Beyond skin deep: exploring the contribution of communication design within interaction design projects

This research has explored potential ways for understanding the contribution communication design makes within the field of interaction design; specifically projects that have involved the design of web-based interactive systems. As a practice-based design investigation, this research has been conducted through a series of interaction design projects within the context of a Collaborative Research Centre, and have often included working with industry partners. I will refer to these as projects throughout this exegesis. In this exegesis, I will argue that communication design can make a valuable contribution to interaction design projects, and that this contribution can be facilitated by understanding interactive systems in terms of the role that they play in our everyday experience of the world. This exegesis presents the central argument of the research and how the research questions were investigated. It presents the projects through which the research has been conducted, and through discussion, presents the discoveries and knowledge gained through this research. The total submission for this research consists of the exegesis, exhibition, and oral presenation. Throughout each mode of delivery I will share how the research questions were investigated

Proceedings of the International Workshop “Re-Thinking Technology in Museums: towards a new understanding of people’s experience in museums"

Proceedings of the International Workshop “Re-Thinking Technology in Museums: towards a new understanding of people’s experience in museums

“Focus on the Users”: Empathy, Anticipation, and Perspective-taking in Healthcare Architecture

This dissertation is a phenomenological anthropology of intersubjectivity in the design of healthcare architecture. Based on 12 months of ethnographic fieldwork with architectural designers in the San Francisco Bay Area, this dissertation details how architectural designers derive and enact their understandings of the healthcare professionals and patients for whom they design. Since the 1960s, many architects have taken up an orientation toward design that I herein refer to as “Methodological User-Centricity” (MUC). The premise is simple: better design hinges on better empirical knowledge of the people being designed for, and that knowledge is best acquired by what are often social-science-inspired methods. One of the most influential encapsulations of this orientation in design today (in architecture and beyond) is “empathy”. The healthcare architects in this ethnographic study believed “empathic” knowledge of “users”—including patients, doctors, nurses—was essential to improving healthcare, and sought to develop this understanding of occupants through games, interviews, and other methods for learning about users’ needs, values, and experiences. Situated in this context, this dissertation examines the background premises and methods through which these architectural designers enact their specific forms of constituting others and intervening in the built environment on their behalf. Working from data running the gamut of architectural activities from initial stages of user research and conceptualization, to completion and retrospective evaluation by both designers and end-users, the dissertation analyzes the diverse modalities of experience by which members of architectural project teams orient themselves to users’ needs and possibilities. In doing so, the dissertation approaches architecture as a polymorphous response to others, one ultimately rooted in manifold forms intersubjectivity and degrees of social understanding. Nevertheless, this dissertation also presents a critical analysis of unintentional shortcomings arising through unequal user representation in architectural designers’ research with healthcare institutions

The Integration of Digital Technologies into Designer-Maker Practice: a Study of Access, Attitudes and Implications

This research is a focused investigation of the use of digital production technologies by UK designer-makers. The Critical and Contextual Review begins by examining what is known about the UK designer-maker sector. It considers how making practices relate to history and theories of craft, exploring meanings of key concepts such as ‘skill’ and ‘productive autonomy’. It reviews contemporary digital craft practice, identifying it as a genre and examines both digital economy and digital tool-use trends, relating to craft. The methodology Chapter 3 explains how the pragmatic philosophical approach taken justifies the focus on investigations of experiential practice and the specific mixed methods adopted. A series of experiential case studies looking at emergent practice is analysed using grounded theory techniques and concludes that in using digital tools the maker’s vision is the animating force in an inherently collective endeavour. This chapter is followed by an in-depth practicebased investigation looking specifically at the collaborative potential facilitated by digital possibilities. Chapter 6 presents an analysis of professional views based on interviews that probe the range and extent of technical and creative collaborations. At each stage of the research a reflective enquiry points towards the next step and provides successive iterations of evidence. The thesis that emerges from evidence is the contribution to knowledge of this research. It is that a cross-fertilisation between craft and digital technologies produces a hybrid networked practice that can amount to a new type of technology-enabled and networked craft – Technepractice – in which ‘negotiated collective engagement’ is the driving characteristic. This presents a fundamental challenge to the constructed authenticity of productive autonomy in 20th century studio craft practice. The animation of collective resources, from exteriorised skill embedded in technology to the expertise of technicians and machine operators and the use of digital data sources, requires a re-evaluation of the location and meaning of skill in digital craft practice. A full account of the digital ‘proposition’ for craft, both the opportunities and threats, places digital craft in the context of other digital creative industries and explores possibilities for extending practice from collaborations to digital business models

Building experiences - a reflective design process for media architecture

Media Architecture design, although visually prominent and involving interdisciplinary collaboration, rarely succeeds in creating urban situations of contextual relevance beyond temporary effects. This research understands Media Architecture as a communication medium and proposes the need to engage with its multi-stakeholder audience from early on in the conceptual design stage. This practice-led design research presents a broad critical investigation into the emerging field of Media Architecture (Jaschko & Sauter 2006; Foth 2008; Haeusler 2009) spanning conceptions of media space, experience, participation and design as discourse (Scollon & Scollon 2003; Fatah gen. Schieck 2006). Its findings contribute a new perspective on Media Architecture as experiential visual design process, based on an analysis of design methods, principles of participatory design and reflection, as well as an overview and classification of Media Architecture practice. Following a related literature review, the thesis identified experiential learning and the notion of troublesome knowledge (Meyer & Land 2003; Perkins 1999) as a distinguishable new perspective on design for Media Architecture. By connecting exploratory and generative design research tools (i.e., interviews, collaborative expert workshops, visual prototyping) with theoretical constructs of learning theory (Schön 1983; Kolb 1983), experience (McCarthy & Wright 2004) and ownership in urban design (McDonnell 2009; Townsend 2013; Lange & Waal 2013), this thesis developed an experimental design methodology for stakeholder involvement in Media Architecture. An iterative review and reflection process led to methods evolving from initial research tools for analysis to self-reflective design process outcomes. The findings of this study were used to create the Media Architecture Archive (MAA), a digital participatory database using a comprehensive classification system of Media Architecture practice. It is complemented by an experiential method framework based on visual design for contextual research, envisioning and prototyping in Media Architecture. Thus, the research contributes a novel approach to visual communication in Media Architecture, by applying visual design to encourage stakeholder involvement, discourse and reflection at early stages in the design process. The self-reflective structure of the study contributes to our knowledge of how practice-led learning processes applied through visual communication can serve as an extension of the Media Architecture experience as both process and outcome

Prototyping in Business Model Innovation: Exploring the Role of Design Thinking in Business Model Development

This study proposes a theoretical framework for business model prototyping (BMP), one in which design thinking is applied as a means of facilitating business model innovation (BMI). The value of design-led approaches in the development/management of innovation have received increasing recognition in the past decade, as the concept of design thinking (e.g., Brown, 2008; Martin, 2009) has gained broader application and credibility. In parallel, the concept of BMI has been discussed increasingly in research on innovation, as business models have garnered enhanced acknowledgement as a fundamental aspect in innovation management (Schneider & Spieth, 2013). Although experimentation for BMI is argued to be of importance (e.g., Chesbrough, 2010), the ways in which design thinking might inform prototyping of BMI is less articulated. Thus, the research provides a framework for prototyping business models in the process of BMI, and a first theoretical foundation for the subject. The framework is developed by combination of insights from a thoroughgoing literature review with expert interviews, multiple institution-level case studies, and a series of validation interviews. The literature review articulates the concept of prototyping in BMI and covers three topics in-depth: innovation, business models and design thinking. Expert interviews capture the perceptions and orientations of practitioners, and case studies explore various contexts of business model development in social enterprise, university division, governmental organisation and private company. The validation interviews use feedback from industrial experts to aid and revise the framework and combining theoretical and practical perspectives. On the basis of integrated findings, the thesis contributes to knowledge in three ways. First, it aims to bridge design methodology research and innovation management 3 research by articulating prototyping in design with business model innovation. Second, it proposes a theoretical framework for business model prototyping that incorporates four dimensions — purpose, process, context and engagement. This framework provides a theoretical foundation for further research in the area. Third, the thesis reframes prototyping not as a method or a tool but as a methodology (i.e., a conceptual framework and mode of thinking) that supports the management of business model development and innovation

Slow Fashion: Developing a Conceptual Apparel Design Process

The purpose of this study is to explore the application of a pre-existing apparel design process model and design framework to the development of a conceptual slow fashion apparel design process and framework. A content analysis of slow design and slow fashion literature identified 38 themes related to specific design criteria, which were applied to design considerations from the Lamb & Kallal Functional, Expressive, and Aesthetic (FEA) model (1992). Additional design considerations were revealed due to the nature of the research topic and relationship to the stages in the applied design framework. For the Slow Fashion Apparel Design model five considerations were established: functional, expressive, aesthetic, designer, and other. The Slow Fashion Apparel Design Framework established six considerations associated with six stages of the apparel design process framework: material, quality, production, design, evaluation, and implementation. Design criteria were placed into each consideration category according to design theory and Lamb & Kallal’s model and framework. A sample of 71 textiles, apparel design, and merchandising professionals with membership in the International Textiles and Apparel Association completed a survey regarding the application of the design criteria found in the content analysis to the design considerations established using the FEA model. Apparel design participants from the sample who volunteered for a follow-up survey were interviewed regarding creative scholarship and apparel design processes. Analysis of survey and interview results revealed a differentiation in the application of design criteria within the design considerations established for the design process model and design framework. These differentiations were divided into required, highly recommended, and recommended design criteria. The Slow Fashion Apparel Design Process model had 17 design criteria across five considerations distributed into the three levels of importance. The Slow Fashion Apparel Design Framework had 14 design criteria across four considerations distributed into only required and recommended differentiations. It was revealed that evaluation and implementation consideration categories were not included in the design criteria within the Slow Fashion Apparel Design Framework. Further study is needed to seek explanations for this occurrence. Future research will include the application of this conceptual model to develop of a slow fashion apparel collection