Are we asking the right questions? Rethinking post-graduate design education towards sustainable visions for the future

Our society is currently facing complex challenges, such us climate change, loss of biodiversity, ageing population, unemployment, to name but a few. This has created growing expectations on designers and engineers to explore, experiment and implement innovative solutions to such issues. At this critical time, if we want design to be part of the solution, we need to wonder whether we are asking designers suitable and sustainable questions. Both in post-graduate design education and in business, the brief still overwhelmingly requires designers to follow a linear problem-solving approach that focuses on product rather than strategies, services and systems. Traditional design briefs result no longer appropriate to face the challenges of our unsustainable world, as they relate to market, growth economy and human needs rather than society, business models and the needs of nature. Instead, we need to be asking questions about, for example, how we create sustainable business opportunities, how we overcome the barriers for change, or how we facilitate the process of innovation through design methodology. If the role of design is to create new visions and outline strategic directions towards a sustainable future world - for policy makers, businesses, communities and individual citizens – we need those stakeholders to create briefs for designers that allow them to do that. This paper will explain how the reframing of questions has been embedded into SustainRCA’s teaching practice in post-graduate design, art and engineering, leading to the development of new tools and methods, as well as some innovative outcomes

The Structure of Design Processes: ideal and reality in Bruce Archer’s 1968 doctoral thesis

The paper centres on a single document, the 1968 doctoral thesis of L Bruce Archer. It traces the author’s earlier publications and the sources that informed and inspired his thinking, as a way of understanding the trajectory of his ideas and the motivations for his work at the Royal College of Art from 1962. Analysis of the thesis suggests that Archer’s ambition for a rigorous ‘science of design’ inspired by algorithmic approaches was increasingly threatened with disruption by his experience of large, complex design projects. His attempts to deal with this problem are shown to involve a particular interpretation of cybernetics. The paper ends with Archer’s own retrospective view and a brief account of his dramatically changed opinions. Archer is located as both a theorist and someone intensely interested in the commercial world of industrial design.

Designing Creative Destruction

This research aims to make a contribution in the context of design thinking at a global cultural scale and specifically how design methods are a feature of the homogenising and heterogenising forces of globalisation via creative destruction. Since Schumpeter’s description of economic innovation destroying the old and creating the new, a number of other interpretations of creative destruction have developed including those driving cultural evolution. However a design model showing the impact of different types of design method on cultural evolution can develop an understanding on a more systemic level from the medium to longer term impact of new designs that homogenise or increase the differences between various cultures. This research explores the theoretical terrain between creative destruction, design thinking and cybernetics in the context of exchanging cultural influences for collaborative creativity and concludes with an experiment that proposes a feedback loop between ubiquitising and differentiating design methods mediating cultural variety in creative ecosystems.

Designing Creative Destruction

This research aims to make a contribution in the context of design thinking at a global cultural scale and specifically how design methods are a feature of the homogenising and heterogenising forces of globalisation via creative destruction. Since Schumpeter’s description of economic innovation destroying the old and creating the new, a number of other interpretations of creative destruction have developed including those driving cultural evolution. However a design model showing the impact of different types of design method on cultural evolution can develop an understanding on a more systemic level from the medium to longer term impact of new designs that homogenise or increase the differences between various cultures. This research explores the theoretical terrain between creative destruction, design thinking and cybernetics in the context of exchanging cultural influences for collaborative creativity and concludes with an experiment that proposes a feedback loop between ubiquitising and differentiating design methods mediating cultural variety in creative ecosystems.