Digitech, remix and design research for course /program-wide thinking and enhancement

This paper describes the initial stage of an exploratory investigation in which the authors aim to build course/program-wide thinking into a process aimed at supporting, documenting and sharing technology-rich practices, innovative teaching and active student learning. The investigation uses a remix lens, in an attempt to creatively consider the manipulation of resources and approaches for reuse, while supporting consistency across subjects/units within a course. The authors are working within Deakin University’s Course Enhancement Process, which is a major university-wide initiative that includes a framework of collaborative teams comprising academic and resourcing specialists working with faculty academic leaders. The Course Enhancement Process is flexible in its implementation and the authors aim to use the process to build a sustainable course-wide sharing and thinking approach within the Business and Law faculty at Deakin University, Australia.

Natural fluctuations and gradients in the experimental design:research bias in the field of ocean acidification

These data form the basis of an analysis of a prevalent research bias in the field of ocean acidification, notably the ignoring of natural fluctuations and gradients in the experimental design. The data are extracted from published work and own experiments.

Nutritional intervention program in elite athletes: single case design research with one professional basketball player

The American College of Sports Medicine argues that sports performance is improved with optimal nutrition (ACSM position stand, MSSE 2009, Mar; 41(3):709-31). However, scientific evidence shows that professional athletes do not achieve nutritional recommendations (Farajian et al, IJSNEM 2004 Oct; 14(5):574-85; Shroeder et al EJSS 2004 Jun 4 (2):1; Nogueira & Da Costa, IJSNEM 2004; 14:684-697) Objectives: a) describe the nutritional practices of one professional basketball player b) carry out a long term nutritional intervention to adapt his diet to current recommendations.

Chicken Run: A Chicken-Centred Design Research Project

Chicken Run, an experimental project still in development, sees designers and scientists working together to explore ideas to improve poultry welfare in commercial facilities, applying user-centred design to all key stakeholders: farmer, consumer and chicken. Exploring various aspects of the chicken’s journey from egg to plate, the process has allowed researchers to better understand their needs and to maximise joined-up positive impact. The paper describes the ongoing process where Initial proposals including perches, bales and an app to enable consumers to make the right chicken purchase choices have been developed and tested. Co-authored by leaders of the design and scientific communities involved in the project, the paper describes the issues, design methods used, as well as some of the learning from the cross-disciplinary process. It also provides an update on progress of selected design ideas that are currently being developed with a commercial poultry farm, drawing out the challenges and successes encountered.

Assessment rubrics: towards clearer and more replicable design, research and practice

‘Rubric’ is a term with a variety of meanings. As the use of rubrics has increased both in research and practice, the term has come to represent divergent practices. These range from secret scoring sheets held by teachers to holistic student-developed articulations of quality. Rubrics are evaluated, mandated, embraced and resisted based on often imprecise and inconsistent understandings of the term. This paper provides a synthesis of the diversity of rubrics, and a framework for researchers and practitioners to be clearer about what they mean when they say ‘rubric’. Fourteen design elements or decision points are identified that make one rubric different from another. This framework subsumes previous attempts to categorise rubrics, and should provide more precision to rubric discussions and debate, as well as supporting more replicable research and practice.

The method is design: towards a handbook of design research tactics

New Zealand's schools of architecture are unique in the Australasian context, in that the fifth year of study for students takes the form of a 12-month research thesis. This structure prompts reflection on research through the medium of design, which we will explore here in the context of the Victoria University of Wellington (VUW).

But with recent developments in digital technology, new materials and construction practices, shifts in the client-architect relationship, and architectural practice subject to evermore-onerous procurement models, is the studio model still ...

Perspectives on architectural design research : what matters - who cares - how

Perspectives on Architectural Design Research is a collection of short essays, projects and edited transcripts that offers current perspectives on design research in architecture and aligned disciplines. Contributors include international figures Donald L. Bates, Richard Blythe, Nat Chard, Murray Fraser, Dorita Hannah, Jonathan Hill and Vivian Mitsogianni. What emerges from the multiple perspectives is that contemporary design research – transdisciplinary, multi-scalar and concerning place, people, space and time – provides a collective and subtle mechanism that is propositional and transformative. The shared optimism of the contributors is that this propositional mode of research can be of catalytic value for contemporary culture and society

Introduction to perspectives on architectural design research

If something called ‘design research’ was to begin tomorrow, what might we want it to encompass: how designers design, how they learn to design, what the limits and shapers of design might be? What other aspects of architectural activity should it deal with? Minimally, there is a range of possible social, cultural and environmental matters which could be considered and which certainly impinge on questions of why designing is undertaken and who, or what, it is for. But, such issues were central prior to there being something called ‘design research’. In grumpier moments over two decades it has been tempting to suspect some architects of using the term to fashionably relabel what they do. Enriched accounts, such as the range offered in this book, are required to clarify whether or not it is a useful construct. Since I am a fabricator and make things (up) as a way of designing, let me engage in a little fabricating around design research: tales of its history, present context, and of ideas for its future.

The effective and the evocative : reflecting on practice-led research approaches in art and design

Early in the practice-led research debate, Steven Scrivener (2000, 2002) identified some general differences in the approach of artists and designers undertaking postgraduate research. His distinctions centered on the role of the artefact in problem-based research (associated with design) and creative-production research (associated with artistic practice). Nonetheless, in broader discussions on practice-led research, 'art and design' often continues to be conflated within a single term. In particular, marked differences between art and design methodologies, theoretical framing, research goals and research claims have been underestimated. This paper revisits Scrivener's work and establishes further distinctions between art and design research. It is informed by our own experiences of postgraduate supervision and research methods training, and an empirical study of over sixty postgraduate, practice-led projects completed at the Creative Industries Faculty of QUT between 2002 and 2008. Our reflections have led us to propose that artists and designers work with differing research goals (the evocative and the effective, respectively), which are played out in the questions asked, the creative process, the role of the artefact and the way new knowledge is evidenced. Of course, research projects will have their own idiosyncrasies but, we argue, marking out the poles at each end of the spectrum of art and design provides useful insights for postgraduate candidates, supervisors and methodologists alike.

Ways of telling : research methodology for fashion textiles design

Research methodology in the discipline of Art & Design has been a topic for much debate in the academic community. The result of such avid and ongoing discussion appears to be a disciplinary obsession with research methodologies and a culture of adopting and adapting existing methodologies from more established disciplines. This has eventuated as a means of coping with academic criticism and as an attempt to elevate Art & Design to a ‘real academic status’. Whilst this adoption has had some effect in tempering the opinion of Art & Design research from more ‘serious’ academics the practice may be concealing a deeper problem for this discipline. Namely, that knowledge transfer within creative practice, particularly in fashion textiles design practice, is largely tacit in nature and not best suited to dissemination through traditional means of academic writing and publication. ----- ----- There is an opportunity to shift the academic debate away from appropriate (or inappropriate) use of methodologies and theories to demonstrate the existence (or absence) of rigor in creative practice research. In particular, the changing paradigms for the definitions of research to support new models for research quality assessment (such as the RAE in the United Kingdom and ERA in Australia) require a re-examination of the traditions of academic writing and publication in relation to this form of research. It is now appropriate to test the limits of tacit knowledge. It has been almost half a century since Michael Polanyi wrote “we know more than we can tell” (Polanyi, 1967 p.4) at a time when the only means of ‘telling’ was through academic writing and publishing in hardcopy format. ----- ----- This paper examines the academic debate surrounding research methodologies for fashion textiles design through auto-ethnographic case study and object analysis. The author argues that, while this debate is interesting, the focus should be to ask: are there more effective ways for creative practitioner researchers to disseminate their research? The aim of this research is to examine the possibilities of developing different, more effective methods of ‘telling’ to support the transfer of tacit knowledge inherent in the discipline of Fashion Textiles Design.