Altered images : the relations between design representations and design practice

As information systems move out of the office into the wider world and are merged with mobile appliances, buildings and even clothing, the representations traditionally used in any one discipline may not be adequate for understanding these new domains. Design representations are ‘ways of seeing and not seeing’. Despite the central role representations play in design, the information systems design community has little understanding of the relation, ideal or actual, between design practice and design representation. This paper reports on an extensive design case study that aims at increasing understanding of the nature and affordances of representations in the design process and argues for the need for information systems as a discipline to open up discussion of the design representations that may be required to effectively design systems that mix traditional IS with disciplines such as industrial design, architecture and fashion design.

Altered images : the relations between design representations and design practice

As information systems move out of the office into the wider world and are merged with mobile appliances, buildings and even clothing, the representations traditionally used in any one discipline may not be adequate for understanding these new domains. Design representations are ‘ways of seeing and not seeing’. Despite the central role representations play in design, the information systems design community has little understanding of the relation, ideal or actual, between design practice and design representation. This paper reports on an extensive design case study that aims at increasing understanding of the nature and affordances of representations in the design process and argues for the need for information systems as a discipline to open up discussion of the design representations that may be required to effectively design systems that mix traditional IS with disciplines such as industrial design, architecture and fashion design.

Universal design practice in Malaysia: Architect's perceptions of its terminology

Universal Design is a concept that embraces and covers issues of accessibility in the built and natural environments. The concept has progressively been introduced into the Malaysian built environment and architecture practice. However, its implementation in Malaysia is still considerably deficient. This paper investigates the contemporary perceptions of Malaysian architects towards the implementation of Universal Design in Malaysian built environment practice with an emphasis on their understanding of the terminology of Universal Design by means of face-to-face interviews. Findings indicate misconceptions towards the terminology of Universal Design exist in Malaysian practice due to a lack of understanding of the terminology that is negating its implementation in built environment practice. © 2014 The authors and IOS Press.

Recognizing appropriate representation of Indigenous knowledge in professional design practice

This paper focuses on the need for designers to follow clear, concise, workable practises to engage appropriately and ethically with indigenous knowledge on projects involving the graphical depiction of indigenous culture. Incorporating indigenous symbols into visual communication design strategies impacts a wide range of stakeholders and therefore requires a sensitive approach with broad consultation in regard to permissions and intellectual property rights; issues can be worked through if respectful practice methods are applied. This paper acknowledges cultural appropriation is not new and that creative, cross cultural interpretation and expressions of hybridity should be encouraged. However respectful communication, consultation, and collaboration are required whenever commercial application of indigenous culture is attempted. To demonstrate the need for clarity, three case study examples will be presented, each with design solutions involving the use of graphical depictions of indigenous culture and each selected due to the varying degrees of stakeholder engagement undertaken in the design process. The introduction of the ladder of stakeholder engagement theory is a new concept introduced in this paper that can be employed to better consider the appropriate and ethical engagement of designers with indigenous knowledge.

Affect within design practice and process

"Affect" has provided scholars with a variety of ways for conceptualizing the pre-conscious and pre-verbal processes that occur between both human and non-human bodies. This paper explores the practice of architecture through the lens of affect by considering how design practices involve particular contingencies in relation to a building's design process. Specifically, the paper asks: how do the negative affects of restlessness arouse interest and positively impact the evaluative processes of design? This question is explored through an examination of the design, production, and assembly of the cardboard paper tubes that were recently designed by Shigeru Ban Architects for their Christchurch Transitional Cardboard Cathedral. We will argue that the design actions are not independent, but embody different affects, particularly those of restlessness. We will also define how these affects of restlessness transmit and attach to the tubes and intensify their "stickiness," creating further interest and positively impacting the design process. Finally, we recognize the usefulness of sticky affects to highlight problems in the design process.

Self-reflective practice in sustainable design

A range of personal self-transformation strategies that rest on empathy and certainty were identified as critical to sustainable design practice. The dynamic influences design as both praxis and a decision making process, yet praxis, as the intuitive dimension of design is overlooked for its strategic importance to this dynamic.

Value-change and self-reflective practice in ecologically sustainable design

Ecologically sustainable design is a transformative design paradigm based on the theory of interdependence. This theory requires that the transformative agenda of design is holistic in practice. In effect, the requirement is for value-change on the part of the designer along with transformation of the built environment. This paper, based on recently completed research into design practice, argues that value-change rests on certainties that are drawn on intuitively while designing, and that this intuitive process is characteristic of design as praxis. It is further argued that design, as praxis, requires a phenomenological approach for inculcating value-change. A phenomenological approach relies on self-reflective practices exemplified by meditation and yoga that can focus on the designer’s ethical know-how. A model for this approach to value-change, the biopsychosocial approach, already exists within clinical medicine. This paper presents findings from interviews with key architects practising self-reflection and/or ecologically sustainable design. These highlight the premium placed by these architects on both certainty and empathy, and how these values influence design as praxis. Formalising techniques for closer scrutiny of these values will highlight design as praxis. Doing so will critically strengthen ecologically sustainable design as holistic, transformative practice.

Can web design methodologies (actually) help practitioners?

There exist many web design methodologies and the new ones are constantly being added to the pool of those offered to practitioners. However as previous research shows, practitioners either do not know, do not use or even do not care for these development approaches. This paper examines web design practice, and the design of visual aspects in particular, in order to establish whether any of the existing methodologies would actually address the practitioners concerns. Through grounded theory analysis, it transpires that from amongst several examined approaches, IS-based web design methods are dealing with great many practical issues which designers perceive as most pressing.

The social role of design representation

Design representation is a crucial part of all design activity. Representations provide a vehicle through which design ideas and decisions are explored, communicated and recorded. Since representation is so fundamental to design, it follows that a deep understanding of the nature and use of representation has the potential to improve current design practice. While there is recognition in the IS literature of the importance of representation, previous IS research has focused almost entirely on the functional aspects of representation, in particular modelling to support various methodologies or particular aspects of design such as database, object-oriented or process modelling. Since the development of an information system is a socio-technical process, this paper argues that we need to understand how representations can facilitate both the specification of the artefact, and the social aspects of design. This paper explores the use of design representation by real-world practitioners. It identifies two hitherto neglected social purposes of representation employed by designers when interacting with clients or users: selective focus, and promotion. The paper concludes by noting that as IS faces increasingly complex design challenges it is timely to examine our understanding of all aspects of design representation including its role in facilitating the social aspects of design.

An evaluation of group work in first-year engineering design education

It is argued that ‘design' is an essential characteristic of engineering practice, and hence, an essential theme of engineering education. It is suggested that first-year design courses enhance commencing student motivation and retention, and introduce engineering application content and basic design experience early in the curriculum. The research literature indicates that engineering design practice is a deeply social process, with collaboration and group interactions required at almost every stage. This chapter documents the evaluation of the initial and subsequent second offerings of a first-year engineering design unit at Griffith University in Australia. The unit 1006ENG Design and Professional Skills aims to provide an introduction to engineering design and professional practice through a project-based approach to problem solving. The unit learning design incorporates student group work, and uses self-and-peer-assessment to incorporate aspects of the design process into the unit assessment and to provide a mechanism for individualization of student marks.

Chaos rules : an exploration of the work of instructional designers in distance education

This thesis provides an examination of the work of instructional designers in distance education, through the conceptual lens of chaos theory. Chaos theory was chosen as an analytical tool because of its ability to reveal the patterns and processes of complex systems as they move between order and turbulence. Recent work in the social sciences, specifically literary theory, has provided impetus for applications of chaos theory to educational settings. Specifically, chaos theory is used to analyse eight case studies of projects volunteered by instructional designers working in five institutions in Hong Kong and Australia. Data were gathered over a period of months with each participant, chiefly through interviews, but also involving diary accounts, electronic mail and letters. The methodology was thus qualitative, specifically informed by Eisner's vision of the ‘critical connoisseur’. Eisner equates an ‘enlightened eye’ with attainment of the skills of a critical connoisseur. First, an effective qualitative researcher must develop connoisseurship, the art of appreciation. On its own, though, connoisseurship is not enough; it is a private act, and thus needs a public face or presence. Criticism is this link, criticism being the art of disclosure. The critical connoisseur aims to help others to increase perception and deepen understanding of an educational situation or event. In addition to the empirical work, a parallel strand of this thesis investigates the theory and reported practice of instructional design. A brief history of instructional design is presented, along with discussion of acknowledged deficiencies of current theory and approaches. Recent reported investigations of both theory and practice are analysed from the viewpoint of chaos theory. Examination of key contributions in the literature of instructional design and distance education reveals considerable resonance between these contributions and the fundamental properties of chaotic systems. Links are made, in both the theoretical and empirical strands, between instructional design and the behaviour of dissipative structures, attractors and the process of bifurcation. Use is also made of the time-dependent nature of chaos theory as a theory of becoming, rather than one of being. The thesis comprises eight chapters, two appendices and a references section. The introductory chapter explains the research problem, and outlines the structure of the thesis. Methodological considerations are left until after an assessment of instructional design literature and (reported) practice. This deliberately theoretical investigation (Chapters 2 and 3) comprises the first of the parallel strands that are presented. The basic conclusions are that instructional design theory has not been particularly helpful to or used by instructional designers, and that chaos theory might provide an alternative way of viewing instructional design practice. The other parallel strand is the empirical work, which for four chapters outlines the methodology and my findings concerning the role of instructional designers in distance education. The methodology is detailed in Chapter 4. Chapter 5 establishes the contexts of the participants, by examining their backgrounds and introductions to their roles. It also investigates their views on their role and status within their institutions and with working colleagues. Chapter 6 is an exploration of the major issues that influenced the work of the instructional designers. These are the issues that arose naturally in the interviews as the participants outlined the development and interactions that took place on a day to day basis. Time emerges as a key influence in their work, and its effects on the projects are outlined and analysed. The ways that instructional designers give advice to those with whom they work is also investigated. The next chapter continues consideration of their work, but this time as they reflect on their role and its demands. This includes their reactions to the various metaphors that have appeared in the literature, along with those that they introduced into our discussions. The links that are established between the two parallel strands are drawn more explicitly in the final chapter, Chapter 8, which is a notion of what a model of instructional design based on my conclusions might resemble. It summarises the evidence that it is not necessarily by striving for order—in fact quite the opposite — during key periods of course development, that leads to creative outcomes. The introduction of uncertainty and turbulence does, in some cases and under some conditions, move the system to a higher level. The image that is offered from chaos theory is that of time-bound dissipative structures, interacting with their open environment at far-from-equilibrium conditions, and transforming themselves from disorder to order through bifurcation. The role of strange or chaotic attractors is highlighted in the process. The first appendix gives background information in terms of the methodology. The second is the heart of the data upon which the thesis draws. That is, the second appendix outlines the case studies of the participants. Most are short summaries, but the final one is a detailed study, tracing the progress of the design and development of a subject in distance education.

Computation and construction of vault geometry prototypes

Physical models and scaled prototypes of architecture play an important role in design. They enable architects and designers to investigate the formal, functional, and material attributes of the design. Understanding digital processes of realizing scaled prototypes is a significant problem confronting design practice. This paper reports on three approaches to the translation of Gaussian surface models into scaled physical prototype models. Based on the geometry of Eladio Dieste’s Gaussian Vaults, the paper reports on the aspects encountered in the process of digital to physical construction using scaled prototypes. The primary focus of the paper is on computing the design geometry, investigating methods for preparing the geometry for fabrication and physical construction. Three different approaches in the translation from digital to physical models are investigated: rapid prototyping, two-dimensional surface models in paper and structural component models using CNC fabrication. The three approaches identify a body of knowledge in the design and prototyping of Gaussian vaults. Finally the paper discusses the digital to fabrication translation processes with regards to the characteristics, benefits and limitations of the three approaches of prototyping the ruled surface geometry of Gaussian Vaults. The results of each of three fabrication processes allowed for a better understanding of the digital to physical translation process. The use of rapid prototyping permits the production of form models that provide a representation of the physical characteristics such as size, shape and proportion of the Gaussian Vault.

Researching Moslem-Christian marriages : extrapolating from mixed-faith couples towards the practices of Convivencia

Moslem–Christian marriage can be seen as a kind of ‘testing place’ for examining and appreciating the practices of difference. This article offers a summary from a recent local research project which investigated these relationships (Ata, 2003). The empirical data from the study was ‘milled’ for its potential to inform practice, a process that generated four themes that practitioners may find useful in their attempts to design practice approaches that are sensitive to alternative anthropologies. Beginning from the contention that the otherness of those for whom we work can be a mirror for our own cultural and practice assumptions, we extrapolate from these themes to practise with other examples of diversity. It is argued that our efforts to practise with diverse populations will be unengaging, even colonising, unless we are able to denaturalise our own positions.

Business process affordances through the lens of activity theory

Business process designers are increasingly being challenged to develop processes that are not only useful in achieving business objectives but also accepted by the process participants and followed in the work place. Those objectives can only be achieved when both the business and the social/cultural aspects of the specific business environment are taken into account. Humans are not unaided individuals separated from a social group and from supporting artefacts but they are complemented by the environment in which they live in. This paper presents a novel framework for the design of business processes based on the application of activity system, providing a comprehensive framework of humans acting in the world, and the theory of affordances, representing action opportunities offered by the environment. The contribution of this paper is two-fold. First, it provides a theoretical contribution to affordance studies by offering a conceptual model that consolidates new developments in the concept, post Gibson. Second, it introduces a new framework (Activity/Affordance Framework - AAF) to aid the design of business processes. Finally, a case study is used to illustrate the utility of the framework in design practice.