methods in design research and practice

Nathan Hollinss3163873Grap 2225, Year 3, Semester II

project proposal 4

literature review 9

project schedule 15

glossary 17

contents

Abstract

Design has one of the most influential effects on the trends of con-sumption and product demand to date. The interaction with the prod-ucts and services that users fund also act as a vote toward the prefer-ence of product they share with the remainder of the global populous. This in turn places phenomenal pressure on designers in regards to the morals and ethics that are addressed as to whether they are to be suc-cessful or not.

It could be considered that deign in the modern age has become more of an arm-wrestle with societal values, rather than guiding society itself. It has become apparent that the drive from modern society to judge a design no longer for aesthetics; but rather its environmental impact, materialisation, and fashion placement, it has force designers to evolve their practice; rather than evolve society. This is where the exploration into the current ethical values in comparison to the past, could become a vital utility in the revolution of design: a necessity to keep the indus-try from becoming primarily public driven. This project will introduce the constraints in which modern designers are confronted with due to the increase of the societal values; directly affecting the possibilities of a designer.

Keywords

Ethical Design, Interaction, Consumer Market, Modern Designer

Body Text

Designers are the driving force behind ethics and social acceptance. What is presented to the consumer is either approved or rejected; but still designers are the ultimatum when it comes to what is presented to the consumer. So why have designers gone ‘soft’ and continue to choose the simple way to achieve ‘success’? Personally, the trend should be about how the designer can control the trends, not society controlling the designer. The specialty tools that were originally exclu-sive to a designer have become readily available to the general public, allowing them to simply address aspects of design, where practiced designers take great time and respect in achieving (Fry, 2009). Is this saying that it is sensible to pass the baton onto someone whom would seem irresponsible with their choices of design? Has pushing the boundaries of design and innovation died out?

When a designer is placed in the position of practice, they have a large responsibility of how the product or system will and could be taken up by consumers. However, in order for one to be a successful design, it needs to be constantly pushing the envelope to provide a unique experience from the existing market. In order to become a successful design something to catch an eye of the consumer, a product needs to be unique; offer something that none other can. In order to do this the product may require to disregard the boundaries of ethical acceptance.

proposal4

This is where designs tend to come unstuck; with the introduction to some controversial aspects that can act against the designers’ will. This is especially important, as it will essentially be the consumers that will take the design to heart, not the designer.

Pending on the market the design is aimed for; there is a general con-sensus as to what is acceptable and what is inappropriate: this has now become the downfall of a designer. You could note that society has become increasingly prudent in regards to their social acceptance in all aspects of life. So how is a designer supposed to be happy and success-ful practicing when there is such a pressure for their work to suit the current market and social prerequisites?

Take humour for an example: a joke works by distracting the moral fibres of the brain with the build up, then shocking it with a comment that would normally leave the person offended; however since these “moral fibres” are distracted, the joke seems funny (Heath & Potter, 2005). Why shouldn’t design act in a similar way? Function has begun to dominate aesthetics; technology to impede with interaction. When it is the design that should be tongue in cheek: the innovation oppos-ing ethics. Yet this can never be the case; otherwise there would be no market.

This presents the question of what is considered to be immoral in a society that is surrounded by obscurities to the norm constantly. How can a designer be innovative without being provocative? Design has become a balancing between acting on consumers’ wishes; and in turn becoming a slave to the economy, and acting upon your personal beliefs and values as to what is perceived as designer. To constantly push that envelope further, one must take into upmost consideration the possible reaction to such obligatory and subliminal products these may be.

It has become strange as to how design has become such a huge driv-ing force behind all of our markets and fashions; yet some still tend to practice for a modern consumer society rather than innovate for those over the horizon. Take the iPod for example; originating from a desire to play digital music for the niche consumer, to become one of the most influential designs and products to this date (Wozniak & Smith, 2006). Whereas the remainder of the market tends to mimic similar features pioneered by the iPod; in effect flooding the market with excess in regards purely to suit the consumer. Revolution is a dying practice. Why should a designer be so concerned about ethics when opposing them is one of the few ways in which to achieve success? It would be due to the fact that society has become so prudent about what can be acceptable, that it has become almost impossible to innovate. History tells that innovation was necessary in order to evolve: why is it not any longer?

What compels a designer to take this path instead of what they are trained to become? Design should be about making a difference to society, providing an alternative to the norm, questioning the existing of our predecessors. Where is the justice in being part of a task force when you can be that very drive? It would be simple to name the revo-lutions in design in the immediate history for the simple fact that there has been little else to contest it: and if it was to try, it was still primarily market driven rather than design influenced. It is time for designers to begin designing again.

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Works Sited:

Fry, T. (2009). Design Futuring: Sustainability, Ethics and New Practice. New York: Berg.

Heath, J., & Potter, A. (2005). The Rebel Sell: How the Countercultue became Consumer Cul-ture. West Sussex: Capstone Publishing Ltd.

Wozniak, S., & Smith, G. (2006). iWoz: Computer Geek to Cult Icon. London: Headline Publish-ing Group.

proposal6

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Abstract

It has become apparent that the consumer society has become one of the major driving forces behinds design: in contrast to the past. This has a huge influence to the innovations and direction in which design is taking; for the fact that it will be the concern of the consumer that will influence the designer. Past instances of innovative design demonstrate the need for the professional designer to remain confident in their con-cepts in order to truly influence the consumer society. However, one could argue that it is due to the increase in the societal awareness of areas such as environmental impact, human rights, in conjunction with existing fashions that allows the consumer society to take charge in the ideals driven by professional designers.

In order to explore the subject of consumer influence to the full extent, a range of design methods need to be adapted to cover the various aspects in which the subject covers. It is wise to begin with the past and analyse exactly how past instances existed and to whether such an influence was evident to the professional designer. To compare not only in a time frame but also the variation in design through cross cul-ture comparisons allows for the demonstration of variations of pressure and influences in which design is forced to take into account. There is also a need to analyse how cultures have controlled or at the very least influenced design trends and fashions.

Body

For a design to become influential, one of the more critical design methods is the prototyping and analysis of being a consumer of the design. In this specific case, this enables to increase the understand-ing as to why consumers feel the need to have such an influence in the

design. I t can also be used as a critique tool in order to find direction in which to improve or redirect these consumer desires. The final, but not restricted to, method that could be utilised would be future forecast-ing: not only the subject in question but the overall spectrum of design itself. This permits the assessment of the directions in which design and design practice is heading, how consumers could influence design practices, and finally whether design can remain a dedicated practice. Each method lends itself to the adequate analysis needed in order to do the subject justice. Using the method of historical analysis allows for the reflection of the existing influences and how they have either driven or constricted design and the practice of design. Practicing designers would have a bias opinion toward the constriction of design from consumers; how-ever it is in fact the consumer that most designers are collaborating for. Past examples of design suggest that the consumer society was driven by the design; where most consumer product designs were controlled by the current trends of the time. Designers were the influence of the time. The journal 12 Different Ways for Companies to Innovate (Sawh-ney, Wolcott, & Arroniz, 2006) suggests that there was a period in which design was seen to be irrelevant to the success or growth of a com-pany. However in contradicting statements from leading businessmen William Ford; there has been an uprising in support toward innovation within design: “From this point forward, innovation will be the compass by which the company sets its direction...” (Ford, 2005) It is not only the automotive industry that is proposing such innovations a necessity; Mi-crosoft CEO Steve Ballmer suggests that “If we don’t innovate, we don’t have new versions. Nobody needs to upgrade. Nobody needs to buy.

literature review9

We have to have a variety of ways to innovate…” (Nobel, 2005)

Where is the point in history where the designer’s influence on the con-sumer suddenly bias toward the consumer society itself? It is suggested with the introduction of products that allow the consumer to control elements of design, design itself has become controlled; and therefore the level of such design has deteriorated. Design Futuring (Fry, 2009) is an interesting example of how to refer to “mistakes in the past” to predict the trends with future forecasting. It is the method of histori-cal analysis that has allowed for not only designers, but consumers to reflect of past trends in order to priorities their preferences in design requirements. Doing cross culture comparison also allows for historical trends in design to become more prominent.

Where cross culture comparisons become effective is when analys-ing the priorities of specific cultural groups in relations to the whole spectrum of society. Specifically with the consumer control of design, it is imperative for a designer to have an in depth understanding of the focal needs of the culture and arrange them as such to what would suit the proposal most adequately. Take a mobile phone for example: would a smart phone that relies on a 3G telecommunications structure be suitable in the middle of the Sahara desert?

One example of where cross culture comparisons have allowed for success is in regard to the Apple iPod: a niche product turned market domination. In the paper No Dead Air! (Bull, No Dead Air! The iPod and the Culture of Mobile Listening, 2005)it is suggested that the theory behind the success of Mobile listening; in particular the iPod, is to allow for the cultural variations and embrace the need to be unique; rather than force a perspective upon a consumer. Bull (2005) uses an alternate technique of placing his argument by having a first-person perspective of the use of a mobile listening device. One could argue this is more like

becoming your own customer rather than a cultural comparison: which is valid but not entirely true. It is the unique capability of the iPod that allows it to become the building blocks that allow various cultures to adapt so easily: “Listening to chosen music enables these iPod users to focus in on themselves. In these situations the music enables users to clear a space for thought, imagination and mood maintenance.” (Bull, 2005)

Rather than looking at the spatial different cultures; The Rebel Sell (Heath & Potter, 2005) looks at the variation between the countercul-ture and the consumer cultures within a western society. Ironically the counterculture does become the consumer culture; but the point is that there are alternate ways in which to conduct a cross culture com-parison. The primary factor of the text demonstrates how the consumer society had indirect control in the form of the designers heading the counterculture movement; which in turn turned into the consumer cul-ture itself: “The idea of counterculture is ultimately based on a mistake. At best, counterculture rebellion is pseudo-rebellion: a set of dramatic gestures that are devoid of any progressive political or economic con-sequences...” (Heath & Potter, 2005) However, this presents the theory in that consumers will always be the constant driving force behind design and the designer world.

For a designer to truly understand the reasoning for consumers to have such an influence, one could suggest the method of becoming your own consumer; applying the product to your lifestyle in order to see how the product would actually scope out in society. Although this could be heavily bias; in regards to usage of the product, nevertheless to actively use the product within their own lifestyle would better suit the corrections that would be in order: if any. A prime example of this is the introduction of public-based applications allowing common us-ers to utilise similar tools in which practicing designers use. However,

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such a practice has been frowned upon by designers due to the fact of literally handing the tools of design over to the consumer without the knowledge of doing them justice.

Fry’s Design Futuring (2009) takes a heavily biased opinion to the latter regarding the allocation of design tools. One can accept the fact that the everyday consumer wouldn’t be necessarily doing any revolution-ary 3D modelling, but what is occurring is the overwhelming flood-ing of design that is becoming superfluous and somewhat lowering the quality of the overall design output. The argument presented is how can the general consumer who has these tools do design justice compared to a full-trained professional. Yet, who is to say that this is to do the design world any harm? One could say that having these tools available actually makes the designer’s task easier.

On the opposing side of the argument is the ideal that the ethics of design practice are ‘improved’ through the allowance of consumers to ‘interfere’ with the design process. This demonstrates the shift in perspective that consumers in modern society have, in comparison to past societal values; as stated by Fry “In essence, humanity has shifted from ‘being in culture’ to ‘being and culture’.” suggesting that modern designers need to take into consideration how the consumer sees both the product itself and the effects they impose on culture. This is an interesting proposition, for the fact that; as previously stated, consumer fashions have until now been majority designer driven.

In saying this, the concept of writing for the subject in which you in-corporate into one’s lifestyle allows for a greater subjective opinion to whether the product is guaranteed success. In reference to the paper Investigating the Culture of Mobile Listening (Bull, 2006) Bull reports the enthusiastic confessions of love and devotion that selected con-sumers have with their iPods: allowing for them to control time and

space like never before. It is found that the convenience of having their entire music collection in their pocket allows the consumer to have control like never before: eradicating the need for the constant change of media. This is “music to the ears” of the designer, considering that Apple’s research is based heavily on user experience rather than genu-ine profit gain.

One could ask how Apple has been able to gain control of a market that had yet to exist. The simple answer was innovation: with the means of innovation being future forecasting. It is imperative for a successful designer to has a means of predicting what trends could be accepted by the general public. This could vary from a simple change of aesthet-ics to a complete innovation or design revolution. The only means in which a designer is able to separate themselves from the remaining market is to predict, or if need be dictate how their product will be responded to: in order to rectify their product to succeed. This method cannot be gained alone from research, but needs to coincide with deliberate actions and responses: instinct if you will. Design Futuring provides an in-depth insight as to importance future forecasting has on design, through the critical analysis of past examples of success and failures of such. One can argue that future design is heavily biased toward environmental consciousness: with the opposing front leaning toward the encouragement of an economical perspective. Instead of attempting to apply a perceptive on this subject, Fry chose to use two case studies to demonstrate that future forecasting has been a value to designers for literally centuries.

Coming from a heavily environmentalist perspective; there was almost a necessity for Fry to use alternate case studies; rather than being an all-guns-blazing environmentalist stand-off.. This is where a modern de-signer needs to consider all perspectives prior to finalising their design. What will become the most critical influences for design in the near/far

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future? There was a large understanding toward climate change prior to the recent societal embracing: some could argue that they were considered.

To conclude; it is evident that a broad variety of texts have either adapted the suggested methods of research or communicated the advantages of using such methods. Each one has a valid reason to be used in conjunction with one another, as well as suggesting that they are at most necessary to dissect the subject; of consumer control of design to it full extent. There shouldn’t be any requirement of prioritis-ing each method, therefore collaboration is in order to gain the most potential out of the methods.

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Works Sited:

Bull, M. (2006). Investigating the Culure of Mobile Listening: From Walkman to iPod. Consum-ing Music Together , 131-149.

Bull, M. (2005). No Dead Air! The iPod and the Culture of Mobile Listening. Leisure Studies .

Ford, W. (2005). Innovation Key to Ford’s Future; Commitment to Hybrids to Grow. (F. M. http://media.ford.com, Interviewer)

Fry, T. (2009). Design Futuring: Sustainablity, Ethics and New Practice. New York: Berg.

Heath, J., & Potter, A. (2005). The Rebel Sell: How the Conterculture Became Consumer Cul-ture. West Sussex: Capstone Publishing Ltd.

Nobel, C. (2005). Ballmer: Microsofts’s Priority is Innovation.

Sawhney, M., Wolcott, R., & Arroniz, I. (2006). The 12 Different Ways for Companies to Innovate. MITSloan Management Review .

literature review13

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project schedule

For the schedule; due to the complexity of the proposal, there was a requirement to do an alternative method of designing a project. For the fact that the proposal stated that there was to be an exploration

to the morals and obligations of a designer, a development of both of the typical consumer market and a niche market product need to be designed; in order to accurately compare the two within a consumer

society. The hypothesis is that the consumer product will be easily accepted by the consumer society; whereas the niche market product

wont be welcomed as much.

BRIEF BRAINSTORMING RESEARCH

OBSERVATION OF CONSUMER MARKET

“DANGEROUS” DESIGN

OBSERVATION OF NICHE MARKET

“SAFE” DESIGN

REVIEW OPPOSING CONCEPT

PROTOTYPE CONSUMER MARKET TESTING

REVIEW OPPOSING CONCEPT PROTOTYPE NICHE MARKET

TESTINGCONSUMER

MARKET TESTING

NICHE MARKET TESTING

week 16

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week 16

REVIEW CASE STUDIES

CONCEPT DESIGN

OBSERVATION OF CONSUMER MARKET

OBSERVATION OF NICHE MARKET

CONCEPT DESIGNREVIEW CASE STUDIES

REFINE BRIEF

PRIORITY ON DESIGN PATH MADE

PROTOTYPING/ENGINEERING

ANALYSE MARKET REACTION

EXHIBITION PRODUCTION

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glossary

Arduino

; an open-source single-board micro-controller, including I/O support, that allows for simple programming to be applied in order to achieve a physical electrical outcome. Idea for experimentation and education due to the minimal cost in construction and distribution of the physical component, as well as the freedom and flexibility of the open-sourse programming software and interface.

Cloud Computing

A virtualised system where various services; in regards to technology usage, is accessed through a network. This is generally split into the fol-lowing categories: • Hardware as a Service (HaaS) • Software as a Service (SaaS) • Platform as a Service (PaaS) The use of the term ‘cloud’ dem-onstrates the ambiguity of the system itself; similar to the internet, in the fact that not one person has knowledge or blueprints of the whole system: they just know it works. Another term for such a system is internet computing; based upon the working of the system relying on the internet network. Such examples of SaaS include Facebook, Google Docs, OnLive gaming and YouTube.

Emissions Trading

an incentive; developed by governments as part of the global civilisa-tion, that allows for the exchange of funds for allowances of emitting pollutants. This in turn forces corporations to reconsider their current practices in order to reduce the total emissions released into both natu-ral and urban environments.

Freelancer

Self-employed and motivated individual whom peruses profitable gain for the short term, through the means of applying newly attained or existing skills to various areas not specific to their original profes-sion. Within design, this occurs regularly; with skills required for some disciplines suitable for work in alternate disciplines. Such work is either charge by hours worked or for final product in lump sum. Such practic-es of disciplines tend to allow variation in ones work, however doesn’t supply a continuous means of income.

Niche Market

A category of a marketplace in which require a specific need or desire in a product/system/service that is a variation to the existing market. Usual cases include modifications to existing designs to suit individual user; right up to a completely new design to serve a similar purpose. Designing within a niche market isn’t a marketplace in which allows for huge turnover or profit; but for exploration to the design market. Also an outlet for non-conformists to be satisfied due to their non-conform-ing ways preventing them from being satisfied with the existing mass-produced products.

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Open Source

; software or hardware that is easily and readily accessible to the gen-eral public, in order to copy, change, extract, and/or adapt, without the need to pay royalties to the parent distributor. Ideally, it acts upon com-munity involvement and contributions in order to evolve and develop. At no point in its lifetime is the code able to be sold for a purchase.

Steampunk

The term itself originating in late 1980’s, was coined to depict a genre inclusive of fantasy and ‘viable’ fiction involving a world in which steam power was still prominent. Often associated with cyberpunk, it is seen as a romanticised engineering society dominated with past technolo-gies such as analogue computers and airships, for example. Modern society sees it as being an art-form; in taking the existing technologies and placing emphasis on the physical mechanics of such. These are expressed through fashion, furnishings, music and living arrangements; with prime culture adoptions include goth, punk, cyberpunk, industrial, gamer and geek.

Virtual Machine

“an efficient, isolated duplicate of a real machine” (Popek & Goldberg, 1974): a system or process in computing that has no direct correlation with physical hardware. System virtual machines share local system resources in order to operate a system; for instance running multiple operating systems. Examples include Apple’s BootCamp, VMWare, and Fusion. Process VM runs similar to an existing application within an OS,

allowing for a universal command to take place regardless of platform. Such examples include Java Script and .NET framework.

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