Challenging industry conceptions with provotypes

Design researchers have an important role to play when engaged with user-driven design projects in industry. Design researchers can craft ethnographic material to facilitate transfers of user-knowledge to industry, and demonstrate how this material can be used in the design of new products and services. However, ethnographic findings can reveal issues that are in tension with conceptions of the project members from industry. Instead of brushing these tensions aside, we propose provotyping (provocative prototyping) as an approach to constructively build on them as a resource for change. Provotypes are ethnographically rooted, technically working, robust artefacts that deliberately challenge stakeholder conceptions by reifying and exposing tensions that surround a field of organisational interest. The daily and local experience of provotypes aims to stir dialectical processes of reflection on how conceptions currently are, and fuel the front end of a development process by speculating how conceptions could be different. In this article we start by making explicit the relation between provotypes, practices of critical design and organisational sense-making. We then illustrate, through a multi-stakeholder project concerning the field of indoor climate, how provotypes facilitate transfers of user knowledge to industry, and how they contribute to the development of new products and services. We end by framing the role of the design researcher and discuss the politics that are inherent to design provocations.

Emerging work practice with a telehealth stethoscope

We investigated the collaboration of ten doctor-nurse pairs with a prototype digital telehealth stethoscope. Doctors could see and hear the patient but could not touch them or the stethoscope. The nurse in each pair controlled the stethoscope. For ethical reasons, an experimenter stood in for a patient. Each of the ten interactions was video recorded and analysed to understand the interaction and collaboration between the doctor and nurse. The video recordings were coded and transformed into maps of interaction that were analysed for patterns of activity. The analysis showed that as doctors and nurses became more experienced at using the telehealth stethoscope their collaboration was more effective. The main measure of effectiveness was the number of corrections in stethoscope placement required by the doctor. In early collaborations, the doctors gave many corrections. After several trials, each doctor and nurse had reduced corrections and all pairs reduced their corrections. The significance of this research is the identification of the qualities of effective collaboration in the use of the telehealth stethoscope and telehealth systems more generally.

Ian Weir Research Architect : website

Research background: Communicating the diverse nature of multimodal practice is inherently difficult for the design-led research academic. Websites are an effective means of displaying images and text, but for the user/viewer the act of viewing is often random and disorienting, due to the non-linear means of accessing the information. This characteristic of websites limits the medium’s efficacy in regard to presenting an overarching philosophical standpoint or theme - the key driver behind most academic research. Research Contribution: This website: http://www.ianweirarchitect.com, presents a means of reconciling this problem by presenting a deceptively simple graphic and temporal layout, which limits the opportunity for the user/viewer to become disoriented and miss the key themes and issues that binds, the otherwise divergent, research material together. Research significance: http://www.ianweirarchitect.com, is a creative work that supplements Dr Ian Weir’s exhibition “Enacted Cartography” held in August 2012 in Brisbane and in August/September 2012 in Venice, Italy for the 13th International Architecture Exhibition (Venice Architecture Biennale). Dr Weir was selected by the Australian Institute of Architects to represent innovation in architectural practice for the Institute’s Formations: New Practices in Australian Architecture, exhibition and catalogue (of the same name) held in the Australian Pavilion, The Giardini, Venice. This website is creative output that compliments Dr Weir’s other multimodal outputs including photographic artworks, cartographic maps and architectural designs.

The search for individualism : Self-expression through product personalisation

This research paper explores the impact product personalisation has upon product attachment and aims to develop a deeper understanding of why, how and if consumers choose to do so. The current research in this field is mainly based on attachment theories and is predominantly product specific. This paper researches the link between product attachment and personalisation through in-depth, semi-structured interviews, where the data has been thematically analysed and broken down into three themes, and nine sub-themes. It was found that participants did become more attached to products once they were personalised and the reasons why this occurred varied. The most common reasons that led to personalisation were functionality and usability, the expression of personality through a product and the complexity of personalisation. The reasons why participants felt connected to their products included strong emotions/memories, the amount of time and effort invested into the personalisation, a sense of achievement. Reasons behind the desire for personalisation included co-designing, expression of uniqueness/individualism and having choice for personalisation. Through theme and inter-theme relationships, many correlations were formed, which created the basis for design recommendations. These recommendations demonstrate how a designer could implement the emotions and reasoning for personalisation into the design process.

The sixth 48 hour game making challenge (2012)

Game jams provide design researchers with extraordinary opportunity to watch creative teams in action and recent years have seen a number of projects which seek to illuminate the design process as seen in these events. For example, Gaydos, Harris and Martinez discuss the opportunity of the jam to expose students to principles of design process and design spaces (2011). Rouse muses on the game jam ‘as radical practice’ and a ‘corrective to game creation as it is normally practiced’. His observations about his own experience in a jam emphasise the same artistic endeavour forefronted earlier, where the experience is about creation that is divorced from the instrumental motivations of commercial game design (Rouse 2011) and where the focus is on process over product. Other participants remark on the social milieu of the event as a critical factor and the collaborative opportunity as a rich site to engage participants in design processes (Shin et al, 2012). Shin et al are particularly interested in the notion of the site of the process and the ramifications of participants being in the same location. They applaud the more localized event where there is an emphasis on local participation and collaboration. For other commentators, it is specifically the social experience in the place of the jam is the most important aspect (See Keogh 2011), not the material site but rather the physical embodied experience of ‘being there’ and being part of the event. Participants talk about game jams they have attended in a similar manner to those observations made by Dourish where the experience is layered on top of the physical space of the event (Dourish 2006). It is as if the event has taken on qualities of place where we find echoes of Tuan’s description of a particular site having an aura of history that makes it a very different place, redolent and evocative (Tuan 1977). Re-presenting the experience in place has become the goal of the data visualisation project that has become the focus of our own curated 48hr game jam. Taking our cue from the work of Tim Ingold on embodied practice, we have now established the 48hr game making challenge as a site for data visualisation research in place.

The global creative economy and the new development debate

This paper explores the renewed interest in the creative economy as a possible development pathway for developing nations. Noting the extent to which discussions of creative industries frequently merge into the concept of a creative economy, the paper considers the institutional and public policy settings required to capture economic value associated with creative practice. It is also argued that knowledge economy and creative economy discourses are increasingly merging, particularly in their focus upon design, innovation, software development and convergent media. The paper draws attention to ambiguities in policy discourse, particularly in relation to copyright and intellectual property.

Business model experimentation : what is the role of deign-led prototyping in developing novel business models?

This book presents readers with the opportunity to fundamentally re-evaluate the processes of innovation and entrepreneurship, and to rethink how they might best be stimulated and fostered within our organizations and communities. The fundamental thesis of the book is that the entrepreneurial process is not a linear progression from novel idea to successful innovation, but is an iterative series of experiments, where progress depends on the persistence and resilience of the individuals involved, and their ability and to learn from failure as well as success. From this premise, the authors argue that the ideal environment for new venture creation is a form of “experimental laboratory,” a community of innovators where ideas are generated, shared, and refined; experiments are encouraged; and which in itself serves as a test environment for those ideas and experiments. This environment is quite different from the traditional “incubator,” which may impose the disciplines of the established firm too early in the development of the new venture.

Comparing and complementing methods : traditional market research vs. deep customer insights

Quantitative market data has traditionally been used throughout marketing and business as a tool to inform and direct design decisions. However, in our changing economic climate, businesses need to innovate and create products their customers will love. Deep customer insight methods move beyond just questioning customers and aims to provoke true emotional responses in order to reveal new opportunities that go beyond functional product requirements. This paper explores traditional market research methods and compares them to methods used to gain deep customer insights. This study reports on a collaborative research project with seven small to medium enterprises and four multi-national organisations. Firms were introduced to a design led innovation approach, and were taught the different methods to gain deep customer insights. Interviews were conducted to understand the experience and outcomes of pre-existing research methods and deep customer insight approaches. Findings concluded that deep customer insights were unlikely to be revealed through traditional market research techniques. The theoretical outcome of this study is a complementary methods matrix, providing guidance on appropriate research methods in accordance to a project’s timeline.

Emotionate : an emerging research agenda

The creation of value through emotion has been previously explored through product design, marketing and consumer hedonics. While the notion of value creation is an important driver in business model generation, understanding what the customer honestly values and why, also needs to be considered. However, the role of emotion as a source of innovation, spanning business model creation to customer experience is not yet well understood. This research investigates how the inclusion of emotion will impact the design of a business model and business operations. A brief overview of relevant literature, the research gap and question, along with the future direction of this research is discussed in this paper.

Gelatine : making coworking places gel for better collaboration and social learning

Public libraries and coworking spaces seek for means to facilitate peer collaboration, peer inspiration and cross-pollination of skills and creativity. However, social learning, inspiration and collaboration between coworkers do not come naturally. In particular in (semi-) public spaces, the behavioural norm among unacquainted coworkers is to work in individual silos without taking advantage of social learning or collaboration opportunities. This paper presents results from a pilot study of ‘Gelatine’ – a system that facilitates shared encounters between coworkers by allowing them to digitally ‘check in’ at a work space. Gelatine displays skills, areas of interest, and needs of currently present coworkers on a public screen. The results indicate that the system amplifies users’ sense of place and awareness of other coworkers, and serves as an interface for social learning through exploratory, opportunistic and serendipitous inspirations, as well as through helping users identify like-minded peers for follow-up face-to-face encounters. We discuss how Gelatine is perceived by users with different pre-entry motivations, and discuss users’ challenges as well as non-use of the system.

Liminal moments : designing, thinking and learning

This paper provides a contextual reflection for understanding best practice teaching to first year design students. The outcome (job) focused approach to higher education has lead to some unanticipated collateral damage for students, and in the case we discuss, has altered the students’ expectations of course delivery with specific implications and challenges for design educators. This tendency in educational delivery systems is further compounded by the distinct characteristics of Generation Y students within a classroom context. It is our belief that foundational design education must focus more on process than outcomes, and through this research with first year design students we analyse and raise questions relative to the curriculum for a Design and Creative Thinking course—in which students not only benefit from learning the theories and processes of design thinking, conceptualisation and creativity, but also are encouraged to see it as an essential tool for their education and development as designers. This study considers the challenges within a design environment; specifically, we address the need for process based learning in contrast to the outcome-focused approach taken by most students. The authors base their reflections on teaching design students at a university in Queensland, Australia.

A framework to better understand emotional experiences with portable interactive devices : preliminary trial

Two longitudinal experiments were conducted exploring emotional experiences with PIDs over six months including media and medial Portable Interactive Devices (PIDs). Results identifying the impact of negative social and personal interactions on the overall emotional experience as well as different task categories (Features, Functional, Mediation and Auxiliary) and their corresponding emotional responses have previously been reported [2,3,4,5]. This paper builds on these findings and presents the Designing for Evolving Emotional Experience (DE3) framework promoting positive (and deals with negative) emotional experiences with PIDs including a set of principles to better understand emotional experiences. To validate the DE3 framework a preliminary trial was conducted with five practicing industrial designers. The trial required them to consider initial design concepts using the DE3 framework followed by a questionnaire asking about their use of the framework for concept development. The trial aimed to analyse the effectiveness, efficiency and usefulness of the framework in assisting in the development of initial concepts for PIDs taking into account emotional experiences. Common themes regarding the framework are outlined including the ease of use, the effectiveness in focusing on the personal and social contexts and positive ratings regarding its use. Overall the feedback from the preliminary trial was encouraging with responses suggesting that the framework was accessible, rated highly and most importantly permitted designers to consider emotional experiences during concept development. The paper concludes with a discussion regarding the future development of the DE3 framework and the potential implications to design theory and the design discipline.

Designing innovative business models: Five emerging meta-models

Business models to date have remained the creation of management, however, it is the belief of the authors that designers should be critically approaching, challenging and creating new business models as part of their practice. This belief portrays a new era where business model constructs become the new design brief of the future and fuel design and innovation to work together at the strategic level of an organisation. Innovation can no longer rely on technology and R&D alone but must incorporate business models. Business model innovation has become a strong type of competitive advantage. As firms choose not to compete only on price, but through the delivery of a unique value proposition in order to engage with customers and to differentiate a company within a competitive market. The purpose of this paper is to explore and investigate business model design through various product and/or service deliveries, and identify common drivers that are catalysts for business model innovation. Fifty companies spanning a diverse range of criteria were chosen, to evaluate and compare commonalities and differences in the design of their business models. The analysis of these business cases uncovered commonalities of the key strategic drivers behind these innovative business models. Five Meta Models were derived from this content analysis: Customer Led, Cost Driven, Resource Led, Partnership Led and Price Led. These five key foci provide a designer with a focus from which quick prototypes of new business models are created. Implications from this research suggest there is no ‘one right’ model, but rather through experimentation, the generation of many unique and diverse concepts can result in greater possibilities for future innovation and sustained competitive advantage.