Towards universal accessibility : including users with a disability in the design process

While increased awareness of disability issues has resulted in the development of guidelines for developing accessible software, such guidelines do not guarantee that the end product will be optimal for users with a disability. We present an overview of a user-centred approach to the needs analysis and ultimate design of a disability aware email client (Multimail). We discuss the process we used to work with participants in developing the software and reflect on the benefits and challenges of the process.

How architects incorporate ESD criteria into the design process

This paper will seek to answer; "How do architects in Victoria incorporate Ecologically Sustainable Development (ESD) criteria into the design process?" For the purpose of this paper, "Ecologically Sustainable Development" is defined in line with the judging criteria used by the Royal Australian Institute of Architects for the 'Sustainable Architecture Award'. The RAIA states that (Maddison, 2003 p.7), "the goal of sustainable architecture is to achieve development that improves the total quality of life, in a way that maintains the processes on which life depends. The project assessment covers ecologically sustainable development and energy efficient design:' By researching exemplary building projects that have been awarded a Victorian Sustainable Architecture Award, this paper will enlighten a design methodology for the pursuit of excellence in ecologically sustainable development. Key elements in the design process will be determined by comparing and analysing the processes of different architectural practices. This will be achieved through the study of published literature on the award winning designs, qualitative analysis of interviews with the architects who designed the selected projects and quantitative analysis of questionnaires completed by the architects.

Kerstin Thompson Architects : exploring affect in interior's sticky design process

Physical things influence emotions and feelings and can contribute to our sense that buildings and rooms are appropriately designed for their purposes. The sense of appropriateness extends, and is often noticed, through the pre-emotive effect of a structure’s shapes and dimensions. In interior discourse the relationship between the physical and pre-emotive is indicated with various terms (such as “affect”) and the design process of achieving appropriateness in objects and affect can be termed “stickiness”. In this paper we extend Sara Ahmed’s characterization of affect as a sticky connective element, which allows objects and ideas to generate attachments with us. And we ask, how can we understand interior practices and design processes through the concept of affect – as sticky? We explore this question first by discussing affect’s stickiness, and second, by an empirical study of the design process of Kerstin Thompson’s Monash University Museum of Art. The specific project involves alternating design methods that Thompson uses: an intuitive hunch-driven process, and a more defined literary-driven process. Our interest is to consider how she shifts from one to the other so we can better understand interior practice and its design process through the concept of affect. Finally, we conclude by addressing how the study of affect contributes to our understanding of interior practice and its design process, and more significantly, how, in exchange, might interior practice offer to recent theories of affect. Interior practice as changeable, spatio-temporal and material processes offer potentially fertile ground to explore affect as mediating layer, bridging human and non-human forces.

Fictional inquiry : an alternative process to inspire creativity in children's co-design projects

Children's creativity is a valuable resource for architectural design, and attempts have been made throughout the world to involve children in the design process of their environments. Previous children's co-design projects often followed a problem solving process, however, this process has limitations in stimulating children's creativity. Research has found that children's creativity is different to adult's creativity: Instead of creative problem solving skills, children's creativity is most evident in their imagination and originality of thinking. Addressing this issue, an alternative process in children's co-design projects was experimented: Fictional Inquiry. In this paper, two case studies are used to illustrate how the fictional inquiry process is applied in children's co-design projects.* These two projects were both joint educational projects between Deakin University and schools in Geelong and Melbourne. Through several weeks' of workshops, children and university architecture students worked in small groups to develop architectural design solutions. It was observed that creative design outcomes have been achieved in these two projects, which suggested that Fictional Inquiry was an effective process to inspire children's creativity. Applying the Fictional Inquiry process, Deakin University is currently working with another school in the Geelong Region, with the aim of achieving creative architectural design outcomes.

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.

Teaching and learning in collaborative group design projects

The 200 years of apprentice/master tradition that underpins the atelier studio system is still at the core of much present-day architectural design education. Yet this tradition poses uncertainties for a large number of lecturers faced with changes in the funding of tertiary education. With reductions in one-to-one staff/student contact time, many educators are finding it increasingly difficult to maintain an atelier teaching model. If these deficiencies remain unchecked and design-based schools are unable to implement strategies to reduce the resource intensity of one-to-one studio teaching programmes, then, for many higher-education providers, current architectural education may be based on an untenable course structure. Rather than spreading their time thinly over a large number of individual projects, an increasing number of lecturers are setting group projects. This allows them to coordinate longer and more in-depth review sessions on a smaller number of assignment submissions. However, while the group model may reflect the realities of the design process in professional practice, the approach is not without shortcomings as a teaching and learning archetype for the assessment of individual student skill competencies. Hence, what is clear is the need for a readily adoptable andragogy for the teaching and assessment of group design projects. The following is a position paper that describes – with a focus on effective group structures and assemblage and fair assessment models – the background, methodology and early results of a Strategic Teaching and Learning Grant currently running at the School of Architecture and Building at Deakin University in Australia.

Cross-discipline collaboration and innovation in the design studio : drawing on the Bath model

As information expands and comprehension becomes more complex, so the need increases to develop focused areas of knowledge and skill acquisition. However, as the number of specialty areas increases so the languages that define each separate knowledge base become increasingly remote. Hence, concepts and viewpoints that were once considered part of a whole become detached. This phenomenon is typical of the development of tertiary education, especially within professional oriented courses, where disciplines and sub-disciplines have grown further apart and the ability to communicate has become increasingly fragmented.
One individual and visionary who was well acquainted with the shortcomings of the piecemeal development between the disciplines was Professor Sir Edmond Happold, the leader of the prestigious group known as Structures 3 at Ove Arup and Partners, who were responsible for making happen some of the landmark buildings of their time, including Sydney Opera House and the Pompidou Centre, and the founding professor of the Bath school of Architecture and Civil Engineering in 1975. While still having a profound respect for the knowledge bases of the different professions within the building and construction industry, Professor Happold was also well aware of the extraordinary synergies in design and innovation which could come about when the disciplines of Architecture and Civil Engineering were brought together at the outset of the design process.
This paper discusses the rational behind Professor Happold’s cross-discipline model of education and reflects on the method, execution and pedagogical worth of the joint studio-based projects which formed a core aspect of the third year program at the School of Architecture and Civil Engineering at the Bath University.

Redesign of a multimedia course to reflect process not product

Universities are moving towards an environment of online teaching and learning. This is impacting the revision of degree programmes. A multimedia design course was revised to reflect and improve the design process inherent within multimedia production. The course was analyzed and revised using a critical reflection process. The outcome of the evaluation indicated that students were more satisfied but they had not grasped some of the fundamental concepts of design, and further revision of the course was needed for delivering materials and teaching in an online environment. The recommendation from the teaching team was to explore the range of research methods to formally revise the course again for future improvements to teaching practice and effective learning.

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.

The language of design resolution in a digital building information model

Information in construction industry is delivered and interpreted in a language specific to the industry in which large complex objects are only partially described and with much information being implicit in the language used. Successful communication therefore relies on participants in the industry leaming how to interpret the language through many years of education, training and experience. With the introduction of computer technology, and in particular the detailed digital building information model (DB 1M), the accepted language currently in use is no longer a valid method of describing the building. At all stages in the paper based design and documentation process it is generally readily apparent which parts of the design require further completion and which are fully resolved. This is able to be achieved through the complex graphical language currently in use. In the DBIM, all information appears at the same level of resolution making difficult the interpretation of implicit information embedded in the model. This compromises the collaborative design environment which is being described as a fundamental characteristic of the future construction industry. This paper focuses on two areas. The first analyses design resolution and the role uncertain information plays in the design process. It then discusses the manner in which designers and the industry in general deal with incomplete or unresolved information. The second describes a theoretical model in which a design resolution (DR) environment incorporates the level of design resolution as an operable element in a collaborative DBIM. The development and implementation of this model will allow designers to better share, understand and interpret design knowledge from the shared information during the various stages of digital design and before full resolution is achieved.

Environmental design : incorporating a rating tool into the design of commercial buildings

Environmental performance assessment or green building rating tools for commercial buildings are one of the more recent responses to encourage green solutions for commercial buildings. This paper discusses the initial stages of a research project that looks at the impact of a rating tool, such as Green Star, on design. There are numerous ways in which an architect can design commercial buildings, but environmental design solutions have consistently failed to become accepted practice. Therefore, how will this tool be incorporated into the building design process? Developed to assist the designer can the inclusion of a rating tool such as Green Star provide an effective framework to encourage the inclusion of environmental design strategies in commercial buildings? A field study, recording the design process of a commercial building, anticipates that a whole building assessment approach towards design, as proposed through the Green Star Rating Tool, will provide an effective framework to set and monitor design targets in order to optimise the environmental design goals in commercial buildings.

Sustainable design education: teaching, learning and assessment in collaborative group design projects

Changes in the funding of tertiary education resulting in less one-to-one staff/student contact time mean that we cannot continue to teach as we have historically been taught. If design schools are unable to implement strategies that successfully overcome resource intensive studio teaching programs, then current architectural education may for many higher education providers be based on an unsustainable course structure. Rather than spreading their time thinly over a large number of individual projects, an increasing number of lecturers are setting group projects. This allows them to co-ordinate longer and more in-depth review sessions on a smaller number of assignments. However, while the group model may reflect the realities of the design process in practice, the approach is not without short comings as a teaching archetype for the assessment of individual skill competencies. Hence, what is clear is the need for a readily adoptable andragogy for the teaching and assessment of group design projects.
The following describes the background, methodology and early results of a Strategic Teaching and Learning Grant currently running at the School of Architecture and Building at Deakin University. The project is evaluating two design programs at Deakin and it is envisaged that the results of the
investigation may inform other project-based teaching disciplines experiencing a similar need for new knowledge and skill-based delivery due to increasing staff-student ratios.

The need for a culturally inclusive andragogy for collaborative design learning

In recognition of the apparent paradox between the cultural-systems of Asia and the West and the teaching and learning styles they promote, this platform paper aims to propose how research might investigate differences between achievement and diverse learning preferences at various stages of the design process in the multi-cultural studios of Deakin University. The paper presents a Strategic Teaching and Learning Grant project currently running at Deakin as a reflexive research program aimed at resolving the learning difficulties of international students collaborating in three undergraduate design studios. The primary aim of this program is to inform a new culturally inclusive andragogy for problem-based design teaching through experiential
learning theory.

Learn to design vs design to learn: enhancing educational opportunities using game technoloy

Recognizing as children’s input in game design and development process is critical, we applied cooperative inquiry experiences working with young children as game design partners. The computer-based games specifically were designed and developed for the acquisition of survival literacy by 12-14 year old intellectually disabled children. During the design and development game process, children learnt game design techniques without their acknowledgement. Importantly, the development process will be undertaken by the students with the minimum guidance of team members. The experiences, challenges and lesson learned through game design process are discussed.