The designer's self identity - myths of creativity and the management of teams

This paper describes recent research conducted at Sheffield Hallam University in which practicing designers reported on their experiences of working in a cross functional team. The survey related these experiences to the designers’ attitudes to their creativity. Two models for creativity are proposed - one based on the romantic stereotype of the creative genius, the other taking creativity to be an attribute posessed by all human beings in some measure, which can be enhanced by personal effort or by training. Identifying features of cross functional teams which are likely to demand certain personal qualities in designers, the paper notes that these are at odds with the qualities of a ‘romantic - type’ creative person. The link between these qualities, and notions of personality as a set of fixed attributes is pointed out. Several theories of personality which describe mechanisms for change in self identity are described. It is noted that the results of the survey suggest that in many cases designers have a pragmatic attitude to their creativity, despite the prevalence of the romantic stereotype for creativity in the literature of both management and education. Principles are suggested for design education, to enable designers to reflexively re-evaluate creativity as a component of their self identity to enhance their performance as teamworkers

Growing our own - recruiting high quality research students by stealth

Most design students assume that their education is preparing them for a career in professional practice. Until recently the idea of working as researchers or studying for a research degree was not an option. In the early 1990s, the Art and Design Research Centre at Sheffield Hallam University was set up with a focus on "designerly" research. At that time we did not have a ready supply of suitable experienced researchers, and design graduates were not coming forward as candidates for research degrees. The university's policy at the time required us to include a substantial research methods element in all postgraduate courses, including the vocationally focused MA Design programme. As a result of adopting this policy in a very whole-hearted way, making research methods central to the MA and framing the creative practice of design as both research-driven and investigative, we have "subverted" a number of postgraduate students who might never have considered a research degree, but are now registered for, or in the process of transferring to, PhD studies. This paper describes the features of the MA programme that foster an investigative culture and provides some examples of PhD students whose research has grown from opportunities encountered in the MA. It also discusses the relationship between professional practice and research and the ways in which a research-centred education can prepare graduates for professional leadership. </p

How often do you wash your hair? design as disordering: everyday routines, human object theories, probes and sustainablity

New objects can create disorder in our lives particularly when we try to appropriate and make sense of newly developed products that do not fit our routines. Ultimately, through exploring objects' affordances, our relationship to them develops into a routinised practice we no longer reflect on them. Hair care is universal and (often) an ‘ordinary’ part of our daily routines. Our cleanliness routines consume resources and therefore are implicated in the issue of environmental sustainability. However, routines are complex and difficult to change when they are set in a culture of individual consumer choice. The disorder inherent in the process of appropriation raises the possibility that design might deliberately create a useful ‘disorder’ in routinised practices to facilitate sustainable strategies in everyday life. The paper proposes an approach of investigating routinised practices in relation to deliberately creating disorder in everyday routines and practice theory. Further, it outlines a pilot study that uses the designled method of 'probes' and considers its potentials in generating disorder. It identifies creative disorder in the process of designers developing the probes, participants interacting with them to finally designers receiving the results. Thinking about the process in terms of disorder is seen to be valuable in facilitating, applying and developing probes, not only to inspire the designer but also to sensitise the designer to private and intimate areas of everyday life such as hair care.</p

Design considerations for on-orbit servicing

An overview of the general design of space vehicles serviced in orbit is presented. The basic space vehicle systems, subsystems, modules components, and associated appendages comprise the elements to be considered. Primary emphasis is given to the multi-disciplinary considerations in the development of requirements, and in particular, design of the space vehicle to facilitate orbital sevice by the extra-vehicular crew person(s)

The Astrochemical Evolution of Turbulent Giant Molecular Clouds : I - Physical Processes and Method of Solution for Hydrodynamic, Embedded Starless Clouds

Contemporary galactic star formation occurs predominantly within gravitationally unstable, cold, dense molecular gas within supersonic, turbulent, magnetized giant molecular clouds (GMCs). Significantly, because the chemical evolution timescale and the turbulent eddy-turnover timescale are comparable at typical GMC conditions, molecules evolve via inherently non-equilibrium chemistry which is strongly coupled to the dynamical evolution of the cloud. Current numerical simulation techniques, which include at most three decades in length scale, can just begin to bridge the divide between the global dynamical time of supersonic turbulent GMCs, and the thermal and chemical evolution within the thin post-shock cooling layers of their background turbulence. We address this GMC astrochemical scales problem using a solution methodology, which permits both complex three-dimensional turbulent dynamics as well as accurate treatment of non-equilibrium post-shock thermodynamics and chemistry. We present the current methodology in the context of the larger scope of physical processes important in understanding the chemical evolution of GMCs, including gas-phase chemistry, dust grains and surface chemistry, and turbulent heating. We present results of a new Lagrangian verification test for supersonic turbulence. We characterize the evolution of these species according to the dimensionless local post-shock Damk\"{o}hler number, which quantifies the ratio of the dynamical time in the post-shock cooling flow to the chemical reaction time of a given species. Lastly, we discuss implications of this work to the selection of GMC molecular tracers, and the zeroing of chemical clocks of GMC cores.Comment: 35 pages, 7 figures, 16 tables. Accepted to MNRAS. Revised to correct some typographic error

The significant other: the value of jewellery within the conception, design and experience of body focussed digital devices

In this paper, we demonstrate how craft practice in contemporary jewellery opens up conceptions of ‘digital jewellery’ to possibilities beyond merely embedding pre-existing behaviours of digital systems in objects, which follow shallow interpretations of jewellery. We argue that a design approach that understands jewellery only in terms of location on the body is likely to lead to a world of ‘gadgets’, rather than anything that deserves the moniker ‘jewellery’. In contrast, by adopting a craft approach, we demonstrate that the space of digital jewellery can include objects where the digital functionality is integrated as one facet of an object that can be personally meaningful for the holder or wearer.</p