that remains hidden in common socio-cultural engagements. Immersing themselves in a different set of work ethics, allowed blending other cultural techniques and narratives which helped realize distinctive AND NORMATIVE DESIGN PRACTICES (ENCE IDENTIFYING THE MICRO AND THE MESO level of social settings allowed, introducing the locals and the globals to other avenues in improving their individual artistic behaviour and disseminate their knowledge to a wider community. This rippling effect beyond existing knowledge domains suggests that a combination of localized design disciplines to mainstream practices is possible through cultural collaborations, thus creating a new insight for creativity.
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their experiences and knowledge in a creative manner whilst engaging in live-craft making activities.
The politics of design: re-evaluating the role of speculative, critical and citizen-led design practice in Australia and the United Kingdom
Jacqueline Lorber Kasunic, Tania Leimbach & Sasha Abram, University of Technology, Sydney, Australia Jacquie.Kasunic@uts.edu.au; Tania.Leimbach@uts.edu.au; Sasha.Abram@uts.edu.au
For the past couple of decades, the sustainability movement has urged designers to address the ecological impact of the products they design ECO DESIGN 4HIS REAPPRAISAL HAS LED TO A GROWING AWARENESS AMONGST designers of the potential for design to engage with political discourses CONCERNED WITH GLOBAL ISSUES SUCH AS SUSTAINABILITY AND IN CONSPICUOUS consumption. Some of the most prominent practices to emerge out of this ethical turn include speculative, critical and citizen-led design. Speculative design is the “practice of creating imaginative projections of alternate presents and possible futures using design representations AND OBJECTS $I3ALVO P )T COVERS A BROAD RANGE OF WORKS and collectives that combine politics and technology to create future scenarios embedded in everyday life. The term Critical Design focuses on the role emergent and existing technologies can play in challenging quotidian assumptions. First used by Anthony Dunne in his book (ERTZIAN 4ALES %LECTRONIC 0RODUCTS !ESTHETIC %XPERIENCE AND #RITICAL $ESIGN AND LATER IN $ESIGN .OIR 4HE 3ECRET ,IFE OF %LECTRONIC /BJECTS WRITTEN WITH &IONA 2ABY IT UNDERSTANDS DESIGN AS SITUATED and immersive by emphasizing the affects and effects of human and non-human relations. Conversely, Citizen Design (sometimes understood AS 0ARTICIPANT $ESIGN OR #O $ESIGN FOCUSES ON BUILDING A NEW MUTUALITY between the citizen and the design professional; designing with rather than designing for. It recognises that design is never simply a means
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In this paper, we will look at how speculative, critical and citizen-led design projects have informed social and political discourses around SUSTAINABILITY IN !USTRALIA AND .EW :EALAND 7E WILL SPECIlCALLY DRAW on the work of Bruno Latour, in particular his understanding of social RELATIONS AND NETWORKS AS WELL AS *ANE "ENNETT S THEORY OF VITAL MATERIALITY 7HAT CONTEXTS ARE THESE PRACTICES EMERGING IN (OW DO WE MAKE SENSE of these practices and how effective are they in re-framing local issues AROUND SUSTAINMENT
Think Play: Using Grassroots Movements as Educational Opportunities
Emma Gieben-Gamal & SĂłnia Matos, Edinburgh College of Art, Scotland e.gieben-gamal@ed.ac.uk, s.matos@ed.ac.uk
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The summer riots of 2011 in cities around England have served, among other things, to focus with renewed vigour a critical eye on the role of design in an era of unsustainable conspicuous consumption 3HAUGHNESSY ! !UGUST !NTONELLI 0 !S ACADEMICS IN THE 3CHOOL OF $ESIGN AT %DINBURGH #OLLEGE OF !RT 5NIVERSITY OF %DINBURGH we have explored these concerns with our students and asked them to consider their own ethical responsibilities, but it has struck us that the educational opportunities for them to develop the skills and experience to work in alternative, and perhaps more socially engaged ways, can be limited. This paper will present a design project that was delivered as part of the University of Edinburgh’s Innovative Learning Week program 201213 as a response to this pedagogical gap.
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to a productive end, but rather a mode for navigating the complex interdependencies between people, environment, politics and things.
Our aim for the project was to engage the students with a grassroots movement and to give them experience of real community needs in times of austerity as well as introduce them to some of the real issues facing communities and the designers working with them. The project, Think Play, invited students to work on behalf of a Primary School’s Parent Council group to respond to the school’s plans to re-design the playground, and to propose potential design solutions for the space. With little or no local authority funding for playground design or construction, we wanted them to consider how is change effected, what role does the ‘big SOCIETY INCLUDING HERE UNIVERSITIES PLAY AND HOW CAN DESIGNERS RESPOND CREATIVELY TO THESE CHALLENGES TO GENERATE SUSTAINABLE FUTURES As well as presenting the particularities of the Think Play project, this contribution will equally address what we have learnt and outline our plans to embed a participant action research module within our curriculum at Edinburgh College of Art. This course would offer opportunities to: explore the growing demand for grassroots projects and socially minded interventions; work with the community and enable students to develop and employ research methods on the ground; and to learn about alternative funding streams and opportunities to engage with the third sector. Finally, the paper will explore the practical, pedagogical and ethical implications of instigating productive collaborations between the university and the general public, to create a positive impact on real-world scenarios while drawing attention to the importance and relevance of design based research and practice.
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2.00pm - 3.30pm Education & Research 3 Smock Alley Auditorium
EDUCATION & RESEARCH 3
Developing Design Thinkers Grant Linscott, Euromed Management/Kedge, France The Future Project of the Design School Paul Rodgers & Craig Bremner, Northumbria University & Charles Stuart University, England & Australia Architecture of a Design Academy: An exercise in Uncertainty Suzanne Martin, NCAD, Ireland Open Strategies in Design Education Mark McGuire, University of Otago, New Zealand
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& RESEARCH 3
Developing Design Thinkers
Grant Linscott, Euromed Management/Kedge, France grant.linscott@euromed-management.com
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The Future Project of the Design School
Paul Rodgers & Craig Bremner, Northumbria University & Charles Stuart University, England & Australia paul.rodgers@northumbria.ac.uk
This paper empirically explores what are considered to be the most important attributes of an effective designer, aside from traditional design application skills. In recognising that Design Thinking harnesses the tacit knowledge of the unconscious mind and that this knowledge is built up by direct experience, it is considered that these attributes are in fact what an effective design education is imparting to students, through learning-by-doing modules, that thus allow the expansion of tacit design knowledge. As the integration of design in the professional landscape CHANGES FOR EXAMPLE WITHIN BUSINESS INNOVATION THE TRADITIONAL DESIGN skills of sketching, CAD, process et al used as the support and structure for the real acquisition of this tacit design knowledge appear to some degree as becoming redundant, certainly if Design Thinking is to be taught to non-design students. In attempting to isolate these ‘D-Attributes’, it is considered that a new pedagogical paradigm can be developed that focusses on improving these Attributes within each student, to produce effective Design Thinkers that are non-designers. The research draws upon interview data taken from a large cross-section of professional design practitioners, undergraduate and graduate students, and produces a hierarchical breakdown of these perceived ‘D-Attributes’ that are considered the essence of what is required to become an effective Design Thinker.
cbremner@csu.edu.au
Design in all of its manifestations, has a direct social purpose that is capable of reaching all sectors of public life. Indeed, the main themes of this conference remind us that design can play a role in economic growth, it plays a central role in our wellbeing and welfare, and it can even bring communities together to work on projects that improve how we live, work and play. National design organisations across the world proclaim that design acts reflect a nation’s social and cultural values; design shapes the everyday products people use, the buildings we live, work and play in, and the clothes we wear. Furthermore, design communicates those values to others. It is therefore an extremely powerful tool that can communicate and EXPRESS A NATION S VALUES TO OTHERS AND HAS A SIGNIlCANT ROLE IN THE SOCIAL CULTURAL AND ECONOMIC WELLBEING OF ITS PEOPLE .EWMAN AND 3WANN Moreover, it has been suggested that design is the best tool that we have available to us to make sense of the contemporary, complex modern WORLD 3UDJIC "UT HOW SHOULD A DESIGN SCHOOL IN THE AGE OF THE ANTHROPOCENE BEST PREPARE FUTURE DESIGNERS FOR THIS COMPLEX WORLD (OW can the design school maximize the potential opportunities suggested BY THIS FUTURE UNCERTAIN WORLD #AN THE DESIGN SCHOOL TRULY HELP ADDRESS SOME OF THE EMERGENT AND HUGE GLOBAL ISSUES WE WILL SURELY FACE The present situation in design and other related industries reveals a number of stark facts, however. In the “new economy� (Castells, 1996; #ASTELLS #ASTELLS MANY HIGHLY SUCCESSFUL ENTREPRENEURS ARE not university graduates. These individuals often quit university in order to establish a company of their own. Similarly, in the UK, more than half
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EDUCATION & RESEARCH 3
& RESEARCH 3
OF THE DESIGNERS PRACTICING IN THE 5+ DO NOT HAVE A FORMAL QUALIlCATION IN DESIGN $ESIGN #OUNCIL WHICH SEEMS TO SHOW THAT MANY OF THE KEY competencies and knowledge required for success in design practice are not acquired at universities.
Architecture of a Design Academy: An exercise in Uncertainty
By looking at the contemporary situation this paper examines how the structure of design education has been transformed by these internal, external, and contextual factors. The paper will expand upon the operative SCOPE mEXIBILITY AND VULNERABILITY OF TEACHING DESIGN ITS HISTORY THEORY and representation in the years and decades ahead in the design school future project.
In the academy, we have followed model after model that has been based on established and concrete movements; in a post-nuclear age we cannot continue to apply this same approach.
References:
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EDUCATION & RESEARCH
Suzanne Martin, NCAD, Ireland
3
martins@staff.ncad.ie
What happens when you willfully introduce uncertainty and encourage DESIGN TO LOSE CONTROL 7HAT HAPPENS WHEN YOU CAST STAID MODELS AND CLASSIC NOTIONS ASIDE
Castells, M., The Information Age: Economy, Society and Culture, Volume I, The Rise of the Network Society, Blackwell, Oxford, 1996. Castells, M., The Information Age: Economy, Society and Culture, Volume II, The Power of Idea, Blackwell, Oxford, 1997. Castells, M., The Information Age: Economy, Society and Culture, Volume III, End of Millennium, Blackwell, Oxford, 1998. Design Industry Insights: Comments and Conversations on the Business of Design in the UK, Design Council, London, 2010. Newman, R. and Swann, C., Proceedings of the Design Institute of Australia National Conference on Design Education, Design Institute of Australia, Hawthorn,
This paper discusses ‘creative thinking’ exercises carried out in the undergraduate design studio with students at the School of 4EXTILES $ESIGN (ERIOT 7ATT 5NIVERSITY 7ORKSHOP SESSIONS ranging from ‘Fashioning the Subject’ and ‘Personal Manifestos’ to ‘Self-Diagnosis’ and ‘Personal Planning’ - help students develop research processes and foster a culture of student-led, independent practice. Facilitated by the authors, the programme of exercises challenges existing academic and commercial paradigms of an inherently conservative industry.
Victoria, 1996. Sudjic, D., The Language of Things, Penguin, London, 2009.
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Through the analysis of these student-centred exercises and pilots carried out in the fashion studio of an historic School of Textiles founded in 1883, during a period of radical transition and when UK education is moving from free to fee - this paper sets out an embryonic methodology relevant across all institutions. It creates a case for allowing learners to take control of their design learning, but at the same time, to create an innovative new model for the academy to adopt and follow: it allows education to flourish in a post-postmodern institution.
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The paper argues for the introduction of student-centred research skills development from the very start of undergraduate study, with the aim of incubating design research culture within the studio from day one. If students are encouraged, and given pedagogical scaffolding and tools with which to form a new architecture of learning in the design academy, then the framework of design teaching can only become stronger. This paper charts a process that actively re-thinks design practice and research in the context of the undergraduate studio. With this, it describes a series of building blocks that can establish a non-standardised, destabilised, stronger system of learning, which applies to design education within and beyond the academy.
Open Strategies in Design Education
Mark McGuire, University of Otago, New Zealand
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In this paper, I briefly trace the development of MOOCs and I discuss the DIFFERENCES BETWEEN THE HIGH PROlLE PLATFORMS THAT RELY ON LECTURE VIDEOS AND MACHINE MARKING X-//#S AND EARLIER EXPERIMENTS THAT FOLLOW WHAT 'EORGE 3IEMENS REFERS TO AS A h#ONNECTIVISTv APPROACH WHICH encourages participants to build their own personal learning network C-//#S 5SING A CASE STUDY METHOD ) DISCUSS THREE TYPES OF $ESIGN courses that leverage open strategies and serve as exemplars of “digital SCHOLARSHIPv -ARTIN 7ELLER 4HE lRST 0HONAR 0HOTOGRAPHY AND .ARRATIVE IS A #OVENTRY 5NIVERSITY COURSE THAT USES BLOGGING AND SOCIAL media to connect place-based students to online participants. The SECOND DS $IGITAL 3TORYTELLING IS AN ONLINE ONLY COURSE OFFERED BY the University of Mary Washington that requires students to interact with one another and with the wider world through blogs, social media and an Internet radio station. The third, “Design�, is one of 650 free, self-paced, courses offered by OpenLearn, which allows individuals to engage with Creative-Commons-licensed open educational resources from The Open University.
mark.mcguire@otago.ac.nz
In many countries, the increasing costs associated with higher education combined with reduced funding for public education during a period of lSCAL RESTRAINT THREATENS THE SUSTAINABILITY OF CURRENT MODELS OF PROVISION 'LENN (ARLAN 2EYNOLDS WARNS OF A h(IGHER %DUCATION "UBBLEv IN THE 5NITED 3TATES 3EBASTIAN 4HRUN FOUNDER OF 5DACITY COM A FOR PROlT PLATFORM FOR -ASSIVE /PEN /NLINE #OURSES -//#S PREDICTS THAT THERE will be only 10 institutions delivering higher education in 50 years 3TEVEN ,ECKART )N CONTRAST TO THESE DOOMSDAY SCENARIOS !UDREY 7ATTERS AND OTHERS COUNTER THAT PROFESSORS AND THE INSTITUTIONS that employ them are not necessarily resistant to change, and that we should not “hack education� in a way that dismantles public institutions and threatens local economies, the community, social justice, and the public good.
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I argue that by encouraging a paradigm shift in education from Push BROADCAST TO 0ULL ACCESSING AN ARCHIVE TO #O CREATE COLLABORATIVE PRODUCTION $ESIGN EDUCATION CAN PROVIDE POSITIVE EXAMPLES OF HOW we can do more, and reach more, with less. Blurring the boundaries between teacher and student, online and offline, and formal and informal, EDUCATION CAN ENHANCE LEARNING AND EXTEND ITS BENElTS BEYOND THE lecture theatre and design studio. This pedagogical shift is in line with contemporary Design practice, in which collaborative and participatory processes are crucial, especially when working to solve wicked problems.
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EDUCATION & RESEARCH 3
Acknowledgements
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Institute of Designers in Ireland Awards Exhibition
Workshops
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2.00pm - 3.30pm Education & Research 4 Smock Alley Boys School
EDUCATION & RESEARCH 4
Making Meaning and the Design Student: Fostering Self-Authorship in a Studio Based Design Course Katharine Keller, The Ohio State University, USA Re-defining design foundation education to incorporate form, affordances, and patterns of interaction Magnus Feil, University of Washington, USA Design Guided Dialogue Wim Marseille, Utrecht School of the Arts (HKU), The Netherlands Design Learning as an Intervention in General Education Emma Creighton, NCAD, Ireland
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& RESEARCH 4
Making Meaning and the Design Student: Fostering Self-Authorship in a Studio Based Design Course Katharine Keller, The Ohio State University, USA katkeller@earthlink.net
Design above all is about meaning. Designers facilitate meaning and an experience using design elements and principles as semiotic tools to convey meaning along with color psychology, design theory and design research to inform them on how to best communicate their intended meanings. To design a meaningful experience, a designer needs to understand how others make meanings and a designer educator teaches students how to convey meaning to others. Interestingly, the current strategies for teaching design have come under scrutiny by the very industry that developed the pedagogy, and calls for design education reform can now be heard on an international level. The calls describe a designer with new skill sets, such as capability of complex thought, autonomy, volition, empathy, and an ability to make meaning in the CONTEXT OF EXPERIENCE 4HESE CALLS COINCIDE WITH THE lSCAL CULTURAL AND SOCIETAL CRISES THAT PLAGUE OUR WORLD TODAY 2ESEARCH INDICATES THAT THIS goal requires the development of the whole student. Student Identity Development Theory looks at how students make meaning of their experience and provides a foundation for fostering such growth. The level in which these complex meaning-making frameworks are formed is referred to as self-authorship. This investigation was an interventional study that was conducted throughout the 2012-2013 school year, employing 18 participants enrolled in a Sophomore Interior Design studio course at a major U.S. university. Utilizing research from student identity development theory and supporting educational philosophies, this researcher, serving as the primary instructor, aimed to foster self-authorship through the implementation
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Workshops
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Letter of Welcome EDUCATION
of interventional methods. Comparisons were made between the level of development that students exhibit between the beginning of the study and at the end. Expected results of this study should indicate whether selfauthorship can be fostered in studio based design courses as well as what methods may have contributed to this development. This research has the potential to impact design education as a whole by providing design educators with the methods and tools needed to foster the type of development that the design industry is calling for. This research may also have implications beyond design as the results may serve to inform educators from other disciplines. Furthermore, since student identity development theory argues that mature development is required as a predecessor for inducing social change, this research has the potential for far reaching implications that have yet to be determined.
Re-defining design foundation education to incorporate form, affordances, and patterns of interaction Magnus Feil, University of Washington, USA mfeil@uw.edu
This study investigates the elements of classic design foundations exercises in light of an increasing need to incorporate product interaction and design for emergent behaviours in the use of products into industrial design foundations. Visual and conceptual design foundations are the basic building blocks of all design disciplines, the abstract components that structure a visual language—colour, texture, shape, volume, space and line. Design foundation projects balance formal and conceptual issues while emphasizing research and the skillful execution of ideas. Foundation exercises teach students how to see, think and develop an idea, and
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EDUCATION & RESEARCH 4
& RESEARCH 4
THEY ENCOURAGE THEM TO RElNE THEIR UNDERSTANDING OF WHAT A DESIGN problem can be. As a result, students experience, in a compact unit, the combination of rational, intuitive, and critical thinking, and they learn to construct meaning using visual form. Industrial designers are increasingly being asked to design products and systems that incorporate interactivity. The present study examines several design foundations exercises in the Industrial Design program at the University of Washington that extend traditional formal foundations aspects with prompts for students to consider the users of their designs, and to understand form as a bridge that enables the dialog between users and a designed product, system, or service. Form explorations address design for affordances and how interaction-oriented design of product form supports product understanding and leads to new behaviours of use.
Design Guided Dialogue
Wim Marseille, Utrecht School of the Arts (HKU), The Netherlands wim@wimmarseille.com
!T (+5 5TRECHT 3CHOOL OF THE !RTS PROJECTS ARE BEING DEVELOPED WHICH aim to stimulate a close relationship between design students and commissioners. Students are expected to engage in a company’s key dilemmas, which increases the impact and effect in the commissioning organisation. These projects are called Membrane Projects because they allow exchange from the inside to the outside and vice versa. This approach suits the policy to employ the creative industry in counteracting the current economic recession. Designers should therefore adopt a fundamental and critical dialogue with their clients, while using their visual, social and discursive expertise in interaction.
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Letter of Welcome EDUCATION
In this way, each year six commissioners and six interdisciplinary design teams are working together on a fulltime basis during a period of three months. As part of my PhD study I have researched the way visual design work is guiding the interaction. This paper aims to stimulate an evaluating discussion on the development of the project. The Membrane Projects have been set up on the assumption that students are able to employ their visual and creative expertise. The presented research aims to make transparent the way students have used their visual means in controlling the design dialogue. To give the research a theoretical framework the management theory of .ONAKA 4AKEUCHI IS CONFRONTED WITH THE DESIGN PRACTICE REmECTIONS OF Loeckx. This results in a model where design intentions are combined with different moments in the cycle of growth of knowledge in co-operation. !S A TOOL A DIAGRAM CAN BE lLLED WITH ALL PHOTOGRAPHED MOMENTS WHERE visual means were used in the design dialogues. From the diagrams we learn how the design dialogue is controlled in moments of interaction and REmECTION CHALLENGE AND CONlRMATION ALTERNATION AND UNIFYING OPENING AND lXATION In the research paper these six diagrams will be presented and analysed. It will provide an understanding in the way visual material can be employed to generate insights for both designer and commissioner. These easily accessible diagrams and accessory analyses function as a stimulating support in understanding the most productive way for a design dialogue. The research results prove that a fundamental critical discussion requires a research design attitude that opens new perspectives with visual interpretations of the dilemmas rather than seeking to solve a problem.
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EDUCATION & RESEARCH 4
& RESEARCH 4
Design Learning as an Intervention in General Education Emma Creighton, NCAD, Ireland emma.creighton@gmail.com
This paper makes an argument for the value of a design workshop as an external intervention in general education. In presenting this argument the author discusses ongoing research that investigates the effectiveness of an out-of-school design learning programme for second-level students. In line with European and International trends this research places an emphasis on both the personal and academic development of the student, with a focus on the individual learner and the development of skills and competencies.
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2.00pm - 3.30pm Environment 1 Harry Clarke Lecture Theatre, NCAD Art/Architecture: a collaborative approach to environmental design studies Derville Murphy, UCD School of Architecture, Ireland A participatory approach to assessing building empathy Eoghan Conor O’Shea, Sara Pavia & Mark Dyer, Trinity College Dublin, Ireland Life Cycle Analysis (LCA) for Sustainable Development F. Esen Taylor & Selin Gencturk, Yasar University, Turkey
ENVIRONMENT
Focusing on the pedagogical needs of adolescents, the research presented explores the potential of a design learning experience as an opportunity for students to develop skills such as creative and critical thinking, communication and collaboration. In presenting this discussion, the AUTHOR DRAWS ON lNDINGS FROM A LONGITUDINAL STUDY CARRIED OUT AS PART of the research. By outlining the key components of the design learning experience, the author makes a case for the value of a design-based intervention as an approach to support the development of the student and their ability to act as active citizens in a constantly changing world.
1
In addition to this the author discusses the value of working in an outof-school school context, making a case for the proposed intervention as an external leverage on school learning, as opposed to embedding design WITHIN THE FORMAL CURRICULUM &URTHERMORE THE PAPER PRESENTS lNDINGS to date, which indicate that participation in the programme has had a positive long-term impact on students in terms of both personal and academic development.
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Derville Murphy, UCD School of Architecture, Ireland dmurphyart@eircom.net
ENVIRONMENT 1
Numerous examples exist of architects working collaboratively within COMMUNITIES IN RURAL AND URBAN ENVIRONMENTS (OWEVER THESE GENERALLY occur as an extension of the activities of formalised architectural education. But what happens when these models are re-imagined by ARCHITECTS WHO TRAINED AS ARTISTS AND ARTISTS ALL OF WHOM LOOK AT ARCHITECTURE AND THE ENVIRONMENT THROUGH DIFFERENT EYES 4HIS PARADIGM shift occurred in an architectural research project entitled Commonage, which has taken place annually since 2010 in Callan, a small rural town in Southern Ireland. Collaborative and participatory practices have in recent years been suggested by academics as the panacea for architects to experience directly, and respond to, the environmental conditions of people and PLACES (OWEVER VERY LITTLE RESEARCH HAS BEEN UNDERTAKEN REGARDING THE nature of collaborative practices between artists and architects, two disciplines that have historically enjoyed close aesthetic and cultural association. Accordingly this doctoral research investigates the catalysts, conditions and contribution of collaborations between artists and architects to the practice and dissemination of architecture. A close examination of Commonage as a case study forms the basis of this conference paper, which was made over a three-year period from 20102012 and adopted a primarily anthropological approach. This particular paper will illustrate how Commonage is a Pandora’s Box, which highlights SOME OF THE KEY BENElTS AND CHALLENGES OF COLLABORATIVE PRACTICES WITHIN environmental design.
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Art/Architecture: a collaborative approach to environmental design studies
! DElNING ATTRIBUTE OF THE PROJECT IS THAT IT PROVIDES A PLACE BETWEEN academia, commerce and the professional institutions for architects to consider the environmental impact of architecture. For architects, this place presents opportunities to develop social, entrepreneurial and research skills to affect social change using skills that are more commonly associated with artists. Moreover, Commonage demonstrates that engaging in collaborative practice can empower architects within communities; and correspondingly, by disseminating architectural and environmental knowledge within communities this can encourage those communities to increase their level of engagement with architects and artists in rural development issues. Ultimately, the study showed that successful collaborations between ARTISTS AND ARCHITECTS CAN HAVE THE POTENTIAL TO DELIVER BENElTS TO THE practice and dissemination of architecture in the context of environmental studies.
A participatory approach to assessing building empathy Eoghan Conor O Shea, Sara Pavia & Mark Dyer, Trinity College Dublin, Ireland osheaec@tcd.ie
4HE 5. #ONVENTION ON THE 2IGHTS OF 0ERSONS WITH $ISABILITIES #20$ outlines what constitutes equality of citizens, based on equal opportunities for all people to access services, places and social participation. Understanding what constitutes equal opportunities to buildings necessitates a radical investigation to what can contribute to feelings of marginalisation and stigmatisation in these environments. Emerging design paradigms such as inclusive design, and particularly universal
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ENVIRONMENT 1
1
UD is considered as a process by its most vocal advocates, although this postmodern characterisation of a constantly changing paradigm is undermined by the urge from many of those same advocates to codify universal design in guidelines and regulations and to “set� standards WHICH DElNE WHETHER OR NOT UNIVERSAL DESIGN IS MET AND BY VIEWING building interventions as causal and predictable in their outcomes. This paper outlines a methodology for interrogating the predictive ASSUMPTION OF UNIVERSAL DESIGN ACCESSIBILITY GUIDELINES 4HIS INVOLVES engaging a number of intersecting techniques, based around a selection of buildings, and introducing a participative dimension to understand how buildings can be evaluated in a manner that addresses social equity. These methods include a meta-review and reconceptualization of international design standards in this area; participant walking tours involving people of a wide range of capabilities aimed at understanding visitor experience of buildings; questionnaires and self-directed diary
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DESIGN 5$ SEEK TO REPRESENT IN A TOTALISING WAY THE SUM OF EXPERIENTIAL factors that contribute to “positive� experience for a universal constituency of citizens, which includes people of all ages, sizes, shapes and abilities. The urgency of these design approaches is underscored by the evolving demographics of Ireland, and other countries of similar or greater wealth, demonstrating a tendency toward increasingly older populations, a growth in the population of people with morbid conditions such as obesity and diabetes, and a resultant increase in the level of impairment in the population as a whole. Pursuing a design of the built environment that allows the greatest range of people to participate in the social realm, and minimises dependence on others where possible, will have an increasing effect on economic growth and on wellbeing over the next century. It is probable in this context that many of the principles and aims of UD will be adopted in mainstream design schools, and will contribute to a paradigm shift in architectural design thinking.
AND PHOTOGRAPH STUDIES AIMED AT PEOPLE EMBEDDED EVERYDAY IN SPECIlC buildings. The results and conclusions of these studies are summarised.
Life Cycle Analysis (LCA) for Sustainable Development
Selin Gencturk & F. Esen Taylor, Yasar University, Turkey selin.gencturk@yasar.edu.tr, fae_esen@yahoo.com.au
This paper is concerned with, and explores how, industrial designers CAN UTILISE THE LIFE CYCLE ANALYSIS ,#! METHOD TO MINIMIZE THE ENTIRE environmental impacts associated with the product they design, as well as contribute to sustainable development. While a considerable amount of research has been carried out in relation to LCA over the last two decades, there has been little work on the practical implication to product OPTIMISATION )T SPECIlCALLY FOCUSES ON THE IMPLANTATION OF ,#! IN A DESIGN processes for product optimisation, which necessitates balancing cost, marketability and time to market. This Paper investigates how LCA can be utilised as a tool to provide the designer with environmental information in each stage of the design development process to optimise the product. It closely looks at the practical integration of environmental information with cost, marketability and time to market criteria for concept development based on the LCA CONTEXT &IRST IT WILL DElNE THE ,#! METHODOLOGY THEN EXAMINE ITS lNANCIAL and environmental consequences in product design development. Then, it will explore how LCA has been utilised within the product design processes TO MINIMIZE ENVIRONMENTAL IMPACT AND TO MAXIMIZE lNANCIAL BENElTS
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ENVIRONMENT 1
Acknowledgements
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Institute of Designers in Ireland Awards Exhibition
Workshops
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2.00pm - 3.30pm Wellbeing The Meeting Room, NCAD Day Surgery Patients: how graphic design can improve the experience David Caron, NCAD, Ireland Biophilic Design for Wellbeing: The effects of Primitive User Preferences on Product Design Miray Boga, Istanbul Technical University, Turkey NCAD Medical Device Design: Educating a new generation of human-centred collaborative innovators Enda O’Dowd, NCAD, Ireland Designing a wearable device for the improvement of diabetic children’s wellbeing through emotional design and a user centred approach Venere Ferraro, Silvia Ferraris & Valentina Mullano, Politecnico di Milano, Italy
WELLBEING
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David Caron, NCAD, Ireland carond@ncad.ie
This paper charts a joint research project undertaken by a team of visual COMMUNICATORS IN .#!$ LED BY THE AUTHOR AND A GROUP OF MEDICAL RESEARCHERS SURGEONS AND NURSES CONNECTED WITH EITHER BOTH THE 2OYAL #OLLEGE OF 3URGEONS IN )RELAND 2#3) AND #ONNOLLY (OSPITAL $UBLIN AND WITH ADDITIONAL INPUT FROM THE .ATIONAL !DULT ,ITERACY !SSOCIATION .!,!
WELLBEING
Our research project built on the outcome of a recent major research PROJECT ON $AY 3URGERY IN )RELAND UNDERTAKEN AT 2#3) !MONG THE lNDINGS IDENTIlED BY 2#3) WERE INEFFECTIVENESS ISSUES WITH 0ATIENT )NFORMATION ,EAmETS 4HESE LEAmETS ARE n IN ADDITION TO DIRECT ONE TO ONE VERBAL COMMUNICATION n THE PRINCIPAL WAY THAT HOSPITALS COMMUNICATE with prospective day surgery patients. These leaflets have a multipurpose ROLE A INFORMING PATIENTS OF THE CONDITION THEY HAVE B DETAILS OF THE PROCEDURE THEY ARE ABOUT TO UNDERGO C INSTRUCTING THEM HOW TO PREPARE IN ADVANCE OF THEIR PROCEDURE D INFORM THEM OF LIKELY POST OPERATIVE SYMPTOMS AND APPROPRIATE CARE (OSPITALS ARE REQUIRED TO PROVIDE EACH prospective patient with a hardcopy leaflet. 2#3) RESEARCH NOTED THE hPOOR OVERALL QUALITY OF THE CURRENT LEAmETSx THE majority were bland, uninteresting, had small font sizes, poor readability scores, large amounts of text and medical jargon and were not written in the style of ‘plain English’ as recommended for patient education�. !DDITIONALLY IT WAS NOTED THAT THERE WAS A SIGNIlCANT COST IMPLICATION associated with the ineffective leaflets: for instance often patients would not absorb the information accurately and would arrive for a procedure without having fasted appropriately, consequently surgery would have to be cancelled at short notice. Other issues reported is that patients
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Day Surgery Patients: how graphic design can improve the experience
often did not understand that the post-operative symptoms they were EXPERIENCING WERE PERFECTLY APPROPRIATE AND WERE ARRIVING IN ! % AND taking up valuable time of medical personnel. The starting point of the research by the NCAD team of visual COMMUNICATORS WAS AN EXAMINATION OF THE ROLE OF TYPOGRAPHY LAYOUT ICONS ILLUSTRATION IN A SAMPLE RANGE OF CURRENT )RISH AND OVERSEES DAY surgery patient information leaflets. This paper explores the potential of clear imagery to support patients’ comprehension of content, particularly for those who may have literacy problems or for whom English is not their lRST LANGUAGE 4HE PAPER ALSO EXPLORES HOW COLOUR AND AN APPROPRIATE illustration style can create a mood of reassurance, and how colour coding can assist in leaflet differentiation. Additionally, in our research we explored how readily available technology WEBSITES AND SMART PHONES COULD BE UTILISED FOR PROSPECTIVE PATIENTS TO access the information. 4HE AUTHOR AND HIS TWO COLLEAGUES 3�AN -ONGEY AND &UCHSIA -AC!REE CREATED lVE SAMPLE LEAmETS WITH REVISED CONTENT WRITTEN IN ASSOCIATION with NALA. These leaflets are soon to be piloted by nurses, patient groups and general practitioners in the Dublin area and it is likely that we will HAVE AT LEAST SOME PRELIMINARY lNDINGS BY THE TIME OF THE CONFERENCE What we hope to show as an outcome is that with good design, the utilisation of readily available technology, and no additional costs, that day surgery patient’s experience can be greatly improved and that SIGNIlCANT lNANCIAL SAVINGS IN THE HEALTH SECTOR CAN BE GAINED
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WELLBEING
Miray Boga, Istanbul Technical University, Turkey mirayboga@gmail.com
.ATURE HAS BEEN CONSULTED IN VARIOUS lELDS AND ACADEMIC RESEARCH FROM Agriculture, Medicine, Engineering, Architecture, Material Science and Information Technologies to the Economy, Culture, Design and beyond. 3OME OF THESE lELDS DIRECTLY USE NATURE AS MATERIAL SOME OF THEM MIMIC IT TO REACH MORE SUSTAINABLE SOLUTIONS AND PROCESS -OST OF THEM BENElT from nature in the production phase and it is fair to say that the system of nature is the best way to mimic to reach the most economical and SUSTAINABLE RESULTS (OWEVER ANOTHER IMPORTANT SIDE OF THE PRODUCT IS usage. Can nature help for the sustainability of user preferences and WELLBEING OF HUMANS
WELLBEING
*UDITH (EERWAGEN WHO IS AN URBAN DESIGNER HAS PROPOSED THE NOTION OF biophilic design. She combines environmental psychology and design by using the Wilson’s biophilia concept. The term of “biophilia� which was coined by E.O. Wilson, refers to the inherent fascination of human beings BY NATURE (EERWAGEN &ROM THIS POINT OF VIEW (EERWAGEN SUGGESTS that human preferences on spaces and buildings are affected by the primitive habitat preferences, which are constituted in ages. Biophilic design aims to create user-friendly space and provide psychological wellbeing for users.
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Biophilic Design for Wellbeing: The effects of Primitive User Preferences on Product Design
This paper aims to research the effect of the behavioural psychology which leans to the primitive human preferences- on products. The general features of living organisms and life-supporting systems, which were DElNED BY (EERWAGEN ARE USED AS A DIRECTIVE (EERWAGEN 4HESE features are: Movement, Organized Complexity, Fractal Patterning, Organic Shapes, Emotions and Shapes, Multi Sensory. The research is built on INTERVIEWS WITH USERS EXAMINING A COUPLE OF PRODUCTS WHICH ARE SPECIlED TO REmECT THE NATURAL FEATURES IDENTIlED AND MENTIONED ABOVE 3EMANTIC Differential Method is used for evaluation. The purpose of this study is to reveal how nature can help to understand the user behaviours rather than being an inspiration source. This does not mean that bio-inspired products are worthless. On the contrary, using nature as an inspiration source is so valuable; nature is the most SUCCESSFUL SYSTEM TO BE THRIFTY AND SUSTAINABLE (OWEVER IF IT DOES NOT reach the user, its success can’t be sustainable and contribute to the wellbeing of either humans nor nature itself. References:
WELLBEING
Heerwagen, J. (2011). Biophilia, Health and Well-being. L. Campbell, & A. Wiesen (Ed.) Restorative Commons: Creating Health and Well-being through Urban Landscapes (pp. 38-57). Pennsylvania: USDA Forest Service Northern Research Station. Heerwagen, J. (2008, 05 23). Psychosocial Value of Space. Retrieved from Whole Building Design Guide: www.wbdg.org/resources/psychspace_value.php on 16.05.2013
4HE RELATIONSHIP BETWEEN PRIMITIVE HABITATS AND CURRENT SPACE BUILDING DESIGN MAKE SENSE AND HAS BEEN CONlRMED BY A NUMBER OF EMPIRICAL studies. Similarly, human preferences, which emerge at an early age can BE IDENTIlED THROUGH PRODUCTS 0EOPLE ARE LIVING IN ENVIRONMENTS HEAVILY surrounded by products and they are highly affective on their psychology.
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Enda O’Dowd, NCAD, Ireland odowde@staff.ncad.ie
Medical technology needs innovators who are able to generate great ideas and produce great designs for successful products. Innovators who understand the need for empathy with users and the technologies needed. The demand and complexity of medical devices is growing exponentially. Sophisticated devices for professional and home use, an ageing population of users, digital interfaces and demanding safety requirements are all leading to an increased emphasis on ‘human factors’ in the design of DEVICES 'OOD DESIGN IMPROVES OUR QUALITY OF LIFE AND NEVER MORE SO THAN when it results in successful medical products.
WELLBEING
This paper discusses the innovative interdisciplinary and collaborative MASTERS PROGRAMME DEVELOPED BY THE .ATIONAL #OLLEGE OF $ESIGN .#!$ 5NIVERSITY #OLLEGE $UBLIN 5#$ AND 4RINITY #OLLEGE $UBLIN 4#$ IN Ireland. The programme brings experts from design, medical science, manufacturing, technology and bioengineering together to create POSTGRADUATES WHO HAVE MADE A SIGNIlCANT CONTRIBUTION TO NEW KNOWLEDGE IN THE lELD THROUGH PATENTS LIVE PROJECTS AND NEW METHODS Medical technology calls for innovators with deep knowledge about the human user and the context in which devices are used, a high level of technical competence and the potential to exploit new knowledge in the CREATION OF DEVICES )RELAND HAS A SIGNIlCANT ROLE IN THE GLOBAL MEDICAL technology industry. It is home to some 110 companies, including 15 of the world’s largest 25, and as an industry cluster, it is comparable with the two other largest in the world. The programme is predominantly project-based and enjoys considerable and vital input from the medical
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NCAD Medical Device Design: Educating a new generation of human-centred collaborative innovators
device industry, leading to new products, patents and technology transfer between education and industry. The paper outlines how the programme has evolved, the pedagogical, technical and design methods developed, and the knowledge exchange between academia and industry through a series of case studies. Demonstrating how students are provided with the in-depth knowledge and expertise that enables them to work as designers of medical devices and to pioneer new approaches to the solution of medical problems.
Designing a wearable device for the improvement of diabetic children’s wellbeing through emotional design and a user centred approach Venere Ferraro, Silvia Ferraris & Valentina Mullano, Politecnico di Milano, Italy venere.ferraro@polimi.it, silvia.ferraris@polimi.it, valentina.mullano@mail.polimi.it
WELLBEING
This paper highlights the result of a research activity held inside the Department of Design of Politecnico di Milano. The authors describe a methodology behind the design of a wearable device for children affected by Diabetes I, a typology of diabetes that affects children in the very early YEARS OF THEIR LIFE 4ODAY IT AFFECTS OF POPULATION 4HE 7ORLD (EALTH Organization estimates that in 2025 the number will be double. In this kind of design research it is really important to focus on psychological EXPERIENCE ON THE DISEASE ACCEPTANCE AND DIFlCULTIES IN BOTH CHILDREN AND parents’ daily life. .OWADAYS THE @STATE OF ART SHOWS A LACK OF PRODUCTS DESIGNED FOR A SPECIlC user like children; there are no devices available to help them to deal with
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The device developed through this research project is a “wearable INTERPRETERv A PRODUCT SYSTEM WITH A DOUBLE PURPOSE lRST IT COMMUNICATES THE GLYCOLIC STATUS TO THE CHILD IN AN EFlCIENT AND FRIENDLY way in order to make him independent, secondly it also answers to parents who need to be kept updated on their child’s health condition. In the project development it was important to clarify usability aspects (user age, needs, the way in which the product is used, the context in WHICH IT IS USED BUT ALSO TO UNDERSTAND THE SOCIAL AND ETHICAL DIMENSIONS of the product that involve the users emotional responses and how it effects their relationship with others. WELLBEING
The methodology used by the authors is typical of user centred approach and emotional design. According to Norman “attractive things work better�: a well-designed attractive product is able to influence behaviours and actions, generate and promote curiosity in the usage of the interactive device.
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the disease by understanding, for example, the meaning of glycaemia levels, and enhance their daily life by making them feel independent and not different from others. Also the existing products are not attractive for the user and prove to be too “generic�. Indeed the project developed by the authors started from the analysis of user needs connected with diagnosis, and also from the emotional aspects of daily life.
2.00pm - 3.30pm Communities 2 HCH 2.03, NCAD Games for social innovation and change: The ludic paradigm to sensitize and foster socio-cultural awareness and social innovation Ilaria Mariani, Politecnico di Milano, Italy Under the Bonnet: Exploring the mechanics of design collaborations for social impact Muireann McMahon & Mariana Amatullo, University of Limerick & Art Center College of Design, Ireland & USA Understanding Designing Dublin: Learning to Learn as a strategy for collaborative city development Nuala Flood, Trinity College Dublin, Ireland How to Create Social Engagement and Creativity in Local Communities through Design Anthropology and Co-creation Paya Hauch Fenger, The Royal Danish Academy of Fine Arts, Denmark
In order to achieve this objective the authors paid a lot of attention to the analysis of those aspects that concur to influence the interaction such as usability, product language (shape, dimension, geometry, materials, TEXTURE AND THE SENSES WHICH ARE INVOLVED IN THE PRODUCT USAGE THE human senses are very important in experiencing the environment and the OBJECTS AROUND US HUMANS HAVE lVE SENSES AND EXPERIENCE LIFE IN A MULTI SENSORIAL WAY
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COMMUNITIES 2
Ilaria Mariani, Politecnico di Milano, Italy ilaria1.mariani@polimi.it
COMMUNITIES 2
Traditions, local uses and values, culture and social habits are the constitutive elements of that complex and evolving organism which is the CURRENT CITY 4ODAY S CITY IS A STRATIlED STRUCTURE A SYSTEM OF INTERSECTED overlapped values and habits which contributes to arrange our frames of REFERENCE 3CLAVI "ATESON 'OFFMAN !S A COMBINATION of behaviours and uses, our frames are deeply connected with the sociocultural context they were grown into and they affect the city inhabitants, shaping them as citizens. The coeval pluralism on the ground of the contemporary society, the ongoing multi-ethnic presence, and the resulting emergent set of needs play a crucial role for the Designer who wants to tackle the coexistence of this complexity. The urban space is indeed a lELD OF COMMUNICATION AND OPPORTUNITIES WHERE SOCIAL TECHNOLOGICAL AND CULTURAL TRANSFORMATIONS OCCUR ,ATOUR &LUSSER ,Ă?VI )N THIS SCENARIO 'AME 3TUDIES SHOW HOW THE LUDIC ACTIVITY ESPECIALLY IN its contemporary creative and participative attitude, can create positive EMOTIONS AND ENCOURAGE PEOPLE TO SEE UNDERSTAND OVERCOME THEIR FRAMES )N PARTICULAR THE 5RBAN 'AME IS EMERGING AS A COMMUNICATION TOOL ABLE to stimulate positive behaviors and increase the feeling of belonging to a community, by sharing common interests and objectives.
PECKA KUCHA 1
At the Politecnico di Milano, Department of Design, the research group I belong to deals with social inclusion and innovation, socio-cultural and cross-cultural issues especially in the urban context. We investigate the ludic metaphor by designing projects that foster awareness, stimulate individual and collective socio-cultural reflections, looking at the
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Games for social innovation and change: The ludic paradigm to sensitize and foster socio-cultural awareness and social innovation
dissemination of good practices for improving sustainability, resilience and quality of life. This proposal aims to present a selection of projects to show how play activity may indeed have a key role in our cities, involving players in IMMERSIVE AND MEANINGFUL EXPERIENCE 3ALEN AND :IMMERMAN !ND HOW THE LUDIC APPROACH STIMULATES n AND SOMETIMES ENCOURAGES n PLAYERS TO SEE ORDINARY SCENARIOS IN A DIFFERENT WAY INCREASING THE resilience of local spaces and values and boosting the dialogue among LOCAL COMMUNITIES &LANAGAN CONVEY COMMUNICATION AND FACILITATE LEARNING AND TRANSFERRING KNOWLEDGE 3ALEN "OGOST INTRODUCE NEW PATTERNS !LEXANDER TO FOSTER CHANGE SPREADING AWARENESS AND sensitizing to sustainable cross-cultural and transgenerational differences -C'ONIGAL 'AME 3TUDIES THROUGH THEIR INTERDISCIPLINARY ANALYSIS AND APPROACHES SHOW THE IMPORTANCE OF GAMES AND THE BROAD GROWING INTEREST ON THIS lELD both of theoretical and applied research.
Under the Bonnet: Exploring the mechanics of design collaborations for social impact Muireann McMahon & Mariana Amatullo, University of Limerick & Art Center College of Design, Ireland & USA Muireann.mcmahon@ul.ie, Mariana.amatullo@artcenter.edu
Multi-disciplinary collaborative work is of major importance,because, with increasing problem complexity, groups of individuals can work together in order to accomplish goals they cannot reach on their own 3TEMPmE AND "ADKE 3CHAUB 4HE POTENTIAL OF IMPROVED OUTCOMES
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from collaborating experts and non-experts offers unique opportunities for designers to engage in the resolution of complex social problems *OHNSON AND *OHNSON $AVIS 4RADITIONAL METHODS OF LEARNING have focused on the individual. Newer perspectives of learning have begun recognising that learning is less a solitary act and more about the collaboration with others to pool knowledge, experiences, skills and TOOLS *ONASSEN ET AL 4HE NOTION OF THESE COLLABORATIONS BETWEEN designers and community partners to bring about social change is ideal in nature; the reality however, is often far from perfect. While the challenges of engaging partners; managing expectations; participant relationships; diversity of voices and perspectives; heuristics; disciplinary differences and conflicts of interests may seem like roadblocks to success, they do in fact inform and teach in equal measure.
meeting of goals served to both enrich and hinder the experiences. From this analysis, patterns can be drawn that enable a deeper understanding of the aspects of the collaborative processes and participant behaviours THAT ARE COMMON ACROSS CASES AS WELL AS THE DIFFERENCES THAT DElNE EACH unique partnership. References: DAVIS, M. (2008) Why do we need doctoral study in Design? International Journal of Design, 2, 71-79. JOHNSON, R. T. & JOHNSON, D. W. (1986) Action Research: Cooperative learning in
COMMUNITIES
the science classroom. Science and Children, 24, 31-21.
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STEMPFLE, J. & BADKE-SCHAUB, P. (2002) Thinking in design teams- an analysis of team communication. Design Studies, 23, 473-496. JONASSEN, D. H., STROBEL, J. & LEE, C. B. (2006) Everyday problem solving in
This paper explores a number of social innovation collaborations from The Designmatters Department at Art Center College of Design, USA, which oversees a portfolio of design projects focused on social innovation with national and international partners and the Product Design Faculty at The University of Limerick [UL], Ireland. Case studies presented from Designmatters include ‘Deep Future’ an Ocean Exploration project with 4HE !QUARIUM OF THE 0ACIlC AT ,ONG "EACH #ALIFORNIA AND @4EEN !RT Park’, an environmental design project working with a coalition of nonPROlT YOUTH PARTNERS IN 0ASADENA WHILST THE )RISH CASE STUDIES INVOLVE @#ARDBOARD &URNITURE IN PARTNERSHIP WITH 4HE .ORTHSIDE ,EARNING (UB Limerick; and ‘Box Clever’ a responsible food packaging project with Mead West Vaco; U.S.A.
PECKA KUCHA 1
Information gathered through a mix of qualitative methods, including OBSERVATIONS lELD NOTES ANECDOTAL CONVERSATIONS AND FOCUS GROUPS brings together the participant stories and builds a collective narrative of the different project experiences. By exploring the mechanics of these case studies, we can see how the evolution of the collaborative process and the
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engineering: Lessons for engineering educators. Journal of Engineering Education, 95, 1-14.
Understanding Designing Dublin: Learning to Learn as a strategy for collaborative city development Nuala Flood, Trinity College Dublin, Ireland floodnm@tcd.ie
This paper presents a case study of an initiative, entitled ‘Designing Dublin: Learning to Learn’, which brought together a variety of diverse stakeholders to collaboratively revitalise the city centre of Dublin using a DESIGN BASED APPROACH )T WAS CREATED BY THE NOT FOR PROlT ORGANISATION $ESIGN 4WENTYlRST #ENTURY IN COLLABORATION WITH THE CITY S LOCAL AUTHORITY Dublin City Council.
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The author carried out participant observation on this initiative, as a fully embedded ‘volunteer’ on the design team, with a view to understanding it as a possible strategy for collaborative city development. Diagramming techniques, along with reflexive practice and participant triangulation WERE USED TO ANALYSE THIS EXPERIENCE 4HIS PAPER WILL PRESENT THE lNDINGS of this research using a combination of written text and infographics.
How to Create Social Engagement and Creativity in Local Communities through Design Anthropology and Co-creation Paya Hauch Fenger, The Royal Danish Academy of Fine Arts, Denmark
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The initiative assembled a team consisting of volunteers and local authority staff and, in general terms, they sought to teach this team how to use ‘design thinking’ to solve ‘wicked problems’. The particular ‘wicked problem’ that they addressed, as a way of learning the skills of ‘design thinking’, was the revitalisation of the city centre of Dublin. Therefore, through the application of a human-centred design process they developed a series of prototypical solutions to address this issue, while working in creative consultation with the city’s users, residents, business owners and politicians.
SPACES TRADITIONALLY CONSIDERED TO BE REGULATED AND DElNED BY THE RELEVANT administrative authorities. The paper argues that co-design is distinctive because it focuses on inviting citizens to join various processes, which help to develop and exploit their creativity for the purpose of creating new solutions in relation to the revitalization of a community. Furthermore, used with sensitivity, co-design plays an important role in regulating the roles and power relations between the various stakeholders participating in co-design workshops. The workshops are interpreted as a performative space, where change, meaning and identity is negotiated and constructed through rehearsal of the future e.g. when citizens are prototyping or acting out scenarios. As such, the performative space not only provides the participants with the opportunity to deconstruct the familiar with the aim of experiencing what they already know in a new light, and create new stories, identities and action. It also provides us with the opportunity to articulate and play with the roles of the participating stakeholders. The paper concludes that if THE LOCAL OFlCIALS AND POLITICIANS HAVE THE COURAGE TO ENGAGE IN A CREATIVE co-creation with citizens, local business and other stakeholders, the local community will prosper and citizens will take action and engage in the creation of a living and creative community.
pfen@kadk.dk
PECKA KUCHA 1
During the last two years, a municipality at the countryside in Denmark 4HE -UNICIPALITY OF /DSHERRED HAS EXPERIMENTED IN THE USING OF CO DESIGN methods to engage local communities, business people, politicians and THE LOCAL OFlCIALS IN THE DEVELOPMENT OF A SMALL COMMUNITY 5SING THIS example as a starting point, this paper discusses how co-design can be employed as a method of inviting people to express their creativity in
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4.00pm - 5.30pm Education & Research 5 Smock Alley Auditorium
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A Model for Learning and Educating the World Fred Murrell, Rocky Mountain College of Art & Design, USA Negotiating pedagogy: collaborative learning in the real world 2UDOLF 0EROLD -IZAN 2AMBHOROS (ERMIE
Delport-Voulgarelis, Cape Peninsula University of Technology, South Africa Red Dot Project: Using a cross-cultural analysis of red dots as a tool to build cultural awareness and global competency skills in emerging designers Rukmini Ravikumar, University of Central Oklahoma & AIGA, USA “DpsdBeyond� a student initiative for open learning Spyros Bofylatos, Ioanna Archontaki & Dimitris Niavis, University of the Aegean, Greece
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A Model for Learning and Educating the World
Fred Murrell, Rocky Mountain College of Art & Design, USA fmurrell@rmcad.edu
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Many college level teachers are already using online services to check student papers for plagiarism and automatic grading applications are a growing business. Now building educational platforms like TED and others, the question becomes, what are the distinctions between a textbook and COURSEWARE BECAUSE BOTH ARE BLURRING
The educational sector is about to be disrupted - much like music AND BOOK PUBLISHING HAVE BEEN n BY COMPUTERS NETWORKS MOBILE THE cloud, social, ubiquitous sensors and CPU’s and other tech trends that are developing. Traditional universities could become as rare as good bookstores.
7ITHIN THE NEXT TO YEARS AT LEAST HALF OF THE lRST YEARS OF undergraduate education in public universities will be delivered online to SAVE TIME AND MONEY )N PERSON MASSIVE LECTURE COURSES STUDENTS offer little chance or real conversation between student and teacher, so online is the natural solution.
My paper will focus on framing the discussion about learning in terms of hDELIVERING CONTENT EFlCIENTLY AND IS KNOWLEDGE A COMMODITYv 7HICH WILL lead us to real question “What’s your model of learning and educating in AN EVER CHANGING DIGITAL ENVIRONMENT v
Our goal as educators is to distill rules from experience, codify new methods, test and improve them, and pass them on to others. Instruction should shift from an emphasis on making, to a balance on making, OBSERVING REmECTING $EVELOPING NEW PRODUCTS AND SERVICES CREATES value and all of this requires new thinking and new knowledge.
The role of technology within art and design education is not new. -OVING TO $ESSAU 'ERMANY IN THE "AUHAUS BEGAN TO GRAPPLE openly with this question. Today it’s about digital technology and how it’s opening new frontiers. Academic disciplines have learned how to learn, but rarely does it happen IN ART DESIGN 3TUDIO CLASSES ARE MOSTLY ABOUT SOCIALIZATION SHARING AND creating implicit knowledge through direct experience. Students learn by WATCHING ONE ANOTHER AND LEARNING PROCEEDS FROM SPECIlC TO SPECIlC AND knowledge remains tacit. Developing mechanisms to build and share knowledge is key to success IN EDUCATING ARTISTS DESIGNERS 4AKING RESPONSIBILITY FOR RE INVENTING EDUCATION SHOULD BE OUR GOAL AND DElNING OUR RELATIONSHIP WITH TECHNOLOGY IS OUR STRATEGY OUR FUTURE
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Negotiating pedagogy: collaborative learning in the real world
Rudolf Perold, Mizan Rambhoros & Hermie Delport-Voulgarelis, Cape Peninsula University of Technology, South Africa RambhorosM@cput.ac.za, PeroldR@cput.ac.za
Architectural education at the Cape Peninsula University of Technology #054 IS UNDERGOING CHANGE IN CONTENT AND DELIVERY METHODS 4O ADDRESS the ethical responsibility of designing to stimulate growth and renewal in the South African socio-economic realm, contemporary approaches to research and teaching are increasingly focused on including local communities in collaborative design projects.
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As a country emerging from conflict, displaced communities are uncertain of basic service delivery by government. They are therefore mobilising themselves around their own resources by seeking assistance from support networks, which can generate opportunities for their socio-economic DEVELOPMENT AND THE UPGRADING OF THEIR INFORMAL SETTLEMENTS (ENCE spatial design projects are initiated to improve the living conditions of these communities. Although most of the upgrades focus on formalisation of settlements via the provision of necessary infrastructure and services, the rational spatial organisation and creation of public spaces are hoped TO SIGNIlCANTLY IMPROVE THE QUALITY OF LIVING
task and discussion adds to existing knowledge, thereby stimulating the discovery of alternative approaches, whilst updating initial ideas with new outcomes and information.
These ‘real-life’ projects require collaboration between tertiary institutions #054 COMMUNITIES THE RESIDENTS OF 6YGESKRAAL INFORMAL SETTLEMENT INDUSTRY PROFESSIONALS ARCHITECTS RESEARCHERS AND PLANNERS NON GOVERNMENTAL ORGANISATIONS THE #OMMUNITY /RGANISATION 2ESOURCE #ENTRE #/2# AND CITY MUNICIPALITIES #ITY OF #APE 4OWN #054 S $EPARTMENT OF !RCHITECTURAL 4ECHNOLOGY HAS IDENTIlED OPPORTUNITIES FOR INTERACTION between these role players in order to establish and respond appropriately to community needs, for which design solutions are researched, developed and constructed by students and communities, with assistance from various stakeholders. Methods of enquiry and techniques in the design process include site-based exchanges, research and surveys; mapping and MODELING #!$ AND PHYSICAL AND COLLABORATIVE DESIGN IN STUDIO
Red Dot Project: Using a cross-cultural analysis of red dots as a tool to build cultural awareness and global competency skills in emerging designers
$RAWING ON RESEARCH BY (AMDI 3CHUMACHER ,ANGRISH AND &ISCHER ET AL EXPOSURE AND COMMUNICATION IS INITIATED BY USING COLLABORATIVE METHODS AND PROBLEM BASED LEARNING 0", TO elicit knowledge construction, as opposed to knowledge acquisition, in the design process, which stimulates distributed problem-solving and the ACCUMULATION OF A VARIETY OF POSSIBLE SOLUTIONS (ENCE THE PROCESS ENTAILS A COLLECTION OF INFORMATION AND PROCEDURES CAPABLE OF INCREMENTAL AND or evolutionary growth through negotiation and use, where each design
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Thus, meaningful architecture is created through partnerships that result in unexpected interactions and outcomes, which allow for the adaptation of teaching and learning that in turn has an impact on socio-economic change and empowerment.
Rukmini Ravikumar, University of Central Oklahoma & AIGA, USA rravikumar@uco.edu
We are living in a world of global challenges that will require global solutions; educators world-wide agree that our graduates need to develop a mind-set to match the world around them. Cross-cultural awareness and the development of global competencies within the discipline of design, both necessary skills for today’s designer are rarely discussed in THE UNDERGRADUATE CURRICULUM OF GRAPHIC DESIGN VISUAL COMMUNICATION programs worldwide. Design educators hesitate when asked the question, @IS THE CONTENT YOU TEACH UNIVERSALLY APPLICABLE 4HE SCALE OF THE TOPIC MAKES IT DAUNTING AND NOT ALL EDUCATORS FEEL QUALIlED TO DISCUSS CULTURE and the global practices of design in their classrooms. This sentiment was ECHOED DURING THE !)'! $ESIGN %DUCATORS #ONFERENCE @'EOGRAPHICS Study-abroad opportunities have for long borne the burden of being the answer to developing global and cultural skills in students; And crosscultural analysis of graphic designs and forms has for long remained the domain of design educators who are avid travellers, immigrants or those
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who have lived and practiced design and design education in foreign ENVIRONMENTS 4HE @2ED $OT 0ROJECT OFFERS A PEDAGOGICAL SOLUTION AND attempts to make the conversations on design in global contexts more approachable in design classrooms. If successful, projects like this could help emerging designers become aware of the complexities, challenges and rewards of being a designer in today’s global market. ! RED DOTˆ ON PRELIMINARY ANALYSIS IS A PRIMARY SHAPE lLLED WITH A primary colour. A circle on its own is versatile in meaning; the colour red adds other layers of complexity to its meanings. A further analysis of what the red dot means across cultures and contexts reveals a rich vocabulary of associations that a designer has to consider when using THIS VERY SIMPLE GRAPHIC FORM 4HIS PAPER DISCUSSES THE @2ED $OT 0ROJECT its development, scope, outcomes and it’s use as a pedagogical tool to introduce and engage emerging designers in Oklahoma, USA in an analysis of meanings and forms across cultures.
“DpsdBeyond� a student initiative for open learning
Spyros Bofylatos, Ioanna Archontaki & Dimitris Niavis, University of the Aegean, Greece bofy@aegean.gr
DPSDbeyond initiative was launched in October 2010. The initiative was created in order to bridge the two most contradicting aspects of THE 'REEK DESIGN STUDENTS MINDSET DESIGN THEORY AND DESIGN PRACTICE DPSDBeyond, therefore, became the platform that facilitates the sharing of knowledge among design practitioners, students as well as experts of VARIOUS SCIENTIlC DISCIPLINES )T IS OPERATING ON THE PREMISE OF CREATING and sharing new knowledge in design in an open collaborative way.
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This process aims to widen the participants’ horizons and enrich their perception. The initiative has organised a variety of different events aiming to create and spread new knowledge and good practices - these include lectures, workshops and fundraising events. Finally, the process of creating a solid documentation of the pedagogical model employed by the initiative has been undertaken and is available on the initiative’s website. Through this process, a dynamic student network emerges, which provides access to more, better and wider knowledge on design and design-related issues. Furthermore and because of the lack of national design identity, $03$"EYOND S AND OTHER DESIGN RELATED 'REEK INITIATIVES ACTIONS APPEAR TO BE FORMING AND OUTLINING A POTENTIAL 'REEK DESIGN COMMUNITY 4O FULLY UNDERSTAND THE INITIATIVE ONE MUST lRST BECOME FAMILIAR WITH THE CONTEXT OF DESIGN IN 'REECE AT THIS TIME OF CRISIS &IRSTLY 'REEK DESIGN lacks a solid historical foundation and is currently trying to emerge. This IS FURTHER ELABORATED BY THE FACT THAT THE lRST AND ONLY DESIGN FACULTY was established on the start of this millennium. The effect of this is not only a lack of national design identity, but also the lack of knowledge of a designer or design engineers professional competences. For a COMPREHENSIVE REVIEW OF 'REEK DESIGN CRAFT AND FASHION HISTORY SEE Yagou 2012. The next important factor that triggered the emergence of the DPSDBeyond INITIATIVE IS THE UNPRECEDENTED AGE OF CRISIS AND AUSTERITY THAT THE 'REEK society is going through. The continuous cut-back on the funding of Universities has pushed them to the state that either the quality of studies will be reduced or different models of education will be employed in order to support the traditional teaching process and stabilise, or even raise, the quality of studies offered. Finally, the initiative aims to act as a platform that spreads the message of hope by diffusing design related success stories, an answer to the highest unemployment rate in the Eurozone and a constant “BrainDrain�.
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EDUCATION & RESEARCH 6
Do components in the design process influence the user experience? A case study Barbara N.E. Kok, Karin Slegers & Peter VINK, KU Leuven & TU Delft, Belgium & The Netherlands Designing for new contexts; equipping students to respond Andrea Wilkinson, Limburg Catholic University College, Belgium Programme:Paper:Poster – A generative proposal Paul Kerlaff & Neil McGuire, Edinburgh Napier University & Glasgow School of Art, Scotland Designing Food Cultures Sónia Matos, Edinburgh College of Art, Scotland
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Do components in the design process influence the user experience? A case study
experience if the student designer did product testing for functionality, and risk and mistake analysis done by using the products themselves, and if the student designer involved users in the design process at an early stage CONCEPT PHASE BY ASKING FEEDBACK ON THE $ CONCEPTS
bkok@khlim.be
References:
Society is changing from a consumer society to a society where people don’t want more products but attachment, meaning and experience (Van $IJCK -ORE AND MORE PEOPLE TEND TO LIVE BY THE PHILOSOPHY hLESS IS more�. Designers could contribute to this changing society by designing from the philosophy “more for less�: Products, which incorporate more authenticity, meaning and experience will create a better attachment between user and products. This attachment will lead to longer use of PRODUCTS AND AS CONSEQUENCE LESS WASTE (OWEVER DESIGNERS ARE NOT THERE YET -ANY PRODUCTS STILL DON T FULlLL THE USERS NEEDS AND EXPECTATIONS .ORMAN 0RODUCTS SOMETIMES ARE SO HARD TO USE THAT CONSUMERS need assistance to use them, or even return or abandon the product (Den /UDEN
Lannoo, BE
Barbara N.E. Kok, Karin Slegers & Peter VINK, KU Leuven & TU Delft, Belgium & The Netherlands
)N ORDER TO CREATE PRODUCTS THAT FULlLL THE USERS NEEDS AND EXPECTATIONS and which create positive experiences, designers’ should understand the user, as well as the activities the users do by following a disciplined DESIGN PROCESS INSPIRED BY USER RESEARCH .ORMAN 4HEREFORE IT IS interesting for designers to know which steps, methods and tools in the design process have an effect on the user experience of the product. These STEPS METHODS TOOLS AND OTHER ASPECTS OF THE DESIGN PROCESS ARE DElNED as components in the design process in this paper. This paper describes the effect of the different components in the design process on the user experience in two case studies: “mobile toy cabinet for hospitalized children and “an element for hair washing in hairdresser’s salon for elderly in nursing homes�. This study showed positive correlations with the user
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Van Dijck, F. (2009) Het merk mens: Consumenten grijpen de macht. Terra – Norman, D. ( 2010), The Research-Practice Gap, Essays & Technology first, needs last: the research-product gulf. Interactions, 17(2), 38-42, www.jnd.org/dn.mss/ technology_first_needs_last.html, 2010. den Ouden, E. (2006) Development of a design analysis model for consumer complaints: revealing a new class of quality failure. PhD Thesis, TU Eindhoven, NL, 2006. Norman, D., 2008, Front to back: Users experience it that way around. fronttoback. org/2008/04/01/dont-just-design-what-your-users-want/
Designing for new contexts; equipping students to respond
Andrea Wilkinson, Limburg Catholic University College, Belgium andrea.wilkinson@khlim.be
Thousands of design students graduate year upon year with a skill-set that CAN BE LISTED AND QUANTIlED KNOWLEDGE OF (4-, AND CODING LANGUAGES FAMILIARITY WITH #-9+ VS 2'" ABILITY TO EXPORT MEDIA TO INDUSTRY STANDARDS PROlCIENCY AT MODELLING AND RENDERING IN $ ETC 4HESE SKILLS are what the industry asks for and are based on historical models of media use and consumption as well as the traditional school to workplace trajectory. The education scenario of tomorrow, however requires a model which educates students to be perpetually inquisitive, to equip students
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NOT ONLY WITH BASIC QUANTIlABLE SKILLS BUT TO EQUIP THEM WITH THE ABILITY TO use these skills to respond and adapt to their environment. /VER THE PAST DECADE DESIGN HAS BROKEN THE CONlNES OF TRADITIONAL MEDIA AND IT IS OUTSIDE OF THESE CONlNES WHERE DESIGN WILL RADICALLY CONTRIBUTE TO social welfare in the future. To teach responsiveness is to teach a ‘way of WORKING )T IS A DESIGN PROCESS THAT DOES NOT BEGIN WITH A DElNED END GOAL or supposed media outcome. Instead it relies on designing for new contexts and within these situations carrying out active observational research: looking for opportunities where design can provide a solution, working in a participatory manner with those impacted by the problem and responding TO THESE ISSUES WITH DESIGN SKILLS )N THIS WAY DESIGN lNDS NEW GROUND For the past three years the Social Spaces research module has offered students the context of dementia. A hands-on module, students spend the night in a care facility, play games and eat together with people with advanced stages of dementia. They speak to family members and people still living at home with early stages of dementia and, together with the people themselves, they develop projects based on these direct observations, experiences, reflections and research. 4HIS @NON DESIGN REAL LIFE SITUATION CASE TURNS STUDENTS FROM AESTHETIC creators into responsive contributors; providing them with an opportunity to see their role as designer expand to become innovative social problem solvers. Using the skills from their own discipline (photography, graphic DESIGN COMMUNICATION AND MULTIMEDIA DESIGN THEY ARE SUCCESSFULLY able to create and visualise concepts that directly respond to the socially critical issue of dementia. "Y REmECTING ON THE DESIGN PROCESS AND SUCCESS OF THIS CASE AND OTHERS we can suggest why working with such situations should be not only encouraged in design curricula, but mandatory, especially if we see design
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IN ALL OF ITS ITERATIONS DEVELOPING INTO A DISCIPLINE WHICH CONTRIBUTES TO SOCIETY INSTEAD OF MERELY CREATING CONTENT MEDIA FOR IT
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Programme:Paper:Poster – A generative proposal
Paul Kerlaff & Neil McGuire, Edinburgh Napier University & Glasgow School of Art, Scotland P.Kerlaff@napier.ac.uk, n.mcguire@gsa.ac.uk
Design practice is dependent on sometimes innocuous watershed MOMENTS 2ELATIVE CHANGES SUCH AS CHEAPER PROCESSING TECHNOLOGY ALLOW key decisions to be delegated to economic logic. Mostly, as practitioners we welcome these logics, or at the very least accept their ‘truth’. Pausing this phenomena, and taking time to reflect on its implications, our proposal is to explore the impact of value shifts within design education and practice by deliberately creating our own value-change phenomena: a paper written entirely by an algorithm designed to maximise citations. We will create an algorithmically driven digital device, which generates a paper on the topic of ‘Design in an Age of Austerity’. It will do this through a combined technique of mining and data-scraping existing academic sources, undertaking bibliometric assessment and analysis, (looking TO MAXIMISE CITATIONS AND INCREASE ITS OWN @VALUE AND IN THE PROCESS create a ‘plausible’ position on the subject, through purely computational means. At the core of this proposal is a questioning of the value we place on ACADEMIC RESEARCH WHERE DESIGN RESEARCH lTS WITH AND CAN ADD VALUE TO practise, and imagining possible futures for design research in an age of computational generative design and parametrics.
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)T BUILDS ON THE GENERATIVE DESIGN INNOVATIONS OF #ASEY 2EAS AND "EN &RY -)4 -EDIALAB AND THE PROCESSING ORG PROJECT THE COMPUTATIONAL LANGUAGE ANALYSIS OF DIGITAL DESIGN STUDIOS SUCH AS LUST NL 4HE (AGUE but also opens up the political and ethical questions of ‘values’ in higher education under late capitalism, raised by, amongst others, Claire Bishop !RTIlCIAL (ELLS Our paper and workshop will use the programme we are creating to produce a live stream of printed statements on the topic (pasted up @LIVE AS A CONSTANTLY EVOLVING @POSTER AND THEN USE THIS AS A CATALYST FOR DISCUSSION ACTIVITIES AMONGST A GROUP OF PARTICIPANTS IN RESPONSE to the prompts it creates. For the paper part of this project, as a talk at conference, we will deliver the computer generated paper alongside an EXPLANATION OF THE PROCESS OUR lNDINGS AND THE QUESTIONS THEY RAISE /UR PAPER AND WORKSHOP ARE UNIlED BY AN ASSUMPTION THAT DESIGN CAN and should, be exploring opportunities created by shifting relative values. /UR AMBITION IS NOT TO ACCELERATE THE SITUATION S THAT THESE VALUE SHIFTS engender, but rather to bring into focus the relationship between moral and economic value in design research, education and practice.
Designing Food Cultures
SĂłnia Matos, Edinburgh College of Art, Scotland s.matos@ed.ac.uk
Portugal’s relationship with the sea is integral to our understanding OF THE COUNTRY S HISTORY AND CULTURAL IDENTITY (OWEVER WHEN THINKING of the Atlantic Ocean most Portuguese associate it with a glorious past as opposed to a natural resource that is essential to the country’s ECONOMIC SOCIAL AND ENVIRONMENTAL WELLBEING 0ITTA E #UNHA
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This contribution will present a design project that was developed as a response to this gap. With a special emphasis on sustainability, food and health, ‘Designing Food Cultures’, has proposed to study and rehabilitate local vernacular knowledge of marine edible resources such as seaweed. Despite the country’s rich sea ecology, the recent economic crisis and the renewed interest in issues of health and nutrition, the use of seaweed has never achieved considerable impact. This situation can be associated with the slow decay of longstanding agricultural practices that are now replaced with the import of food from elsewhere. In this climate, local vernacular knowledge of healthy aliments is replaced by a largely unsustainable system that has devastating economic and environmental consequences. ,OCATED IN THE !ZOREAN ARCHIPELAGO n ONE OF 0ORTUGAL S MOST REMOTE REGIONS n THE PROJECT HAS PROPOSED TO DEVELOP AND DESIGN A COOKBOOK that explores the local vernacular knowledge of marine biodiversity and RESOURCES )NITIATED IN *ANUARY OF @$ESIGNING &OOD #ULTURES HAS ALSO instigated a series of cooking workshops with local stakeholders such as the ‘Association of the Wives of Local Fishermen’ and professional schools where local youth develop cooking skills that will allow them to seek new job opportunities. Through these workshops, participants are able to learn about local edible seaweed as they create, and at times recreate, old and new recipes. The workshops and consequent development of a cookbook appear as an important catalyst for change whereby new modes of gastronomic and cultural production are made possible. Even though largely misunderstood AS A FORM OF @HUMBLE LITERATURE n AN IDEA SUGGESTED BY CULTURAL THEORIST !RJUN !PPADURAI IN @(OW TO -AKE A .ATIONAL #UISINE n COOKBOOKS HAVE POTENTIAL TO REDElNE OUR COOKING AND EATING HABITS AT THE SAME TIME REENACTING VALUABLE FORMS OF VERNACULAR KNOWLEDGE (ENCE THE PROJECT S
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emphases on the value of communication design when attempting to promote healthier eating habits that are bound to a sustainable use of local resources.
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4.00pm - 5.30pm Environment 2 Harry Clarke Lecture Theatre, NCAD Spatial incidents and the rehabilitation of space Jean Whitehead, Falmouth University, England Learning Towns – Exploring Practice Will Titley & Diarmaid Lawlor, Edinburgh Napier University & Architecture and Design Scotland, Scotland MAP Detroit: An Interactive narrative Rebecca Tegtmeyer, Michigan State University, USA ENVIRONMENT 2
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Jean Whitehead, Falmouth University, England jean.whitehead@falmouth.ac.uk
The current recession offers an opportunity to re-think the role of design in rehabilitating public environments and neglected spaces blighted by the ECONOMIC DOWN TURN 4AKING INSPIRATION FROM THE WRITINGS OF *AN 'EHL S @,IFE BETWEEN BUILDINGS USING PUBLIC SPACE AND 7ILLIAM ( 7HYTE S @4HE social life of small urban squares’ as well as recent grass roots approaches to the reclamation of abandoned spaces and places, this paper seeks to explore whether an inherent understanding of ‘place’ can lead to solutions that are innovative and thoughtful responses to spatial renewal.
ENVIRONMENT 2
4HE 2OYAL )NSTITUTE OF "RITISH !RCHITECTS 2)"! @&ORGOTTEN 3PACES ANNUAL competition asks design students and professionals to: ‘Explore different approaches to the re-imagining of forgotten spaces.’ This competition has captured the current zeitgeist by raising architectural debate around innovative approaches to regeneration and the perceived value of design in an age of austerity. This paper aims to analyse and evaluate student responses to the forgotten spaces competition after it was adapted to the curriculum for spatial and interior design students at Falmouth University, Cornwall. The project trial was used as a vehicle to introduce and explore how the rehabilitation of urban hinterlands, derelict buildings and neglected spaces could become an integral aspect of the design curriculum, helping to raise the sustainable agenda for the next generation of designers. A series of post project student focus groups were used to gather feedback on the learning experience. This information was used to develop a matrix that helped to identify the key components within the brief and design process that led to projects being developed that considered place and its regeneration.
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Spatial incidents and the rehabilitation of space
It is hoped that this paper will serve as a useful case study for other practitioners or teachers who are starting to question how a design curriculum could embed and develop thinking around the creation of places and spaces for renewal and growth.
Learning Towns – Exploring Practice
Will Titley & Diarmaid Lawlor, Edinburgh Napier University & Architecture and Design Scotland, Scotland w.titley@napier.ac.uk, diarmaid.lawlor@ads.org.uk
The things we can offer our kids most is the experience of here. ENVIRONMENT 2
This paper proposes a dissemination of the “Learning Towns� initiative INSTIGATED BY !RCHITECTURE AND $ESIGN 3COTLAND ! $3 IN “‘Learning Towns’ uses design to imagine different ways of doing things, AND TAKES A PRAGMATIC APPROACH TO THE PURSUIT OF ACADEMIC EXCELLENCE )T ALSO DELIVERS ECONOMIES OF BENElTS WHICH MEANS WE ALWAYS DO MORE WITH WHATEVER WE HAVE v ADS ORG UK Several architectural and design practices in Scotland were commissioned BY ! $3 (EAD OF 5RBANISM $IARMAID ,AWLOR TO PRODUCE A SHORT lLM TO illustrate the brief. This work was shown to the public at an exhibition at the Lighthouse in March 2011 that highlighted themes and issues relating to their imagined learning future for school children in Scotland. )N PARTICULAR THIS PAPER WILL FOCUS UPON THE WORK OF *-!RCHITECTS *- ARCHITECTS WHO PUT FORWARD A VISION OF SCHOOLING WITHIN THE COMMUNITY In this project they related their vision as, “we imagined a situation where important public and cultural buildings are used as teaching places�. This
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The Learning Towns project is in response to Scotlandâ&#x20AC;&#x2122;s Curriculum for %XCELLENCE %DUCATION 3COTLAND AND IN PARTICULAR HOW ACTIVE CITIZENSHIP and effective contributors are served. This paper will take the vision of *-!RCHITECTS RESPONSE AND PROPOSE THROUGH A FRAMEWORK OF PARTICIPATORY design and phenomenological approaches, how it can be practically resolved. By re-thinking the assets already available to a community we will propose how every aspect of our environment has the potential to deliver. By creating a learning landscape we will look to how place can BE IDENTIlED AND WHAT TOUCHSTONES CAN BE CREATED 4OUCHSTONES IN THIS context are designed artefacts that might enable the process. Carmona et AL STATE h7HILE ARGUABLY THE AIM OF URBAN DESIGN SHOULD BE THE PROVISION of an accessible, safe and secure, equitable public realm for all, economic and social trends in many parts of the world are making this increasingly DIFlCULT TO DELIVER v We propose that by focussing this project upon the â&#x20AC;&#x2DC;hereâ&#x20AC;&#x2122; of communities and educational provision, that space and place may be regenerated despite the neglect of an era of cutbacks and limitations in funding. References: <http://www.ads.org.uk/smarterplaces/features/senses-of-place-learningtowns-2> [accessed 14th June 2013] http://www.educationscotland.gov.uk/thecurriculum/whatiscurriculumforexcellence/ thepurposeofthecurriculum/index.asp [accessed 14th June 2013] <http://www.jmarchitects.net/> [accessed 14th June 2013] Carmona M et al (2009), Public Spaces â&#x20AC;&#x201C; Urban Spaces. Architectural Press London
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connection between communities and learners constitutes a regeneration strategy for places that is sustainable in times of austerity. This interim research proposes a conceptual approach that enables elements of community resilience that empowers innovative thinking in our current economic condition.
MAP Detroit: An Interactive narrative
Rebecca Tegtmeyer, Michigan State University, USA tegtmey2@msu.edu
Detroit, Michigan is a city with a rich past and a vibrant future. It went FROM BEING AN ECONOMICALLY PROGRESSIVE CITY DURING THE lRST HALF OF THE 20th century to being one of the fastest declining cities at the beginning of the 21st century. Currently, Detroit is undergoing a â&#x20AC;?revitalizationâ&#x20AC;?. Young entrepreneurs are seeking out the vast opportunities available in Metro Detroit and moving closer to the city center. With this movement the urban landscape is changing. Buildings that have been abandoned for more than a decade are being restructured and rebuilt to support this new economic growth. Each neighbourhood, street, and building has a history to be shared with visitors and new residents of the Metro Detroit area. In order to retain the legacy of Detroit and support continued growth and renewal, an interactive application, MAP Detroit, is currently in progress to strengthen peopleâ&#x20AC;&#x2122;s connections with the city. MAP Detroit will offer an attainable way to explore and experience this history from various contexts. This paper will share this in-progress project that explores imageability, spatial relationships, multi-sensory narratives, and interactive organization of information within a digital environment. Further examining the ways in which the visual design and organization of an online environment can enhance and inform our interactions within the physical environment. The MAP Detroit application will engage visitors through interactive walking tours throughout the Detroit area. Visitors will be immersed INTO HISTORICAL AND CONTEMPORARY STORIES ABOUT SPECIlC LOCATIONS WITH emphasis on the present, past, and future.
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The experience will offer a glimpse into the history of nearby locations, educating and reconnecting visitors with parts of the city that they might have otherwise overlooked. Typically, walking tours move participants through a physical environment while a guide directs them. This physical act of experiencing the city’s spaces, cultures, and histories reveal the urban landscape through educated storytelling; narrative dialogues between the spatial and temporal. An application such as this would give resonance to the rich histories embedded in this once popular and vibrant community of Detroit and eventually serve as a framework for other cities undergoing renewal and growth.
4.00pm - 5.30pm Growth HCH 2.03, NCAD More from us and less from you? David Robb, Sharifa Hawari & Britta Kalkreuter, Heriot-Watt University, Scotland Pragmatic Nationalism: Irish graphic design and the original “economic crisis” Mary Ann Bolger, Dublin Institute of Technology, Ireland Designing Politics and Austerity in Context: designing the Palestinian NGO Raymond Prucher & Mary Geday, American University in Dubai, United Arab Emirates
ENVIRONMENT 2
Fashion Sense: Participation and co-design for socially sustainable fashion Lisa McEwan, AUT University, New Zealand lisa.mcewan@aut.ac.nz GROWTH
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David Robb, Sharifa Hawari & Britta Kalkreuter, Heriot-Watt University, Scotland dar14@hw.ac.uk, sh317@hw.ac.uk, b.kalkreuter@hw.ac.uk
Fashion to some is synonymous with unsustainable consumerism and innovation without need, but the recent rise in co-creational activity in this sector might offer futures for more responsible design. Could co-creation harness the consuming crowdâ&#x20AC;&#x2122;s self-belief in its own creativity while allowing recession-hit companies to exploit new product development STRATEGIES WHICH MIGHT EVEN REDUCE FASHION WASTE
GROWTH
So how could taking the fast out of fashion through co-creation bring ADVANTAGES TO ALL MARKET PARTICIPANTS ESPECIALLY IN A TIGHTENING ECONOMY #OST EFFECTIVE SOLUTIONS LIKE FAILURE FREE 2 $ LOW STOCK HIGH INNOVATION rates and brand loyalty are only a few highly attractive advantages, but all are entirely dependent on the consumerâ&#x20AC;&#x2122;s will to participate in the design process. Fortunately, consumer engagement seems unbroken when it comes to co-creation, driven by the need for individualisation and public display of creative output. Being involved as a â&#x20AC;&#x153;prosumerâ&#x20AC;? might imply a slower and more thoughtful approach to consumption, thus creating products with a higher emotional value and a potential increase in the consumerâ&#x20AC;&#x2122;s awareness of sustainability issues. (OWEVER UNTIL NOW CO CREATION HAS ENTAILED A LARGE INVESTMENT OF TIME ON the part of the contributor and as such has remained a niche rather than the norm. For the sustainability advantages which flow from co-creation to become more widespread, participation needs to be opened out to a larger crowd who are not dyed-in-the-wool â&#x20AC;&#x153;prosumersâ&#x20AC;?. (ENCE THE PAPER SHOWCASES AN EFFECTIVE AND ENGAGING WAY OF USING images as a vocabulary for design feedback to facilitate accessible
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More from us and less from you?
co-creation with such crowds. An automatically assembled image montage is constructed from hundreds of images chosen by the crowd using an intuitively organised mobile-friendly browser. To maximise the communication potential of this online conversation, fashion students tested various vocabularies as to their ability to convey technical and creative aspects of design, and different models for accessing emotive REACTIONS FROM A CROWD (OW THE MODE AND LANGUAGE OF CO CREATION might engage or deter collaborators from participating in longer-term relationships was considered. The research concludes by enquiring into whether these advances in crowd engagement might offer a new model for design and production in a changed economic and social climate.
Pragmatic Nationalism: Irish graphic design and the original â&#x20AC;&#x153;economic crisisâ&#x20AC;?
Mary Ann Bolger, Dublin Institute of Technology, Ireland maryann.bolger@dit.ie
4HIS IS NOT )RELAND S lRST ECONOMIC CRISIS #ONTEMPORARY COMMENTATORS ARE wont to lament the loss of the nationâ&#x20AC;&#x2122;s sovereignty to the European Troika. (OWEVER IN THE S THE POTENTIAL FAILURE OF THE NATION STATE WAS LESS A rhetorical device than a very real possibility. Then, as now, improvement in Irish exports was vital to economic survival and the story of the move from Protectionist to Expansionist ideology under Whitaker and Lemass has become one of the foundation myths of modern Ireland. What is less often discussed is the role of design in this process, and in particular, how graphic design was mobilised to help resolve the paradox of being both Irish and modern, being authentic and being commercial.
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GROWTH
The enthusiasm of the nascent Irish design industry for the project of modernisation as a vehicle of national recovery, together with the pragmatic patriotism that fostered in industrialists and civil servants the courage to employ them, led to a period of sustained creative development that at least supported and may in part have driven the economic and CULTURAL CONlDENCE OF THE LATER DECADES 4ODAY WHEN )RISH DESIGNERS ARE rarely patronised by the Irish State and when â&#x20AC;&#x153;cultureâ&#x20AC;? is packaged as simply another kind of tourist kitsch, it is sobering to be reminded of a time when design could be imagined as key to the re-invention of Ireland.
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#Ă&#x2DC;RAS 4RĂ&#x2C6;CHTĂ&#x2C6;LA THE )RISH 4RADE "OARD WAS PROBABLY THE lRST STATE BODY to see the potential of design to further the aims of modernisation, recognising the importance of product differentiation when trading in international markets. There are obvious parallels with earlier, modernist, organisations such as the Deutscher Werkbund or the Design in Industries !SSOCIATION (OWEVER THIS PAPER WILL ARGUE THAT IN A NATION WITH ALMOST NO industrial production, such distinctiveness was primarily mobilised at the level of services and symbolism, via graphic rather than industrial design. Drawing on primary research, this paper will examine a range of visual communications, from book covers and newspaper adverts to trade stands and annual reports, to demonstrate how graphic and information design PROVIDED MODELS AND MEANS FOR VISUALISING THE THEN HYPOTHETICAL -ODERN Ireland. By constructing a visual culture of modernity, designers gave material form to the imagined reality of the modernising elite and allowed citizens to partake of it symbolically.
Designing Politics and Austerity in Context: designing the Palestinian NGO
Raymond Prucher & Mary Geday, American University in Dubai, United Arab Emirates raymondprucher@gmail.com, mgeday@hotmail.com
In an attempt to answer the following three questions: 1. What role does design play in austere environments, in places of political injustice and humanitarian CRISES 2. Why is design present or necessary in such ENVIRONMENTS CONTEXTS 3. What does the role, image and presence of design REPRESENT IN SUCH @HYPER AUSTERE ENVIRONMENTS 7E UNDERTAKE A FOCUSED AND SITE SPECIlC INQUIRY INTO THE REALITY OF disposability and consumption in places of crises, conflict and need. Design puts a resolute and determined face on the disposable, the unpredictable and the questionable. Furthermore, it puts a competitive FACE ON DISPOSABLE NOVELTY NEWS PAIN SUFFERING INJUSTICE NEED LACK void, request and attention. Ironically, design, on behalf of the disposable, attempts to set apart and HIGHLIGHT THE REQUEST FOR ATTENTION IN lRST WORLD NON AUSTERE ENVIRONMENTS using the same language of that world, the language of plenty, novelty, leisure, luxury and availability. Therefore, what does the symmetry of this LANGUAGE AND THIS MESSAGE FULlL )NDEED WHAT IS THE ULTIMATE MESSAGE when the haves and the have-nots use the same language of visual REPRESENTATION OF IDENTITY AND EXPERIENCE !S NEED AID CHARITY DRIVEN MARKETS CONTINUE TO GROW EXPONENTIALLY in response to and as representation of a multi-layered necessity in
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7E USE ONE PARTICULAR EXAMPLE OF DESIGN IN A HYPER AUSTERE ENVIRONMENT context to begin answering the above questions, that is the branding OF 4HE &REEDOM 4HEATRE 7EST "ANK 0ALESTINE /CCUPIED 0ALESTINIAN Territories.
Fashion Sense: Participation and co-design for socially sustainable fashion Lisa McEwan, AUT University, New Zealand lisa.mcewan@aut.ac.nz
GROWTH
The mass-consumption of mass-produced fashion product over recent YEARS HAS HAD SIGNIlCANT IMPACT ON THE TYPE OF GARMENTS AVAILABLE TO consumers and the ways in which fashion businesses are organised. 'LOBALISED TRADE IN THE ABSENCE OF GLOBAL LABOUR STANDARDS HAS RESULTED in a wholesale shift of manufacturing processes to â&#x20AC;&#x2DC;developingâ&#x20AC;&#x2122; nations; consequently the availability of fashion industry jobs in New Zealand has been in steady decline. At the same time, heightened levels of global lNANCIAL DEBT AND ECOLOGICAL CONCERN SIGNAL THAT CURRENT MODES OF FASHION production and consumption are unsustainable. This presents a number of challenges to the global fashion community, one of which is the way that we address the social sustainability issue of progressive job losses currently being experienced by local communities in â&#x20AC;&#x2DC;developedâ&#x20AC;&#x2122; nations.
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lRST WORLD CONSCIOUSNESS THE ABOVE QUESTIONS POINT TO THE LANGUAGE OF mediation between two worlds and the changing face of the status quo THAT DElNES THEM
engaging stakeholders in the co-design of strategies to improve employment opportunities and infrastructural support within the New Zealand independent designer fashion sector. Underpinned by a humancentred design thinking approach, the project brings industry veterans and emerging designers together in the trial and evaluation of a series OF PROTOTYPE WORKSHOPS DEVELOPED IN RESPONSE TO RECENT SHIFTS n NOTABLY a change in tertiary education focus, an absence of government funded initiatives and decrease in the availability of traditional industry training grounds. Future disruption to current apparel consumption patterns is likely to rely on the provision of alternative fashion product, designed to respond to current environmental and social sustainability concerns. A return to some level of local production may play a part in this scenario. For this to succeed, existing knowledge within local communities must be preserved. Project aims are to provide a viable, economically independent model that supports knowledge transfer, skill development and the generation of meaningful work for both industry specialists and emerging players in the local independent designer fashion community.
GROWTH
This paper presents an ongoing research project that highlights the role of design and community participation in addressing this â&#x20AC;&#x2DC;wickedâ&#x20AC;&#x2122; problem. The research utilises a participatory action research methodology,
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Saturday, 9th November 9.00am - 10.00am Pecha Kucha 1 Harry Clarke Lecture Theatre, NCAD Meaning in Matter Anders Brix, The Royal Danish Academy of Fine Arts, Denmark Sustainable tourism: new opportunities for service design Elena Marengoni, Politecnico di Milano, Italy The projecting development of 3D printing as an enabler of new production models Patrizia Bolzan, Politecnico di Milano, Italy Lâ&#x20AC;&#x2122;Aquila: bringing new life to the historical centre Luca Guerrini, Politecnico di Milano, Italy Moving in the digital era â&#x20AC;&#x201C; Towards innovative systems of mobility enhancing renewal and growth Marco Zilvetti, Politecnico di Milano, Italy
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Anders Brix, The Royal Danish Academy of Fine Arts, Denmark anders.brix@kadk.dk
In addressing present day challenges, general design discourse seem to put faith mainly in the notion of design as a problem-solving activity, closely connected to innovation on both systems and technological level. 4HE MORE AESTHETICALLY FOUNDED lELDS OF CRAFT BASED DESIGN ON THE OTHER HAND DO NOT SEEM TO PLAY ANY SIGNIlCANT ROLE IN THE LARGER SCHEME OF strategic thinking. It is, of course, possible to entertain the idea that consumerism could eventually be slowed down, were we to consume only things of immense artistic quality, carefully crafted by hand from organic materials, and built for permanence rather than planned obsolescence. Furthermore, we know FROM CALCULATIONS THAT EVEN IF PRODUCTION COULD BE CONlNED TO THE USE OF â&#x20AC;&#x2DC;environmentally friendlyâ&#x20AC;&#x2122; materials and processes only, this in itself would not ensure true sustainability. We need to consume less. The casual ease, therefore, by which the idea that growth in aesthetic richness could eventually replace mindless consumerism is framed as romantic and wishful thinking, out of touch with realities, is a problem. !ND THE ROOT TO THAT PROBLEM SEEMS lRST AND FOREMOST TO BE THAT aesthetics tend to be isolated, and be regarded as an excessive luxury.
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Looked at more closely, aesthetics is not a quality that can be separated from real, functional or any other meaning. Aesthetics is not detached FROM MEANING 2ATHER MEANING AS SUCH IS GROUNDED IN AESTHETICS !S WE construct our reality both by the way we talk about things and the way we experience things, concepts and literal meaning are in fact part and parcel of our perception.
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Meaning in Matter
This paper attempts to outline a foundation for a design-theory enhancing the role of aesthetics in present-day, global challenges. A theoretical and philosophical foundation for such an approach could eventually prove HELPFUL IN COLLECTING EFFORTS IN AND ADVANCING THE lELDS OF THE ARCHITECTONIC arts - not least in areas of knowledge production and scholarly research. It could restore virtues often regarded as obsolete, but perhaps central to the advancement of material culture. !S ITS lELD OF INQUIRY THE PAPER TAKES THE CLASS OF OUR PHYSICAL WORLD OF objects - in particular those which carry corporeal affordance, such as clothing, blankets, chairs, tables and houses - perhaps even cities. Things that mean to us, what they mean, mainly qua their physical properties. 4HE PAPER MAKES ITS CASE ASSISTED BY lNDINGS IN RECENT NEUROSCIENCE AND related philosophy.
Sustainable tourism: new opportunities for service design Elena Marengoni, Politecnico di Milano, Italy elenamarengoni@gmail.com
This work tackles the issue of sustainable consumption and searches for ways to promote better behaviour among users with a systemic DESIGN PERSPECTIVE AND IN THE lELD OF TOURISM 4HE ANALYSIS MOVES from an existing literature on complementary topics: I adopted the PERSPECTIVE OF THREE AUTHORS THE ECONOMIST 2OBIN -URRAY WHOSE h$ANGER and opportunitiesâ&#x20AC;? set a framework of how economy is evolving, the psychologist Daniel Kahneman, who analysed decision making with a behavioural economics approach in his â&#x20AC;&#x153;Thinking, fast and slowâ&#x20AC;? and
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Murray and Brown recognise the necessity of sustainable production and consumption: they witness the rise of a new economic model that promotes SOCIAL GROWTH AND SOCIAL INNOVATION 4HE lRST AUTHOR INQUIRES INTO THE existing landscape and future challenges about economic initiatives, THE SECOND DElNES THE ROLE OF DESIGN IN THIS SCENARIO IN WHICH MASS production is no longer the only economic model. +AHNEMAN INSTEAD FOCUSES ON HUMAN PSYCHOLOGY (IS SCIENTIlC ANALYSIS about biases can inspire strategies to motivate people to embrace a NEW PHILOSOPHY IN CONSUMPTION (E SHOWS THAT CONVINCING HUMANS TO change their perspective is a hard task. Design can try to do so and IDEOâ&#x20AC;&#x2122;s practice is a powerful source of inspiration from a methodological point of view. As Murray highlights, to spread a sustainable paradigm, it is necessary to reduce consumption maintaining the level of wellbeing: we should increase PERCEIVED QUALITY OF LIFE AND ENVIRONMENT AND PROVE THE BENElTS COMING from the change. As Kahneman demonstrates, people tend to prefer secure gains to gambles. A winning strategy can consider not only individual, but ALSO COLLECTIVE BENElTS SHAREABLE BY ENTIRE COMMUNITIES
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As Kahneman states, people appreciate linear narratives. Storytelling helps to engage people, and stories communicated at a peer-to-peer LEVEL ARE MORE EFFECTIVE AS "ROWN WITNESSED IN THE CASE OF 2ED #ROSS S campaign for new blood donors. Itâ&#x20AC;&#x2122;s important to tailor narratives on people and to generate active participation, making storytelling a dialogue between people that already embrace new behaviours and people that havenâ&#x20AC;&#x2122;t yet. This would mark a shift from passive listening to active construction.
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4IM "ROWN )$%/ S #%/ WHOSE EXPERTISE IN THE lELD OF DESIGN PRACTICE collected in the book â&#x20AC;&#x153;Change by designâ&#x20AC;?, represents an important guide.
)N THE lELD OF TOURISM MANY EXISTING CASES ALREADY POINT TO THE NEED TO spread sustainable consumption: the presentation will explore how the research project will start from their accurate analysis and will then identify a brief for new product service systems.
The projecting development of 3D printing as an enabler of new production models Patrizia Bolzan, Politecnico di Milano, Italy patrizia.bolzan@gmail.com
In recent years, as FDM technology patent expired, personal open source 3D printers have been subject to rapid changes, both from a technological and a sociological point of view. We haved moved from the creation of expensive and skilled-user oriented machines to cheap and compact devices, with an everyday-user interface. Nowadays the global economic austerity condition is seeing the rise of new scenarios in product design, such as the growing realities of small emerging productions, aided by the internet. The new technologies developed for production are playing a pivotal role in these new realities characterised by co-production spaces such AS &ABLABS GROUPS OF SELF PRODUCERS AND $O IT 9OURSELF $)9 MAKERS 0EER TO PEER 0 0 SYSTEMS CO DESIGN DYNAMICS )N THESE SCENARIOS NEW technologies of digital manufacturing play a strategic role. Italy though, has not yet been able to recognize the potential of this new emerging environment, because of the still scarce usability of open source 3D printers and the lacking of printable materials. The goal of this research project is to explore the dynamics of the sociotechnical evolution, with a look at the past and a projecting interpretation
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This paper describes the importance the designerâ&#x20AC;&#x2122;s role in the development OF OPEN SOURCE $ PRINTERS 4HE (UMAN #ENTRED $ESIGN (#$ APPROACH and Participatory Design techniques are crucial to identifying a way for the future development of non-professional 3D printers and to determine their distribution and applications, with a focus on the needs of the VARIOUS 2ELEVANT 3OCIAL 'ROUPS INVOLVED 4HANKS TO THE APPROACHES TYPICAL OF DESIGN RESEARCH SUCH AS !CTION 2ESEARCH AND ,EARNING BY $OING ONE can identify the requirements to which the tool must respond to in order TO MEET THE NEEDS OF THE RELEVANT 3OCIAL 'ROUPS 4HE DESIGNER WILL BE THE FACILITATOR FOR BOTH THE MAN PRINTER ENVIRONMENT INTERACTION AND HELP implement new sustainable production models.
Lâ&#x20AC;&#x2122;Aquila: bringing new life to the historical centre Luca Guerrini, Politecnico di Milano, Italy luca.guerrini@polimi.it PECHA KUCHA 1
An earthquake, hit the city of Lâ&#x20AC;&#x2122;Aquila, on April 6th, 2009, shortly after the beginning of the deepest economic crisis of the western world since &ACING THE DEVASTATION OF THE CITY CENTRE n JEWEL OF THE 86))) CENTURY )TALIAN ARCHITECTURE n FORCIBLY ABANDONED BY INHABITANTS EMPTIED OF URBAN activities, partly deprived of essential services (public lighting, water,
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of the Italian scenario, where open source 3D printers could play an important role for local production districts, and production and economic innovation. It is important to underline how, despite the many advantages such as low cost prototyping, on-demand production and a radically decreased design cycle, 3D printing is struggling to gain popularity. Thanks to the possibility of using this kind of technology to exploit the emerging realities and work on new application models, the role of the designer becomes strategic.
SEWAGE THE DESIGNER WONDERS WHETHER AND HOW TO REVERSE THE EXODUS AND return the city to the people, to their everyday lives and activities and to contribute to a rebirth of the city. 4HIS WAS THE CONTEXT FOR A TWO YEAR RESEARCH TEACHING ACTIVITY undertaken at the School of Design of the Politecnico di Milano, within the lNAL YEAR $ESIGN 3TUDIO AT -ASTER LEVEL It is a dominant methodology in Italian design tradition, that of research THROUGH DESIGN &RAYLING AS WELL AS THE STRICT RELATIONSHIP BETWEEN research and teaching activities. Within this framework, the School of Design, and particularly the Interior Design course is currently carrying out a strong effort to reshape disciplinary approaches to the design of urban SPACES 'UERRINI "OSONI ET AL #RESPI 4HIS EFFORT consists of considering the project as a temporary and totally reversible form, which incorporates the methodologies and practices of other design lELDS SUCH AS SET DESIGN EXHIBIT DESIGN SERVICE DESIGN STRATEGIC DESIGN Accordingly the physical and formal aspect of the project, although still a distinctive feature, becomes part of a wider dynamic process in which social practices, local traditions, economic goals are brought together. This approach can be particularly effective in creating places and spaces for renewal and growth in a period of economic crisis and uncertainty as it focuses on light and flexible designs which do not involve substantial funding or crucial political decisions, it can direct local energies and support bottom-up initiatives. In the case of Lâ&#x20AC;&#x2122;Aquila, this approach ALSO OFFERS A RESPONSE TO THE NEED OF RESTARTING URBAN ACTIVITIES BY lLLING the time gap between the immediate emergency and the permanent reconstruction. A gap estimated in several years. 4HE $ESIGN 3TUDIO RESEARCH TEACHING ACTIVITY HAS MAINLY FOCUSED ON THE designing of temporary cultural and economic events. Four teachers helped
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References:
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BY lVE ASSISTANTS HAVE COORDINATED ABOUT STUDENTS IN THE DEVELOPMENT of 36 proposals. Many of these have subsequently become Master theses, with one of them being awarded the prestigious Compasso dâ&#x20AC;&#x2122;Oro Selection.
4HE METROPOLITAN lELD BECOMES THEREFORE A MULTI LAYERED COMPLEX SYSTEM in which bottom-up approaches subvert the traditional habits and citizens acquire an active role in the value-creation process. Urban mobility REPRESENTS A KNOTTY TOPIC WHICH CAN lND ANSWERS IN THE IMPLEMENTATION OF the collaborative and technological practices introduced above.
Bosoni G. et al. (eds.) 2012, The Contemporary Interior Landscape, Abitare/RCS. Crespi L. 2013, Da spazio nasce spazio, Postmedia books. Frayling C. 1993, Research in Art and Design, Royal College of Art Research Papers, 1 (1), 1-5. Guerrini L. (ed.) 2006, Design degli Interni, Franco Angeli.
Moving in the digital era â&#x20AC;&#x201C; Towards innovative systems of mobility enhancing renewal and growth Marco Zilvetti, Politecnico di Milano, Italy marco.zilvetti@gmail.com
Technologies are becoming more and more pervasive and feasible in the urban environment, enhancing new dynamics that hinge on the principles of community, social communication and digital networking 'REENlELD
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In the context of ubiquitous computing, cities shall be regarded as complex real-time systems, creating feedback loops between the environment, the local administrations and the citizens. These opportunities require reconsideration of the built spaces, shifting from a vision based on a physical mix of buildings and streets to a new one, in which the city is a dynamic knowledge network hub, rich in high-potential connections and CO OPERATING PEOPLE 2ESCH "RITTER 2ATTI
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In recent years, concepts like self-production and limited series are OBTAINING A GROWING INTEREST IN THE DESIGN lELD AND TEND TO MERGE processes and attitudes that were the prerogative of the crafts world in the past, reinterpreting them from a technological and network-based viewpoint. This kind of approach can be particularly important in times of crisis like the one we are facing, since they foster innovation by REDElNING WELL ESTABLISHED MANUFACTURING STANDARDS AND BY REINTERPRETING traditional issues of the contemporary society from a refreshed perspective. The involved actors (ranging from small start-ups to well-framed ENTERPRISES CAN EXPLOIT NEW TECHNOLOGIES AND COLLABORATIVE STRATEGIES applying them to their own productive system. These co-operative patterns can play a central role, since the flexibility of such networks can boost proactive responses to the market requirements, supporting local resilience and economical growth, while fostering social innovation. )N THE AUTOMOTIVE lELD PARTICIPATORY AND TECHNOLOGICAL METHODS CAN LEAD to innovative, flexible and customizable solutions for usersâ&#x20AC;&#x2122; needs, making it possible to create products capable of optimizing space and reducing their environmental impacts, while integrating pervasive technologies that allow an active interaction with the sensing and responsive urban infrastructures. The research intends to introduce an interdisciplinary overview and it can be crucial to highlight good practices within the actual trends and
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to investigate their possible evolution. It will be therefore possible to suggest a framework for the design of mobility vehicles, according to the highlighted directions and for providing effective responses to the transport needs of the cities of tomorrow.
9.00am - 10.00am Pecha Kucha 2 HCH Theatre 2.03, NCAD Interior Design contributions for built environment renewal that consider sustainability and well-being: case study of hostels in Lisbon Santa Klavina, Ana Margarida Ferreira & Manuel Duarte Pinheiro, UNIDCOM/IADE-U & CIAUD/FAUTL, UNIDCOM/IADE-U, IST/UTL & LiderA, Portugal New models of temporary living: “double skin” interiors Laura Galluzzo, Politecnico di Milano, Italy Is everybody a videomaker? Andrea Mendoza, Francesca Piredda & Elisa Bertolotti, DESIS Colombia, IMAGIS research group Politecnico di Milano, Columbia & Italy A close observation of the practices of contemporary animators: a communication designer’s perspective Elisa Bertolotti, Politecnico di Milano, Italy Advanced applications for recycled waste paper Paola Garbagnoli, Lina Altomare, Barbara Del Curto & Luigi De Nardo, Politecnico di Milano, Italy
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Santa Klavina, Ana Margarida Ferreira & Manuel Duarte Pinheiro, UNIDCOM/IADE-U & CIAUD/FAUTL, UNIDCOM/IADE-U, IST/UTL & LiderA, Portugal santa-klavina@iade.pt, ana.margarida.ferreira@iade.pt, manuel.pinheiro@ist.utl.pt
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4HIS PAPER PRESENTS lNDINGS FROM AN ON GOING DOCTORAL RESEARCH PROJECT addressing sustainability, interior design, and wellbeing within hostels OF ,ISBON 4HE INVESTIGATION AIMS TO DElNE THE LEVEL OF INTERVENTION OF each agent within the design process, simultaneously evaluating the WELLBEING OF USERS AND THE NATURAL SYSTEM BY UPGRADING ADAPTING EXISTING methodologies, such as national sustainability evaluation systemâ&#x20AC;&#x201D;LiderA 0INHEIRO 4HE PAPER PRESENTS THE RESEARCH UNDERTAKEN and reflects on the State-of-the-Art with links to further investigation related to wellbeing. During the last decade the number of independent hostels in Lisbon has increased with several successful outcomes created DESPITE THE OVERALL ECONOMIC DECLINE IN 0ORTUGAL 9ET THERE IS NO SPECIlC OFlCIAL CHARACTERISATION OF THESE ESTABLISHMENTS CONmICTING WITH THE OFlCIAL DElNITION OF 9OUTH (OSTELS IN 0ORTUGAL 3TIMULATED BY UNBALANCED DEVELOPMENT IN THE WORLD THE lELD OF DESIGN IS APPROXIMATING TO THE shift of paradigm; henceforth the concept of design itself will include the notion of sustainability (Manzini, 2007; Fuad-Luke 2007; Shedroff, 3INCE THE !GE OF #OMFORT $E*EAN INTERIOR DESIGN HAS BEEN about enhancing the sense of comfort based on aesthetical and functional solutions in built environment somewhat disconnected from natural environment. Though western societies have become individualistic (Orr, $IENER +AIROS&UTURE AND DISCONNECTED THEMSELVES FROM NATURE &ERREIRA 2USS THERE ARE APPEALS FOR A CHANGE IN BEHAVIOR IN ORDER TO SUPPORT A NEW ERA THAT ENCOURAGES UNIlCATION
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Interior Design contributions for built environment renewal that consider sustainability and well-being: case study of hostels in Lisbon
IN ONE GLOBAL COMMUNITY "ERRY CONSIDERING ALL BEINGS ON THE planet. Nevertheless the designed environment is not isolated from the NATURAL ENVIRONMENT WHATSOEVER /RR .EW PARADIGMS WITHIN THE INTERIOR DESIGN lELD WOULD SUGGEST THAT PROFESSIONALS WHEN DESIGNING ENVIRONMENTS SEE THE PROCESS THROUGH THE lLTER OF SUSTAINABILITY engaging in micro and macro sense of this concept while simultaneously IMPROVING THE SENSE OF WELL BEING )$%! 'OVERNMENTAL AND SCIENTIlC STUDIES DEVELOPED DURING THE LAST FEW DECADES INDICATE THAT besides the objective of meeting wellbeing, there are several other subjective factors that contributes towards global wellbeing (UN, 2011; NEF /%#$ 4HROUGH A LITERATURE REVIEW THE PAPER SEEKS TO CONTRIBUTE TO THE IDENTIlCATION OF VARIABLES WITHIN THE SYSTEM S EVALUATION as well as discussing the development of a wellbeing survey for accommodation establishments to be carried out within the investigation. This study aims to contribute towards a national sustainability evaluation system LiderA by proposing a more social and subjective approach towards interior design that engages stakeholders allied to youth travel accommodation within Lisbon.
New models of temporary living: â&#x20AC;&#x153;double skinâ&#x20AC;? interiors
Laura Galluzzo, Politecnico di Milano, Italy lagalluzzo@gmail.com
In a world where life has rejected the sedentary nature of the past and where one lives in a state of transition, we are constantly moving for business and pleasure, by necessity, living in a temporary manner, and the places in which we live are changing as our patterns of living have changed. In this scenario, the current economic crisis has also changed the way we live and as a result how we design domestic spaces.
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In particular, the research focuses on the interior design for temporary hospitality, and considers that their function may change in a short time FOR EXAMPLE THE SPACES lRST DEVOTED TO TEMPORARY HOUSING DURING A major event as the Olympic Village and then, after the event, used as PERMANENT APARTMENTS AND HOW ONE SHOULD TAKE THIS INTO ACCOUNT RIGHT from the initial design itself. This is an interior design with a â&#x20AC;&#x153;double SKINv AFTER USING A lRST LAYER OF FURNISHINGS AND lNISHES ONE CAN quickly use a second layer for the second function. One can also design the life cycle of an interior. In particular this key theme of the research has an operational exit in view of Expo 2015 in Milan, thanks to the live project exploring the temporary living spaces for delegations and event staff in the events Expo Village. The critical issues and the limitations of the research are:
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02% 0/34 %6%.4 INHERITANCE OF THE PROJECT FROM THE MICRO FURNITURE FURNISHINGS lNISHES TO THE MACRO SCALE BUILDINGS AND THE RE USE RE CYCLING AND LIFE CYCLE OF the project as a whole.
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The research project outlined in this presentation investigates the models of temporary accommodation and particularly temporary housing solutions at mega-events such as Expo, Olympics, major concerts, fairs, cultural, political and religious events, with particular attention to the solutions for the staff who work at these events. The study also explores the urban dimension and the response of the city to the growing demand for temporary accommodation linked to these large but also medium and small events.
).#,53)/. ). 4(% 52"!. #/.4%84 THE HOSPITALITY SYSTEM MUST BE integrated into the whole urban context of the post-event and must remain as a resource for the city and its inhabitants.
Is everybody a video-maker?
Andrea Mendoza, Francesca Piredda & Elisa Bertolotti, DESIS Colombia, IMAGIS research group Politecnico di Milano, Columbia & Italy andrea.mendoza@polimi.it
Avoiding waste and buzzing in the audiovisual R&D world. Starting from a phenomenological observation on how video is being used and spread in academic and non-academic contexts, this paper aims at reflecting on the possibilities that video as a tool offers to the design practice in the realm of social innovation and sustainability. The observation and related questions rise due to the overwhelming quantity of visual information that is being brought within research processes for disseminating outputs, which end up on the web. Now, can we state that producing images and videos is much more AFFORDABLE NOWADAYS AND THUS THAT IT IS A NON LUXURY RESEARCH SKILL !ND FROM THERE COULD WE STATE THAT hNOWADAYS EVERYBODY IS A VIDEO MAKERv 7E AS RESEARCHERS HAVE BEEN SAYING THAT IN THE lELD OF SOCIAL INNOVATION â&#x20AC;&#x153;everybody is a designerâ&#x20AC;?. In this line, democratizing communication should help us to position it as both: a research practice and a social innovation practice. Now, how can we represent best practices, social processes and good solutions for everyday life without failing peopleâ&#x20AC;&#x2122;s and communitiesâ&#x20AC;&#x2122; EXPECTATIONS (OW CAN WE BUILD A COMMUNICATIVE PACT THAT MAKES PEOPLE FEEL PART OF A PROCESS OF INNOVATION
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For the conference we aim at showing on the one hand, a selection of video interviews presented in order to provide information about research processes and the way video formats are usually produced and used for. On the other hand, the outcome of the videosâ&#x20AC;&#x2122; analysis will be shown as a map of clusters, which identify the communication needs of DESIS Network members, their thoughts, limitations and possibilities of their current audiovisual practices. Eventually, we would like to re-appraise these PRACTICES TO MAKE THEM MORE EFlCIENT AND SUSTAINABLE BY SUGGESTING possible strategies, which build up projects that make sense within the realm and limits of the contemporary world.
A close observation of the practices of contemporary animators: a communication designerâ&#x20AC;&#x2122;s perspective Elisa Bertolotti, Politecnico di Milano, Italy elisa.bertolotti@polimi.it PECHA KUCHA 2
Between 2008 and 2012 I conducted a Ph.D research project, which FOCUSED ON DESIGN AND MULTIMEDIA COMMUNICATION IN THE BROADER lELD of communication. The aim was to explore the practices of contemporary animation, and understand how they could relate to audio-visual
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Efforts to assess and understand visual production has started at the interior of the Design department at Milan Polytechnic in the head of THE )-!')3 RESEARCH ,AB PART OF THE $%3)3 .ETWORK A NETWORK OF DESIGN Labs in 36 countries dealing with design for social innovation and sustainability. Alongside the Polimi exploration, DESIS Network has started to examine its state of the art by asking: What does it mean to represent SOCIAL INNOVATION BY MEANS OF VIDEO #AN WE AFFORD TO MAKE NOT EFFECTIVE AUDIOVISUAL PROJECTS WHICH WASTE TIME ENERGY AND MINE CREDIBILITY
communication design. In order to explore this issue I studied the on-going PRODUCTIONS OF lVE DIFFERENT ANIMATORS 6IA #URIEL BY -ARA #ERRI AND -AGDA 'UIDI IN 0ESARO )TALY A SHORT ANIMATED lLM HAND DRAWN AND COLOURED FRAME BY FRAME !BOUT ,OVE by Magicmindcorporation from Berceto, Italy: a TV series, shot in stop MOTION AND MADE WITH MAGNETS 7ANDERND (AUS VOLL 6OGELWASSER BY 6ERONIKA 3AMARSTEVA "ERLIN 'ERMANY A SHORT IN CUT OUT MULTI PLAN 0&&5)4 0&&5)4 0&&5)4 BY &LORENT ,AZARE 0ARIS &RANCE A PROJECT FOR a TV series about ecology made with a multitude of techniques; and DIFFERENT ANIMATIONS BY 5RSULA &ERRARA ,UCCA AND 0ISA )TALY WHICH WERE COMMISSIONED FOR THREE DIFFERENT DOCUMENTARY lLMS Using techniques mediated by ethnographic research I closely observed each animators approach to animation; how they build their projects, their process and techniques. By viewing these projects as being situated WITHIN SPECIlC CONTEXTS OF SOCIAL AND ECONOMIC RELATIONS ) HAVE TRIED TO understand the strategic choices that were made for each of them. In this paper I will compare these different approaches from both a technical and a process perspective, exploring how these projects play with their PRODUCTION LIMITS TIME RESOURCES PEOPLE INVOLVED 2EmECTING ON AUDIOVISUAL DESIGN PRACTICE COULD BE SEEN AS A LUXURY since economic resources and time are sometimes too short even to make a real project. At the same time, this condition of limited resources requires reflection. As designers, are we choosing the appropriate PROCESSES AND TECHNIQUES !RE WE CONlDENT THAT WE ARE MAKING THE BEST OF WHAT WE HAVE ! STRATEGIC VISION FOR AUDIOVISUAL PROJECTS WILL BENElT FROM THE OBSERVATION AND ANALYSIS OF THE EXPERIENCES OF OTHER practitioners. Furthermore, it will provide a framework for developing a better understanding of the relationship between projects and their production limits.
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Paola Garbagnoli, Lina Altomare, Barbara Del Curto & Luigi De Nardo, Politecnico di Milano, Italy paola.garbagnoli@chem.polimi.it
The recovery and recycling of waste paper is a well-consolidated industrial process that also brings proven economical and environmental ADVANTAGES (OWEVER THE CURRENT PRODUCTION AND COLLECTION OF RECYCLING PAPER IS MARKED BY AN ENDURING OFFER OF EXCESS WHICH IS DIFlCULT TO TAKE in for materials and products currently made. Approximately 22% of the total waste mass is made of paper or cardboard: it means that in order to sustain the considerable recycle process, it is necessary to design INNOVATIVE SOLUTIONS FOR NEW APPLICATIONS lELDS
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Advanced applications for recycled waste paper
or anti-humidity properties. The performances of this composite material HAS BEEN COMPARED WITH STANDARD CELLULOSE MATERIAL CARDBOARD Laboratory tests and tests in real conditions have been undertaken with results demonstrating that this composite material presents the smart properties of thermal insulation. The innovative material developed can BE USED FOR SEVERAL APPLICATIONS IN DIFFERENT lELDS SUCH AS PACKAGING FOR perishable products or insulating panels for buildings. New applications HAVE ALSO BEEN DESIGNED STUDIED AND TESTED 4HE RESEARCH HAS VERIlED the possibility, starting from a waste material, to design an innovative material, with advanced properties for new applications. In conclusion the presentation will demonstrate that it is possible to confer valuable properties to recycled products.
The idea of developing a new composite material, based on waste paper with the addition of a smart material, has been investigated as a possible approach to the solution. Smart materials are special materials able to change their structure by external stimuli. Therefore, the development of a new material, which combines waste paper with a smart material, can be AN OPPORTUNITY TO EXTEND THE APPLICATION lELDS OF RECYCLED PAPER
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In this work, the possibility to confer special active thermal insulation properties to the waste paper has been investigated. A solution to control thermal insulation is represented by thermal energy storage approach. !LONG THIS DIRECTION LARGE QUANTITY OF THERMAL STORAGE RECOVERY CAN BE ACHIEVED IN THE FORM OF MELTING FREEZING LATENT HEAT AT SPECIlC TEMPERATURES BY USING PHASE CHANGE MATERIALS 0#-
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The ability to integrate the PCM in the waste paper during the recycle process has been tested. A method for the stable incorporation of PCM in the cellulose matrix has been developed, and the integration of special additives has been studied and tested in order to obtain flame retardant
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Saturday 9th November 9.00am - 10.00am NCAD Foyer Designing a learning environment for transformation Ingrid Schuffelers & Anke Coumans, Utrecht School of the Arts, The Netherlands Tactile Academia – Visualising ‘Hidden’ Academic Practice Alke Gröppel-Wegener, Staffordshire University, England Pathways Through Dublin Niamh Rabbitt, Trinity College Dublin, Ireland The Fishscale of Academicness – A Tactile Academia Project Alke Gröppel-Wegener, Staffordshire University, England The Projective Evolution of 3D printing for the implementation of sustainable production models Patrizia Bolzan, Politecnico di Milano, Italy BAETCH in the city / placemaking design acupuncture in Vienna Veronika Kotradyova, Paul Woodruffe & Walter Klasz, Slovak University of Technology, Bratislava Exploring the use of computational technology for placemaking Parag Deshpande, Umeå Institute of Design, Sweden
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Please note that Poster Presentations will be on show for the duration of the conference
Workshop Schedule Thursday 7th November 2.00pm – 5pm Learning Places – Learning Beyond the School Gate Off Campus Venue: Fumbally Exchange, 5 Dame Lane, Dublin, D2
Saturday 9th November 10.30am – 1.00pm DESIS Design for social innovation and new economics Kakee Scott, Lara Penin & Nadia Elrokhsy, Parsons the New School for Design, USA Venue: HCH Lecture Theatre, NCAD Crowd Funding Stuart McLaughlin, Fundit, Ireland Venue: HCH 2.03, NCAD Digital Media Technologies – Creating more meaningful connections with communities Brenda Duggan & Frédéric Degouzon, Dublin Institute of Technology & L’École de design Nantes Atlantique, Ireland & France Venue: Meeting Room, NCAD A Question of Space
Arne Duncan
Suzanne Martin & Alice Clancy, NCAD & UCD, Ireland Venue: Noel Sheridan Room, NCAD and the streets of Dublin Cumulus Conference Dublin
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Programme:Paper:Poster – A generative proposal Paul Kerlaff & Neil McGuire, Edinburgh Napier University & Glasgow School of Art, Scotland Venue: HCH 1.11, NCAD
Ashes To Ashes: Designing Yourself Into Nothingness Ré Dubhthaigh, Civicworks and NCAD, Ireland Venue: HCH 1.11, NCAD
The Shoestring Challenge – Reinventing the Design Studio on a Budget Emma Creighton & Caoimhe McMahon, NCAD, Ireland Venue: Product Design Studio, NCAD
2.00pm - 4.30pm DESIS Philosophy Virginia Tassinari & Ezio Manzini, MAD DESIS & Politecnico di Milano, Italy Venue: HCH Lecture Theatre, NCAD Achieving Sustainability in the classroom and in perpetuity Tim Rumage, Ringling College of Art and Design, USA Venue: HCH 2.03, NCAD Disruptive Design Workshop - LIES, DAMNED LIES & STATISTICS Paul Rodgers, Andy Tennant & Giovanni Innella, Northumbria University, England Venue: Noel Sheridan Room, NCAD Interdisciplinary Community Based Learning in Ballymun Tara Singleton, The Rediscovery Centre, SLWC & Dublin Institute of Technology, Ireland Venue: Meeting Room, NCAD
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Learning Places â&#x20AC;&#x201C; Learning beyond the school gate: What is the potential of shared spaces and civic spaces for learning and citizenship? Will Titley & Diarmaid Lawlor, Edinburgh Napier University & Architecture and Design Scotland, Scotland
4HE WORKSHOP WILL DISCUSS WHERE DOES LEARNING TAKE PLACE "ASED UPON the premise that the setting for learning is an important factor in the achievement of learning. That If we put the child at the heart of this question it re-shapes how we think about utilising, using and designing urban places.
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AND 3USTAINABILITY $%3)3 AND THE 3USTAINABLE #ONSUMPTION 2ESEARCH AND !CTION )NITIATIVE 3#/2!) ARE SIMILAR IN THEIR PURPOSE TO PROMOTE SUSTAINABLE ECONOMIC SYSTEMS BUT DISTINCT IN THEIR APPROACHES 3#/2!) an international network of innovation studies and science and technology studies, researchers focused on sustainable consumption and production, covers concerns about growth and economic transitions. DESIS, an international network of design researchers, is committed to social innovation and collaboration through design. This workshop should appeal to Cumulus attendees who are eager to engage with and contribute to current dialogues about economic futures. In addition to providing insights for participants, the workshop will be organized as a part of ongoing research by the hosts.
* Please note that the workshop will take place off campus at Fumbally Exchange, 5 Dame Lane, Dublin, D2
Crowd Funding
DESIS Design for social innovation and new economics
In the current economic climate we are frequently challenged with the concept of doing more with less, but in our workshop we will question if this approach is valid or indeed necessary. The worn insistence that creativity flourishes in a recession only serves to sustain the notion that we should produce work at low cost which can, in turn, impact quality.
Kakee Scott, Lara Penin & Nadia Elrokhsy, Parsons the New School for Design, USA (OSTED BY 0ARSONS THE .EW 3CHOOL FOR $ESIGN S $%3)3 LAB THIS WORKSHOP will engage participants within an initial effort to identify ways that acts of design contribute in formulating economic activities, and that such mechanisms can be engaged in the development of alternative economic systems. The hosts will share the results of a brief comparative study of two academic research networks on either side of this gap between â&#x20AC;&#x2DC;new economicsâ&#x20AC;&#x2122; and design. These two groups, Design for Social Innovation
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Stuart McLaughlin, Fundit, Ireland
2ATHER THAN FOCUS ON THE DEMISE OF TRADITIONAL SOURCES OF INCOME OR THE limitations of established markets, successful designers and creators are increasingly turning to new models of bringing products to market and, potentially, creating greater income. These emergent structures are celebrated by many as supporting a revolution in how we consider design, increasing the active participation
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(OWEVER AS NEW TECHNOLOGIES EMERGE AND WEB BASED CROWDFUNDING TRADING AND PROMOTIONAL SITES BECOME SIGNIlCANT IN DEVELOPING NEW markets, there are important questions to consider about the role of the designer, the effort involved in utilising these platforms and the response of the consumer. In our workshop we will investigate crowdfunding, online trading and the role of social media in bringing products to market and establishing a new consumer base. We will share the experiences of designers and artists WHO HAVE lRST HAND EXPERIENCE OF THE BENElTS AND CHALLENGES OF THESE approaches. Participants will be asked to provide â&#x20AC;&#x2DC;real-worldâ&#x20AC;&#x2122; examples of projects and ideas that will be considered and discussed by the workshop team with the input of experienced project creators with a view to establishing the opportunities created to do more, with more.
Digital Media Technologies â&#x20AC;&#x201C; Creating more meaningful connections with communities Brenda Duggan & FrĂŠdĂŠric Degouzon, Dublin Institute of Technology & Lâ&#x20AC;&#x2122;Ă&#x2030;cole de design Nantes Atlantique, Ireland & France
4ECHNOLOGIES ARE INEXTRICABLY LINKED WITH HOW WE THINK WITH (ENRY *ENKINS stating that if interactivity is a property of technology; participation is A PROPERTY OF CULTURE *ENKINS ( #ONFRONTING THE CHALLENGES OF Participatory Culture.
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OF THE CONSUMER AND AUDIENCE IN MAKING BOTH A lNANCIAL AND EMOTIONAL commitment to design and designers.
In an environment where audiences want to participate, and be active contributors with communication and content, this workshop will address opportunities and challenges this presents in an industry and academic SETTING (OW ARE DIGITAL MEDIA TECHNOLOGIES BEING USED TO ACHIEVE MORE QUALITATIVE AND MEANINGFUL COMMUNICATION 7HAT HAPPENS WHEN WE DESIGN FOR PARTICIPATION AND OPENNESS The workshop will present contributions from expert practitioners in INDUSTRY AND EDUCATION n ADDRESSING DIGITAL MEDIA STRATEGIES BEING USED FOR MORE MEANINGFUL COMMUNICATION WITH THEIR RESPECTIVE STAKEHOLDERS n customers, clients, students and teaching professionals.
A Question of Space 3UZANNE -ARTIN !LICE #LANCY .#!$ 5#$ )RELAND The workshop explores the theory that everybody has a different perception of space. This workshop seeks to test that theory, and identify a functional and usable method of translating different approaches for use in urban design practice. In the city landscape, space is largely interpreted by experience, previous encounters and knowledge - therefore each person has a different, individual recognition of what space is or can be. This workshop intends to create a focus group that will chart how varied those interpretations of space can be, at the same time proving how directly these actions can become descriptions, and a new language of space. The imagery and discussions from the workshop will be produced as a visual essay and report for publication after the event. Creating the lRST STEP IN BUILDING A TOOLKIT FOR URBAN DESIGN THE AIM IS TO TEST A @DESIGN TOOLKIT WHICH CAN THEN BE USED WITH A VARIETY OF USER GROUPS n SCHOOLS DESIGN STUDIOS COMMUNITIES OUTREACH REHABILITATION PROGRAMMES n
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in different cities and sites, to establish a body of evidence, of space. Not to develop a set of potential answers to the question, but to develop a language to describe space which could then be applied to urban design practice.
)T BUILDS ON THE GENERATIVE DESIGN INNOVATIONS OF #ASEY 2EAS AND "EN &RY -)4 -EDIA ,AB AND THE PROCESSING ORG PROJECT THE COMPUTATIONAL LANGUAGE ANALYSIS OF DIGITAL DESIGN STUDIOS SUCH AS LUST NL 4HE (AGUE but also opens up the political and ethical questions of â&#x20AC;&#x2DC;valuesâ&#x20AC;&#x2122; in higher education under late capitalism, raised by, amongst others, Claire Bishop !RTIlCIAL (ELLS
Programme:Paper:Poster â&#x20AC;&#x201C; A generative proposal   Â
The workshop will use the programme we are creating to produce a live stream of printed statements on the topic (pasted up â&#x20AC;&#x2DC;liveâ&#x20AC;&#x2122;, as a CONSTANTLY EVOLVING @POSTER AND THEN USE THIS AS A CATALYST FOR DISCUSSION ACTIVITIES AMONGST A GROUP OF PARTICIPANTS IN RESPONSE TO the prompts it creates.
Paul Kerlaff & Neil McGuire, Edinburgh Napier University & Glasgow School of Art, Scotland
Design practice is dependent on sometimes innocuous watershed MOMENTS 2ELATIVE CHANGES SUCH AS CHEAPER PROCESSING TECHNOLOGY ALLOW key decisions to be delegated to economic logic. Mostly, as practitioners we welcome these logics, or at the very least accept their â&#x20AC;&#x2DC;truthâ&#x20AC;&#x2122;. Pausing this phenomena, and taking time to reflect on its implications, our proposal is to explore the impact of value shifts within design education and practice by deliberately creating our own value-change phenomena: a paper written entirely by an algorithm designed to maximise citations. During the workshop we will create an algorithmically driven digital device, which generates a paper on the topic of â&#x20AC;&#x2DC;Design in an Age of Austerityâ&#x20AC;&#x2122;. It will do this through a combined technique of mining and data-scraping existing academic sources, undertaking bibliometric assessment and ANALYSIS LOOKING TO MAXIMISE CITATIONS AND INCREASE ITS OWN @VALUE AND in the process create a â&#x20AC;&#x2DC;plausibleâ&#x20AC;&#x2122; position on the subject, through purely computational means. At the core of this proposal is a questioning of the value we place on ACADEMIC RESEARCH WHERE DESIGN RESEARCH lTS WITH AND CAN ADD VALUE TO practise, and imagining possible futures for design research in an age of computational generative design and parametrics.
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4HE WORKSHOP AND OUR ACCOMPANYING PRESENTATION ARE UNIlED BY AN assumption that design can, and should be, exploring opportunities created by shifting relative values. Our ambition is not to accelerate THE SITUATION S THAT THESE VALUE SHIFTS ENGENDER BUT RATHER TO BRING into focus the relationship between moral and economic value in design research, education and practice.
The Shoestring Challenge â&#x20AC;&#x201C; Reinventing the Design Studio on a Budget Emma Creighton & Caoimhe McMahon, NCAD, Ireland
4HE @STUDIO PLAYS A HUGELY IMPORTANT AND UNIQUE ROLE IN !RT $ESIGN education. Itâ&#x20AC;&#x2122;s a place to work individually, learn from peers, socialise, daydream, experiment and play. Third-level institutions worldwide face many challenges such as budget constraints, increases in student numbers, changes in student needs and shifts in curriculum and methods of content delivery. In addition to this, technology has evolved, providing
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The session will begin with a group discussion and presentation of case studies, mapping the current landscape of third-level studio learning environments. As a starting point, the challenges faced by the NCAD Product Design Department will be outlined, highlighting some of the recent steps taken to tackle these. During the workshop participants WILL WORK WITHIN SMALL GROUPS IDENTIFYING KEY OPPORTUNITY AREAS DElNING individual group challenges, generating ideas and creating prototypes. We will invite participants to consider the design of artefacts, physical spaces, systems or strategies to support design students to work independently, in groups and as a class - communicating, interacting, thinking, sketching and building. During the workshop we will explore how space can be utilised depending on the needs of both the students and tutors, considering key themes such as flexibility, adaptability, ownership and wellbeing. It is proposed that the design outputs from the workshop will be prototyped and tested in the NCAD Product Design studio, where feasible.
DESIS Philosophy
Virginia Tassinari & Ezio Manzini, MAD DESIS & Politecnico di Milano, Italy Design and philosophy are connected in order to discuss topics emerging from the practice of design for social innovation. The topic for the Cumulus
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Organisation
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Workshops
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Oral Presentations
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Location
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Letter of Welcome
new opportunities and challenges. In this workshop we will consider the role of the design studio in supporting and nurturing the education and development of undergraduate design students. Attendees will engage in a hands-on design workshop where they will explore the challenge of reinventing the design studio to enhance opportunities for learning, while working within a budget.
$UBLIN CONFERENCE IS hSTORYTELLING AND SOCIAL INNOVATIONv ,OCAL EXPERTS DESIGNERS PHILOSOPHERS DESIGN TEACHERS RESEARCHERS AND #UMULUS participants will be invited to participate. Ezio Manzini and Virginia Tassinari will introduce this topic before facilitating a lively discussion with participants. The dialogue will be captured and presented as a position paper after the conference. 3EE HTTP WWW DESIS PHILOSOPHYTALKS ORG ABOUT
Achieving Sustainability in the classroom and in perpetuityÂ
Tim Rumage, Ringling College of Art and Design, USA For the goal of sustainability to be realized, we need to utilize a multi-tiered strategy. One tract involves determining the most effective ways to teach sustainability in a variety of educational scenarios. There is no single approach that will be universally successful. As such, we need to know about the range of potential methodologies and their relative advantages and support structures. We also need to know the extent to which our colleges and universities are supporting and transitioning to sustainable practices. For sustainability to have ongoing curricular success, it cannot be limited to selected courses or assignments, but rather needs to be witnessed in the living context of daily practices of our institutions. ! SECOND TRACT IS SUSTAINABILITY IN THE BROADER COMMUNITY (OW CAN WE use curricular-based projects and partnerships to demonstrate the value AND BENElTS OF SUSTAINABILITY TO BUSINESSES SOCIAL ENTERPRISES AND THE public while assisting the various enterprises in implementing increasingly SUSTAINABLE PRACTICES )N ESSENCE HOW DO WE CREATE GREATER DEMAND FOR sustainability and how do we shift the mindset from sustainability as an OPTION TO UNDERSTANDING THAT IT IS A FRAMEWORK OF NECESSITY
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Disruptive Design Workshop - LIES, DAMNED LIES & STATISTICS
Paul Rodgers, Andy Tennant & Giovanni Innella, Northumbria University, England Mark Twain popularized the saying: â&#x20AC;&#x153;There are three kinds of lies: lies, damned lies, and statisticsâ&#x20AC;? in his â&#x20AC;&#x153;Chapters from My Autobiographyâ&#x20AC;?, PUBLISHED IN THE .ORTH !MERICAN 2EVIEW IN &AST FORWARD OVER years and today we live in a world, resplendent in statistics, that nobody wants. As the CUMULUS Dublin 2013 conference reminds us, our levels of consumption are excessive, we are in economic meltdown, our educational SYSTEMS ARE NOT lT FOR PURPOSE AND ALL OF THIS CONTRIBUTES TO A GENERAL feeling of unhappiness and poor physical and mental wellbeing. In short, we have helped to create a world that nobody wants anymore! Our ecological crisis, wherein we continue to deplete and degrade our natural capital on a massive scale, using up the equivalent of 1.5 planets to meet our current consumption has resulted in one third of our agricultural land disappearing over the past 40 years. Our current social crisis sees nearly 2.5 billion people on our planet live in abject poverty. Our spiritual crisis WHERE ACCORDING TO 7ORLD (EALTH /RGANIZATION 7(/ STATISTICS TIMES AS many people die from suicide as die from homicide or in wars. These three dimensions of collectively creating results that nobody wants constitute THE MOST SIGNIlCANT FAILURE OF OUR TIME 4O DISRUPT IS GOOD
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Location
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Letter of Welcome
This workshop will consist of both discussions and presentations. We are LOOKING FOR EXAMPLES OF CURRICULAR APPLICATIONS AS WELL AS COMMUNITY business projects and partnerships.
7(!4 7),, 7% $/ 'IVEN SOME OF THE SHOCKING STATISTICS OF A WORLD THAT NOBODY WANTS anymore! For example, we are using up the equivalent of 1.5 planets to meet our current rates of consumption resulting in one third of our agricultural land disappearing over the past 40 years; our social crisis sees nearly 2.5 billion people on our planet live in abject poverty; we have a spiritual crisis where 3 times as many people die from suicide as die FROM HOMICIDE OR IN WARS OUR EDUCATIONAL SYSTEMS ARE NOT lT FOR PURPOSE in the modern world when we have almost 1 billion people unable to read a book or sign their names at the start the 21st century and 73% of people aged between 26 and 30 in the UK admitted to being stressed and depressed after leaving university. So how can design bring communities TOGETHER TO WORK ON PROJECTS THAT IMPROVE HOW WE LIVE WORK AND PLAY 4(% 4!3+ Workshop participants are tasked with creating a mass-participation mural that comprises graphical montages of numbers, supporting imagery, and text that highlights the issues raised in the CUMULUS Dublin 2013 conference call. That is, each workshop participant will be asked to create their own individual mural that will be turned into a bigger â&#x20AC;&#x153;wholeâ&#x20AC;? mural at the end of the session. Participants might like to consider basing their mural on issues such as our current excessive levels of consumption, the economic meltdown we are going through, the moribund educational systems we currently adhere to, or the general feeling of unhappiness and poor physical and mental wellbeing. Workshop participants should bring A SMART PHONE I0HONE OR !NDROID THAT IS CAPABLE OF TAKING GOOD QUALITY photos, a sketchbook, a laptop, a willingness to do things differently, and an inquisitive mind.
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Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome
Interdisciplinary Community Based Learning in Ballymun Tara Singleton, The Rediscovery Centre, SLWC & Dublin Institute of Technology, Ireland
The goal of the workshop is to introduce participants to the possibilities for community-based learning and research in design and interdisciplinary work. The workshop will also explore opportunities to address challenges facing communities in socio-economically deprived areas using Ballymun AS A CASE STUDY !NTICIPATED OUTCOMES INCLUDE THE IDENTIlCATION OF collaborative projects between students and communities for community BASED RESEARCH #"2 AND COMMUNITY BASED LEARNING #", AND THE creation of a network of practitioners to formulate an ongoing conversation in this area.
Ashes To Ashes:Â Designing Yourself Into Nothingness RĂŠ Dubhthaigh, Civicworks and NCAD, Ireland
We are creating a never-ending future of austerity through designed excess. In this workshop we will use simple tools to map participantâ&#x20AC;&#x2122;s lifetime consumption, helping them re-frame their lifespan, not by number of years lived, but by their impacts on social, economic and environmental SYSTEMS 5SING THIS RE DElNED LIFESPAN STRETCHING OVER CENTURIES AND millennia, participants will develop a number of tactical interventions to hasten their â&#x20AC;&#x2DC;material deathâ&#x20AC;&#x2122;.
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Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome
Institute of Designers in Ireland Awards Exhibition The Awards The Annual Institute of Designers in Ireland Awards celebrate and recognise the very best of Irish design. It’s our industry’s foremost showcase of excellence; our proof positive that the Irish design industry continues to operate on an ever-improving scale. Our Awards are all about improving our own collective skills and in expanding the parameters of innovation and creativity. They’re also all about showing that clients get exceptional design bang for their buck when they invest in the work of Institute members. The central feature of the Institute of Designers in Ireland Design Awards this year is a comprehensive exhibition of the best of Irish design. From the 220 entries the judges have selected around half the entries for exhibition. This is a great result as we asked the international judges to set the bar high. 7E ARE EXCITED THAT THE EXHIBITION WILL BE HELD IN THE .#!$ 'ALLERY .ATIONAL College of Art and Design, from 8th to 22nd November. Our exhibition will be one of the anchor events of Design Week, which runs from the 4th to the 10th of November and promotes design related events taking place on the island of Ireland. We delighted with this location as it reinforces the increasing important link between education and industry.
Institute of Designers in Ireland We are a community of design professionals representing our members right though their design careers. The IDI promotes and rewards the discipline of design excellence; we set high standards, we advance the cause of design in Ireland.
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Acknowledgements
Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome
7E BELIEVE THAT )RELAND S COMMERCIAL AND INDUSTRIAL LIFE BENElTS GREATLY FROM THE INPUTS OF QUALIlED COMMITTED PROFESSIONAL DESIGNERS 7E BELIEVE our vision and creativity enhances the community as a whole.
Many thanks to: $ENIS / +ELLY )$) %XECUTIVE /FlCER Conor Clarke, IDI Exhibition Committee Chair
IDI welcomes membership applications from every design professional working in Ireland either in a design practice, or as an individual FREELANCER 7E BRING THE BENElTS OF MEMBERSHIP TO #ORPORATE $ESIGN Companies and individuals. We provide networking and contact OPPORTUNITIES WHERE MEMBERS BENElT FROM THE ACCUMULATED EXPERIENCES OF their peers.
-ARY !NN "OLGER *ANE -C$ONNELL 2ORY $ODD -AX +ISMAN Tadhg Oâ&#x20AC;&#x2122;Driscoll and Alex Milton, )$) )NTERNATIONAL *URY 0ANEL MEMBERS IDI Exhibition Committee members
We recognise that the landscape of design in Ireland is fluid and constantly changing as new technologies change the course of our design LIVES BUT THE BASIC RAISON D ETRE OF THE )NSTITUTE REMAINS lRMLY FOCUSED
!NNE +ELLY .#!$ 'ALLERY Exhibition Design by Designgoat
We believe design is a very powerful and flexible tool that helps with everything a business or organisation needs to thrive. Design is not just about new logos or shiny new gadgets. Itâ&#x20AC;&#x2122;s about rethinking beyond what you normally do and transforming the world around you. Designers make your offer user-friendly which is extremely good for business. We hope you enjoy the exhibition.
Andrew Bradley, President of the Institute of Designers in Ireland
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Host Institution
0ROF $ECLAN -C'ONAGLE $IRECTOR director@ncad.ie
Conference Committee
0ROF !LEX -ILTON (EAD OF $ESIGN miltona@ncad.ie 0ROF 'ARY 'RANVILLE (EAD OF %DUCATION granvilleg@ncad.ie 0ROF 0HILIP .APIER (EAD OF &INE !RT napierp@ncad.ie 0ROF *ESSICA (EMMINGS (EAD OF 6ISUAL #ULTURE hemmingsj@ncad.ie 4HERESA -C+ENNA (EAD OF 9EAR mckennat@ncad.ie 'EMMA $UKE $EVELOPMENT -ANAGER dukeg@ncad.ie
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Professor Alex Milton, NCAD
Conference Secretary
0ROF $ESMOND "ELL (EAD OF !CADEMIC !FFAIRS AND 2ESEARCH belld@ncad.ie
Organisation
Conference Chair
.ATIONAL #OLLEGE OF !RT AND $ESIGN .#!$ )RELAND
$AMIAN $OWNES #OLLEGE 3ECRETARY 2EGISTRAR downesd@ncad.ie
Institute of Designers in Ireland Awards Exhibition
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Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome
Organisation
Nicky Saunders, NCAD
$EREK -C'ARRY .#!$ 'EMMA $UKE .#!$ 0ROFESSOR *ESSICA (EMMINGS .#!$ $R ,ISA 'ODSON .#!$ $R (ELEN -C!LLISTER .#!$ 0ROFESSOR (UGH #AMPBELL 5#$ Barry Sheehan, DIT Olivia Oâ&#x20AC;&#x2122;Connor, Abbey Conference and Corporate Events
Review Committee Barry Sheehan, DIT 0ROFESSOR (UGH #AMPBELL 5#$ Paul Kenny, UCD Elizabeth Shotton, UCD Dr. Declan Long, NCAD $R &RANCIS (ALSALL .#!$ Patsey Bodkin, NCAD $R ,ISA 'ODSON .#!$ 0ROFESSOR *ESSICA (EMMINGS .#!$ Professor Alex Milton, NCAD $R (ELEN -C!LLISTER .#!$ Dr. Paul Caffrey, NCAD Nigel Cheney, NCAD $EREK -C'ARRY .#!$
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Organisation
Institute of Designers in Ireland Awards Exhibition
Workshops
Poster Presentations
Oral Presentations
Keynote Lectures
Location
Schedule
Letter of Welcome
Acknowledgements
Education Partners
Editor Alex Milton
Design Pat Mooney
Cumulus Secretariat %IJA 3ALMI 3ECRETARY 'ENERAL Cumulus Association EIJA SALMI AALTO l
Industry Partners
Isa Ojala, Coordinator Cumulus Association ISA OJALA AALTO l
Printer Plusprint Printed in Ireland, on the occasion of the -ORE FOR ,ESS n $ESIGN IN AN !GE OF !USTERITY #ONFERENCE held at the National College of Art and Design in 2013. www.ncad.ie www.cumulusdublin.com
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Supported by
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James Dyson