The Design, Implementation and Outcomes of a Mentoring Program

This paper reports on the design, implementation and outcomes of a mentoring program involving 18 employees in the IT Division of WorkCover Queensland. The paper provides some background information to the development of the program and the design and implementation phases including recruitment and matching of participants, orientation and training, and the mentoring process including transition and/or termination. The paper also outlines the quantitative and qualitative evaluation processes that occurred and the outcomes of that evaluation. Results indicated a wealth of positive individual, mentoring, and organisational outcomes. The organisation and semi-structured processes provided in the program are considered as major contributing factors to the successful outcomes of the program. These outcomes are likely to have long-term benefits for the individuals involved, the IT Division, and the broader organisation

Comparison of the degree of creativity in the design outcomes using different design methods

This work analyses the influence of several design methods on the degree of creativity of the design outcome. A design experiment has been carried out in which the participants were divided into four teams of three members, and each team was asked to work applying different design methods. The selected methods were Brainstorming, Functional Analysis, and SCAMPER method. The `degree of creativity' of each design outcome is assessed by means of a questionnaire offered to a number of experts and by means of three different metrics: the metric of Moss, the metric of Sarkar and Chakrabarti, and the evaluation of innovative potential. The three metrics share the property of measuring the creativity as a combination of the degree of novelty and the degree of usefulness. The results show that Brainstorming provides more creative outcomes than when no method is applied, while this is not proved for SCAMPER and Functional Analysis.

Couture Academy Exhibition : a curation of the story behind a couture design

Research background: The general public is predominantly unaware of the complexities and skills involved in the fashion supply chain (design, manufacture and retail) of couture/bespoke garments. As cited in McMahon and Morley (2011) “While a high price tag is widely accepted as a necessary element of luxury products (Fionda &Moore, 2009) this must be accompanied by a story that gives the items intrinsic as well as extrinsic value (Keller, 2009). Research question: Is it possible to simulate a fashion couture studio environment in a non-traditional public space in order to produce and promote the processes involved in couture designs; each with their own story and aligned to the aesthetic of six collaborating high profile couture fashion retailers? Research contribution: The Couture Academy project allowed the team to curate the story behind the couture design and supply chain process. It was an experimental, curated, ‘hot-house’ fashion design project undertaken in real time to create one-off couture garments, inspired by key seasonal fashion trends as determined by leading Westfield retailers. The project was industry based, with Westfield Chermside as the launch pad for six QUT fashion students to experiment with design nuances aligned to renowned national fashion industry retailers; Cue, Dissh, Kitten D'Amour, Mombasa and Pink Mint. Industry mentors were assigned to each student designer, in order to heighten the design challenge. The exhibition consisted of a pop-up couture workshop based at Westfield Chermside. A complete fashion studio (sewing machines, pattern-cutting tables and mannequins) was set up for a seven day period in the foyer of the shopping centre with the public watching as the design process unfolded in real-time. The final design outcomes were paraded at the Southbank Precinct to a prominent industry and media panel, with the winner receiving a $2000 prize to fund a research trip to an international fashion capital of their choice. Research significance: This curated fashion project was funded by Westfield Group Australia. "It was the most successful season launch Westfield Chermside has ever had from both an average volume for exposure perspective, and in terms of the level of engagement with retailers and shoppers," said Laura Walls, Westfield Public Relations Consultant. Significant media coverage was generated; including three full pages of editorial in Brisbane’s Sunday Mail, with an estimated publicity value of $95,000. And public exposure through the live project/exhibition was estimated at 7,000 people over the 7 days.

Getting to know a stranger-rural nurses' experiences of mentoring : a grounded theory

Background: Mentoring is often proposed as a solution to the problem of successfully recruiting and retaining nursing staff. The aim of this constructivist grounded theory study was to explore Australian rural nurses' experiences of mentoring. Design: The research design used was reflexive in nature resulting in a substantive, constructivist grounded theory study. Participants: A national advertising campaign and snowball sampling were used to recruit nine participants from across Australia. Participants were rural nurses who had experience in mentoring others. Methods: Standard grounded theory methods of theoretical sampling, concurrent data collection and analysis using open, axial and theoretical coding and a story line technique to develop the core category and category saturation were used. To cultivate the reflexivity required of a constructivist study, we also incorporated reflective memoing, situational analysis mapping techniques and frame analysis. Data was generated through eleven interviews, email dialogue and shared situational mapping. Results: Cultivating and growing new or novice rural nurses using supportive relationships such as mentoring was found to be an existing, integral part of experienced rural nurses' practice, motivated by living and working in the same communities. Getting to know a stranger is the first part of the process of cultivating and growing another. New or novice rural nurses gain the attention of experienced rural nurses through showing potential or experiencing a critical incidence. Conclusions: The problem of retaining nurses is a global issue. Experienced nurses engaged in clinical practice have the potential to cultivate and grow new or novice nurses-many already do so. Recognising this role and providing opportunities for development will help grow a positive, supportive work environment that nurtures the experienced nurses of tomorrow.

From valuing design to designing value

This paper presents findings of an embedded action research project within a small to medium sized enterprise (SME). Through the implementation of design-led innovation processes, this research aims to identify the changes experienced in the participating company during a shift in the perspective of design from a product focus towards a strategic focus. Staff interviews and a reflective journal were used as methods to collect data from a range of design interventions that were facilitated throughout the engagement. A shift in perspective of design was evident through three cultural changes within the firm. First, the perceived outcome focus of design became increasingly long-term. Second, the value of design outcomes became less directed towards current projects, and more directed towards future possibilities. Finally, the perceived tangibility of design outcomes shifted from tangible to intangible. For example, design activities which produced customer insights, rather than product features, became seen as beneficial to the firm. These three components are proposed as cultural stepping stones which describe how a company transitions from an exclusively product-focused perspective and utilisation of design towards design as a company based process. Implications of this research provide considerations for designers who are attempting to facilitate a similar transformation within a business in the future.

The Fleet Store : devising a public retail exhibition to promote creative, innovative and sustainable business models for emerging fashion designers

1.Description of the Work The Fleet Store was devised as a creative output to establish an exhibition linked to a fashion business model where emerging designers were encouraged to research new and innovative strategies for creating design-driven and commercial collections for a public consumer. This was a project that was devised to break down the perceptions of emerging fashion designers that designing commercial collections linked to a sustainable business model is a boring and unnecessary process. The focus was to demystify the business of fashion and to link its importance to a design-driven and public outcome that is more familiar to fashion designers. The criterion for participation was that all designers had to be registered as a business with the Australian Taxation Office. Designers were chosen from the Creative Enterprise Australia Fashion Business Incubator, the QUT fashion graduate alumni and current QUT fashion design and double degree (fashion and business) students with existing businesses. The project evolved from a series of collaborative workshops where designers were introduced to new and innovative creative industries’ business models and the processes, costings and timings involved to create a niche, sustainable business for a public exhibition of design-driven commercial collections. All designers initiated their own business infra-structure but were then introduced to the concept of collaboration for successful and profitable exhibition and business outcomes. Collaborative strategies such as crowd funding, crowd sourcing, peer to peer mentoring and manufacturing were all researched, and strategies for the establishment of the retail exhibition were all devised in a collaborative environment. All participants also took on roles outside their ‘designer’ background to create a retail exhibition that was creative but also had critical mass and aesthetic for the consumer. The Fleet Store ‘popped up’ for 2 weeks (10 days), in a heritage-listed building in an inner city location. Passers-by were important, but the main consumer was enlisted by the use of interest and investment from crowd sourcing, crowd funding, ethical marketing, corporate social responsibility projects and collaborative public relations and social media strategies. The research has furthered discussion on innovative strategies for emerging fashion designers to initiate and maintain sustainable businesses and suggests that collaboration combined with a design-driven and business focus can create a sustainable and economically viable retail exhibition. 2. Research Statement Research Background The research field involved developing a new ethical, design-driven, collaborative and sustainable model for fashion design practice and management. The research asked can a public, design-driven, collaborative retail exhibition create a platform for promoting creative, innovative and sustainable business models for emerging fashion designers. The methodology was primarily practice-led as all participants were designers in their own right and the project manager acted as a mentor and curator to guide the process and analyse the potential of the research question. The Fleet Store offers new knowledge in design practice and management; with the creation of a model where design outcomes and business models are inextricably linked to the success of the creative output. Key innovations include extending the commercialisation of emerging fashion businesses by creating a curated retail gallery for collaborative and sustainable strategies to support niche fashion designer labels. This has contributed to a broader conversation on how to nurture and sustain competitive Australian fashion designers/labels. Research Contribution and Significance The Fleet Store has contributed to a growing body of research into innovative and sustainable business models for niche fashion and creative industries’ practitioners. All participants have maintained their business infra-structure and many are currently growing their businesses, using the strategies tested for the Fleet Store. The exhibition space was visited by over 1,000 people and sales of $27,000 were made in 10 days of opening. (Follow up sales of $3,000 has also been reported.) Three of the designers were ‘discovered’ from the exhibition and have received substantial orders from high profile national buyers and retailers for next season delivery. Several participants have since collaborated to create other pop up retail environments and are now mentoring other emerging designers on the significance of a collaborative retail exhibition to consolidate niche business models for emerging fashion designers.

Interpretation of morphological data to inform design Bridge to Bridge: Ridge to Ridge urban design workshop

The importance of design practice informed by urban morphology has led to intensification in interest, signalled by the formation of the ISUF Research and Practice Task Force and voiced through several recent academic publications cognisant of this current debate, this paper reports on a recent urban design workshop at which morphology was set as one of the key themes. Initially planned to be programmed as a augmented concurrent event to the 2013 20th ISUF conference held in Brisbane, the two day Bridge to Bridge: Ridge to Ridge urban design workshop nevertheless took place the following month, and involved over one hundred design professionals and academics. The workshop sought to develop several key urban design principles and recommendations addressing a major government development proposal sited in the most important heritage precinct of the city. The paper will focus specifically on one of the nine groups, in which the design proposal was purposefully guided by morphological input. The discussion will examine the design outcomes and illicit review and feedback from participants, shedding critical light on the issues that arise from such a design approach.

A comparative study of two design charrettes: Implications for codesign and participatory action research

The purpose of this paper is to explore how participatory prototyping, through the use of design charrettes, can advance participatory action research (PAR) approaches and contribute to codesign practices in organisational settings. This will be achieved through the comparison of two varying design charrette experiences from a PAR initiative to redesign spaces in the Auraria Library in Denver, Colorado. Each design charrette followed a three-stage sequence of information sharing, idea generation and prototyping, and prioritisation with each stage building upon the former, both in terms of design concepts and in building up elements of ‘making’. While both charrette structures were similar, leadership and execution varied considerably. Lessons learned from the two design charrette experiences are presented, including the value of participatory prototyping within PAR to support ‘research through design’ activities. In addition, it highlights the value of authentic design participation of ‘designing with’ rather than ‘designing for’ to encourage optimal design outcomes.

Ideas generated in conceptual design and their effects on creativity

Search of design spaces to generate solutions affects the design outcomes during conceptual design. This research aims to understand the different types of search that occurs during conceptual design and their effect on the design outcomes. Additionally, we study the effect of other factors, such as creativity, problem-solving style, and experience of designers, on the design outcomes. Two sets of design experiments, with experienced and novice designers, are used in this study. We find that designers employ twelve different types of searches during conceptual design for problem understanding, solution generation, and solution evaluation activities. Results also suggest that creativity is influenced positively by the type and amount of searches, duration of designing, and experience of designers.

User Generated Content in Researching for Design: How the Internet Supports Creativity

Résumé Cette recherche a débuté avec l’idée que l’Internet est en train de changer la manière dont nous créons des connaissances et du contenu culturel. Notre point de départ était d’utiliser l’Internet afin de rassembler et amplifier plusieurs points de vue dans un processus de design. Une approche complexe a exposé l’Internet comme un système et conséquemment comme une plateforme pour l’innovation. La structure ouverte de l’Internet a soutenu le mouvement participatif des usagers qui ont choisi de partager leurs besoins, leurs désirs et leurs solutions. Notre recherche a pour but d’étudier ce contenu généré par les usagers en ligne et comprendre sa valeur pour les designers. Les usagers créatifs veulent s’exprimer et participer activement dans le processus de design. Notre recherche tente de démontrer que les designers ont beaucoup à apprendre du contenu généré par les usagers car ceux-ci soumettent des éléments qui ont attrait à toutes les étapes du processus de design et révèlent des relations présentes dans la situation de design à l’étude. Pour en apprendre plus sur ce contenu nous nous demandons : Quel type d’information offre le contenu généré par les usagers pour la phase de recherche dans le processus de design. Afin de centrer la portée de l’étude, nous nous sommes aussi questionné si cette information est plus pertinente au design de produits, au design de services ou au design de système de produits et de services. Aspirant aux idéaux du design participatif, notre méthodologie fut développée afin d’apprendre comment le contenu généré par les usagers pourrait influencer le processus de design. Pour ce faire, nous avons choisi de chercher sur l’Internet pour du contenu qui concerne la mobilité via l’usage d’une automobile. Les trois différents types de média considérés étaient les vidéos sur YouTube, les images sur Flickr et les textes sur Blogger. Afin de répondre à notre première question de recherche, nous nous sommes penchés sur deux éléments lorsque l’on recherche pour le design : les espaces de design et les relations de design. Premièrement, nous avons catégorisé le contenu récolté selon l’espace problème, créatif et solution. Deuxièmement, nous avons catégorisé le contenu dépendant de laquelle des relations de design elle démontrait soit une combinaison d’usagers, objets et contextes. Dans le but de répondre à la deuxième question de cette recherche, nous avons examiné trois types V de produits de design : les automobiles privées comme produit, le partage de voiture comme système de produit et de service, et le taxi comme service. Chaque élément pertinent généré par les usagés trouvé dans cette recherche fut catégorisé jusqu’à ce que l’on récolte 50 échantillons pour chaque combinaison de ces variables. Nous en sommes arrivés avec une matrice de 50 éléments de chaque produit de design, pour chacun des médias, puis catégorisé selon les espaces de design et les relations dans le design. Cette recherche démontre que l’Internet, comme médium, produit les conditions avantageuses pour que les usagers partagent de grandes quantités de contenu original et diversifié qui est pertinent aux situations de design. À partir de nos données de recherche, nous avons identifié des tendances dans le contenu généré par les usagers. Notamment, nous sommes en mesure d’affirmer que le contenu généré par les usagers offre de l’information pertinente à la recherche pour le design, et ce dans tous les espaces de design et toutes les relations de design. Il en fut de même pour les différentes issues du design car du contenu sur les produits, les systèmes de produits et de services et les services était présent et pertinent. Bref, nous avons démontré que l’Internet supporte la créativité et conséquemment il y abonde de contenu créatif produit par les usagers. Suivant dans les traces dessinées par d’autres chercheurs en design participatif, cette étude devrait être considérée comme un nouvel exemple des moyens qu’ont les designers pour percevoir les besoins tacites des usagers en leur permettant d’exprimer leurs idées. Alors que ceux-ci créent librement et intuitivement ainsi exposant leurs besoins, solutions et idées, les designers peuvent porter un regard de tierce partie sur les résultats. Jumelant des techniques comme le crowdsourcing et le brainstorming, nous avons créé une nouvelle activité et le néologisme : brainsourcing. En demeurant dans une forme de pratique réflexive, les designers peuvent réfléchir et ajouter au contenu généré par les usagers qui lui n’est pas biaisé par une éducation ou une culture du design. Ce processus est similaire au design participatif professionnel où le brainsourcing est une activité parallèle lorsque le designer fait des recherches pour le design. C’est cette perspective sur la somme des idées des participants qui peut contribuer à comprendre la complexité de la situation de design. VI Cette recherche a aussi soulevé des questions par rapport à l’effet de démocratisation de l’Internet. Bien que les usagers n’ont pas l’éducation, ni les habiletés des designers, ils aspirent à démocratiser le processus du design en voulant participer activement et en exposant leurs besoins, idées et solutions. Nous avons pu déterminer que les usagers n’étaient pas qualifiés pour entreprendre le processus complet du design comme les designers professionnels, mais nous avons observé directement la capacité des usagers à mettre de l’avant leur créativité. À propos de la relation entre les usagers créatifs et les designers, nous avons étudié des langages communs tels les scénarios et les prototypes. Tous deux sont présents dans le contenu généré par les usagers que nous avons récolté dans nos recherches sur Internet. Ceci nous a mené vers une nouvelle perspective sur l’activité du design où des opportunités créatives ressortent d’une conversation avec les usagers. Cette recherche a dévoilé de grandes tendances dans la manière dont les usagers communiquent naturellement dans un processus de design. Nous espérons avoir offert un aperçu de comment les designers peuvent prendre avantage de tous les types de contenu généré par les usagers en ligne. Dans le futur, nous souhaitons que les designers aient la possibilité d’interagir avec les participants en prenant le rôle de facilitateur de la conversation. La responsabilité du résultat ne tombe pas sur les épaules du designer car son mandat est d’assurer le bon fonctionnement du processus. Les designers rejoignent les usagers en ne demandant plus comment les choses peuvent être créées, mais pourquoi elles devraient exister. En tant que designers, nous aspirons à générer plus à partir de nouvelles connaissances, nous aspirons à créer plus de sens. Mots clés: Recherche en design, complexité, design participatif, contenu généré par les usagers, démocratisation, Internet, créativité, crowdsourcing, brainstorming, brainsourcing, réflexion-en-action.

Ergonomics as authoritarian or libertarian: reflections on Ward’s politics of design

Ergonomics is intrinsically connected to political debates about the good society, about how we should live. This article follows the ideas of Colin Ward by setting the practices of ergonomics and design along a spectrum between more libertarian approaches and more authoritarian. Within Anglo-American ergonomics, more authoritarian approaches tend to prevail, often against the wishes of designers who have had to fight with their employers for best possible design outcomes. The article draws on debates about the design and manufacturing of schoolchildren’s furniture. Ergonomics would benefit from embracing these issues to stimulate a broader discourse amongst its practitioners about how to be open to new disciplines, particularly those in the social sciences.

Kids in design : designing creative schools with children

There is a consensus that children should be involved in the planning and design process of their schools, and attempts have been made throughout the world. This paper introduces a ‘Kids in Design’ project, through which primary school children worked with university architecture students to design a school playground. The aim of the project was to encourage the full potential of children’s creativity and generate creative school design outcomes. From October to December 2011, the ‘Kids in Design’ project was conducted in Roslyn Road Primary School (Geelong, Australia). Through eight weeks of workshops, children in Year 5 & 6 worked with architecture students from Deakin University (Geelong, Australia) to design a school playground. Assessing the design outcomes of this project, assertions are made that creative design outcomes have been achieved. Deakin University is currently working with another primary school to replicate the ‘Kids in Design’ project in 2012.

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.