D=EQ A triptych of designed objects which explore the relationshi

Michael R. Dickinson (7156727)

English

Loughborough University Institutional Repository

CASE STUDIES IN THE USE OF DESIGN PRACTICE BY PHD RESEARCHERSFashion Graphic Industrial Interior S&J Textile TransportThe role of judgement and the shadow cast were integral to the design of UryViews of Umm and Ury , which are 55 cm high and 57 cm long respectivelySubtle (cheeky) detail of Umm and the Logo which framed the researchRESEARCHER: INSTITUTION: DATE OF AWARD: SUPERVISOR(S): EXAMINER(S):      Dr Michael R DickinsonUniversity of Newcastle, Australia2012Dr Trevor WeekesMr Roger DunstanProfessor Graeme SullivanDr Ranulph GlanvilleDr Maarit MäkeläD=EQ A TRIPTYCH OF DESIGNED OBJECTS WHICH EXPLORE THE RELATIONSHIPBETWEEN TEXT AND ARTIFACT, THEORY AND PRACTICECREATIVE DISCIPLINE: Industrial designRESEARCH METHODS: • Literature review• Case StudyNUMBER OF DESIGN CASE STUDIES UNDERTAKEN BY THE RESEARCHER: 3LENGTH OF THESIS: 45000 wordsEXAMINATION FORMAT: ThesisDURATION OF STUDY: 7 years part-timeEXPERIENCE OF DESIGN PRACTICE BEFORE START OF PHD: • B.Design Industrial Design, University of Technology, Sydney, Australia.• Masters of Design Research, University of New South Wales, Australia. • Designer of experimental equipment for PhD research and turn key equipment for sale through Unisearch at the Center for Photovoltaic Devices and Systems (4 years)• Designer contracts with Stuchberries, Grundies, Channel Nine and other TV/Film Industry companies (5 years)PERSONAL MOTIVATION FOR UNDERTAKING PRACTICE DURING PHD: • Desire to creatively explore what design practice research could be• Having undertaken research that adhered to traditional science/engineering models,     wanted to explore alternative approaches• To use design practice in a discourse on the relationship between theory   and practiceAIM OF THE RESEARCH:To engage in design practice through the parameters of a period of focused study.The significance of the research is in the intellectual battle between intuitive and systemised design thinking. The research implications extend into fundamental beliefand worldview positions for the individuals who practice design and for those whotheorise about design. The research aims to bridge the gap, to add to the body ofenquiry/knowledge that will move the discipline forward, as the artefacts designed bydesigners address a world of increasing complexity.RESEARCH QUESTIONS: • If research is located in design practice, then what relationship might exist between     text and artefact, such that they support each other?• How can artefacts be used in design research? • To what extent does the role of asking questions impact the design process?OBJECTIVES:• To experience the change of thinking, with reference to Dorst’s model “moving up     the levels of understanding was not a case of more learning but a case of changes in     thinking patterns”• To encounter, embrace and conform to the academic rules and objectives of   postgraduate study• To remain in love with design, design practice and the domain of artefactsFashion Graphic Industrial Interior S&J Textile TransportUmm, Umlaut and Ury together showing their relative size to each otherText and artefact in unison. The thesis projected through the Umlaut’s Three views of Umlaut side, eye height and top with light external lights offDesign Practice Research Case Studies have been compiled by the Design Practice Research Group at Loughborough Design School. If you would like to work with us or contribute a case study, please contact the Design Practice Research Group Leader, Dr Mark Evans (M.A.Evans@lboro.ac.uk).     SUMMARY: D=EQ can be thought of as a logo for the research. It is not meant to be directlyinterpreted as an equation, rather as a thought provoking visual statement“Design = Energy to the power of ‘Q’ the question asked”.D=EQ is an artefact. A symbolic representation of the research but how does itcommunicate? How does any artefact communicate? This research undertakes aprocess, which aims to reveal the 'silent language' of design through a systemisedanalysis of the three artefacts designed for the study. Each design had at least thenominal functionality of a source of lighting but they (both individually and as a set)were more. Their real purpose was to reveal the ‘logos’ of the logo. To facilitate adiscourse on the relationship between theory and practice. The artefacts of designpractice probed the relationship between text and artefact, and they are examples ofartefacts designed from, for and of questions.This practice-led investigation presents three case studies formulated to address the‘heart of darkness’ at the core of the relationship between theory and practiceidentified in the literature review.RATIONALE FOR THE INCLUSION OF DESIGN PRACTICE UNDERTAKEN BY THE RESEARCHER:Design practice is fundamental to the framing of the research. As a result of theliterature review, a research plan was formulated which utilized practice in acombination of practice-led and case study methodologies to further the explorationof the relationship between the text and artefact through the imposition of anexperimental context to the undertaking of three designs for domestic lighting. Theexperimental parameters developed as the study progressed were: artefact beforetext - text before artefact - text and artefact in unison. That the designs were lights wasnot an arbitrary decision. The intrinsic nature of the function of lighting complementsthe study and is highly symbolic of the research intent. To illuminate that whichcannot be seen, that which was not known. Structurally the light parameter providedthe intellectual focus and the constraints required to allow the act of design practice totake place.HOW THE PHD DESIGN PRACTICE DIFFERED FROM THAT OF COMMERCIAL PRACTICE:The differences are both insignificant and substantial. In terms of design/commercialpractice, the establishing of a brief, the prototyping, and the development of a designoutcome, the difference can be non-existent. The activity of design practice remains the same. However, the lens through which one observes, records and contemplatesengagement ‘in practice’ is shifted. The benefit is the change in perspective, in thinking, which a PhD design practice can achieve. The degree to which one chooses to deviate from commercial practice is not a condition of research but an opportunity. In the same way that PhD’s in Math, Chemistry or Engineering can vary in degree between commercial and speculative orientation, without changing ‘practice’ within their fields. Likewise this opportunity exists within a PhD design practice and therein is the substantial difference. The opportunity, a choice, to explore beyond the boundaries of commercial practice is available.To use my research as an example; the idea that a commercial industrial designconsultancy, would receive a brief, to research and design the relationship betweentheory and practice, between text and artefact, seems improbable. The field of sciencehas grown through pursuing commercial imperatives and also through advancingnon-commercial questions. The body of knowledge advances in tandem.Commercial practice is a space where the exploration of ideas is directed towardscommercial ends. It is the act of undertaking design, within the academic context ofanswering research questions that allows the researcher to view design and designpractice from a different perspective. I would also say that I have not lost any commercial skills, actually my abilities have only been enhanced. I can still work to a deadline, amortise costs and deliver client/user satisfaction. The PhD design practice allows the enquiring mind to expand into unexplored areas of design not typically engaged by commercial practice.THESIS AVAILABLE AT: http://ogma.newcastle.edu.au:8080/vital/access/manager/Repository/uon:11907CONTACT DETAILS: Michael Dickinson (michael.dickinson@newcastle.edu.au)Images copyright Dr Michael R Dickinson    This item was submitted to Loughborough’s Institutional Repository (https://dspace.lboro.ac.uk/) by the editor and is made available under the following Creative Commons Licence conditions.       For the full text of this licence, please go to: http://creativecommons.org/licenses/by-nc-nd/2.5/  

D=EQ A triptych of designed objects which explore the relationship

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D=EQ A triptych of designed objects which explore the relationship

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