Understanding the everyday designer in organisations

This paper builds upon the existing concept of an everyday designer as a non-expert designer who carries out design activities using available resources in a given environment. It does so by examining the design activities undertaken by non-expert, informal, designers in organisations who make use of the formal and informal technology already in use in organisations while designing to direct, influence, change or transform the practices of people in the organisation. These people represent a cohort of designers who are given little attention in the literature on information systems, despite their central role in the formation of practice and enactment of technology in organisations. The paper describes the experiences of 18 everyday designers in an academic setting using three concepts: everyday designer in an organisation, empathy through design and experiencing an awareness gap. These concepts were constructed through the analysis of in-depth interviews with the participants. The paper concludes with a call for tool support for everyday designers in organisations to enable them to better understand the audience for whom they are designing and the role technology plays in the organisation

Extending the design process into the knowledge of the world

Research initiatives throughout history have shown how a designer typically makes associations and references to a vast amount of knowledge based on experiences to make decisions. With the increasing usage of information systems in our everyday lives, one might imagine an information system that provides designers access to the ‘architectural memories’ of other architectural designers during the design process, in addition to their own physical architectural memory. In this paper, we discuss how the increased adoption of semantic web technologies might advance this idea. We briefly discuss how such a semantic web of building information can be set up, and how this can be linked to a wealth of information freely available in the Linked Open Data (LOD) cloud

Raising new opportunities for the Next Economy by exploring variable user needs for Computational Co-Design

Digital Fabrication promises to revolutionize manufacturing, bringing both economic, social and environmental benefits. Combined with Computational CoDesign it can raise the creative potential of both designers and users. However, today the productive use of Digital Fabrication and Computational Design requires significant effort and specialised know-how, so valorising these practices calls for the identification of the application fields that benefit the most from them. This paper presents a tool for helping the discovery of design opportunities across comprehensive, ramified lists of product categories, where designers can identify possible points of intervention. The web-based tool allows the rapid evaluation of numerous product categories according to an extendable set of factors and inspiring questions related to the necessity of personalization, aiming to stimulate designers to consider unexpected frontiers of innovation. Beyond the scope of the research project, this tool has the potential to assist designers in finding applications also for other emerging technologies in a structured and scalable wa

Increasing information feed in the process of structural steel design

Research initiatives throughout history have shown how a designer typically makes associations and references to a vast amount of knowledge based on experiences to make decisions. With the increasing usage of information systems in our everyday lives, one might imagine an information system that provides designers access to the ‘architectural memories’ of other architectural designers during the design process, in addition to their own physical architectural memory. In this paper, we discuss how the increased adoption of semantic web technologies might advance this idea. We investigate to what extent information can be described with these technologies in the context of structural steel design. This investigation indicates significant possibilities regarding information reuse in the process of structural steel design and, by extent, in other design contexts as well. However, important obstacles and question remarks can still be outlined as well

Investigating our future: how designers can get us all thinking

This paper, and the presentation it represents, discusses the importance of bringing users into the design process and some of the techniques that can be employed to achieve that. Designing for older people is particularly challenging because most designers do not have direct experience of the ways that people’s lives and expectations change as they become older so it is even more important than usual to give the user a direct voice in the designing. However this is not straightforward. Most people find it difficult to visualise products and environments that do not exist at the moment so we need to help them imagine possibilities and express their needs and desires. Sheffield Hallam University has pioneered methods for using the designer’s creative talents to create situations that allow people to act out new situations and engage with the creative opportunities that they present. These methods are particularly important in the contemporary world where products are connected by complex information systems so we must attend to how people engage with both the physical aspects of a product or environment and the systems that underlie the

Politics makes strange bedfellows: addressing the ‘messy’ power dynamics in design practice

The paper addresses the role of the designer in navigating through politics and power dynamics that can potentially hinder ways in which people have input into a design process. It acknowledges that such obstacles are common to design practices and much is already documented in organisational, business and management frameworks (Best, 2006, p. 97; Jones, 2003). However, the paper draws on the author’s doctoral research that explored how designers work within the complexities of politics and power dynamics and the agency they bring when working within such contexts. Firstly, the paper clarifies its use of the word politics by distinguishing between the Political choices that designers make, to the embedded politics of power dynamics and hidden agendas. It acknowledges how the Political content and intention of design is widely discussed in communication design literature where designers have created political content toward a purposeful political outcome. The paper therefore focuses more on another political aspect to communication design practice that relates to values, relationships and power dynamics. These human aspects of practice are complex, ‘messy’ and are often implicit. The power dynamics within projects can significantly influence the way stakeholders have input into the design process and subsequent project outcome. The politics of the individual, organisation, community or the society can often abruptly and unexpectedly surface through designing. Based on several interviews with a variety of communication design practitioners and project case studies from the author’s research, the paper highlights a role that designers can potentially play in addressing the ‘messy’ politics that can manifest through design projects. The research explored various design interventions to enable a variety of people with different values, opinions and viewpoints within a design project to collectively negotiate them through dialogue. It has discovered that such design interventions can be instrumental in facilitating the dialogic process amongst stakeholders to illuminate differences in values or hidden agendas. The paper proposes that the role of the designer, then, is to facilitate this dialogic process through design interventions to enrich the experience of dialogue and exchange amongst project stakeholders. Keywords: Human-Centred Design; Communication Design; Politics; Power-Dynamics; Design ‘Scaffolds’; Dialogue.</p

Digital Barriers: Making Technology Work for People

This paper was originally given as an oral presentation at the ‘3rd International Conference for Universal Design’, International Association for Universal Design, Hamamatsu, Japan (2010) and subsequently published. Peer reviewed by the conference’s International Scientific Committee, it looks at how the emerging techniques of design ethnography could be applied in a business context and qualitatively evaluates the benefits. It outlines the differences between inclusive design research conducted for digital devices/services and the large body of existing research on inclusive products, buildings and environments. It advances the view that technology companies are today in danger of repeating the same inclusive design mistakes made by kitchen and bathroom manufacturers 20 years ago, and calls for technology companies to develop new techniques to avoid this happening. The paper charts in detail the challenges and processes involved in transferring academic inclusive design research into the business arena, describing research conducted by Gheerawo and his co-authors on projects with research partners Samsung and BlackBerry. The paper helped define the ‘people and technology’ research theme in the Helen Hamlyn Centre for Design’s Age & Ability Research Lab, which Gheerawo leads. It was also important, as part of evidence of the benefits of an inclusive technology approach, in persuading a number of companies (Sony, BT, Samsung) to undertake new studies with the Lab. Gheerawo used this pathfinder paper in further work, including an essay on digital communication for www.designingwithpeople.org (i-Design3 project EPSRC), membership of the steering committee for Age UK’s Engage accreditation for business, and lectures at ‘CitiesforAll’ conference, Helsinki (2012), ‘WorkTech’, London (2010), ‘Budapest Design Week’ (2011) and the ‘Business of Ageing’ conference, Dublin (2011). Gheerawo also co-wrote an article ‘Moving towards an encompassing universal design approach in ICT’ in The Journal of Usability Studies (2010), for which he was also a guest editor