Week 6 CULTURE & SOCIETY p.2
Reading
Design As Research : Positions, Arguments, Perspectives 'PROJECT-GROUNDED RESPONSES: DESIGN / RESEARCH
Through practice-based research allows for the emergence of new modes leading to the establishment of innovative design processes and methodologies in solving issues of material thinking and production. It is significant to contribute to the knowledge, it requires us to work through several concepts that are intricate to knowledge and knowing, for example ‘context’ and the aim to fill gaps as a way of making a contribution.[1]
Design is neither a service nor a production site of marketable products. The relationship between theoretical knowledge and action in professional practice as a ‘process of reflection-in-action’ where thinking and doing are closely interlinked.[2]
1. Blaming scientific rationality for the serious divorce between science and research on the one hand side and practice on the other, he describes the relationship between theoretical knowledge and action in professional practice as a ‘process of reflection-in-action’ where thinking and doing are closely interlinked. He claims that this process is ‘central to the art’ by which practitioners sometimes deal well with situations of uncertainty, instability, uniqueness, value conflict', 2. that makes them to ‘researchers in the practice context’. 3. In this concept, research and practice are not separated spaces any more.[3]
Using knowledge from other researchers or designers was not something that should be hidden or cloaked in a design question, but it should be accurately researched and used as a reference to define and open an area under research. Sometimes, decisions are made based on the designer ’s intuition, this is inherent in the research and decision-making through the design method. Design from the perspective of the designer, and through Research perspective. Nevertheless, intuition and subjectivity also need to face scientific measurements. And the knowledge generated should provide a basis for the design and further scientific research.[4]
People participate in the resources in a real and concrete way, experience and seriously consider how technology may intersect with their future daily and habits.[5]
Second, designing handicrafts can be regarded as a concrete form of theoretical expression and intellectual argumentation. They represent an important response to research questions and provide a productive and retrospective website to correct a more refined position on what is a desirable future.[6]
The final reflections and knowledge outcome came in theform of design notions, i.e. ‘freedom of interaction’, ‘inherent feedback’ and ‘feedforward’, and a more theoretical framework, called the ‘Interaction Frogger Framework’.[7]
Lecture
Taking your audience seriously: Drawing on research to inform the design and design process.
Designers need to understand social issues, who the audience is and what their motivations are. We design for people, so we need to understand people.
We cannot rely solely on our own experience and knowledge. Research plays an important role. This is a key investigation that adds value and establishes a foundation for our knowledge system. Audience feedback will help us like how to make something suitable for the crowd. Research is important because it is attractive, suitable for society, respected, credible, physically suitable, accessible, and available.
Designers ca n’t solve problems they don’t understand or people they do n’t know. This is called the gap between the designer and the audience.
To apply research to our work, we must make the problem clearer. Understand the background and apply what we have learned before. After determining the items that can be applied for the final object, we must respond, develop, test and improve.
In short, designers can provide a more effective design for the audience. Review and analysis are essential at every stage.
Writer: Pentakill
_________________
[1] Gesche Joost, Bredies, K., Christensen, M., Florian Conradi, (Designer, Unteidig, A. and Design, I. (2016). Design as research : positions, arguments, perspectives. Basel: Birkhäuser, Part Of Walter De Gruyter Gmbh, Berlin.
[2] Ibid., 43.
[3] Ibid., 45.
[4] Ibid., 46.
[5] Ibid., 47.
[6] Ibid., 48.
[7] Ibid., 51.
[8] Ibid., 54-56.
Bibliography:
Joost, Gesche, Bredies, Katharina, Christensen, Michelle, Conradi, Florian, and Unteidig, Andreas, eds. Design As Research : Positions, Arguments, Perspectives. Basel/Berlin/Boston: Walter de Gruyter GmbH, 2016. 42-56.
Design As Research : Positions, Arguments, Perspectives 'PROJECT-GROUNDED RESPONSES: DESIGN / RESEARCH
Through practice-based research allows for the emergence of new modes leading to the establishment of innovative design processes and methodologies in solving issues of material thinking and production. It is significant to contribute to the knowledge, it requires us to work through several concepts that are intricate to knowledge and knowing, for example ‘context’ and the aim to fill gaps as a way of making a contribution.[1]
Design is neither a service nor a production site of marketable products. The relationship between theoretical knowledge and action in professional practice as a ‘process of reflection-in-action’ where thinking and doing are closely interlinked.[2]
1. Blaming scientific rationality for the serious divorce between science and research on the one hand side and practice on the other, he describes the relationship between theoretical knowledge and action in professional practice as a ‘process of reflection-in-action’ where thinking and doing are closely interlinked. He claims that this process is ‘central to the art’ by which practitioners sometimes deal well with situations of uncertainty, instability, uniqueness, value conflict', 2. that makes them to ‘researchers in the practice context’. 3. In this concept, research and practice are not separated spaces any more.[3]
Using knowledge from other researchers or designers was not something that should be hidden or cloaked in a design question, but it should be accurately researched and used as a reference to define and open an area under research. Sometimes, decisions are made based on the designer ’s intuition, this is inherent in the research and decision-making through the design method. Design from the perspective of the designer, and through Research perspective. Nevertheless, intuition and subjectivity also need to face scientific measurements. And the knowledge generated should provide a basis for the design and further scientific research.[4]
People participate in the resources in a real and concrete way, experience and seriously consider how technology may intersect with their future daily and habits.[5]
Second, designing handicrafts can be regarded as a concrete form of theoretical expression and intellectual argumentation. They represent an important response to research questions and provide a productive and retrospective website to correct a more refined position on what is a desirable future.[6]
The final reflections and knowledge outcome came in theform of design notions, i.e. ‘freedom of interaction’, ‘inherent feedback’ and ‘feedforward’, and a more theoretical framework, called the ‘Interaction Frogger Framework’.[7]
Lecture
Taking your audience seriously: Drawing on research to inform the design and design process.
Designers need to understand social issues, who the audience is and what their motivations are. We design for people, so we need to understand people.
We cannot rely solely on our own experience and knowledge. Research plays an important role. This is a key investigation that adds value and establishes a foundation for our knowledge system. Audience feedback will help us like how to make something suitable for the crowd. Research is important because it is attractive, suitable for society, respected, credible, physically suitable, accessible, and available.
Designers ca n’t solve problems they don’t understand or people they do n’t know. This is called the gap between the designer and the audience.
To apply research to our work, we must make the problem clearer. Understand the background and apply what we have learned before. After determining the items that can be applied for the final object, we must respond, develop, test and improve.
In short, designers can provide a more effective design for the audience. Review and analysis are essential at every stage.
Writer: Pentakill
_________________
[1] Gesche Joost, Bredies, K., Christensen, M., Florian Conradi, (Designer, Unteidig, A. and Design, I. (2016). Design as research : positions, arguments, perspectives. Basel: Birkhäuser, Part Of Walter De Gruyter Gmbh, Berlin.
[2] Ibid., 43.
[3] Ibid., 45.
[4] Ibid., 46.
[5] Ibid., 47.
[6] Ibid., 48.
[7] Ibid., 51.
[8] Ibid., 54-56.
Bibliography:
Joost, Gesche, Bredies, Katharina, Christensen, Michelle, Conradi, Florian, and Unteidig, Andreas, eds. Design As Research : Positions, Arguments, Perspectives. Basel/Berlin/Boston: Walter de Gruyter GmbH, 2016. 42-56.
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