Design Research Practice: A Product Semantics Interpretation

In this paper, we adopt a somewhat novel perspective on design research. The concept of product semantics and its focus on meaning is used to interpret design research as design. It is argued that we may conceive of design research as design in two realms: The practical and the academic. In doing design research, there is a reciprocal shaping of artifacts: Better artifacts (contributions to practice) through appropriation of knowledge and methods from the academic realm, and better knowledge artifacts (contributions to academia) by drawing relevance and experiences of appropriation from the practical realm. We adopt a product semantics view to discuss research as design. Product semantics highlights the meaning of artifacts with respect to their (i) stakeholders, (ii) artifacts-in-use, (iii), artifacts-in-language, (iv) artifact lifecycle, and (v) ecology. Based on this interpretation, we propose important activities that should characterize the practice of doing design research

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

Visual Research: An Introduction to Research Methodologies in Graphic Design

"Visual Research: An Introduction to Research Methodologies in Graphic Design" is a guide to the practice of researching for graphic design projects. This book explains the key terms and theories that underlie design research; examining the importance of audience, communication theory, semiotics and semantics. It features a range of case studies that demonstrate how the use of rigorous research methods can form the basis of effective visual communication and design problem solving, eschewing end product analysis for a discussion of the way research feeds into the design process. Synopsis of Chapter 1: The Role of Research in Graphic Design. Research methodologies for graphic design is a broad field which encompasses a wide range of practical and theoretical applications. This chapter introduces the field of design research as both an analytical and a practical tool for graphic designers, and establishes the role of critical thinking as a support to the development of an engaged design practice. The primary theoretical models of design analysis are also introduced, including semiotics, communication theory, systematic approaches, semantics and discourse theory, and their relevance to the wider graphic design profession established. The emphasis here is on why we do what we do and how we can be sure it is effective, through testing, feedback and rigorous approaches to design. The second edition includes twelve new international case studies, end of chapter exercises, a new chapter on Visual Grammar and a foreword by Ellen Lupton, an internationally renowned graphic designer, writer, curator and educator

Design strategies for the exploration of product meaning in meaning-driven innovation

Design has been framed as a driver of innovation through product meaning, but it falls short when it comes to dedicated knowledge and methods directly applicable into design practices. Structured by Design Research Methodology (DRM) (Blessing and Chakrabarti 2009), this thesis combines exploratory research with practice-based design research. This thesis presents a literature review covering design studies, psychology, cognitive semantics, linguistics, marketing, innovation management and new product development. Together combined these have been used to develop a new framework of ‘product meaning’ consisting of 4 definitions: meaning as conceptualisation, as importance, as intention, and as representation. The framework has been used to demonstrate that different types of meaning are utilised throughout different stages of product development. Meaning as conceptualisation is identified as fundamental, and the most suitable, for design practice engaged in product meaning innovation. Three strategies of innovation of product meaning through product re-purposing are identified. Furthermore, from the field of cognitive science, theories and methods such as concept categorisation, thematic roles and conceptual blending are used as analysis tools for the selected 6 examples of innovative new meaning products. The structure of meaning innovations has been identified to consist of seven distinctive elements. Ten common characteristics of new meaning innovations are identified and, additionally, an exploratory method of current meanings of products is presented. Moreover, through engagement in practice-based design research a new meaning-driven design process has been developed. The findings from this research have been combined into a new design platform for an approach to meaning innovation and evaluated with experienced designers.</div

The design of a semantics-oriented organisational performance measurement system

Current methods and techniques used in designing organisational performance measurement systems do not consider the multiple aspects of business processes or the semantics of data generated during the lifecycle of a product. In this paper, we propose an organisational performance measurement systems design model that is based on the semantics of an organisation, business process and products lifecycle. Organisational performance measurement is examined from academic and practice disciplines. The multi-discipline approach is used as a research tool to explore the weaknesses of current models that are used to design organisational performance measurement systems. This helped in identifying the gaps in research and practice concerning the issues and challenges in designing information systems for measuring the performance of an organisation. The knowledge sources investigated include on-going and completed research project reports; scientific and management literature; and practitioners’ magazines

Circular and sustainable products : from theory into practice

ABSTRACT: Circular economy is seen as an innovative path with the potential to achieve a more sustainable society. In this context, and, facing high pressure and motivation from governments, many research projects and initiatives are being developed all over the world. However, we still have a long road ahead in translating the theory and research outputs into practice. For example, in the recently launched report “The circularity Gap report” published by Circular economy in January 2019, our society is only 9% circular and the trend is still negative, the circularity gap is not closing and the upward trend in resource extraction and greenhouse gas emissions has continued in the past 12 months (Circle economy, 2019). In the circular approach to product and service development, which entails fundamental changes in production and consumption systems, where it is necessary to go beyond resource efficiency and recycling (European Environment Agency, 2017), it’s clear the importance of design as an integrating agent in the process. Design professionals, through a redesigned approach to the design practice, applying efficient tools and comprehensive life cycle methods, have the challenge and the potential to transform products, services, and business models. The work presented in the current paper is part of a research project (Camocho, Ferreira, & Vicente, 2018) which aims to support the transition to circular and sustainable economy through design where the authors will explore the current practice, methods, tools and communication elements applied in the development and placement in the market of products claiming to be sustainable and/or circular. The pilot study presented in the paper aims to demonstrate and validate the procedure for the analysis of the process that underlays a representative sample of Portuguese products. The research aims to identify which are the real needs, drivers and barriers faced by designers and product developers in the circular design and development process. The results of the work will underpin a holistic approach, sparking critical thinking and supporting a more efficient design practice for a circular production and consumption.info:eu-repo/semantics/publishedVersio

An exploration into aesthetic association of product form

Creating a relevant and pleasing design aesthetic is a fundamental aim designers endeavour to achieve. Perception of aesthetics takes place both during the design process when the designer creates a form, and later, through the users’ interpretation of the form. Within the perception process, association plays a significant role. This paper addresses the stage research results of our exploration into the associative meanings of a product. By analysing the evaluation of a series of top award winning designs, it was found that some associative meanings (represented by descriptive words) are correlated, such as ‘pure-architecturalgeometrical’, ‘delicate-curvaceous-organic’ etc. By conducting a series of workshops, both in the UK and China, we have been able to explore the extent to which young designers are able to manipulate form, style and create an overall perception of a positive aesthetic. One of the main outputs during the workshops was to design a MP3 player with speaker units, styled in line with three topics of aesthetic association: topic 1 – pure, architectural, geometrical and technical; topic 2 – curvaceous, organic, and fun; topic 3 – graceful, cheerful, and powerful. Three non-correlated associative descriptors were deliberately used in topic 3. Results suggest that young designers tend to differ in their ability and success of manipulating form to match different aesthetic targets. When the descriptive words in one aesthetic topic are correlated, student designers seem to find it easier to manipulate the form matching the topic. Comparative analysis between the results from the workshops in the UK (Southampton Solent University) and in China (Tsinghua University) is also presented in the paper

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

A framework for integrating syntax, semantics and pragmatics for computer-aided professional practice: With application of costing in construction industry

Producing a bill of quantity is a knowledge-based, dynamic and collaborative process, and evolves with variances and current evidence. However, within the context of information system practice in BIM, knowledge of cost estimation has not been represented, nor has it been integrated into the processes based on BIM. This paper intends to establish an innovative means of taking data from the BIM linked to a project, and using it to create the necessary items for a bill of quantity that will enable cost estimation to be undertaken for the project. Our framework is founded upon the belief that three components are necessary to gain a full awareness of the domain which is being computerised; the information type which is to be assessed for compatibility (syntax), the definition for the pricing domain (semantics), and the precise implementation environment for the standards being taken into account (pragmatics). In order to achieve this, a prototype is created that allows a cost item for the bill of quantity to be spontaneously generated, by means of the semantic web ontology and a forward chain algorithm. Within this paper, ‘cost items’ signify the elements included in a bill of quantity, including details of their description, quantity and price. As a means of authenticating the process being developed, the authors of this work effectively implemented it in the production of cost items. In addition, the items created were contrasted with those produced by specialists. For this reason, this innovative framework introduces the possibility of a new means of applying semantic web ontology and forward chain algorithm to construction professional practice resulting in automatic cost estimation. These key outcomes demonstrate that, decoupling the professional practice into three key components of syntax, semantics and pragmatics can provide tangible benefits to domain use

The significance of information visualisation based on the symbolic semantics of Peking Opera Painted Faces (POPF)

Peking Opera as a branch of Chinese traditional cultures and arts has a very distinct colourful facial make-up for all actors in the stage performance. Such make-up is stylised in typical cultural elements which all combined together to form the painted faces to describe and symbolise the background and characteristic of specific roles. The Peking Opera Painted Faces (POPF) was taken as an example to study the information visualisation and transmission, to see how information and meanings can be effectively expressed through the colourful visual elements. In order to identify the state-of-the-art in the related Culture Inspired Design as one of the design principles, the literature resources including illustrations of POPF were investigated, and also the semantic features and elements of other similar forms of modern design which has close connection with multiple aspects of social life. The study has proved that the visual elements of POPF played the most effective role in the information transmittion. Future application of this culture resource may include product design, interaction design, system design and service design around the world