Phd by Design – researching across difference (2015) by Phd By Design

conference documentation 2015 RESEARCHING ACROSS DIFFERENCE 5th and 6th of November 2015 Goldsmiths, University of London PHDBYDESIGN.COM

Twitter @phdbydesign Facebook /PhDbyDesign #phdbydesign www.phddesigngoldsmiths.tumblr.com

PHDBYDESIGN Print ISSN 2397-7019 Online ISSN 2397-7027

foreword Building on the 2014 focus of ‘Navigating the messiness of practice-based research’, the focus of this years PhD By Design conference was ‘Researching across difference’. This aimed to highlight the diversity of fields, languages, institutional boundaries, modes of enquiry, genders, abilities, countries, communities, audiences and interests that design researchers are bridging through their work. The two day event consisted of lively discussions, research presentations, skill sharing workshops, instant publishing and two keynotes that were designed to generate knowledge on how researching across difference functions amongst designers. So, in both this document and Issue 2 of the Instant Journal we have collated notes, transcripts, images, comments and insights to try and evidence this new knowledge. As always, not everything went to plan so there are some sessions that were not recorded and we can only document through participants notes. All in all, we feel that this PhD By Design event continued to contribute to the building of a practice-based design research community and we thank everyone who contributed to it. To find out more about everyone who took part, we would encourage you to check out the conference programme which holds research bios and images. We hope you enjoy reading. Alison Thomson, Maria Portugal, Bianca Elzenbaumer

keynotes, discussants & team DISCUSSANTS Alex Wilkie Goldsmiths, University of London Bill Gaver Goldsmiths, University of London Jennifer Gabrys Goldsmiths, University of London Joanna Boehnert University of Westminster Kim Trogal Central Saint Martins, University of the Arts Matt Ward Goldsmiths, University of London Nerea Calvillo University of Warwick Paolo Plotegher Goldsmiths, University of London Peter Lloyd University of Brighton Sonia Matos Edinburgh College of Art Tobie Kerridge Goldsmiths, University of LondonLondon KEYNOTE SPEAKERS Prof. Doina Petrescu Sheffield School of Architecture Prof. Roberto Feo Goldsmiths, University of London ORGANISING COMITTEE Alison Thomson Goldsmiths, University of London Bianca Elzenbaumer Leeds College of Art Maria Portugal Goldsmiths, University of London CHAIRS Helen Stratford Sheffield School of Architecture Nicola Gray Goldsmiths, University of London Olga Noronha Goldsmiths, University of London Paulina Yurman Goldsmiths, University of London Sarah Pennington Goldsmiths, University of London Goldsmiths, University of London

participants Almudena Cano Royal College of Art

David Benque Royal College of Art

Joana Casaca Lemos Central Saint Martins

Rune Rosseland University of Oslo

Andrea Augsten Volkswagen AG | design:transfer

Dimeji Onafuwa Carnegie Mellon University

Katarina Dimitrijevic Goldsmiths, University of London

Saul Marcadent IUAV University of Venice

Andrea Scheer Hasso-Plattner-Institut für Softwaresystemtechnik GmbH Andrew Sempere Ecole Polytechnique Fédérale de Lausanne

Eleonora Fiore Politecnico di Torino Eli Hatleskog University of Ljubljana Elisa Pasqual IUAV—Faculty of Design

Anthi Kosma Escuela Técnica Superior de Arquitectura de Madrid, Universidad Politécnica de Madrid

Emma Dyer University of Cambridge

Anuradha Reddy Malmö University

Francesco Mazzarella Loughborough University

Aya Musmar University of Sheffield

Gionata Gatto Loughborough Design School

Ayse Zeynep Aydemir Istanbul Technical University

Giovanni Marmont University of Brighton

Azza Rajhi Ecole Supérieure des Sciences et Technologies du Design

Gyorgyi Galik Royal College of Art

Cagri Sanliturk University of Sheffield Caroline Claisse Sheffield Hallam University Cathy Gale Kingston University Daniel Kraszewski Loughborough University

Ersi Ioannidou Kingston University

Helga Aichmaier University of Art and Design Linz Isabel Paiva New University of Lisbon Isabella Loddo IUAV James Forren Dalhousie University

Daniela Peukert Leuphana University Lüneburg

Jana Thierfelder Zürcher Hochschule der Künste, Zurich University of the Arts

Dave Pao Royal College of Art

Jeounga-Ah Kim University of Gothenburg

Katerina Gorkovenko University of Dundee

Sofja Hallik Estonian Academy of Arts

Kate Wilson Bath University

Søren Rosenbak Umeå Institute of Design, Umeå University

Luca Giuliano Politecnico di Torino

Stacey Pitsillides Goldsmiths, University of London

Lucy Russell Central Saint Martins

Sumit Pandey University of Oslo

Maria Ferrand The University of Edinburgh

Swati Srivastava University of Oslo

Mark Green Northumbria University

Tara Mooney University of Wolverhampton

Max Fickel Royal College of Art

Tzortzis Rallis London College of Communication, UAL

Michelle Westerlaken Malmö University Moritz Greiner-Petter Academy of Art and Design, University of Applied Sciences and Arts Northwestern Switzerland (FHNW) Nantia Koulidou Northumbria Univerisity Nolwenn Maudet Université Paris-Sud, INRIA, LRI, CNRS Paul Emmerson Northumbria University Robert Djaelani Northumbria University Rose Sinclair Goldsmiths, University of London

Vera-Karina Gebhardt University of Dundee Veronica De Salvo SUN - Second University of Naples Yahuei Yang Goldsmiths, University of London

INDEX

TIMELINE pg 5 NOTES FROM THE WELCOME SPEECH pg 6-7 NOTES FROM THE DISCUSSION SESSIONS pg 8-35 MAPPING ACTIVITY DOCUMENTATION pg 36-39 WORKSHOP DOCUMENTATION pg 40-51 INSTANT JOURNAL OUTLINE pg 52-53

timeline DAY 1 THURSDAY 5TH NOV

DAY 2 FRIDAY 6TH NOV

0900-0945

REGISTRATION

0900-0930

RHB 142

Tea, coffee & pastries

RHB 142

0945-1000 Room 5

CONFERENCE WELCOME

0930-1000

MAPPING ACTIVITY

Bill Gaver Alison Thomson, Maria Portugal & Bianca Elzenbaumer

RHB 142

Group resource generation

1000 - 1100

MESSY INTRODUCTIONS

Room 4 & 5

90 seconds per participant

1100 - 1230

DISCUSSION SESSION 1

Room 1, 2, 3 & 4

4 groups of 6 presentations (5 minutes each) led by a chair and a discussant

1230 - 1330

TEA & COFFEE

LUNCH

RHB 142

1000-1130

DISCUSSION SESSION 3

Room 1, 2, 3 & 4

4 groups of 6 presentations (5 minutes each) led by a chair and a discussant

1145-1230

INSTANT JOURNAL ACTIVITY

Room 5

Development of content for the Instant Journal

1230 - 1330

LUNCH

RHB 142 1330-1430

WORKSHOP SESSIONS C

1330 - 1500

DISCUSSION SESSION 2

Room 1 , 2 & 3

3 workshop sessions

Room 1, 2, 3 & 4

4 groups of 6 presentations (5 minutes each) led by a chair and a discussant

1430-1500

TEA & COFFEE

1500 - 1530

TEA & COFFEE

RHB 142

RHB 142 1500-1530

INSTANT JOURNAL LAUNCH!

Room 5

1530- 1615

WORKSHOP SESSIONS A

Room 1, 2 & 3

3 workshop sessions

1615- 1700

WORKSHOP SESSIONS B

Room 1, 2 & 3

3 workshop sessions

1530-1600

COLLECTIVE DEBRIEFING

Room 5 1600

CONFERENCE CLOSE

Room 5 1730 - 2000 Ian Gulland LT

KEYNOTE TALK & DRINKS RECEPTION Doina Petrescu & Roberto Feo

NOTES FROM THE WELCOME SPEECH BY Professor Bill Gaver University of London

Conferences are full of rituals, and I have been asked to provide the motivational exhortation to open the conference. So allow me to tell you a couple of anecdotes that might suit the occasion. The first comes from when I was a graduate student, a long time ago, and concerns a professor who was very popular among the students. He was very thoughtful and approachable but also very authoritative, and we held him in great respect. On this occasion, we discovered that it was going to be his 60th birthday, so a group of us got together and bought him a bottle of single malt whisky. We took it to his office at about 10 in the morning and presented it to him as a way of expressing our appreciation. To our surprise, he insisted on opening it then and there and serving us all a bit -- this was pretty scandalous (even if it was California). And as we sat around his office, sipping our whisky, he looked around at us and said: ‘You know, I’ve been wondering when everybody is going to find out what a fraud I am – sooner or later, I’m convinced that people are going to find out that I’ve been faking it all these years.’ Of course we were all shocked. We knew he was no fake, but he seemed to be sincere. And to me that was a life-changing gift, because it made me realise that all the feelings I had (and still have!) of insecurity and uncertainty come with the job. For him to give that to us was really generous. So in that spirit, let me share a little secret with you. No matter what anybody says, nobody really knows what a good practicebased PhD looks like. People have done great practice-based PhDs, and there are a number out there at this point. Still, nobody can tell you the one best way to do a practice-based PhD because nobody knows. And that means that we are all in the business of discovering successful strategies for ourselves. So when your supervisor comes to you and tells you “this is how you should do it”, just say “No. Bill said no” – and then let me know how that goes. The next anecdote concerns a conversation I had with a friend of mine, Peter Krogh, from the Aarhus School of Architecture in Denmark. We were walking on the harbour in Hong Kong, chatting about this and that, when he said, ‘You know, the situation that I often find when I bring in people to do a practice-based PhD in Design is that they already know about design, so they say, I must be here to learn something new and I guess that something new must be theory and scholarship.’ So they push the design to one side and dive into theory. What happens then is that they get immersed in theory for a long time, and when they poke their head up a couple of years later they are totally lost. So what he tries to remind people is that when you come to do a practice-based PhD it is great to involve yourself in theory and in scholarship, but never forget that design is your resource. Design is the thing you are good at and that’s what makes the PhD. Don’t lose that. The last thing I was planning to tell you was about a talk I was having with a friend recently, which ended up being about the American genesis of the can-do-spirit. I was going to try to draw some tenuous link to the idea that each of you are exploring a new frontier, searching for nuggets of wisdom or some similar cliché. But I realised, as I waited to speak this morning, that this is actually not what is going on at all. Instead, I realised that as Bianca, Maria and Alison struggled to understand practice-based research, what they did is form this conference as a way of crowd-sourcing the answer. There are lots of people grappling with this, but you all are the ones who will find the answer. No pressure, though – have a great couple of days.

â&#x20AC;&#x153; No matter what anybody says, nobody really knows what a good practice-based PhD looks like. People have done great practice-based PhDs, and there are a number out there at this point. Still, nobody can tell you the one best way to do a practice-based PhD because nobody knows. And that means that we are all in the business of discovering successful strategies for ourselves.â&#x20AC;?

SESSIONS

SESSION 1 / GROUP 1

NOTES FROM THE DISCUSSION SESSION (from audio) Thursday, 5th November 1100-1230

ANDREA AUGSTEN Volkswagen AG | design:transfer Action research Design Strategy Reframing Innovation

Who is involved in knowledge production through design research? Who analyses the data that is collected? What ways are there to involve participants in this? Trying to find commonalities in data from the bottom up can be important. What mechanisms can we put in place to actually get feedback from the participants on the research outcomes?

Discussant: Bill Gaver Chair: Helen Stratford

ANDREA SCHEER Hasso-Plattner-Institut für Softwaresystemtechnik GmbH Interdisciplinary knowledge building Design thinking analysis Team interaction dynamics DANIEL KRASZEWKSI Loughborough University Product meaning Product innovation Design practice NOLWENN MAUDET Université Paris-Sud, INRIA, LRI, CNRS Design Portraits Creativity Support Tools Across Fields Communication

Research of design for design Where do we see the use of the tools we create? At what point in a process can they be helpful for others? How do we imagine our tools to be used by other designers? What kind of help do we think designers need? How to make the knowledge we create approachable and adaptable? The lenses of design research We always come to research with a certain lens, which necessarily reveals and obscures certain things. To what extent are theoretical lenses useful or restraining? Are designers creating knowledge? What might be an alternative word for ‘knowledge’? Can we speak of practice rather than knowledge? Of insights, perspectives? Knowledge as a justified belief. How do teams jointly justify knowledge? Designers are constantly trying to escape what we already know. It is about the ability to question even the initial question. Dealing with the obsession of creating tools Is it too prescriptive to aim at creating tools and methods? Would it not be more beneficial to come up with something that is allows for more imagination and experimentation? Aiming at producing a tool towards the end of the thesis often feels quite contrived. Producing a turn-key for producing good design comes with a lot of rigidity, which is often not very useful. With the tool you produce, can you break the rules and do it wrong? It can be enlightening to describe how a method has been transformed and appropriated. But do you really need to proof where it comes from? Who are you accountable to?

What do we mean by design thinking?

Communicating design research across disciplines How do we present rich visual materials to a scientific community? Being a servant to power or collaborate more equally? Being slightly outside power and comment back from that point of view? The naming of what we are doing is often very problematic. It is not always useful to resort to buzz words. What is the appropriate way to communicate outcomes that cannot be communicated in a paper? What do we mean by design thinking? Is it about not only arguing with words, but through models and more tangible things? Does the label of the design thinker make it more easy to be accepted in interdisciplinary teams? Does it need materiality? Heavily synthetic? Is it about things you might be doing, sketching where things might go and this does not necessarily have to be material? Who do we want to be after finishing the PhD? Why are we doing the research we are doing? What is the PhD giving to us? What is it giving to others?

What are the key facts and competences other disciplines might have in mind to collaborate with designers in innovation processes? What future role are design researcher going to take in business? Design and Design thinking overlays Search for new language to describe what we’re doing. Tools, methods etc. seem too cheap. What is the function of ‘design thinking’ as a phenomena?

How can researchers from different disciplines work together more effectively? What is design? Design is an attitude towards a problem. Why pay attention to discipline at all?

How to maintain scientific rigour when borrowing and adapting methods from outside of the design field? Words > images Transparency is helpful when borrowing methods. Please describe this transfer. At the end, it doesn’t matter what discipline the participants (or the methods) come from, but what is important is the fact that a collaboration across disciplines led to a product (or a productive design research process).

NOTES ON POST-ITS AT SESSION END

Issues of ’naming’ it My research ‘for’ or ‘about’ design is so much more chosen?

How do designers build knowledge in an interdisciplinary team setting? Is design thinking critical thinking in order to discover novelty? Design: is it giving knowledge? Is it asking questions? Is it final product? Is every designer implementing a research method in a unique way? PhD Outcome: method / knowledge. Is this a valid dichotomy?

How can we convey the richness of design materials in the format of the scientific paper? Grounded theory What is richness of design? Ethnomethodology - how to account for your own practice. Why not the reverse?

How can researchers from different disciplines work better together?

SESSION 1 / GROUP 2

Discussant: Nerea Calvillo Chair: Paulina Yurman

NOTES FROM THE DISCUSSION SESSION (from chair) Thursday, 5th November 1100-1230

ELEONORA FIORE Politecnico di Torino Ecodesign Product Systemic design

Which is my audience? which is the narrative of my research for that specific audience? The question and no one asks because they are too big to be asked. intuition is valuable

GYORGYI GALIK Royal College of Art Socio-ecological systems design Environmental health sciences The ‘crisis of agency’ ISABEL PAIVA New University of Lisbon Sustainability Interdisciplinarity Ubiquitous computing JAMES FORREN Dalhousie University Architecture Technology Society SØREN ROSENBANK Umea Institute of Design Umea University Pata-design Critical practice Prototyping practices

Which is my audience? Which is the narrative of my research for that specific audience?

How can we acquire all the know how necessary to design in a specific field by saving the time needed to become an expert of that topic? Why does your research question matter? Where is the new knowledge? What is the role of both design and designer? How does one maintain intellectual consistency and rigour in practice when confronted with censorship and/or potential compromises in project integrity? Commons to commoning How do we locate ourselves in our research? Reframe sustainability in terms of fairness between citizens Choose a trajectory, be systematic, present results.

SESSION 1 / GROUP 3

NOTES FROM THE DISCUSSION SESSION (from audio) Thursday, 5th November 1100-1230

DANIELA PEUKERT Leuphana University Lüneburg Transdisciplinarity Designerly knowledge production Sustainability

Challenges of combining design and sustainability Work on sustainability is difficult, challenging work that can often be heavy on one’s well-being. If we want to be a functional person in this culture, we need to be complicit with climate change and environmental destruction. How do we deal with this in our research projects? There are some things that are definitely not sustainable and we have to pay attention to not relativize them in and through our research. What is the potential of expanding the problems of sustainability to a system problem? Is this a challenge we can take on as designers? Why are you working on sustainability in your PhD? What sense do you find for it in your world?

Discussant: Joanna Boehnert Chair: Bianca Elzenbaumer

JOANA CASACA LEMOS Central Saint Martins, University of the Arts London Communication Design Co-creation Sustainability KATARINA DIMITRIJEVIC Goldsmiths, University of London Plastic Waste Reuse Designedisposal Design Activism SWATI SRIVASTAVA University of Oslo Service Design Sustainability Value Propositions

Commissioned research on sustainability The struggle one goes through when for your PhD you’re not working on your own research theme, but on a project framed by someone else. How do you talk about sustainability when a product is already in use through the mass market? Intervening in the mass market possesses the power of creating a bigger impact and get sustainability out of a niche and embed it in everyday life. How do we negotiate this as design researchers? Can design have a role in reframing the need for a “mass market”? How do you work within a context whose fundamental ethos you’re questioning? How to change a context while you design for it? The role of the words we use Move from “sustainability” to “sustaining”. How to give something a longevity? To move it to a different frame might lead to a leap in thinking. Sustainability is not an absolute term and we can mobilise this in our research. Whatever words we use will have problems attached to them. Can we just do sustainability without wasting energies in trying to define it. Design and spirituality When doing research on sustainability and the environment, what is the role of spirituality? Can believe systems help us in framing research that deals with issues of sustainability? Spiritual capital and the spiritual as a way to look at back on oneself and at nature? Putting capital and spiritual together places to major problems right next to each other.

Why are you working on sustainability in your PhD?

NOTES ON POST-ITS AT SESSION END

How toxic is my design approach? What are the current aspects of people’s relations and values towards marine plastic waste and five Gyres? Sustainable manifesto: to set up a strategic agenda for design research and practice. Anthropocene > ecoscene > and beyond. Cosustainment. Anthroposcene Vs. Capitalscene. Sustainability. Spiritual capital. Methodological debate. Sustaining sustainability. How do we become responsible citizens? Playfulness? Sustainability? Sustainability: becoming redundant term. Semantic issues must be tackled to help frame arguments and audiences (impact) objects and ideas. Sustainability - oscillating between aphathy, fear, anger. How can we utilise repair as a mechanism for creating new and different relationships with existing things rather than consuming new things? Slow vs mass. Are mostly women taking up the work that is depressing/ psychologically heavy? Do we need to frame everything as capital? What to be risk, gain, loose out? Designer/ user. Agency + ownership. In civil + commercial sphere. Thinking (about) with things. Sociality of waste and emotional attachment. How can we evaluate the impact that co-creation processes have on participants? There are too many ways to measure the qualities of designs impact. qualitatively: questions, observations. Quality of relationships: cultural, environmental, economic, social. Reframing sustainability. The spirit of design.

How might we influence business driven realworld design context with the knowledge and insights generated from speculative/ fictional explanations? With knowledge visualisations. Service design is not only about dematerialisation, it’s about co-creating quality relationships to enable systemic change. Sustainability: affect > affecting: never ending cycle. The overwhelmingness of the politics beyond us. If you fit into the poltical scenario you will fit, otherwise you’ll be shut out. How does knowledge production in design differ from other disciplines? It’s more contextual. Exposing tacit knowledge of designers. Is there an expectation for designers to change the world? In the hierarchy, designers are often low. How do we position ourselves in system? Institutions, people + knowledge = production. Design often plays the role of facilitating knowledge production, but what if design was the knowledge? What are the dangers of framing design as a science?

How does knowledge production in design differ from other disciplines?

SESSION 1 / GROUP 4

NOTES FROM THE DISCUSSION SESSION (from audio) Thursday, 5th November 1100-1230

CAROLINE CLAISSE Sheffield Hallam University Storytelling Tangible Engaging

Design, method and knowledge production What is the relationship between a method involved in a practice and when you need to make the knowledge transferable, as knowledge that can move in world? How can we do this without making it so generic it is now useless - like in the production of a toolkit? Could the figure of a ‘knowledge broker’ be a way of doing this to share the knowledge? Could we use a form of creative place making (embedding yourself within a community and identify what you’ve done) as a way to draw on that knowledge to create a database, as a way to translate information for others? Technologies that we use to capture the world that we’re investigating become both a mode and mediator of that difference. We should be aware of this.

Discussant: Matt Ward Chair: Nicola Gray

EMMA DYER University of Cambridge Architecture Education Communication LUCA GIULIANO Politecnico di Torino Human Robot Interaction Roboethics Human Machine Interface MORITZ GREINER-PETTER Academy of Art and Design, University of Applied Sciences and Arts Northwestern Switzerland (FHNW) Media Theory Interface Critique SUMIT PANDEY University of Oslo Design methods Designerly thinking Research through design

How can we evolve a material critique where the investigation is thoughtful and asks questions in and of itself?

Design and critique as an intervention There is something about critique that is distancing, you can’t have critique from within (a critique from within the practice you are doing) and so in critiquing we are separating ourselves from the object of critique, placing ourselves outside the problem, the culture of study etc. Can we think about different forms of critique that are performative and are embodied within the different methods we are investigating? Design is about action and acting in the world and a problem with critique is that it leads to questions after the critique, “and so what will you do?” We know that design can offer more than purely functional design (aesthetically, theoretically), through different forms of thinking about the world and ways of investigating and using critique through practice rather than just through drawing on theory. How can we evolve a material critique where the investigation is thoughtful and asks questions in and of itself? The design toolkit - keeping with the messiness of design research, not cleaning it up Toolkits tend to be reductionist and prescriptive in that they produce a reduced, essentialist view of the human being, an engineered version. Can we ask different questions of toolkits? How can the toolkit become a mode of participatory engagement but also acknowledge that they don’t always do what they set out to do. Let’s stay with the messiness of researching across difference. Thinking about John Law’s writings on the messiness of method, let’s not fall into the trap of sterilising and cleaning up our work and not hide away the messy, awkward bits of data that don’t fit in with our thesis or point. How can institutions, supervisors, academic networks support PhD students to be brave in redefining the strict formats of submission of PhD design research?

SESSION 2 / GROUP 1

Discussant: Peter Lloyd Chair: Sarah Pennington

NOTES FROM THE DISCUSSION SESSION (from audio) Thursday, 5th November 1330-1500

ANTHI KOSMA University of Madrid Drawing Action Exploration

How does the clay practitioner and explore ideas of cultural differences in the context a factory made mass produced ceramic objects? I’m curious about how mass produce ceramic objects explore that difference. Really interesting research into everyday objects.

CATHY GALE Kingston Univeristy Multiplicity Ambiguity Critical design ERSI IOANNIDOU Kingston Univeristy Referencing Creative Spatial representation KATE WILSON Bath University Ceramic Vessel Culture

How different experiences and personal outcomes cant be contextualised and form a narrative on the ways of drawing?

How different experiences and personal outcomes cant be contextualised and form a narrative on the ways of drawing? When is action research in first person valuable? What is the role of references in the development of a design research project and how can it be represented and incorporated in the design outcome? How to deal with two seemingly opposite things: the spontaneity of sketchbooks, and the construction of intricate documentation as a website involving scanning, linking, coding etc which in effect constitute a designed outcome? What the solution between the research material and the final product, the paper? Is research a question of formats? Is your new way of presenting references going to influence the way you represent them in your next project? Is ambiguity bad? How do you challenge the dominant, often stereotype, culture of branding for Portuguese products for a UK audience? I have an ambition to integrate research into my design practice to substantiate the experiential impact of visual communication designing interventions. As far as I’m aware this is not a common practice for a visual communication designer and researcher. What is the difference I need to work across to make my practice economically viable? What makes you say that it is not a common practice? I’m intrigued by that as I use it as much as possible in my own work.

SESSION 2 / GROUP 2

NOTES FROM THE DISCUSSION SESSION (from audio) Thursday, 5th November 1330-1500

ALMUDENA CANO Royal College of Art Participation Design Localism

Co-design with communities Design research can carefully empower local communities. But designers need to be attentive to ingrained hierarchies and power structures. Can design research projects become a space for dissent? What does it mean to bring tacit knowledge of communities into a co-design process? Communities canâ&#x20AC;&#x2122;t make money-related decision. Are design researchers instrumentalsing communities for tick-box exercises? What tactics are there to deal with this dilemma? Designers who manage those who are at the fringe. How to avoid instrumentalising them? Design research can be activated to design communities. What is the role of the university when engaging with communities and their issues? How to maintain a positive approach when doing design research in a depressing context? Not seeing the PhD as a solo journey can help.

Discussant: Kim Trogal Chair: Bianca Elzenbaumer

AYSE ZEYNEP AYDEMIR Istanbul Technical University Triggering concepts Extraordinary representations Studio setting DIMEJI ONAFUWA Carnegie Mellon University Commons Community Co-Design PAUL EMMERSON Northumbria University Design-as-Civics Design for Sustainability Participatory Design

Design research and social change Even when you start a PhD on your own, there is a need to build a bigger network so that your work has a long-term impact. Design researcher as a facilitator of positive deviance. Design (research) as coming together in order to try to change something. How can we share the task of design decision making for sustainability with the communities we work with? Design research also needs to question if what we are designing actually has a reason for existing. The design researcher canâ&#x20AC;&#x2122;t be separated from the question of how we live the good life. What would be the criteria for a good novel thing? It often seems so arbitrary and detached from politics of power. Design and commons Moving from nouns to words puts emphasis on action and process. This is where we can intervene as designers. From commons to commoning. Can co-design prevent people from leaving a commons? Can it draw on those who do not immediately want to participate? Can design level the playing field and allow people to participate? Design research can make physical, material and discursive space for different kinds of knowledge, for giving relevance to what is undervalued or invisible.

What does it mean to bring tacit knowledge of communities into a co-design process?

Designing across difference Trusting working relations need a degree of translation between different languages. Showing in practice what design research can produce is part of this translation process. There is a pressing need to engage with the politics and ethics of the difference we encounter in our research. Where are we located in our research? How do differences become to matter? When working with communities, design research can focus on enabling new kind of relationships. Not romanticizing the notion of community. Working across difference can constitute community. Communities are rather liquid. Design research as a way of re-framing what blocks a community and to thus bring up unexpected openings.

Could we define this process as continuous criticality? What is the political possibility of designer in different scales? Difference: how to situate yourself. How to develop knowledge with others, that they need. Why designers and designers’ role has to always relate to product (physical)? Why do we believe that a PhD needs to be a solo endeavour? This seems a rather counterproductive attitude. How not to become the masters tool? How do we define the communities to work with or for? Design as a process of transformation. Towards what? What is our role as designers? What is our role as citizens? Where do they overlap? Are they one and the same? Whose knowledge is being activated in community-based design projects? And to what ends? What are our criteria if something is/does good or bad?

How does design enable commoning online and in geographical communities? Who is the community? How do you work with continuously changing the the notion of the ‘community’? Commons is a thing This desire to present hopeful possibilities… I was just eavesdropping: and still I ask myself what are the benefits of using designerly methods in the field of commoning? What is communing? What is a community? How can it be defined? What is the role of design in these processes? How do the commons impact on design?

How can the use of trigger concepts, the production of extraordinary representations and reconfiguration of the studio setting contribute to novel forms of designing and learning in an architectural design studio? What triggers a community’s ideas at the beginning of the design process? Texts, movies, images, philosophical concepts? What role do they play once the design process is unfolding.

NOTES ON POST-ITS AT SESSION END

How can we combine the expertise of the designer and the user to maximise the potential of design? How do we work with participants who want to walk away or disengage? What is our role as citizens? The designer participating in the process and also acting as a gardener to amplify best practices. How to avoid that own design reproduces hierarchies. What are our criteria for something being ‘good’ or doing ‘good’? Handing power to people is not possible. How can design enable communities to build it or take it?

How do we design to constitute ‘citizen communities’ that appreciate and undertake community practice-based research – for designing transitions towards sustainment – to develop theory regarding how the ‘shared social practice’ of design functions? Sustainability is a wicked problem they usually puts the researchers in a state of disbelief. Otherness is about desire to learn about places of the unknown (curiosity). What is the role of improvisation when researching across difference?

Could we define this process as continuous criticality?

SESSION 2 / GROUP 3

Discussant: Jennifer Gabrys Chair: Helen Stratford

NOTES FROM THE DISCUSSION SESSION (from the chair) Thursday, 5th November 1330-1500

ANDREW SEMPERE Ecole Polytechnique Fédérale de Lausanne Theatre Scenography Feral

Why do artistic research at all? Is it more about a process? The importance of foregrounding the topic area to situate it in a place that supersedes academic disciplines. The need to research what are the emerging fields (in industry) and consider ways to interact with that world, that new arena to create shared bridges with.

ANURADHA REDDY Malmo University Participation Prototyping Autonomy MICHELLE WESTERLAKEN Malmo University Co-design Non-human Actors ROBERT DJAELANI Northumbria University Participatory design Healthcare systems Social isolation VERA-KARINA GEBHARDT University of Dundee Smart city Participative Art

Beyond Academia – interdisciplinarity as strength – practice as producing new forms of knowledge – designing with and for uncertainty – inventive methods. Recognition of ‘Live Methods’ – sociality / STS / design / creative practice / prototyping – ‘Liveness’ as a way to generate bespoke ways of thinking about research areas – How to formalise that? How to talk about that? (What do cows want?) Non-human – the non digital interaction – animal theory – agency – autonomous – critique – reflective of our society – disruption – hacking – creating space and the interaction What counts as data? – how to find a relationship with ambiguity and flux? – dialogue with materials data – IN/ON – reflection in / on action – missing expectations as findings – how to articulate the process? Journal 4000/6000 word piece. Where is gender in all this? Designed for uncertainty Materials. Agency. Participation. Autonomy. Design with, for, by, non-human actors. New methods. Live methods. Autonomy.

Why do artistic research at all? Is it more about a process?

NOTES ON POST-ITS AT SESSION END

As computational Systems become more autonomous designing with and for uncertain outcomes becomes ever more crucial. In a joint research effort with computer scientists, and industry stakeholders what methods of negotiation could effectively Address designer concerns? How can data improve the design process? Practice based design - insider/outsider. New process: reflection. Schon

What are the practical challenges confronted when designing for and in response to deviance? What other demands from the environment? What does our environment demand from us? The role of the designer in creating an environment, how do participants (un) expectedly interact?

By what means can we encourage greater institutional acceptance of work done in practice based mode? Who gets to own interdisciplinary work? How can we playfully interact with our environment?

Are there cultural differences in practice based design research? Could technology necessarily disrupt performance? Is that a bad thing? what other things emerge?

Are there cultural differences in practice based design research?

SESSION 2 / GROUP 4

NOTES FROM THE DISCUSSION SESSION (from audio) Thursday, 5th November 1330-1500

AYA MUSMAR University of Sheffield Refugee camp Communal learning Theory- Practice

Design Researchers role What are the roles that we are taking up by getting involved in the research? What are the multiple roles that a designer has when researching within a community? How do design researchers situate themselves within groups and communities of other people and also hold on to their autonomy? The question of participation is also the question of your relationship with the audience... Do we have to be architects? Do we have to be designers? Do we have to embrace a profession 100% or can we actually work within one of these roles and then question and explore the boundaries of the practice? How can we breakdown the territories of professions?

Discussant: Paolo Plotegher Chair: Nicola Gray

CAGRI SANLITURK University of Sheffield Community specific intervention Theory and practice Politics of space ELI HATLESKOG University of Ljubljana Practice Negotiation Sustainability FRANCESCO MAZZARELLA Loughborough University Service Design Sustainable Textile Artisanship Social Innovation YAHUEI YANG Goldsmiths, University of London Eco-community Dialogical design Metadesign

What are the roles that we are taking up by getting involved in the research?

Design and community How do you create boundaries for your research when you are researching hybrid communities? How to inhabit, and place yourself, within a research context? Be realistic about what we can achieve in these situations - we might not be able to solve massive conflicts, but we can contribute to the everyday. What is community? How to do service design with a community that is not really a community? And then, what is the role of a service designer?

NOTES ON POST-ITS AT SESSION END

How can a service design model be developed to ensure conclusions can be drawn from participatory action research across different contexts? Alternative economy in a post-capitalised world. What is stewardship? What is the future of design sustainability?

How can we refine skills post PhD that can help us to develop new ways of working both in research and practice? Challenge identity in a cosmopolitan localism. Theory > participatory action research < practice

How can we enable infrastructure through our research both online and off-line? Top down > middle up down < bottom-up

How can I reflect my nomadic position as a researcher (between theory and practice) when I write my PhD thesis? Cultural practice. Social practice. Not knowing... Will mindful practice create performance consciousness that works across different disciplines that engage the public? Future aspect is important as utopia dystopia or beyond. Beyond facilitation: design = sense making.

What is the future of design sustainability?

SESSION 3 / GROUP 1

NOTES FROM THE DISCUSSION SESSION (from audio) Friday, 6th November 1000-1130

LUCY RUSSELL Central Saint Martins Representation Reframing Facilitation

Who to design for? Are we OK with catering to a luxury market with our research outputs? The need to also speak to audiences who are looking for inspiration rather than information. Design research as a way to carefully amplify the voice of those who are not heard. Setting up spaces for making as a way to give visibility to hidden, undervalued practices of making. Show your research in places where you would usually not show it. Step into unknown territory.

Discussant: Sonia Matos Chair: Olga Noronha

NANTIA KOLIDOU Northumbria University Digital Jewellery Transitional experiences Sense of Self OLGA NORONHA Goldsmiths, University of London Body Science Art ROSE SINCLAIR Goldsmiths, University of London Textiles Networks Sustaining SAUL MARCADENT IUAV University of Venice Independent publishing Magazine Imagery SOFIA HALLIK Estonian Academy of Arts Theomorphism Virtuality Autonomy TARA MOONEY University of Wolverhampton Lived Experience Personhood Fashion

What is the critical framework you chose to look at things and processes? 26

Design outputs can work across difference Once you have proper objects to show, people start taking your speculations serious. Drawing as a way to co-produce data with participants. Drawings as an interpretation of the data gathered through participatory-action research. Design as an interface between ourselves and the wider world in which we live. The need to communicate through the channels the communities we work with are familiar with. The role of (self-)reflection in design research Reflective practice, but reflective with whom? Is a PhD in Design about self-reflection? What validity does that have? What about collaborative reflection? How can reflection not be detached from the human context that it relates to/reflects on? Being critical in your self-reflection. Moving back and forth between different modes. What is the critical framework you chose to look at things and processes? How does your research contribute to the bigger questions, the questions that go beyond our own research interest? Design research within academia What is the role of design research within academia? What does it mean for design as an academic, scholarly field? How do we use that role to continue to promote the creation of visual and material imaginaries? Where is the public of/for design research? What new formats for PhDs can be created through design research? What is our contribution to other fields? There is a need to be more daring. Breaking out of the format while still being rigorous.

SESSION 3 / GROUP 2

NOTES FROM THE DISCUSSION SESSION (from audio) Friday, 6th November 1000-1130

ELISA PASQUAL IUAV University of Venice Methodological Innovation Nation Branding Corporate Identity

What is the tension between the nation identity production and localized process of branding? How to produce a more inclusive branding of a ‘country’ and landscape? How to select the ‘right’ and ‘good’ way to represent the country identity? How to incorporate workshops and local production into the nation branding? How designers can incorporate different practices and be involved in process since the beginning?

Discussant: Paolo Plotegher Chair: Maria Portugal

HELGA AICHMAIER University of Art and Design Linz Documentary photography Visual communication Practice-led iconic research KATERINA GORKOVENKO University of Dundee Second screens Debates Discourses

How the relationship with a specific cultural framework can change your perception of branding? Can the country symbols increase or decrease their retrotic approach?Can we design the same branding identity for two completely different countries? How ‘analysis of images’ within sociology, visual cultures and photography can’t be detached from the space where it’s happening - situated-knowledge within your institution, your cultural framework Working between fields on documentary photography is also a design process - finding out ways of analysing the photography making. Who owns the photography and who owns the research space? How the local approach and framework can change the way you read your own research? Is there a way to find new ways of representing and visualising public space? How can this process/production feed your audience and your academic community? How designers can contribute to the documentary representation process? What type of resistance exists within that process? How can we construct different tools of representation of practice? How can the recruitment of participants reduce, expand or feed your research? How social media move the political priorities into single issues - How the tv debates do not represent the different spaces of conversation about politics ? How the social media engagement and voices representation can create an alternative political interaction? What other types of platforms can feed a research about political debates? How to group or structure the different levels of political conversations? What is my audience on social media?

How can the recruitment of participants reduce, expand or feed your research?

NOTES ON POST-ITS AT SESSION END

Situated knowledge: where is your position in the research process? What are your motivations (or multiple motivations) and what is the drive of your project? The personal is political - the political starts from the personal - if you don’t see it anywhere else. What is quality? Postcard as modes of disseminating official images of places = visually literate audiences. Is corporate modernism blanding national identities? There is no neutral anaesthetic when nations are commodified. Exploring/ Sharing difference need to time and awareness. The drive question by Paolo should be a ‘must’ for the next conference. (intrinsic motivation to do a certain PhD) Today we explored areas of tension and motivation design. How would the world look like without immigration? Is the creation of images allows you to keep the same pictorial features? How the framing of corporate can be included in the different contexts? What is an immigrant? Can you ever really remove the context? Local

Is the figure of the designer ready for leading projects where actors from different disciplines are involved? What is a designers job? Rethinking designer studies Mapping the geography of identity What are the most appropriate ways to transition from the research to the design stage of the project? Making. How to evaluate design process and the outcome in a practice based research? What is driving your research? What is at stake? Situated knowledge Keep the question open.

How would the world look like without immigration?

SESSION 3 / GROUP 3

NOTES FROM THE DISCUSSION SESSION (from audio) Friday, 6th November 1000-1130

DAVE PAO Royal College of Art Conversation Timeline Sexual Health

Assumptions within design What are the assumptions that float around design research and how do we interrogate, accept and acknowledge these? These are things like the relationship between design and the user and how this is enacted within the methods that we use, how we transform people into users through design, through observation etc. What is the relationship between design and expertise, and how do we think about expertise and design. More often than not, we see the expert as the ‘other’ whether it is clinicians, or patients, there is a certain understanding of where expertise is located. How do we as designers reflect on our own expertise and practices? What are the assumptions of methods, and are they compatible when we use them together? E.g. can we use the theory of affect with affordances? Is the knowledge that they produce commensurable or are they drawing on different understandings of what the social is, what people are, what design is? We can never fully grasp the context we are designing in which makes scaling up of a product difficult as it then makes presumptions. Should and could we in our research become more specific to know more?

Discussant: Alex Wilkie Chair: Alison Thomson

ISABELLA LODDO IUAV University of Venice Tangible Interaction Balance Embodiment JEOUNGA-AH KIM University of Gothenburg Sustainable design Design for healthcare Multidisciplinary RUNE ROSSELAND University of Oslo Music Movement Health STACEY PITSILLIDES Goldsmiths, University of London Bereavement Crafting Archive

How do we as designers reflect on our own expertise and practices?

Design research within the institution, ownership and collaboration How do we as designers recognise the Institution? How can an understanding of the institution and the institutional setting be brought into our research? What is the relationship between design and its subjects? Are they research subjects, stakeholders participants and what is their status in the research process and what do these words do? Does design have a discourse? When we’re researching across difference, what happens to ownership of the project and also the contribution to knowledge when different fields and contexts only acknowledge or are interested in one format? E.g. the inaccessibility of a thesis document for patient participants. What happens when we are put in a position of difference, or we discover difference between the framing of the research aims and the research topic?

NOTES ON POST-ITS AT SESSION END Can we use interdisciplinary teams to research methodologies, best practices and ethics for death online that can have a application within legislation and the developing industries? What I find interesting is the motif “end of life “research is “create a good last chapter” but yours also spills into “afterlife”. The thesis document is defined by the space of the institution. Designing within institutions: Labs, universities, hospitals, companies... What’s the best way to go about this? What are the status of people when named: user, participant, co-creator, client. Do they really ever get a version of the thesis? Interdisciplinary groups could work on the field of death online according with the negotiation of this complex process and multiplicity of disciplines.

How can embodied designs, be experienced by people through their difference? How can designers highlight difference in more meaningful ways? Parasitical aspect of design. Perhaps this as to complexity.

How can we solve the issues of the impact of conflict of interest and disagreement in direction between stakeholders within a multidisciplinary research project? What are the assumptions of design research? User, designer, discipline…. Do we need to find solutions to conflict? What do these tensions and conflicts produce? Different motivations of participants, and designers on a research project. Before solving conflicts of interests how do we ‘identify’ them? From whose perspective? With an action research approach a clinic view could give stability to stakeholders.

What if sexual health medical records were designed by clinicians, for clinicians rather than ‘not designed’ for administrators? Designed for clinicians - yes. But why by clinicians? What about designing for health researchers and clinicians? They might have different needs. How can records be visualised in a way that communicates who a person is? Need an awareness of the scaling of design, from one survey up to the population.

How to negotiate the tensions between the need for methodological rigour in science and the adductive and creative processes of design in a practice based research project? Can designers use lots and versions of methodologies? Should we just use one? Try at least a short period, build a relationship with the elderly into their circle to understand them without thinking about your project. Relationships of design and social science: let’s not jump their too quickly. Difference between methodological rigour and innovative methodology. Perhaps by defining some of the unique ways that design functions, what are these relationships?

How can embodied designs, be experienced by people through their difference?

SESSION 3 / GROUP 4

NOTES FROM THE DISCUSSION SESSION (from session participant) Friday, 6th November 1000-1130

DAVID BENQUE Royal College of Art Science / technology Speculation Machine predictions

Research dissemination Being aware of our need to be in control of where our outputs are disseminated. But do we want to be in control? Being aware of the limits of our scope and responsibilities as designers. Sometimes we do more work than necessary for our thesis. How do we make that useful, what do we do with it? Are we responsible for translating?

Discussant: Tobie Kerridge Chair: Paulina Yurman

GIONATA GATTO Loughborough Design School Plant’s action potentials Data emergence Critical design GIOVANNI MARMONT University of Brighton Critical Design Interaction Existential Psychotherapy JANA THIERFELDER Zürcher Hochschule der Künste, Zurich University of the Arts Transdisciplinarity Visual Communication Ethnographic research MARK GREEN University of Northumbria Disruption Unfinishedness Design activism

Disruptionwhat is the frame of disruptive practices?

Critical design Critical design as superficial - design should use real people - but what would it mean for real people to be active? Is critical design about designers talking to other designers? But we have now built a network, so we now have responsibilities. What do we do now? Disruption and unfinishedness What is the frame of disruptive practices? Unfinishedness- that could be fruitful.

NOTES ON POST-ITS AT SESSION END

Can a raised awareness from visual communication help different fields of science to collaborate, make research more transparent, and improve the importance of the results for society? Bruno Labour talks about references circulations. Have you looked at the whole process for the biologists?

MAPPING ACTIVITY NOTES FROM THE MAPPING POSTERS Friday, 6th November 0930-1000

WHAT MAKES A GOOD MAILING LIST?

Give sections guided by professionals Not too redundant Please don’t overuse it Make it relevant (topic orientated) RIP? Curation Flurry of activity Newsletter - Visual Personalised Not overwhelmed by ‘other’ people Open searchable Dipping in and out A mute button A strong title Related to one page A managed one Community Slack (app) Not too often Clear title Not every “reply all” to everyone Have no Ken Friedman Linked Group forum, Stack, FB CfPs Short courses Tags, keywords = more searchable Relevant (ourselves and credits) Not for opinions Once a month Updates on PhD by Design participants Thematic mailing list Conference proceedings worth looking at Conference alerts

ANY ADVICE ON POSTDOCTORAL OPPORTUNITIES?

Job board (for people to post jobs to also) PhD by Design Jobs board Advice about jobs and portfolios and mentoring Publish PhD in public domain as soon as possible Thinking ahead when writing format of publication Be brave, be Open Apply for ERC Transferable skills Network Supervisor Knowledge exchange Workshops Write bids Advice from someone who is a post-doc: find a direction, find your own way, a good idea. Be more flexible (than in PhD). Recharge on energy. Send proposal to very different places. Become an inde pendent researcher.

WHAT DESIGN CONFERENCES OR MEETINGS WOULD YOU RECOMMEND NOT TO MISS?

DESMA network: Design and management. Google hangout. Deism Vibes. TEI conf. 2016 in Eindhoven (Interaction Design) Interaction 16 in Helsinki. (Interaction Design) WCC-BF conf. (Belgium) Horizon 2020? Possible as just design Making futures Cumulus Makeshift Participatory design Serv Des DRS CHI British HCI TUX Nordes AHRA DIS LIft Sensuous knowledge Future everything 4s EASST Critical studies Research group conference (Brighton) SS EDR Summer school Art of research PhD By Design Marie Curie Traders Design 4 Life Sheffield Hallam Methods conference June Tie 16 ACADIA (USA) Design History Society Alvar Aalto Resonate Transmediale Dutch Design Week London Design Festival Technologies knowledges and society conference * propose a session and chair it rather than submit a paper. Chiringuito Futurezwei (Germany) Social Science and Humanities Pitch PhD By Design to other institutions outside the UK

ANY ADVICE ON FUNDING OPPORTUNITIES?

Avoid European grants (too murky, too much paper work) Inviting people when organising an event at your University Plug into a network Start with something small and apply for funding ERC SWISS WSF HESSO AHRC

WHAT TECHNOLOGY/ WEBSITES/ APPS WOULD YOU RECOMMEND FOR MAKING RESEARCH EASIER?

Mendeley Evernote Fashion web archives. ex. Business of Fashion. Thunderbird Nvivo Voobopob Instapoper Papers for MAC aaaaaarg.fail JSTOR Elsevier ACM SAGE opentranscripts.org Github

ANY GOOD RESEARCH INSTITUTES YOU KNOW OF?

Akademie der Bildenden Künste Wien Tu Delft in Berlin. Image Knowledge …? Berlin

WHAT ARE THE KEY DAYS IN THE PHD ANNUAL DIARY?

Annual and 2 x annual PhD colloquium presentations Annual progression report

WORKSHOPS

A selection of the workshops that took place over the two days are documented in this publication. Due to the lack of imagery of some topics of discussion (Scrivener, Digital academic, Zotero), we felt it would be more useful to document these topics online. Please visit the PhD By Design Tumblr for digital documentation of these.

RESEARCH & VISUAL COMMUNICATION Word to InDesign Nicola Gray, Maria Portugal and Mara Rossi How to build an alternative reading of your practice and writing, how it can help speaking to new audiences and energize your research. We will explore how to use Indesign as an editorial tool for your Word files as a way of finding your own process and communication/language. Walking through two possible approaches: research process (diaries, art boards, information collector) and writing (article, thesis, publications).

References https://www.youtube.com/watch?v=ZxQn8ywWSY0 https://www.youtube.com/watch?v=iHDy_nEvgd4 http://tv.adobe.com/watch/adobe-evangelists-terry white/how-to-get-started-with-adobe-indesign-cs6 10-things-beginners- want-to-know-how-to-do/

CRITICAL OBJECT INTERVIEWS From field data to generative stories Nolwenn Maudet To study usersâ&#x20AC;&#x2122; specific and creative practices, we propose an interview methodology to gather specific, surprising and inspiring stories. We illustrate the stories with storyboards that can then be used to analyse practices, comunicate results to a broader audience and inspire designers.

MAPPING SOCIAL RELATIONS

Teresa Hoskyns Doctoral design research can often involve diverse activities, taking part in complex social networks and organisations. How do we record and re resent these activities, networks and relationships? This workshop will examine some mapping techniques to represent and document social relationships.

SCRIVENER: A writing tool for creatives

EVERNOTE Organise your thoughts, your phd, your life

Alison Thomson

Danah Abdulla & Caroline Claisse

Scrivener is a writing software that can deal with a huge amount of text in multiple doc ments and has the flexibility to allow you to creatively organise sections of text through features such as ‘pin boards’. In this workshop we will discuss how it can be used to control different sections of text and work within difficult documents.

Evernote is a digital workspace that allows you to organise your work and your research in an efficient way. This workshop will introduce Evernote and show how we use key features such as note taking, web clipping and using it with your email on a daily basis to stay on top of things!

ZOTERO & ENDNOTE Keeping your references under control

DIGITAL ACADEMIC Using online platforms to circulate your work

Kevin Wilson, Helga Aichmaier and Bianca Elzenbaumer

Bianca Elzenbaumer and Moritz Greiner-Petter

This workshop will introduce the use of Zotero and Endnotes, two reference management softwares. We will introduce how these softwares work, what the difference is between them and how they can help to improve the writing process.

How can we mobilise digital channels to publish practice-led research, to increase the impact of our work but also to simply embed oneself in a strong research network. We will explore the use of Twitter, Academia.edu, Slideshare, research websites and more … depending on the knowledge and questions people bring to the workshop. 47

DESIGNTRANSPOSAL Visualizing through the gyre

Katarina Dimitrijevic - KraalD We live in a plastic debris era. In the first decade of the twenty-first century plastic production has quadrupled in comparison to the last century. Our oceans are the largest u protected ecosystem on Earth. Anthropogenic litter is present in all marine habitats, from the coast to the most remote points in the oceans. Plastic and metal are the most prevalent litter item found on the deep sea bed. Plastic waste is co centrated in five rotating currents, known as gyres (Maximenko et al., 2012). The workshop’s primary objective is to visualize the future possibilities for ocean plastic depollution, using plastic disposal to co-create a 3D gyre water installation. Joyful activism will incorporate trash aesthetics and craft making.

We live in a plastic debris era. Marine research has revealed that synthetic polymers are a toxic pollutant, as they are spread throughout all the world’s oceans. Currently 269,000 tons of plastic composed of 5.25 trillion particles are afloat at sea (Eriksen et al., 2014). How can we gaze in to the radical environmental changes facing us in the 21st century and visualise toxic chronic disaster. Currently, Earth’s Oceans are the largest global landfill and the most vulnerable and unprotected eco-system. Anthropogenic litter is present in all marine habitats, from the coast to the most remote points in the oceans. Workshop allows invisible to become visible, through do-it-yourself (DIY) and Do-itwith-others (DIWO) technologies. Making plastic soup as the three dimensional narration of Gyra’s qualities. Discuss social, cultural, political qualities of waste things that are usually excluded from everyday life re: tale. Combining design advocacy and marine scientific data, fasilitating conversation platform for bringing awareness to personal daily habits, values and emotions. I trash therefore we are: https://twitter.com/kraald https://www.facebook.com/KraalD References Davison, P., Asch, R.G., (2011). Plastic ingestion by mesopelagic fishes in the North Pacific Subtropical Gyre. Mar Ecol Available at: http://www.int-res.com/abstracts/meps/v432/p173-180/ Eriksen, M., Lebreton, C.M., Carson, H.S., Moore, J.C., Borerro, J.C., Galgani, F., Ryan, J., (2014). Plastic Pollution in the World’s Oceans: More than 5 Trillion Plastic Pieces Weighing over 250,000 Tons Afloat at Sea. PloS one, 9(12), e111913. Available at: http://journals.plos.org/plosone/article?id=10.1371/journal.pone.0111913 Le Guern Lytle, C., (2012). When the Mermaids Cry: The Great Plastic Tide. Available at: http://www.bluecommunity.info/view/article/51cbf84e7896bb431f6b8934 Liboiron. M., (2015).Visually Representing Slow Disasters, Discard Studies. Available at: http://discardstudies.com/2015/03/27/visually-representing-slow-disasters/

INSTANT JOURNAL

READ THE JOURNAL AT:

HTTPS://ISSUU.COM/ PHDBYDESIGN

1. your question 5 min presentation

5 minutes presentation group discussion

2. YOur contribution use the template

30 minutes your take on “researching across di ference”

- illustrate - draw - sketch - write - scan

3. send the contribution memory Stick Hard Copy give the proposal to one of our team members Email

4. instant journal Launch! question

question

profile

instant journal

let’s make this travel! 51