Posts tagged design research
CFP: Cities to be Tamed? Questioning the role played by urban planning, design, and policies in the urbanisation processes of the global South (Nov 2012, Milan)
International conference aimed at simultaneously exploring and questioning the role played by urban planning, design, and policies in the continuous urbanisation processes affecting the so-called ‘global South’.
Abstracts due June 15, 2012. The conference will be held at Politecnico di Milano, November 15-17, 2012.
Read full call-for-papers: http://www.contestedspaces.info/
Call for Submissions: Making Futures – Challenging Innovation (PDC, Aug 13, Roskilde, Denmark)
In this PDC 2012 workshop, we will challenge the logic of innovation by exploring the potential of participatory design cases that demonstrate a repertoire of differently situated practices of ‘future-making’; futures made locally, in heterogeneous communities, and with marginalised publics. The workshop will focus on map-making and storytelling to form landscapes of multiple futures.
Submissions due June 1, 2012. Participatory Design Conference, Roskilde, Denmark, August 12-16, 2012. Workshop date is August 13.
Participants interested to contribute to the workshop should no later than June 1 announce their intent to the organizers, makingfutures@sand14.com, by sending a short description of your case (2-4 pages).
Full call is available here: http://medea.mah.se/2012/05/pdc2012-workshop-making-futures-challenging-innovation/
CFP: The Art of Research - Making, Reflecting, and Understanding (Nov 2012, Helsinki)
This conference aims to explore the relations between MAKING and CRITICAL REFLECTION, and how these enable artistic and designerly practices to be characterized as art and design, or artistic or designerly research.
Abstracts due June 10, 2012.
November 28-29, 2012. Aalto University School of Arts, Design and Architecture; Helsinki, Finland. http://designresearch.aalto.fi/events/aor2012/
ABOUT - While the power of artistic imagination is widely recognized, the exploration of artistic and designerly methods of knowledge acquisition underway in academia has only just become accepted by other professional communities of researchers and practitioners inhabiting the academy. Building on contemporary discourse regarding notions of practice-led research, the Art of Research Conference 2012 aims to explore the relations that can be constructed between making and critical reflection, and how these enable artistic and designerly practices to be characterized as art and design, or artistic or designerly research. Given how different fields of creative practice may be constructing these relations in different ways – e.g, in methods, tools and skills — the main aim of the event is to explore how these fields might relate to and influence each other.
This aim is guided by following questions:
- How do different art and design practices utilize artistic and designerly methods in practice-led research?
- How do artistic and designerly approaches to knowledge production enrich or impoverish the professional art and design-related practices of those who engage in them?
- How are artistic and designerly processes of critical reflection and intervention be productively synthesized in practice-led research?
- How can different forms of art, craft and design contribute new knowledge and understanding and how do they function in the distribution of knowledge?
- How can critical reflection be interpreted and understood as embodied in practice-led research?
New Journal: International Journal of Design Creativity and Innovation (Taylor & Francis)
This journal is to be launched January 2013. It’s an international publication that provides a forum for discussing the nature and potential of creativity and innovation in design from both theoretical and practical perspectives.
Aims and Scope
The International Journal of Design Creativity and Innovation is an international publication that provides a forum for discussing the nature and potential of creativity and innovation in design from both theoretical and practical perspectives.
The journal pursues a truly interdisciplinary academic field that will interest and stimulate researchers of engineering design, industrial design, architecture, artificial intelligence, linguistics, cognitive science, and similar areas.
The journal aims to not only promote existing research but also pioneer a new design research field that lies in the gray area between the existing field of design research and the disciplines of systems engineering, information technology, computer science, social science, psychology, art, and philosophy, or in the intermediate area within the existing disciplines.
The submitted papers (analytical studies, constructive studies, case studies, field studies, literature surveys, etc.) will be reviewed not only by potential experts from the point of view of their respective disciplines but also by editors who will evaluate whether the knowledge or discussions are falsifiable or whether they can be accumulated to establish a basis for an interdisciplinary academic research field.
The journal covers, but is not restricted to, the following topics:
- Theories on Design Creativity and Innovation
- Cognition of Design Creativity
- Innovative Process
- Inventive Process
- Analogical Reasoning for Design Creativity and Innovation
- Design Synthesis
- Method and Tools for Design Creativity and Innovation
- Representation of Design Creativity and Innovation
- Education for Design Creativity and Innovation
- Concept Generation and Inspiration
Editors in Chief:
Toshiharu Taura, Kobe University, Japan
Yukari Nagai, Japan Advanced Institute of Science and Technology, Japan
Associate Editors:
Andy Dong, The University of Sydney, Australia
Julie Linsey, Texas A&M University, USA
Editorial Office: dci@org.kobe-u.ac.jp
CFP: Symposium on Design Theory & Design Research (Paris, due March 22)
This design research symposium aims to investigate and share design processes applied to the immaterial economy. How do new ideas, identities and systems, emerge by applying art and design processes to larger economic issues?
Short papers due March 22, 2012. Symposium on Design Theory & Design Research, Paris, June 1, 2012.
“Scaling up the Design Process: transformation, hybridization, innovation, new identities through design skills ” Art and design question individuals, groups, organizations, industries, communities, institutions, and change them through the creative process.
This design research symposium aims to investigate and share design processes applied to the immaterial economy. How do new ideas, identities and systems, emerge by applying art and design processes to larger economic issues?
Our 21st century economy is an economy of diversity and individual subjective preferences that reconstructs territories and meanings. The focus of this international research symposium is on sharing case studies, research, and insights into how innovative design processes and designers’ skills may help solve current problems and challenges of this immaterial economy.
This symposium aims to open new directions for design professionals and for design education, regarding organizational design, corporate transformations, experience industries, social responsibility, environmental and urban contexts. And finally, to develop new theories and models through scaling up research in art and design processes using different scientific perspectives.
Subthemes and tracks include:
- Workshop 1: Experimentation and risk-taking skills for reinventing decision ecosystems and Corporate Social Responsibility for health systems, transportation systems, leisure, and public institutions;
- Workshop 2: Visualization skills and integrative skills for developing plural identities and scenarios for brands and creative cities;
- Workshop 3: Empathy skills and co-design, design thinking skills for changing attitudes of institutions in their relation to the outside environment, and service design;
- Workshop 4: System skills and holistic skills, developing the awareness of all design stakeholders on the importance of measuring design value in economy and international competition, demonstrating the usefulness of existing design indexes such as World Design Capital criteria, DME Award, Designence Value Index(TM), National Design Competitiveness index… and developing new macro design evaluation methods in the immaterial economy.
Accepted formats include case studies, pedagogical experiences research, and social innovation projects.
Key dates
March 22 - Short papers (max. 3,000 words) submission deadline
April 12 - Acceptance decisions and feedback from symposium chairs
June 1 Symposium
- Morning: plenary session at Universite Pantheon Sorbonne
- Afternoon: parallel sessions at Ecole Parsons a Paris
Submissions should be addressed to: b.borjademozota(at)parsons.paris.edu.
Forum chairs: Brigitte Borja de Mozota (Ecole Parsons a Paris) & Bernard Darras (Universite Paris I) during Designer’s Days June 1st 2012, Paris, France.
CFP: The 2nd International Conference on Design Creativity (Glasgow, due March 9)
The 2nd International Conference on Design Creativity provides a forum to discuss the nature and potential of design creativity from theoretical, methodological and practical viewpoints. It will include panel discussions on the ‘directions for design creativity research’, and is an official conference promoted by the Design Creativity Special Interest Group (SIG) of the Design Society.
Full papers due March 9, 2012. Glasgow, Scotland 18th-20th September 2012.
http://www.icdc2012.org.uk/
The 2nd International Conference on Design Creativity (ICDC 2012) is now accepting full paper submissions. The conference will take place in Glasgow, Scotland 18th-20th September 2012, and will provide a forum to discuss the nature and potential of design creativity from theoretical, methodological and practical viewpoints. It will include panel discussions on the ‘directions for design creativity research’, and is an official conference promoted by the Design Creativity Special Interest Group (SIG) of the Design Society.
Scope
The topics and themes of the conference include but are not limited to the following:
- Collaborative creative design
- Cognition in creative design
- Creative design processes, methods and techniques
- Creative design styles and cultures
- Design creativity support tools
- Formal education in creative design
- Global creativity and innovation
- Measuring creativity and its impact
- Social dimensions of creative design
Submissions
Papers should be submitted electronically through the conference CMS system and must not exceed 8 pages. Please adhere to the Instructions for Authors.
Due date for full paper submission: 9th March - Due date for paper acceptance notifications: 4th May - Due date for revised papers: 1st June - Conference: 18th-20th September.
All submitted papers will be peer reviewed by the International Programme Committee. Papers accepted and presented at the podium sessions will be edited into a book tentatively titled ‘Design Creativity 2012’. The most significant papers, after revision and extension, will be recommended for submission to a special issue of an international journal, which will be published in collaboration with this conference
http://www.icdc2012.org.uk
CFP: DIS’12 Workshops - DIY Biology, Designing Wellbeing and Slow technology (due March)
A couple of workshops for the upcoming DIS conference in Newcastle have been announced. Submissions have opened.
Workshop submissions due March 2012. See individual call for exact dates. ACM Conference Designing Interactive Systems (DIS) June 2012, Newcastle UK.
Slow Technology: Critical Reflection and Future Directions - We invite participants to submit a short written position paper as well as a depiction of an artifact perceived to be constitutive of Slow Technology. The written portion consists of a short 1-2 page submission formatted using the ACM DIS 2012 template that responds to the statement “Slow Technology is…” This introductory statement is intended to provoke the author(s) to take a specific position on the Slow Technology agenda and offer their conceptualization of what Slow Technology is. This workshop paper could (but is not required to) use the author(s) own philosophical, theoretical, empirical, or design/craft-based work to support their position. Read more.
(DIY)biology, Designing for Open Source Science - Our one-day DIS’12 workshop will bring together a diverse group of designers and HCI researchers, as well as biologists, bioartists, and members of the DIYbio community to critically re-envision the role HCI might play at the intersection of biology, computation and DIY. We will engage directly with DIYbio initiatives to explore the materials, practices and challenges of garage biology. Drawing on presentations from participants who work with organic materials, hands-on biology activities (such as extracting DNA), and structured discussions, we hope to address themes such as: opportunities and implications for integrating organic materials into interactive systems; technologies that support and hinder public engagement with science; and HCI’s role in the public discourse around bioethics and biosafety. Read more.
Designing Wellbeing - This two-day workshop will bring together an interdisciplinary group of researchers, designers and practitioners who are currently working on wellbeing in the field of interaction design or health care, or are interested in the topic. Read more.
Perspectives on Participation: Evaluating cross-disciplinary tools, methods, and practices - In this workshop we aim to explore the growing fascination with participation across design, art, social science and the sciences in recent years. We find ourselves in a situation where the boundaries between participatory tools and methods from specific disciplines are becoming blurred. Researchers and practitioners must now negotiate the appropriateness of methods and tools given the different epistemologies and practices across various disciplines. There comes a temptation to develop or use new methods and processes without necessarily understanding those that have been used before. There is often little reflection on why we might want to involve people in design and artistic practices, nor understand the motivations of those who do participate and what they take from the process. At the same time, project and funding commitments may mean participation becomes an end in itself as opposed to a means for improving research processes and products. Read more.
Thanks to Fil Salustri for keeping his eyes open for interesting design calls on his blog http://designcalls.wordpress.com/
Read more on http://dis2012.org/
Aca-article: Blind and Fake - Exploring the Geography of the Expanded Book
It seems like we are now rapidly leaving the galaxy of printed matter. As screen-based media is making its entry into our everyday lives, it is pushing aside an object – the book - that has structured our forms of being together for almost six hundred years. This paper approaches the idea of the book as an expanded and inter-medial “boundary object”.
Authors: Maria Hellström Reimer, Malmö University, School of Arts and Communication; Milica Lapcevic, Belgrade, Serbia; Luca Simeone, Sapienza University, Rome, Italy.
ABSTRACT
It seems like we are now rapidly leaving the galaxy of printed matter. As screen-based media is making its entry into our everyday lives, it is pushing aside an object – the book - that has structured our forms of being together for almost six hundred years. This shift is not absolute but successive, and it raises a lot of questions. What kind of mediating practices are developing beyond printed media? And how do these practices structure and organize common spaces and publicities? Even though today, we are far into the electronic age, in a way we are still suspended in between modern individualized life and new, more floating societal formations. Therefore, rather than presupposing the disappearance of the book, this paper approaches the idea of the book as an expanded and inter-medial “boundary object” (Star and Griesemer 1989).
In this respect, the point of departure is the expanded book project Roma Europa Fake Factory (REFF) (Henderson et. al. 2010) – a platform for global discussion and exchange concerning the management and governance of new public spheres in the electronic age. Playing out the visual authority of the printed text against the flickering of the net through the use of inter-mediating QR codes (Quick Response Codes) and fiducial markers, the project constituted a critical and artefactual intervention, remixing and mashing up the forcible means of the printed word with the intermediary potentials of electronic circuits. In the paper, we discuss the project through one of the contributions – Blind Points of Transition – a combined text- and videobased dialogue; on the one hand an exploration of the book and the net as different locations, and on the other hand a tentative mapping of the intermediary territory between two geographically separate places. Focusing on the transition of text through different media, the paper critically examines the spatial expansion and modifications of the book as it enters electronic circuits, thus proposing a ‘blind and fake’, or in other words a questioning form of boundary modification; dislocating the critical focus from visuality to agency and from permanent property to intermediary production.
Paper presented at the Nordic Design Research Conference 2011, Helsinki
Access full paper here, open access: http://dspace.mah.se:8080/dspace/bitstream/handle/2043/12921/237.pdf?sequence=2
Aca-article: Rethinking Design Thinking - Part I
The term “design thinking” has gained considerable attention over the past decade in a wide range of organizations and contexts. This paper proposes that attending to the situated, embodied routines of designers and others offers a useful way to rethink design thinking.
By: Lucy Kimbell, researcher working at the intersections of design/management/social sciences. Associate fellow, Said Business School, University of Oxford.
Abstract
The term design thinking has gained considerable attention over the past decade in a wide range of organizations and contexts beyond the traditional preoccupations of designers. The main idea is that the ways professional designers problem solve is of value to firms trying to innovate and to societies trying to make change happen. This paper reviews the origins of the term design thinking in research on designers and its adoption by management educators and consultancies within a dynamic, global mediatized economy.
Three main accounts are identified: design thinking as a cognitive style, as a general theory of design, and as a resource for organizations. The paper then argues there are several issues that undermine the claims made for design thinking. The first is how many of these accounts rely on a dualism between thinking and knowing, and acting in the world. Second, the idea of a generalized design thinking ignores the diversity of designers’ practices and institutions which are historically situated. The third is how design thinking rests on theories of design that privilege the designer as the main agent in designing. Instead the paper proposes that attending to the situated, embodied routines of designers and others offers a useful way to rethink design thinking.
Access full article here: http://www.designstudiesforum.org/journal-articles/rethinking-design-thinking-part-i-2/
Originally published in Design and Culture, Volume 3, Number 3, November 2011
CFP: Intl Conf on Design & Emotion: Out of Control (Sep 2012, London)
While Design & Emotion is the overarching focus of the conference—allowing us to consider all aspects of the relationship between human experience and design understood in its widest senses—the theme this year is “Out of Control”.
Feb 1, 2012 - Papers & Case Study submissions
For a number of years, uncertainty, crisis and chaos have been keywords describing the experience of many of us. A world driven by uncertainty, crisis and chaos demands different responses from design (as a community, a practice and a process). On one hand we can mitigate against these—designing systems which can withstand, or manage, the challenges they produce. Here there is a focus upon design as a “problem-solving” activity. On the other, we can use them as springboards to a creative future. In this way, design as “opportunity mapping” becomes important.
We would like to encompass both of these approaches to design and to examine how they impact upon, or are generated by, the whole spectrum of human emotion experienced at the macro (socio-cultural), micro (personal), meta (philosophical), processural (methodological) and strategic levels.
Read more on the conference website: http://www.designandemotion.org/en/conferences/
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