DRS2016 BrightonPhD by DesignSatellite SessionMonday 27th June 2016

Exploring what the future holds for practice-based PhDs

PhDphdbyby

designdesign

foreword!e aim of PhD by Design events is to vocalise, discuss and work through many of the topical issues of conducting a practice-based PhD in design and to explore how these are re-shaping the "eld of design. !ey bring together designers undertaking practice-based doctoral research as well as supervisors to explore the many aspects of knowledge production within and across academic institutions.

!e next PhD By Design event takes place on Monday the 27th June 2016 and is part of the Design Research Society (DRS) conference which runs on the 28th - 30th June 2016 at the University of Brighton. In connection to the DRS conference, this one day event will explore what the future holds for design research and how this future is being enacted through practice-based PhD design projects right now.

Some questions we seek to explore are:

!e event activities are designed to provide a supportive and engaged environment in which to share practices, experiences, dilemmas, failures and doubts in order to contribute to the wider practice-based design research community. !roughout this event at DRS, we will generate questions in relation to the future of design research which we will put forward to the DRS community during the conference that follows. Answers to these questions will be published at the end of the DRS conference as part of the PhDy by Design Instant Journal #3. We look forward to an energising PhD by Design day and an intense DRS week with you,

DISCUSSANTSAlex Wilkie

Bill Gaver

Cameron Tonkinwise

Guy Julier

Jonathan Chapman

Joanna Boehnert

Ramia Mazé

Rebecca Ross

Terry Irwin

Tobie Kerridge

ORGANISING COMITTEEAlison Thomson

Bianca Elzenbaumer

Maria Portugal

LOCAL ORGANISING TEAMAlessandro EsculapioGiovanni MarmontLilian SanchezMerryn Haines-Gadd

CHAIRSCaroline Claisse

Dimeji Onafuwa

Li Jönsson

Moritz Greiner-Petter

Nicola Gray

Sarah Pennington

Søren Rosenbak

keynotes, discussants & team

participants Aditya Pawar

Amro Yaghi

Anna Spencer

Anne Corlin

Bob Groeneveld

Boudewijn Boon

Bridget Harvey

Cally Gatehouse

Camilla Groth

Caroline Yan Zheng

Caterina Giuliani

Claire van Rhyn

Dave Pao

Fiona MacLellan

Heather McKinnon

Helena Sustar

Hyosun Kwon

Ilka Staudinger-Morgan

Janaina Barbosa

Jari-Pekka Kola

Johanna Kleinert

Joseph Lindley

Jules Findley

Kaajal Modi

Kakee Scott

Kensho Miyoshi

Laura Popplow

Laureline Chiapello

Louise Ravnløkke

Mia Hesselgren

Michael Stead

Mila Burcikova

Miriam Ribul

Mylene Petermann

Neslihan Tepehan

Patrizia D’Olivo

Pauline Gourlet

Philippa Mothersill

Preethi Rajaprakasam

Ralitsa Diana Debrah

Rebecca PartridgeSheffield Hallam University

Rebecca TaylorLancaster University

Robert DjaelaniNorthumbria University

Ruth NeubauerLoughborough University

Stefanie ReichMuthesius Academy of Arts and Design

Steve ColemanCardiff Metropolitan University

Tanja RosenqvistUniversity of Technology Sydney

Tanveer AhmedOpen University

Tessa DekkersDelft University of Technology

Tobias MullingUniversity of Brighton

Tom JenkinsGeorgia Institute of Technology

Trine Højbak Møller GøttscheDesign School Kolding

Vasiliki TsaknakiKTH Royal Institute of Technology

discussantsAlex WilkieGoldsmiths, University of London@alexwilkie

Dr Alex Wilkie is the Director of the MPhil/PhD programme in Design, Co-Programme Leader of the MA: Interaction Design and Co-Director of the Centre for the Study of Inven-tion and Social Process. He has been working at the intersection between design and science and technology studies (STS) for over sixteen years.

Bill GaverGoldsmiths, University of London@wgaver

Bill Gaver is Professor of Design and co-director of the Interaction Research Studio at Gold-smiths, University of London. His research on design-led methodologies and innovative tech-nologies for everyday life led him to develop an internationally recognised studio bringing the skills of designers together with expertise in ubiquitous computing and sociology.

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Cameron Tonkinwise Carnegie Mellon University@camerontw

Cameron Tonkinwise is the Director of Design Studies and Doctoral Studies at the School of Design at Carnegie Mellon University. He also directs the School of Design’s Doctoral research program. Cameron has a background in philos-ophy and continues to research what designers can learn from philosophies of making, mate-rial culture studies and sociologies of technol-ogy. His primary area of research is sustainable

design. In particular, he focuses on the design of systems that lower societal materials intensity, primarily by decoupling use and ownership - in other words, systems of shared use.

Guy JulierUniversity of Brighton/V&A Museum@guyjulier

Guy Julier is Professor of Design Culture and the University of Brighton/Victoria and Albert Museum Principal Research Fellow in Contem-porary Design. His books include New Spanish Design, the !ames & Hudson Dictionary of Design since 1990, !e Culture of Design and he is also the co-editor of Design and Creativity: Policy, Management and Practice. Previously a Visiting Professor at the Glasgow School of Art

and the University of Southern Denmark, his academic work includes the de-velopment of Design Culture Studies as a scholarly discipline alongside strat-egy work for the AHRC and other organisations on social design and public sector innovation. Since 2012, he has convened the V&A’s Design Culture Salon.

Ramia MazéAalto Univeristy

From August 2015, I am appointed Professor of New Frontiers in Design at Aalto Univeristy to pursue a programmatic vision in “Designing Our Common Future”. As a researcher, educa-tor and designer, I specialize in critical and par-ticipatory approaches to design for systems and products that alter social practices and public life. While design is traditionally formulated in relation to industry, my work explores the ex-

pansion of design roles in society.

Rebecca RossCentral Saint Martins@handsinmachines

Rebecca Ross leads the MA in Graphic Com-munication Design at Central Saint Martins. Her work engages with the ways in which im-ages, media, and data, are actively intertwined with the built environment as well as the design of academic practice. Her project London is Changing, was displayed on digital billboards around Central London during 2015. Ross is founding co-editor of the Urban Pamphleteer

(since 2013) and is currently working on a book about postcodes and ad-dressing.

Joanna BoehnertUniversity of Westminster@ecolabs

Joanna Boehnert is a design practitioner, theo-rist and researcher concerned with the visual communication of complex information. As a practitioner she uses images and digital technol-ogies to address complex problems on issues of the environment and social justice. Joanna is a Research Fellow in Graphic Design at CREAM at the University of Westminster. In 2013-2014 she developed the Mapping Climate Com-

munication research project while employed as a Visiting Research Fellow at the Center for Science and Technology Policy Research (CSTPR) in the Cooperative Institute for Research in Environmental Sciences (CIRES) at the University of Colorado Boulder.

Jonathan Chapman University of Brighton@iamjchapman

Jonathan Chapman is Professor of Sustainable Design and Director of Design Research Initia-tives at the University of Brighton. Best known for his concepts of emotional durability in de-sign, Professor Chapman’s work seeks to reveal the behavioural phenomena that shape patterns of consumption and waste. His research into sustainable design – and product life extension in particular – has advanced product design

and business thinking in a range of settings, from Sony, Puma and Philips to the House of Lords and the UN.

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Terry IrwinCarnegie Mellon University@Terry_Irwin

Terry Irwin is the Head of the School of Design at Carnegie Mellon University and has been teaching at the University level since 1986. Her research is in the area of design for society and the environment. In particular it explores how principles and behavior of living systems and Goethean Science can inform a more appropri-ate and responsible way to design.

Tobie KerridgeGoldsmiths, University of London@tobiewk

Tobie has worked as a design researcher since 2003, with the Interaction Research Studio and as a Helen Hamlyn Research Associate. He is committed to taking a collaborative and speculative approach to design, and in provid-ing empirical and critical accounts of that prac-tice. Tobie’s PhD thesis provided an empirical analysis of Material Beliefs, where speculative design and public engagement with science and

technology become mixed up, and he is able to supervise PhD students deal-ing with complimentary topics.

Alison ThomsonGoldsmiths, University of London@somehow_related

Alison started her doctoral studies in the De-partment of Design at Goldsmiths in October 2012. Her practice-based PhD explores how de-sign-research can re-do ‘the patient experience’ considering the multiple realities of Multiple Sclerosis and its ontological politics. A core em-pirical part of this involves working as a Visiting Researcher with Professor Gavin Giovannoni and the Centre for Neuroscience and Trauma

at the Blizard Institute, Queen Mary, University of London. !rough using performative design-led interventions, the research is uncovering the various ontologies of Multiple Sclerosis at play in the outpatient clinic at !e Royal London Hospital, in the Neuroimmunology Group at the Blizard Institute and at international scienti"c conferences. !is practice-based research hopes to expand on the potential implications for design research in studying enact-ments of MS through proposing alternative service interactions.

Bianca ElzenbaumerLeeds College of Art@bravenewalps

Bianca works as a Research Fellow at Leeds Col-lege of Art. She currently develops the partici-patory action research project Precarity Pilot. In 2014, she completed her doctoral degree at the Design Department at Goldsmith. Her practice-based thesis investigated the political economy of design and explored the potential of peer-to-peer activities to enable structures that support the resilience of socially and politically engaged

design practices. Since 2005, Bianca has worked with Fabio Franz as the col-lective as Brave New Alps. Here, she produces design projects that engage people in discussing, rethinking and intervening in social, political and envi-ronmental issues.

Maria PortugalGoldsmiths, University of London@mariajgportugal

Maria began her doctoral studies in the Design Department at Goldsmiths in 2012. She is ex-ploring how designers can create new pedago-gies and practices, extending the design actions towards political literacy and apathy/alienation during the current "nancial (and social) crisis. Previous to her studies at Goldsmiths, Maria completed her Masters in Urban and Political Space and worked as a designer at the School of

Arts and Design in Oporto, Portugal. Here, she investigated contemporary approaches to political experience and social participation within suburban spaces. Maria continues to work as a designer with academic communities and collaborative projects - she is currently working on a cancer research col-laborative project with Institute of Molecular Pathology and Immunology of the University of Porto#Ipatimup (Portugal).

organising comittee

local organisingteamAlessandro EsculapioUniversity of Brighton @thealessandroe

Alessandro is a writer and PhD candidate at University of Brighton. His research examines fashion practices that reframe fashion objects as sites of personal memory. !e aim of the study is to expose deeper social purposes that are over-looked within dominant consumerist narratives in fashion. Before undertaking his doctoral re-search, Alessandro obtained an MA in Fashion Studies from Parsons the New School for Design

in New York. !ere, he worked as Teaching Assistant at both undergraduate and graduate levels and co-founded BIAS: Journal of Dress Practice. He has contributed to Vestoj and the Journal of Design Strategies among others, and co-authored the books Just Fashion: Critical Cases of Social Justice In Fashion (2012) and !e Fashion Condition (2014).

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Giovanni Marmont University of Brighton @giomarmont

Giovanni is a doctoral researcher at the Univer-sity of Brighton, School of Arts and Humanities, since 2015. He is also member of the University’s Critical Studies Research Group and his practice-led research is AHRC funded through the De-sign Star CDT Consortium. Having completed an MA in Design at London’s Central Saint Martins, Giovanni’s current work is concerned with design intended as a critical practice, with

a particular emphasis on its political and philosophical dimension. His doc-toral research revolves around the nature and ethical implications of persons-artefacts encounters in the context of quotidian activity. !e study ultimately seeks to propose design objects as performative tactics for the enactment of an alternative practice of the everyday.

Lilian Sanchez-MorenoUniversity of Brighton @LilianSMoreno

Lilian is a designer and Doctoral researcher at University of Brighton, School of Arts and Hu-manities. Her practise-based PhD explores the discourse of design as a mode of contemporary practise, with particular attention to the articu-lation of design research and practice within ‘social design’. !e practice-led elements of the research, will investigate the genealogy of design methodologies within a political and economical

context, for the enhancement of public services, and policy design. Previous to her studies at University of Brighton, Lilian completed a master’s degree in Design History and !eory, at the National Autonomous University of Mex-ico in Mexico City. Her work in design includes, collaboration with the Insti-tute for the Development of Crafts, in conjunction with local communities in the north of Mexico, for the promotion of traditional crafts in the region.

Merryn Haines-GaddUniversity of Brighton @mezhgcom

Merryn is a designer and PhD researcher at University of Brighton. Her practice based re-search is an industry led, AHRC funded col-laboration between University of Brighton and Philips Lighting. !e main focus of the project is to explore the integration of Emotionally Du-rable Design, Service Innovation and Circular Economy thinking into the new product devel-opment process of consumer lighting with this

study building upon the foundation research carried out by Philips, TU Delft and Jonathan Chapman. !is work draws from her previous experience as a graphic designer within innovation consulting, her time as a product and furniture designer/maker but also her Masters in Design and Innovation for Sustainability from Cran"eld University, where she managed and completed other industry focused projects in product development with Oxfam GB and Whirlpool LAR.

chairsCaroline ClaisseShe!eld Hallam University@carolinaclaisseI am currently doing a practice-led PhD at She$eld Hallam University where I am using tangible technologies to prompt audience engagement at heritage sites. I use research through design to investigate the potential of tangible interaction in encouraging personal, tangible and multi-sensory engagement with heritage. Previously, I graduated from the Royal College of Art (2014) and worked on in-terdisplinary exhibition design projects for cultural institutions including MoMA (US) and Historic Royal Palaces (UK).

Moritz Greiner-PetterAcademy of Art and Design FHNW Basel@jammersplitMoritz Greiner-Petter studied Visual Communication at the Berlin University of the Arts where he graduated with a diploma in 2012. He worked as student as-sistant at his faculty’s Studio Class New Media and as designer for the Fraunhofer Society, Department for Responsible Research and Innovation in Berlin. Since 2013 he is junior researcher at the Institute of Experimental Design and Media Cultures, Academy of Art and Design FHNW in Basel.

Nicola GrayGoldsmiths, University of LondonMy research and design practioner roles intertwine on a daily basis. While working in design agencies in London, I have witnessed design graduates struggle to secure their "rst roles. My PhD explores this notion; the transition of design students from higher education in the United Kingdom into and during their entry level roles within UK design agencies, and secondly to determine if design graduate transition has become de"ned by internships.

Sarah PenningtonGoldsmiths, University of London@penningtondownsI have been working in Interaction Design Research since 2000, in practice-led research environments at the Royal College of Art and Goldsmiths. !is studio practice involves inventing research approaches and doing research through design – making speculative digital objects that groups of participants live with to enable insights on the role of technology in our lives. My recent Masters in Curating Contemporary Design focused on the curation of speculative design.

Søren RosenbakUmeå University@srosenbakSøren Rosenbak is a design researcher currently pursuing a PhD in design as criti-cal practice at Umeå Institute of Design in Sweden. His research revolves around the question of how pataphysics can infuse and advance a critical design practice. As part of the research programme Prototyping Practices, Søren is exploring this research question through the prototyping of a pata-design practice.

Dimeji OnafuwaCarnegie Mellon UniversityMy research focuses on design’s impact on initializing, maintaining and contribut-ing to a commons. It explores how collaboration may amplify community strength in di%erent contexts, and how it may contribute to larger scale societal transitions to sustainability. Secondary considerations are the bene"ts or costs to contributing to a commons, implications of a exiting a commons, the theoretical and practical situation of recommonsing, as well as the agency of the designer.

Li Jönsson "e Royal Danish Academy of Fine ArtsMy research interests are driven by developing designerly speculative interventions, and thereby making proposal into the world. In my PhD-thesis I staked out the contours of what a non-anthropocentric position in design might be. Design, I be-lieve should participate by shaping or re-con"guration new agencies - rather than responding to demands or to ‘just’ satisfying needs. As a design researcher I contribute to the broad "eld of interaction design. More speci"cally, to participatory design as well as speculative design, where scholars and knowledge of science and technology, anthropology, feminist technoscientists, amongst others, meet.

satellite session

0800-0830

Building Entrance

REGISTRATION AND BREAKFASTTea, co%ee & pastries

0830-0900

Lecture Hall

MESSY INTRODUCTIONS90 seconds per participant

WELCOMEPeter Lloyd, DRS

PBD Organising Team

0900 - 1015

LUNCH1215 - 1330

DESIGNING QUESTIONS FOR DRS1530- 1700

Lecture Hall

DISCUSSION SESSIONS 10 groups of 6 presentations (5 minutes each)

led by a chair and a discussant

1015 - 1215

COFFEE BREAK1500 - 1530

WORKSHOPS6 workshop sessions

1330 - 1500

1700 - 1730

Lecture HallPRODUCE THE INSTANT

JOURNAL CALL1800

Lecture Hall

PLANS FOR THE NEXT DAYS AND WRAPPING UP

Following the main event on Monday 27th June 2016, PhD By Design will not lose momentum, extending its presence throughout the rest of the DRS Conference. From 28th to 30th June 2016, we will relocate to the mezzanine of Brighton Dome where the PhD By Design HUB will be set up in order to continue our activities and the work on the Instant Journal #3. !e HUB will be a welcoming social space with an additional daily programme of workshops* and conversations. So come over and join us for some lively design and research led workshops or to relax and network with other DRS delegates. See you there!

hub

COMMON GROUND INHEALTHCARE RESEARCHbridging perspectivesbetween healthcare and design research

Tuesday 28th 1115 - 1245

SOMEBODY ELSE’S PROBLEMa session of problem’sexchange around thetheme of healthy working environments

Tuesday 28th 1400 – 1530

DESIGNER STORY MAPPINGmap the designer’s experience

Wednesday 29th 1600 - 1730

TODAY’S AND TOMORROW’S design researcher reinventing the intersection

Thursday 30th 1115 - 1245

From the 28th to the 30th of June 2016 (until 4pm) we are accepting contributions for the third edition of our Instant Journal. You can "nd our call for participation at the DRS registration desk or online on our website. You can email or tweet your contribution at or @phdbydesign (please indicate the question number).

*!e descriptions of the Hub workshops are on page 41 of the programme.

Lecture Hall

toilets stairs

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lift

stairs

Seminar102

MainSpace

floor plan

PhD By Design DRS University of Brighton (City Campus)Edward Street buildingFloor 1

Seminar103

Seminar104

Corridor

Design PhDs in economic transitionKakee ScottDimeji Onafuwaf

Pictures or it didn’t happen: creatively documenting practice based researchCally Gatehouse

messy introductions 0900 ! 1015

messy intro group 1chair Alison "omson

messy intro group 2chair Maria Portugal

Aditya PawarAmro Yaghi Anna SpencerAnne CorlinBob GroeneveldBoudewijn BoonBridget HarveyCally GatehouseCamilla Groth

Caroline Yan ZhengCaterina GiulianiClaire van RhynDave PaoFiona MacLellanPauline Gourlet Heather McKinnonHelena SustarHyosun Kwon

Ilka Staudinger-MorganJanaina BarbosaJari-Pekka KolaJohanna KleinertJoseph LindleyJules FindleyKaajal ModiKakee ScottKensho Miyoshi

Laura PopplowLaureline ChiapelloLouise RavnløkkeMia HesselgrenMichael SteadMila BurcikovaMiriam RibulMylene PetermannNeslihan Tepehan

Patrizia D’OlivoPhilippa MothersillPreethi RajaprakasamRalitsa Diana DebrahRebecca PartridgeRebecca TaylorRobert DjaelaniRuth NeubauerStefanie Reich

Steve ColemanTanja RosenqvistTanveer AhmedTessa DekkersTobias MullingTom JenkinsTrine GøttscheVasiliki Tsaknaki

workshops 1330 ! 1500

Prototyping Design Research Tools Soren RosenbakAditya Pawar

Post-doc Survival Bianca ElzenbaumerJoanna Boehnert

Tacit KnowledgeDorotea OttavianiAlice BuoliCecilia De Marinis

“Step Into My Shoes”:What constitutes good supervision?Helena Sustar

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discussion sessions 1015 ! 1215

session 1discussant Jonathan Chapmanchair Merryn Haines-Gadd

Louise Ravnløkke

Mia Hesselgren

Michael Stead

Mila Burcikova

Miriam Ribul

session 2discussant Joanna Boehnertchair Dimeji Onafuwa

Anne Corlin

Bridget Harvey

Heather McKinnon

Kakee Scott

Preethi Rajaprakasam

session 3discussant Rebecca Rosschair Soren Rosenbak

Aditya Pawar

Amro Yaghi

Anna Spencer

Ilka Staudinger-Morgan

Janaina Barbosa

session 4discussant Alex Wilkiechair Li Jonsson

Bob Groeneveld

Dave Pao

Patrizia D’Olivo

Rebecca Partridge

Robert Djaelani

Tessa Dekkers

session 5discussant Bill Gaverchair Lilian Sanchez-Moreno

Boudewijn Boon

Camilla Groth

Laura Popplow

Rebecca Taylor

Steve Coleman

Trine Højbak Møller Gøttsche

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session 6discussant Tobie Kerridgechair Giovanni Marmont

Cally Gatehouse

Joseph Lindley

Mylene Petermann

Neslihan Tepehan

Vasiliki Tsaknaki

Ruth Neubauer

session 8discussant Guy Julierchair Sarah Pennington

Helena Sustar

Johanna Kleinert

Ralitsa Diana Debrah

Stefanie Reich

Tanja Rosenqvist

session 7discussant Terry Irwinchair Nicola Gray

Caterina Giuliani

Claire van Rhyn

Fiona MacLellan

Pauline Gourlet

Tanveer Ahmed

session 9discussant Cameron Tonkinwisechair Moritz Greiner-Petter

Jari-Pekka Kola

Jules Findley

Kaajal Modi

Laureline Chiapello

Tom Jenkins

session 10discussant Ramia Mazéchair Caroline Claisse

Caroline Yan Zheng

Hyosun Kwon

HCIKensho Miyoshi

Philippa Mothersill

Tobias Mulling

workshops descriptions 1330 ! 1500

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Prototyping Design Research Tools Soren RosenbakAditya Pawar

In this workshop, we propose that design research needs to activelythink about designing research tools and procedures as part of theresearch process. Following from this a number of questions arise:

Post-doc survival Bianca Elzenbaumer

Joanna Boehnert

With the academic and industry-based research environment "rmlyembedded in neoliberal politics, precarious working environments areaa problem even for those who manage to complete a doctorate. In many countries, early career academics face harsh prospects with low wage, insecure sessional teaching work and precarious fractional contracts. Post-docs are vulnerable in times of extreme cost cutting measures by universities. We can work hard and hope to get that elusive permanent position that pays a living wage – but many of us feel like we can’t a%ord to risk the precarious work that we might have by campaigning for better conditions.In this workshop we discuss working conditions for designers and design researchers. We will start with a panel that will discuss post-doc working conditions. !is panel will catalyse a collective conversation on survival as an early career design researchers.

Design PhDs in economic transitionKakee ScottDimeji Onafuwa

A momentum is gathering in practice-based design PhDs thatcoincides with shifts in the economic landscape of the design professions and design education. Indeed, practice-based designPhDs are navigating new territories for design practice that willinform future directions for design disciplines. Many connectionscan be made between paradigm shifts happening in design and ineconomic activity and thought. Design PhD candidates are oftencompelled to address these parallels in their research, and like designpractitioners working in projects in which potential impact is entangled with concerns of economic change, they face conceptualand intellectual challenges for which conventional design disciplines are ill-equipped and which newer design disciplines,like social and speculative design, are struggling to incorporate intopractice. Economic principles encoded within and performedthrough design practice — such as productivity, pro"tability,cooperative organization or capitalization — are to varying extentspromoted, endorsed, accepted, taken-for-granted, resisted, subverted or challenged by designers in their work.

“Step Into My Shoes”:What constitutes good supervision?Helena Sustar

In the "rst part the participants with the same background (PhD candidates /supervisors) are working in groups of maximum of4 people answering the question “What constitutes a good supervision?” however from the position of di%erent roles supervisors in the role of PhD candidates and the other way around.Participants are examining question from the perspective of time,di%erent stages of the PhD study etc. for 30 min while drawing ecology map. Prompt questions and cards are used during this process. In second part participants change their positions, now groups consists of two supervisors and two PhD students, whichthey are examining service ecology map from previous group withadding their own thoughts. !e result of this 30 min session is list of key points describing “What constitutes a good supervision?”.After 5 min break each group present their work to all participantsat the workshop. Discussion in the each group can be recorded for the future analysis. At the workshop can attend no more than 20participants. !is workshop requires the space big enough for 5 tables, 20 chairs and a projector.

Pictures or it didn’t happen: creatively documenting practice based researchCally Gatehouse

!is workshop will creatively explore how the documentation of the design research process is used in the construction of knowledge. !is workshop seeks to explore whether autoethnographic methods can be applied or adapted to practice based research. Autoethnography is a research method that ‘uses a researcher’s personal experiences to describe and critique cultural beliefs, practices, and experiences’. Autoethnography is also a creative practice with researchers considering the process of writing central to the process of inquiry. By applying this idea to practiced based research, can we expand how we understand and share our research outcomes? In this workshop we will interrogate how design researchers ‘perform’ documentation and creatively explore how documentation can inform inquiry. Participants are asked to bring an example of documentation from their research process as a starting point for discussion about how we use texts, photographs, drawings, audio recordings and video to document research. From there we will creatively explore the ways in which we could use documentation as an integral and active part of thedesign research process.

Tacit KnowledgeDorotea Ottaviani

Alice Buoli

Cecilia De Marinis

!e premise of creative practice research is to make explicit knowledwhich is perse tacit in creative practice. !is tacit knowledge is a &exibleand dynamic realm of knowledge which is hard to grasp, as it is something hidden, invisible to the eye of the practitioner but exists withintheir practice. It is something that exists at the level of the subconscious,an unspoken, silent and subjective form of knowledge, embedded inpractice. Tacit knowledge could be described as an intuitive and heuristicthinking related to the operational and experiential aspects of the practice. It could be also de"ned as the mental space of perception and memory, built through our spatial intelligence. !e PhD by designis a process of awareness concerning the tacit knowledge embedded inthe practice. !erefore, the PhD could be seen as a journey of discoverythrough the implicit dimensions of the creative practice.

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Aditya PawarWWW.UID.UMU.SE/ADITYAPAWAR @ADIPAWAR

questionHow can we continuously re#ect and self-analyse of our design research practices as they unfold during the PhD research?

a!liationUmeå Institute of Design, Umeå UniversityDesign ResearchSweden

research

I am a PhD student at the Umeå Institute of Design working on the broad topic of social design. My research is focused on participatory design with publics around socio-political issues. Prior to this, I worked as a service design consultant at the School of Busi-ness and Economics, Maastricht University where I researched the making of an open innovation environment and at Philips where I worked as a people researcher.

My PhD research questions the tactics we need today for solving social problems by working with place-based communities and publics on local matters of concern. Within this situated practice, I focus on a research program to investigate the design researcher’s open-collaborative practices. Not only to critically evaluate the concept but also to propose a shift in research practice from modes of studying people or bringing them into the design process to collective doing and making. !e two main experiments that I am running currently are titled rather self-explanatorily as - ‘Cultivating food and community’ and ‘Making as caring, repair and maintenance’. !e "rst project takes the format of a participatory public festival and the second as a series of workshops and conversations. Both projects recognise open collaboration as forms of so-cial relations and the design task as processes of form-ing socio-material (and political) relations.!e expected outcome of the PhD is a practico-theoretical toolbox, which can be used for teaching designers and mobilized further by other actors.

bio

keywordsParticipation, Openness, Food

participants

questionHow can the issue of social exclusion and inequality in public space be addressed?

a!liationUniversity of She!eldSchool of ArchitectureUnited Kingdom

I am currently a Ph.D. candidate in the School of Architecture at the University of She$eld. Research questions relating to diversity, politics and inequality and how these can be addressed through spatial practice. I obtained an M.A. Urban Design from Oxford Brookes University in 2014 with a research topic “Delivering urban design qualities on the ground level in high-rise development”. I am a member of Globalisation and Spa-tial Practice in the Architecture Department at the university of She$eld.

How can the issue of social exclusion and inequality in public space be addressed? !e degree of inequality varies from one city to the next. In-equality is strongly related to the political agenda, where complete equality within a capitalist society is di$cult to achieve. !e need to understand the social structure, space and politics of a city has become more signi"-cant. !is research investigates the issue of social exclusion in public space through performance. !e methodology aims to address and map the dif-ferent factors that led to inequality and social exclusion; whether it is the unequal citizenship policies, ethnic minorities as refugees, or the uneven distribution of resources. Performance in public spaces helps break the barrier between the public and the researcher. !e performance for this case study involved carrying a sign saying “I am a public space, talk to me” and visiting four spaces in Amman, Jordan. !e outcome of this perfor-mance o%ered the opportunity to observe and map the exclusion for cer-tain ethic groups in each space, address the factors that create the exclusion in those spaces and explore peoples desires for the spaces.

keywordsInclusive public space, Inequality, Performance

questionHow can design practice better embody principles of self-balance towards more sustainable methodologies?

a!liationGlasgow School of ArtInstitute of Design Innovation - Creative Campus CohortScotland

Anna has recently begun a practice based PhD by cohort in design in-novation exploring how contemporary expressions of traditional storytell-ing practices can challenge the dominate narrative. Her research builds on professional experience of co-commissioning and co-production with young people across the arts, cultural, social and health sectors. Anna has a MA in Community and Youth Work from Durham and a BAHons in English Language and Literature from Newcastle University.

!is practice-led research focuses on the role of storytelling in sharing ex-perience and understanding in the ‘gateway’ communities of the Scottish Highlands and Islands. Design will o%er new perspectives on the impor-tance of a strong local voice and identity in fostering home-grown activ-ism which can o%er a viable alternative to dominant narrative. Looking to the traditions of oral history and the bard in society, consideration will be given to contemporary articulations of these practice within marginal communities whether those be geographically or socially de"ned. !is will include the collaborative development of an emergent language and vo-cabulary to better communicate the aspirations for the potential futures of the local community.With a commitment to proximity, both physical and relational this re-search will explore the overlapping individual stories which form the fab-ric of the community and how universal values can be drawn from these speci"c experiences. Based within an evolving methodology which val-ues creativity, informality and participatory practice this research will be meaningfully engaged with its context and maintain a dialogue between the unique aspects of locality and new understanding which has a wider relevance. !is research is part of the Creative Campus cohort in the High-lands and Islands.

keywordsStorytelling, Communities, Challenging Dominant Narratives

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Amro Yaghi Anna Spencer @ ANNALOUSPENCE

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Anne Corlin

questionHow can design tools function as mediators in a translation about values and preferences between respondents and the researcher?

a!liationDesign School KoldingWellfareDenmark

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Anne is educated architect in 2008. After 5 years in practice, she was hired as scienti"c assistant at the Design School Kolding, working with artistic development project in the laboratory for social inclusion. !e projects here were all focusing on people in relation to the physical environment and how the surroundings a%ects our behavior. !e interest and knowl-edge gained from the projects continues in the present PhD project.

!e PhD project is named Place Making |Makers, - focusing on the re-lationship between people and places and the foundation for interaction between people in a city. !e project is a collaboration between Design School Kolding and Kolding Municipality. It will try to contribute to the understudied gab about urban places in relation to social sustainability (Colantonio, 2013) exploring pivotal design parameters in development of urban places that support the social life in a city. Hypothesising that both humanistic and physical design parameters are crucial and must support each other. !e physical design parameters describes the granted function-al interest, which can create the foundation for more or less interaction be-tween the citizens in a city (Stauskis and Eckardt, 2011). Combined with humanistic parameters concerning how place attachment (Altman and Low, 1992, Relph 1976) and place identity (Novak, 2015) are referring to how people relate to the place and how theys identi"es themselves with a place, which entails the ´genius loci ´and the narrative (Bøhme, Gauntlett, Jessop a.o). !e project is having a general explorative research approach triangulating both anthropological research methods, research by design and action research methods.

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keywordsSocial sustainability, Design parameters, Interaction

questionWhat is the potential of customer pro$ling in designing tai-lored health care solutions?

a!liationDelft University of TechnologyDepartment of Industrial DesignNetherlands

Graduating cum laude at Delft University in 2013, Bob wrote and con-tributed to several conference papers detailing the methods and results of his graduation project. With these insights he also provided input to the European healthcare think tank Epposi.Meanwhile, he participated in an education and business traineeship, building bridges between these worlds (Dutch equivalent of Teach First.) He has also developed and hosted visual thinking workshops in various settings.

Healthcare needs innovative solutions to keep meeting societal demands e%ectively and e$ciently. To facilitate this innovation, a collaboration of Delft University of Technology and stakeholders from a hospital, design agencies, and industry was set up. Within this collaboration we will de-velop resources to design solutions that are tailored to a patient’s needs, abilities, or context. We have taken the patient journey of a hip replace-ment (Total Hip Arthroplasty or THA) as a case study. My project integrates patient pro"les into the design of a tailored THA patient experience. A fellow PhD student (Tessa Dekkers) will compose these pro"les. Complementing her project, I will "rst look at the state-of-art in tailored healthcare in scienti"c literature as well as design practice. I will then focus on two design case studies, detailing conceptual design propositions and adapting them to suit various patient pro"les. Finally, I will share my lessons learned with design agencies, and if possible I will study how they use these recommendations.

keywordsTailoring, Healthcare, Method development

Bob GroeneveldWWW.BSGROENEVELD.NL @BSGROENEVELD

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questionWhat are (potentially) good ways to re#ect on personal ac-tions and experiences as a ‘practice-based design researcher’ in order to generate methodological support for fellow design researchers?

a!liationDelft University of TechnologyIndustrial DesignNetherlands

I have a bachelor’s degree in industrial design (BEng) and master’s degree and industrial ecology (MSc). My master thesis was about going beyond ‘Design for Sustainable Behavior’ towards designing for ‘the good life within ecological means’. After graduating I worked as a research assis-tant of Prof. Dr. Pieter Desmet. I’m now part of the Delft Institute of Positive Design, the Connected Everyday Lab, with my workplace in the ID-Studiolab.

In my research I’m interested in what stimulates young children to engage in physical play during hospitalization. My particular focus is on young children with cancer. Using a ‘research through design’ approach, I de-velop concepts while viewing children’s hospital environments as potential ‘playscapes’. !rough multiple design research iterations, design artefacts are introduced into real life hospital settings. As my PhD shifts from ex-plorative to validative, the artefacts play di%erent roles. !ey are ‘instan-tiations’ of a design perspective I’m developing, ‘interventions’ in "eld studies, ‘provocations’ in stakeholder discussions, and "nally ‘hypotheses’ to be tested. My work is part of the project ‘Meedoen=Groeien!’ (i.e. ‘par-ticipating is growing’).

keywordsResearch "rough Design

Boudewijn Boon Bridget HarveyBRIDGETHARVEY.CO.UK @BHMAKES

questionHow can repairing become embedded into owning, making and doing, so ‘to repair’ becomes a ‘$rst thought’ rather than thought of the past?

a!liationUniversity of the Arts LondonCamberwell College of ArtsUnited Kingdom

I research process, materials, and social actions through making. !is re-sults in artefacts such as A Jumper to Lend (2014), exhibited in Textile Toolbox (touring), Sides to Middle (Mending Revealed, Bridport Arts Centre, 2016) and curatorial works such as !e Department of Repair (Camberwell Space, January/February 2015), exploring repair as material and social action through exhibits, workshops, and talks (eg, Research-ing Making/Making Research (Aarhus); Making Futures (Plymouth) both September 2015).

My practice-based research aims to understand the uses, possibili-ties and applications of repair as a strand of environmentalism. Conceptually and materially, repair has methods/systems peculiar unto itself, and can be considered both a social and political move-ment. Breakdown often stimulates innovation, and repair develops current understandings, new views and sense of place. I address the ‘decisional burden’ of repair (Graham and !rift, 2007) as a user activity, service, and as community. I am interested in do-mestic, analogue objects of everyday life. !rough my expanded design practice I use practical and artistic repairing, exploration of repaired objects, anecdotes and life writing, and volunteer work, to assemble repair as an action after, and potentially before, damage. Exhibiting, curating, and facilitating workshops, I use experimen-tal and situational methods to test and develop repair pathways, visibly encouraging practical action and active choice in others.I am contributing to repair narratives for the post-abundance era, and the emergent repair movement. Stewart Brand (1997) states that material maintenance is learning: I posit repair as being ma-terial, social and environmental learning. !ese connections ‘de-garbage’ materials and knowledge, (Rathje and Murphy, 2001; Scanlon, 2005), rede"ning ownership, choices, values and power. !is I call Repair !inking.

keywordsRepair, Making, People

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questionHow do we “validate” the practitioners view in a subjective research setting?

a!liationAalto University, School of Arts, Design and ArchitectureDesign DepartmentFinland

Trained as a potters apprentice for 3 years before conducting a Ba, and Ma in ceramics and glass at Aalto University later Royal College of Art. Cur-rently "nalizing my doctoral thesis that includes a practice-led case study. !e study is part of the Handling Mind project funded by the academy of Finland. Main interests lie in embodied cognition in design practice and relates to research on the design process.

It is in the interest of design research to get access to and articulate the em-bodied knowledge of skilled practitioners. !e embodiment of skills and materials is evident in professionals, and the theoretical and conceptual work on the issue of embodiment is sophisticated but there is still little empirical research applying the work to documented design practices. !e use of Practice-Led research methods have become increasingly common among practitioners in art, craft and design who wish to document, re&ect and research on their own practice. !ree case studies form the basis of my study. !e "rst case involves ceramic workshops with deafblind makers. !e second case involves a Practice-Led study on tactile augmentation. !e third case is examining the role of the body in students’ material ex-ploration process.

keywordsEmbodied cognition, Design practice, Future research methods

Camilla Groth

questionIs there an alternative to blind peer review that can better sup-port the development of practice based work?

a!liationNorthumbria UniversityMedia and Communication Design DepartmentUnited Kingdom

I am currently a graduate tutor at Northumbria University, combining teaching Graphic Design with a part-time PhD. Previously, I have in an MA Communication Design from Central Saint Martens, focusing on the growth of socially organised publishing practices and have worked as a freelance graphic designer and researcher.

My PhD aims to investigate how critical graphic design can contribute to the understanding and future development of public spheres. !e focus is on public spheres that combine physical and digital space and in giv-ing people the means to re&ect upon and actively participate in building spaces and platforms for their social and political lives.Digital screens, touch sensors, wireless networks, and other interfaces are bringing a new layer of communication to urban environments around the world. But as these technologies become a integral part of the fabric of the city, it is important to look at them through a critical lens. What kind of discourse will be promoted by these cities built of networked bits and atoms? Whose voices will be lost? What social interactions will be discour-aged? Whose worlds will be pushed to the margins?My research addresses these questions through critical design practice: I employ the tools, processes and strategies of communication design as a method of inquiry. My practice is focused on building experimental ‘micro-publics’ as a way to explore and re&ect upon the current state of networked public spheres but also as a means to imagine and build alter-natives.

keywordsCritical design, Networked publics, Communication design

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Cally GatehouseWWW.CALLYGRAPHY.CO.UK @ CALLYGRAPHY

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questionHow could embodied interaction facilitate everyday re#ection?

a!liationRoyal College of ArtInformation Experience Design, Fashion&TextilesUnited Kingdom

I have been working with creative quanti"cation of emotion and manifest the data in tangible forms since 2013. My current PhD research questions the role of technology in mediating intimate emotional relations through designing of interactive interfaces between body and space. In doing so the research also explores new resources space for creative practice. I have delivered workshops on creative emotion tracking and e-textile in UK and my work exhibit internationally.

Technology, in particular physical sensing, a%ective computing and con-nectivity o%er new opportunities of making connections and getting knowledge of the body and human emotion. At the same time, they also intervene in the intimate space of emotional relations between people and between body and space. Machines and responsive materials in bodily spaces programmed with humanoid behavior and synthetic emotions are being developed at a fast pace. How could design practice facilitate re&ec-tion through embodied interaction?By focusing on non-linear, cross-modal magni"cation of emotion and ki-netic, physical embodiment in space, my research explores novel employ-ment of emotion data from physical sensing as a source of non-verbal communication and live performance. By projecting embodied emotion into space to form a kind of material reality, the research also re&ects a tangible sense of the extended body, enabled by digital technology and the boundaries between body and space in digital mediated environments.

keywordsEmbodied interaction, Tangible embodiment, Emotion

Caroline Yan ZhengFEUETBOIS.NET/ @_CAROLINE6868

Caterina Giuliani

questionCould co-design processes empower communities to take back commons?

a!liationUniversity of She!eld!e School of ArchitectureUnited Kingdom

Caterina is a PhD student at the School of Architecture, the University of She$eld. Her work encompasses topics at the intersession of radical education, design and participatory processes. Before moving to She$eld, she had worked in di%erent European cities as a designer, illustrator and educator. In her design practice, she conceives projects that stimulate peo-ple (often children) in re&ecting upon critical issues and in participating to processes of change.

Informed by radical pedagogies and militant research’s theories and meth-odologies, my research wants to explore how I could use the tools I have acquired as a designer to develop a bottom-up participative strategy able to encourage children to re-appropriate their urban environment and to question the concept of “learning”.Having worked in schools and community spaces for many years as a de-signer educator, I experimented by "rst hand that both inside and outside formal education there are few occasions for children to participate in very transformative processes of knowledge and subject production, as well as to engage with their urban environment. In the context of a social reality atomized by capitalist system is extremely di$cult for a child to use public spaces in safe and &exible ways, to participate in everyday social activi-ties and to have a say in decision-making processes (Ward, 1978): with less spatial freedom and fewer "nancial resources children are most hit when the commons get depleted (Beunderman, 2014). Could co-design processes help children in taking back commons? How could it empower them in unveiling hierarchies and power structures within their urban en-vironment?

keywordsParticipation, Radical Pedagogy, Commons

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questionA broader perspective in this research is the disparity between design thinking and the current thinking with in the NHS, which is top-down control with little bottom-up contribu-tion. How can design, from a grassroots perspective, provide evidence that in#uences policy-making?

a!liationRoyal College of ArtInnovation DesignUnited Kingdom

Dave is a practising doctor in the "eld of sexual health and HIV medicine. He is also a PhD candidate in Innovation Design at the Royal College of Art. His research centres around the doctor-patient consultation, and how applying design thinking to the development of the Electronic Patient Re-cord interface may lead to deeper, broader conversation.

Central to my research is the electronic patient record (EPR), which could be considered a vital shared memory in the doctor-patient relationship. Inherent in the recent change from paper to electronic patient records (EPR) has been a seismic shift in the healthcare players these records serve, away from the clinician and towards the administrator. !is di%erence in perspective has created immense di$culties for clinicians, and conse-quently patient care. Drawing parallels between Carl Rogers’ human-centred approach to psy-chotherapy and collaborative design methodology, Dave’s research ex-plores what electronic medical records (EPR) might look like if created by clinicians using design thinking. For example, what a%ordances have been lost from paper and what has yet to be exploited from digital? Can we take concepts from seemingly disparate "elds such as cinematography, cartography and quantum physics to design an EPR that nurtures rather than disrupts the intimate, interper-sonal experience of the medical consultation?Furthermore, what impact will such an artefact have not only on the con-sultation but on clinician wellbeing (self-determination theory: autonomy, competence, purpose)?Other theoretical perspectives include conversation theory, visual theory, UX, distributed cognition, tacit knowledge. Methodology includes digi-tal prototyping, iterative design, semi-structured interviews and co-design groups.

keywordsElectronic Patient Records, Conversation, Wellbeing

Dave Pao@ DRDAVEPAO

questionWhat role can practice-based design research play in connect-ing PhD researchers to the world outside academia?

a!liationRoyal College of ArtInformation Experience DesignUnited Kingdom

Claire is a designer, researcher & educationalist: with a background in#publishing#design & art directing, &#10 years experience working with school#communities#on understanding &#incorporating#creative processes in learning. She# teaches internationally on the role of perception & the senses in artistic process, from the perspective of eastern philosophy. Claire has participated in research projects with Universities of Cambridge, Ex-eter & Roehampton, & is currently a PhD candidate at the Royal College of Art.

My research is fundamentally concerned with the transmission of culture and mechanisms of change in social settings. It is premised on an explora-tory approach to communication design, with the objective to develop post-qualitative modes of expressing rapid change in complex social sys-tems.# Speci"cally, my research focuses on the# role of# sensory aesthetic transmission: a process#of#embodied#transmission and#sensory#recognition of culture. !e project#explores the role of sensory aesthetic transmission in aiding rapid cultural change in education.As a practice-based research project the research will operationalise, ana-lyse, and present "ndings through experimental communication design practices. I am instigating a number of interactive probes, observations and participatory design#workshops situated in#schools, as a means to ex-plore and contextualise educational transitions. Media include# moving image and projection design, digital-material#installations and prototypes, performances,#artefacts and compositions.#

RESEARCH QUESTIONS:How can sensory aesthetic & embodied modes of cultural transmission in complex social systems be investigated & expressed through experimental design practices? How can the insights leveraged from developing such post-qualitative modes & models of design impact understanding of the dynamics of social change & help people adapt to processes of rapid transition?

keywordsSensory Aesthetics, Cultural Transmission, Mechanisms of Change

Claire van Rhyn@ CLAIRE_VANR

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questionHow can design researchers focus more on dissemination across disciplines?

a!liationGlasgow School of ArtCreative CampusScotland

Fiona Jane MacLellan has studies at Glasgow School of Art, Köln In-ternational School of Design and ENSCI-Les Ateliers. With experience in empirical research, service design, future "ction and innovation, her methods are a mix of sociology and design. At present, she is working in the innovation department of the government agency, Skills Development Scotland, while also beginning her PhD with the Creative Campus on the future of education.

With high-speed connectivity from rural settings and advances in digital technologies, the reach of innovation is expanding to new grounds. Edu-cational bodies are readily adopting technological advances with sight to the future, and yet there is an undercurrent calling for attention to be paid to how the sweeping modernisation of services can a%ect that which is resistant to being digitalised.!is practice based research inquiry looks to realise how school networks and designers can work together to shape innovative learning experiences, and how speculative design methods can be adapted to enable dissemina-tion of preferable futures for the region.!e design and dissemination of speculative artefacts hopes to enable engaged dialogues between communities and educationalists and these artefacts shall be contextualised through creative documentation of the so-ciocultural impact of schools within a rural community of the Highlands of Scotland.

keywordsRural education, Slow digital movement, Policy by design

Fiona MacLellanCARGOCOLLECTIVE.COM/FIONAMACLELLAN @ FIABC

Heather McKinnonWWW.URBANINFORMATICS.NET/

questionWhat are practical ways to overcome the apparent conundrum between conducting speculative and exploratory design re-search, and wanting to collect data to evaluate impact?

a!liationQueensland University of TechnologyUrban Informatics Research LabAustralia

Heather is a PhD candidate in the Urban Informatics Research Lab in the School of Design, at Queensland University of Technology. She is a designer/researcher with a background in interaction design and human-computer interaction. Her research interests cover environmental sustain-ability in everyday urban environments, focusing on modern mundanity. Her PhD is conducted using a lens of speculative design, and employs design-led research methods to investigate implications of everyday re-source use.

Sustainable Urban Futures: Finding Design Value in Modern Mundanity. Situated within the "eld of interaction design and HCI, my design- led research is concerned with the development of ongoing creative and adapt-able approaches towards everyday sustainability in urban environments. Within the context of everyday life lie the mundane, ordinary rhythms and patterns that make up our days. Many writers and theorists such as Michael de Certeau, Georges Perec and William H. Whyte emphasise the value and potential that lies in the study of these mundane activities, sug-gesting that the critique of everyday life is vital to the continual question-ing of our existence. My research seeks to address this space, focusing on everyday sustainability. !is study seeks to explore the mundane realities of everyday urban life in detail, identifying opportunities for design to creatively contribute to a sustainable future. !is research builds upon past design interventions, contextual examples, design philosophy and literature. Grounded in the philosophical concept of defuturing and coupled with the critical area of undesign, this research uses design-led methods such as cultural probes and design artefacts to explore modern mundanity in greater detail.

keywordsSustainability, Undesign, Modern mundanity

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questionHow can we, as a researcher capture and document our ideas and intuition that involved in the design/making process. Can we ever claim the intuitive breakthrough as a part of knowl-edge in our Ph.D. thesis?

a!liationUniversity of NottinghamSchool of Computer ScienceUnited Kingdom

Hyosun Kwon is a PhD student at Mixed Reality Lab, in the University of Nottingham. Previously, she studied Industrial Design for BSc and MSc in KAIST, South Korea. Her research area lies in HCI and speci"cally inter-ested in designing interactive tangible artefacts. For her PhD research, she is investigating ephemeral materials and phenomenon, and how the no-tion of ephemerality can be harnessed in the design of interactive products or services that would permeate into our daily life.

We encounter numerous transient and &eeting phenomenon from nature. Some of them are especially appreciated and valued for their limitedness. Although the design of computing applications and interactive systems have been inspired largely by our real world objects and interactions (e.g. TUIs), the notion of ephemerality has been overlooked from the main-stream of HCI and Ubiquitous Computing. Only recently, HCI has started to adopt the notion of ephemerality in the design of interactive installations or ambient artefacts that employ the properties of ephemeral materials (e.g. fog, soap bubbles). !roughout this Ph.D., I focus on peo-ple’s attitude and experience when tangibly interacting with the materials. In so doing, I attempt to design tangible artefacts with ephemeral materi-als that embody delicacy and subtlety. Moreover, this Ph.D. pursues an in-depth investigation into the context where the ephemerality would play a vital role both conceptually and physically.

keywordsInteraction design, Ephemerality, HCI

Hyosun Kwon@ DREAMER_HYO

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questionHow can practice based-design contribute in developing new forms of governmental systems, structures and services that are more responsive towards future societal changes?

a!liationAalto UniversityDepartment of DesignFinland

Dr. Helena Sustar is postdoctoral researcher at the Aalto University, De-partment of Design. She is responsible researcher working on TEMWISIT research project that focuses on improving immigrant services across the entire Finland. !is is collaborative project between the Ministry for Em-ployment and Economy, the Centre of Expertise on Immigrant Integra-tion, and the Aalto University. She is also teaching service design on BA level and at the Aalto Open University.

Helena Sustar’s design research interest the last three years had been focus-ing on societally and scienti"cally signi"cant phenomenon of immigrants, governmental systems and services. Deserti and Rizzo state that are the current models of public services characterised by asymmetrical power of relationships between the end user and service provider who has knowl-edge and administrative resources and it is therefore in the control of ser-vices. !is way the service provider remains in a superior position towards the end user who acts as a receiver of the service provider’s actions. !is way service actions &ow from the organisation towards the people, often in vulnerable positions such as immigrants, who cannot choose between di%erent services provides. Helena is questioning current governmental (immigrant) systems, structures and public services where system think-ing and problem solving overpower empathy towards people who are part of the system, service delivery or use. She studies scenarios that include the human centred design perspective, co-design and empathic design approaches to enable sharing experiences of otherwise opposite sides of policymakers, decisionmakers, service providers and end users. Helena is speci"cally interested in the role of empathy and the human centred de-sign in three di%erent scales: systemic, organisational and human.

keywordsGovernmental public systems & services, Human centred design, Empathy

INTEGRATION SERVICES

IMMIGRATION SERVICES

BEFORE COMINGTO FINLAND

POLICY MAKERS & DECISION MAKERS

SERVICE USERS

Helena Sustar @HELENASUSTAR

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questionWhat are the main challenges of linking theoretical lenses and practice based design explorations and how can they be addressed?

a!liationUniversity of Technology Sydney / University of WuppertalSchool of Design / School of Art and DesignAustralia / Germany

Before starting my PhD research I worked as a lecturer in Design Studies/ Interdisciplinary Design at the University of Technology Sydney (UTS). Prior to this role I worked as a designer in branding and visual communi-cation. I studied Design at the Fachhochschule Köln and I hold a Master by Research in Design from UTS.

I explore how designed things participate in Corporate Social Responsibil-ity (CSR) and its negotiation of issues in the public sphere. !e starting point for this research is the recognition that designed things take part in assemblages that are in&uential in establishing or shifting human percep-tions and practices. Designed things can play a largely rhetorical role, or can be active catalysts for change.CSR constitutes a murky ethical terrain. It has been critiqued as distract-ing from, rather than addressing, the negative externalities generated by established industrial and commercial processes. Initiatives such as the purchase of electric vehicles for a company &eet may seem to deliver mar-ginal good when set against the carbon footprint of the corporation as a whole. However to dismiss CSR in this way misses the complex nature of change, and the potential for apparently insigni"cant shifts to set in train signi"cant recon"guration.My research draws on Actor-Network !eory (ANT) to better understand designed things as actors within CSR. !e theoretical understandings that I arrive at will inform a series of practice-based design explorations. !ese experimental visualisations explore ways of communicating the complex agency of designed things and their role in shaping ethical dispositions and orientations to issues.

keywordsAgency of design, Corporate social responsibility, Public sphere

Ilka Staudinger-Morgan

questionHow is it possible to deal with the boundary between the practice-based design research and the practice based on col-laborative initiatives where everybody creates, designs and solves problems?

a!liationUniversity of AveiroCommunication and Art DepartmentPortugal

Janaina Barbosa has a MSc. in Design, being currently a Phd candidate developing qualitative research that relates the aesthetics with processes of commoning in urban design practices. With a background in anthropol-ogy and "ne arts, her previous work entails ethnographic research con-ducted in rural communities in Brazil, analysing the production of mean-ings in handcraft objects and practice-based art research discussing gender and cultural issues in the production of subjectivities.

!is Phd project investigates how does design practices are helpful in cre-ating transitional spaces that enable processes of commoning. !e concept of commons is explored aiming to "nd the position of design in bottom-up collaborative practices that strive to build more autonomous systems where ideas, feelings, products and services are shared with less depend-ence of the economic system. Co-creation processes are examined in the "eld of Participatory Design, Design for Social Innovation and Design Ac-tivism. In this sense, this study argues that the development of innovative solutions and horizontal forms of participation requires transitional spaces of mediation in which bottom up and top down perspectives are con-fronted in decision making processes. !us, the objective of this research is to develop an model of analysis to design practices for communing, including factors of engagement, collaboration and empowerment, which will allow design research to visualize opportunities in future scenarios for design practices.!e methodology is based on the qualitative analysis of multiple case studies located in two di%erent social contexts: one develop-ing country, Brazil, and a European country, Portugal. !e selected case studies reveal di%erent situations of practices for communing, being pos-sible to identify the role of design, its weaknesses and opportunities.

keywordsCommoning processes, Aesthetics, Empowerment

Janaina BarbosaCARGOCOLLECTIVE.COM/JANAINATELES @JANAINATBTELES

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questionHow does basing on practice in#uence knowledge assessment, ethics and social positioning of design research and its ques-tions?

a!liationAalto University School of Arts, Design and ArchitectureDepartment of DesignFinland

I am an industrial designer with a craft background and lutherie knowl-edge along with musical education, which grants me the possibility to collide the more intimately context aware craft practice with mainstream design tenets in exploring the intellectual conditions of designing. I am partway through the PhD with over 75 percent of the studies done and three years of work experience in, other than practice-based, design re-search.

My research investigates the intellectual conditions of designing taken as a form of cultural reproduction in order to critique and inform the expand-ing societal role of design practice. !e research proceeds through two-fold methodological framework of practice-based design research drawing mainly from material culture studies and philosophy of technology and adopts design and lutherie of plucked musical instruments as its vehicle of investigation and observation unit, and an autoethnographic analysis of the process drawing mainly from phenomenology and critical theory. For carrying out its critical objective the research adopts the concept of fo-cality as a perspective and a condition contrasting with mainstream design thinking from which to see the lutherie practice and to re&ect mainstream designing. Focality being characteristic of a practice that makes no sepa-ration between means and ends, tradition and the present, the cognitive and the ethical. !is contrasting condition for designing is investigated in three interdependent modalities, understanding, enacting and analysing that respectively mean tackling theoretical conceptualization pertaining to combining focality and design, as an embodied and material practice shedding light on the thinking in action in the practice, and as analysis of the private and social implications of the knowledge learned through the research.

keywordsFocality, Design, Lutherie

Jari-Pekka Kola

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questionWhat do we want our food production to look like in the future?

a!liationTUM Technische Universitaet MuenchenFaculty of Architecture | Chair of Industrial DesignGermany

Johanna studied industrial design in Stuttgart, Paris and Milan. Since 2013 she works as a research associate in Munich, where she is teaching in the master’s course of industrial design and working on her PhD. In practice, Johanna is interested in ceramics, paper and wood. Her preferred "eld of design is the kitchen. !is links to her research topic: In her PhD she investigates the naturality and arti"ciality of food.

In my research, I investigate fruit and vegetables as designed and mass produced objects. I am interested in the materiality of fruit and vegetables, especially in their visual qualities. I am asking how those visual qualities are linked to meanings. How does good quality look like when it comes to an apple? How does naturality look like when it comes to a tomato? !e outer appearance of fruit and vegetables underlies norms and stand-ards. How are these standards constructed? Which vegetables do not cor-respond to the standards and why? How is this deviation interpreted? Breeding is the development of new forms of plants, so it can be under-stood as a design activity. What are the interests and the goals of breeders? What physical outcomes do they strive for? I am working with qualitative interviews with di%erent stakeholders of the production chain of fruit and vegetables: I am listening to breeders, grow-ers, merchants and consumers, hoping to "nd out their perspectives on the naturality and arti"ciality of fruit and vegetables. As we are facing increase in population, food production needs to be re-thought. With my research I want to contribute to the debate on what really is important to us considering future food production.

keywordsBiofacts, Food, Materiality

Johanna KleinertWWW.BIOFAKTE.DE

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questionCan the ongoing debates around design epistemology, speci$-cally about the value of ‘research through design’, be recon-ciled with debates about the value of speculation, in order to establish a consensus around ‘the epistemology of speculative design’?

a!liationLancaster UniversityHighWire Centre for Doctoral Training United Kingdom

Prior to embarking on my PhD I had professional experience as an art-ist, musician, manager in a healthcare organisation, and as a analyst and developer working with web technologies. My doctoral research applies a ‘research through design’ approach to understanding design "ction and speculative design.

Design "ction is an increasingly popular and fashionable technique. When I began my PhD I intended on applying the method to understand cryp-tographic currency like Bitcoin. Quickly, however, I realised that design "ction was a nascent and emerging practice and my PhD presented an opportunity to research the method itself. As Bruce Sterling, the person who coined the term design "ction, said: “”the best way to understand the many di$culties of design "ction is to attempt to create one””.

Hence I am applying a research through design approach to addressing these very general questions:What is design "ction? What can be achieved with design "ction? How is the best way to achieve that?

Practically speaking I have considered a range of emerging technologies (e.g. Robotics, Internet of !ings, Cryptographic Currency) and created works of design "ction about each of them. !rough the practice of mak-ing them, ongoing re&ection, and desk-based research, I use these case studies to address the questions above.

keywordsDesign $ction, Speculative design, Research through design

Joseph LindleyJOESART.ORG @JOEGALEN

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Jules FindleyJULESFINDLEY.TUMBLR.COM @ JULESFINDLEY

questionHow can research into hand made paper in#uence practice-based design research in future?

a!liationRoyal College of ArtFashion TextilesUnited Kingdom

Jules Findley’s practice emerges through looking at bereavement and the emotions that contribute to this life changing event. Studies in bereave-ment have led to questioning in-depth areas of contemporary funeral rites, as well as sensitively exploring death Research ideas from the wider context of grief and domesticity are conceptually formed through asking questions and in installations raising public awareness.

My research is examining grief using the material of paper. My research has looked at the emotional aspects of bereavement, those associated with af-fect such as grief, sorrow, despair, depression, anxiety, anger, guilt, among others expressing these feelings through experimenting with handmade paper and using display as a methodology in exhibition. In my investiga-tions into bereavement this has led to questioning in-depth areas of con-temporary funeral rites, as well as sensitively exploring death, the maternal and how mothers carry the grief of their loved ones through detachment theory. One of my research questions asks if it is possible to connote these emotions as feelings ‘through’ paper or perhaps it’s ‘with’ paper, examining raw edges, tearing, and ripping. In the making of hand made paper, the process of making by hand naturally leaves an uneven edge at the ends of each piece of paper; it is thinner more fragile than the more dense paper in the middle. !e edge started to become an important part of the research into grief using the material of paper after a process of examining ripped fabric and ritual. New work emerges for exhibition, public interaction and examining sensitive issues to generate discussion. Funereal garments have been apart of this enquiry, and have looked at possibilities of preparation for death using bespoke methods in practice. Work is generated through mixed methods using a critical framework that can be cross-disciplined, and cross-cultural. !e work is usually but not exclusively generated using a fashion and textiles grounding from "ne art roots, which could mean drawing, collage, stitch or "lm to create installation outcomes.

keywordsPaper, Mourning, Grief

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questionWhat transdisciplinary tools are available to us as designers and design researchers that can allow us to expand and evolve the theory and practice of design into a more emancipatory and inclusive globally- and culturally-situated practice?

a!liationLoughborough University, LondonInstitute of Design InnovationUnited Kingdom

Graphic designer and social practitioner with over seven years professional experience working across lifestyle, political and culture brands world-wide, as well as an individual practice that incorporates textiles, digital and print media as a means to collaborate and research towards social trans-formation. Recently graduated from the Glasgow School of Art with an MDes in Design and Citizenship, my research interests lie in the intersec-tions between design, culture and politics, with a particular focus on how we as designers and citizens can employ a transcultural and intersectional understanding of the world in order to negotiate the ethical complexities of our profession.

In my PhD I seek to examine and deconstruct the role of design as a discipline and of the designer as cultural intermediary (Bourdieu, cited in Maguire and Matthews, 2014) in order to create a more active politi-cal engagement by designers and design educators with the formation of design practices and hybrid and radical forms of design(ing), making and educating. We live in a time of major political, economic and ecological upheaval, and our discipline must re&ect on the conditions, both material and otherwise, within which we are practicing. If, as Tony Fry claims in his seminal Design Futuring, “the forms of exchange within capitalism and ecological systems are incommensurate” (Fry, 2009), where does that leave design as an fundamentally capitalist practice?By locating this project at the intersection of design and culture studies, it is hoped that we can reconcile a temporal and critical understanding of the world with an ethical praxis of design, both as a conceptual and historical formulation and a material and geographical practice. By doing so, this project seeks to identify and amplify the socio-cultural aspects of design as a politically active process within an ongoing ontologically and episte-mologically situated historical narrative of power relations, and asks the question: is it possible to reclaim design tools to act for the emancipation of global citizens from the increasingly pervasive reach of the dominant hierarchies and hegemonic structures of the capitalist hetero-patriarchy (Spivak, 2012)?

keywordsTransdisciplinarity, Transculturalism, Transformation

Kaajal ModiCITIZENSHIPDESIGN.WORDPRESS.COM/ @ KAAJMODI

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questionWhether, how and who we should recruit (as) new entrants into practice-based design research from the disgruntled and undervalued margins of disciplines outside design, for whom intervention is a primary controversy?

a!liationCarnegie Mellon UniversityDesign DepartmentUSA

Prior to PhD studies at Carnegie Mellon University, Kakee Scott taught design research, sustainability and consumption studies at Parsons the New School for Design, and was program director of Strategic Design and Management for the Paris campus. She holds an MSc in Industrial Ecology from TU Delft and Leiden University and a BA from Wesleyan University, and has worked 15 years in sustainable design consulting, non-pro"t organizations, and independent research.

My research develops collaborative, experiential forms of speculative de-sign and incubations of alternative practices as means to engage diverse audiences in thinking about and developing alternative economics. I am working in a range of collaborative projects on: alternative clothing prac-tices; recon"gurations of work, skills, values and relationships; the com-mons, co-creativity and boundary-shifting; everyday or ‘dispersed’ acts of design, as in body-based or ad-hoc practices; and considerations of design as the choreography of social practices.

keywordsStrategic design research, Alternative economics,Collaborative economic futuring

Kakee ScottDESIGN.CMU.EDU

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questionWhereas practice-based approach is relatively new in the context of design research, it seems to have inevitably been applied in engineering to develop its fertile body of knowledge since the birth of the area. Given that engineering has made its progress by borrowing, as it were, the languages of natural sci-ence for its research activity, what corresponds to the language of design research to help establish its own rigour? Could design research form its formulas to construct its knowledge and solve the dilemma of uncertainty...or is it necessary in the $rst place?

a!liationRoyal College of ArtInnovation Design Engineering ResearchUnited Kingdom

Kensho holds BEng (2013) and MEng (2015) in Aeronautics and Astro-nautics from the University of Tokyo, where he explored interaction de-sign of autonomous indoor aerial robots and alongside worked on projects of art and technology. Between 2013-14 he co-led the government-funded project on design and development of interactive drones in Tokyo. For the project achievement he received ‘Super Creator Certi"cation’ from the Ministry of Japan in 2014.

Due to the recent and rapid advancement of technology, designers are expected to mediate between human and technology more than ever. My practice-led research especially looks at the physical motion of technology in our living environment. Taking automatic barriers of London Under-ground for example, their mechanistic and sudden behaviours sometimes intimidate users. While the machines are designed to meet the functional requirements such as to examine tickets, control the &ow of passengers and so on, there seem to be little consideration for the users’ emotive response to the actual motion that appears as a result of function. Since there is a lack of systematised knowledge in terms of kinetic motion and emotion, this research pursuits the questions such as: Is it possible not only to re-duce the frustration at the physical movement of mechanisms, but also to meet the higher levels of human needs with gracefulness, hospitality as well as robustness and intelligence in motion itself? Whereas transition design has been explored mainly in computer graphics by UI and anima-tion designers, how could we design kinetic transitional movements in physical objects?

keywordsMotion, Interaction, Transition

Kensho MiyoshiMIYOSHIKENSHO.COM @ XIENSHENG

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questionHow can we design inclusive transformation processes towards a post-growth future?

a!liationUniversity of Art and Design LinzSpace and Design Strategies, Cultural StudiesAustria

Laura Popplow holds diplomas in Cultural Studies and Media Design. After an excessive research into the transformative potentials of fungi and mycelium (FUNGUTOPIA) she is undertaking a PhD with the title „De-sign Participation in Transformation?“ since 2014. She has published on locative media, site-speci"c/community art, participatory design and ex-hibits internationally. Currently she is a lecturer for Interaction Design and Social Design Strategies in Germany and Austria.

In my research project I focus on three leading questions: 1.) How is the phenomenon of participation in design practice linked to historic situations of economic and social crises? - !is part is a genealogy linking the democratic design ideals presented by the Bauhaus and émigré design culture in the US after 1929 with the foun-dations of Social Design and Participatory Design in the 1968s upheavals and contemporary Design for Social Innovation.2.) What kind of design practices do we need to support more inclusive urban transformation? - In a series of design experiments I am working with di%erent partners on the question how urban transformation could be initiated or supported by collaborative, participatory design practice. In a "rst experiment I was or-ganizing a hackathon on the topic of cycling (CycleHack) and a following slow prototyping process. A second experiment focuses on techniques of DIY architecture as a way to initiate more inclusive city planning. 3.) Are participatory design practices able to support social movements aiming for a transformation towards a post-growth society?- By discussing both my own experience and historic connections I am critically (re-)asking the roles designers could play in contemporary and future transformation processes.

keywordsTransformation, Participatory design, Post-growth

Laura PopplowMAKEANDTHINK.DE @MAKE_AND_THINK

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questionIn order to facilitate practice-based research in the future, what type of activities with practitioners could be created to produce knowledge as well as provide professional develop-ment?

a!liationUniversité de MontréalFaculty of Environmental DesignCanada

Laureline Chiapello is a Ph.D. student working with Rabah Bousbaci in the Faculty of Environmental Design at the Université de Montréal. Her work focuses on linking design theory and epistemology with the emerg-ing "eld of game design. She is also a lecturer in game design at Université du Québec, where she prepares students to enter a shape shifting industry.

!e video game industry is experiencing a rapid expansion. Video game creators are the cornerstone of an economy that supports millions of peo-ple across the world. Nevertheless, game studies continue to focus primar-ily on analyzing games themselves, or the players, but little research has been done on the creators themselves. My research addresses this gap by approaching the subject from a “design” point of view: I connect game design theory with other theories in multiple design disciplines: architec-tural design, interior design, industrial design, and graphic design. I focus on the video game designers’ creative process, and try to establish a model of their activity. In order to ensure the adequacy of the model for actual practices, a section of the research is designed to be collaborative. As theo-rized by Serge Desgagné (1997) in education, this approach involves the collaboration of a researcher with several practitioners to co-construct an object of knowledge. !is approach values the experience and knowledge of the practitioners as a way of enriching the scienti"c literature. It leads to the production of knowledge as well as professional development for practitioners.

keywordsGame design, Creativity, Collaborative research

Laureline ChiapelloLAURELINECHIAPELLO.COM @ LAURELINEMHC

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questionWhat is the role of tangible means towards knowledge genera-tion in the future $eld of design?

a!liationDesign School KoldingResearch DepartmentDenmark

Louise Ravnløkke is a trained designer (MA Textile Design) working with textile materials. Prior to the PhD study, Louise has been working with students and researchers in the knit workshop (textile department) at Design School Kolding being the Workshop Manager. With her practi-cal experience, she considers aesthetic qualities along with technological development to be the design researcher’s strongest means to in&uence future sustainable change in the textile and clothing industry.

Design for Sustainable Clothing: Longevity and Knitwear, is the title of the PhD project that investigates textile design approaches to prolong the lifetime of garments for a more sustainable future. !e assumption is, that designers and companies can create an increased awareness towards mate-rial qualities and aesthetic experiences in combination with new textile technologies that may improve the users’ relational attachment to their clothes and thus prolong the lifetime. !e project is based on a Research through Design approach that supports the investigations of textile design, production, users and longevity in knitwear. !us, the aim of the project is to generate knowledge that con-tributes to new progresses in sustainable textile design practice which may also help further sustainable change in the textile and clothing industry. In order to create new knowledge about garment relations in knitwear and the role of design aesthetics and material qualities in this, the project seeks to engage with users by employing a combination of methods; Repertory Grid (Bang, 2013) and Wardrobe Studies (Skjold, 2014) as dialogue tools to facilitate interviews. Insights on the user’s aesthetic preferences and us-ability impart knowledge to further elaborate on emotional value experi-ences as parameters on longevity.

keywordsSustainable textile design, Tangible means, Aesthetic experiences

Louise RavnløkkeWWW.LOUISERAVNLOEKKE.DK

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Mia HesselgrenWWW.KTH.SE/PROFILE/MIAHES/ @HESSELGRENMIA

questionHow can design and design methods be used to support changes towards more sustainable everyday practices and tran-sitions to sustainable lifestyles?

a!liationKTH Royal Institute of TechnologySchool of Industrial Engineering and ManagementSweden

Mia Hesselgren is a PhD student in Design and Sustainability at KTH Royal Institute of Technology, Sweden. With more than twenty years of experience as a design practitioner using design as a strategic tool, she now teaches service design. Her research focus is on how methods of service design, strategic design and collaborative design can be used in sustainable development and for transitions towards a sustainable future.

My research is about investigating how design and design methods can be used to encourage sustainable development. In my research projects, I study how people change their everyday practices towards more sustain-able ones and what they think about their lifestyle choices in relation to sustainable lifestyles. I am curious to openly explore how design methods, from for example service design and strategic design, can be used as tools for changes, both small incremental changes as well as substantial radical ones. In my research, I investigate peoples’ approaches and possibilities, as well as obstacles, to changes in their everyday lives and how design can support these changes. Furthermore, I also study how those who can in&u-ence people’s everyday lives, like decision makers in society and business leaders, can be helped by design methods in development of society and generation of business models, as well as how design can act as change triggers. With my research, I want to contribute with increased knowledge about design’s possibilities to support sustainable development and to pro-mote transitions towards a sustainable future.

keywordsTransitions, Sustainable lifestyles, Everyday practices

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questionCan practice-based design research have more of a real-world impact i.e. ideas/techniques adopted in commercial design contexts or will the generation of theory and knowledge al-ways take precedence within academic design spaces?

a!liationLancaster UniversityHighWire Centre for Doctoral TrainingUnited Kingdom

I have a Masters in Product Design from Salford University and worked as a product designer for clients including the BBC and !e Big Issue before joining HighWire CDT. Now in the second year of my PhD, I have pre-sented my research at UrbanIxD 2014 and Anticipation 2015 as well as contributed to papers accepted at Interact 2015 and AltCHI2016.

My research focuses on industrial product design in the age of ubiquitous computing, speci"cally the environmental impacts of internet-connected products or what many are increasingly calling the ‘internet of things’ (IoT). I contend that the current rhetoric associated with the IoT sim-ply promotes established models of unsustainable product manufacture, consumption and disposal. !e Toaster For Life is the "rst in a series of design "ction prototypes that seek to embody Sterling’s concept of spimes (2005). Viewed simply, spimes are a class of near-future, sustainable, man-ufactured objects designed to make the implicit impacts of a technological product’s entire lifecycle more explicit to its potential users. Unlike the disposable connected things that permeate our society today, near-future spime objects would be an ongoing means rather than an end. One would know where a spime has come from, where it is and where it will go. !is transparency could alter both the way new products are designed and how people would use and value them. Ultimately, I argue that spimes can be used as a lens through which product designers can speculate and re&ect upon sustainable technological product futures whilst also critiquing the unsustainable production and consumption practices that de"ne our cur-rent lifestyles.

keywordsSustainable product design, Internet of things, Design $ction

Michael Stead

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questionHow do you $nd the right balance between the theory and the practice in a practice-based research project?

a!liationUniversity of Hudders$eldFashion and TextilesUnited Kingdom

Mila Burcikova is a researcher and designer dressmaker, founder of slow fashion studio MISENSE by Mila B. !e studio is one of the Ethical Fash-ion Forum’s pioneering innovators in fashion and sustainability and has recently featured in Betsy Greer’s ‘Craftivism: !e Art of Craft and Activ-ism’ (2014). Mila Burcikova is the guest editor of ‘Utopia and Fashion’, a special issue of Utopian Studies (!e Penn State University Press, 2017).

!is practice-led research explores the concept of emotional attachment to fashionable clothing. Fashion consumers often form deep and complex attachments to clothes, cultivating a sensibility that transcends seasonality and instant grati"ca-tion. !is scenario challenges the contemporary notions of disposable and fast fashion. Although there are numerous strategies and tools for emotional design, these have mainly focused on product design and received little critical ex-amination in the area of fashion design and making. !is research, there-fore, explores the application of emotional design strategies in design and making of fashionable clothing. !e research combines qualitative data gathered from ethnography with practice-led methods within art and design. Further, quantitative data is gathered from surveys. !e study aims to provide a new understanding of the fashion consumer-garment bond to be used as a tool for enhancing the user experience of fashionable clothing, possibly also leading to more sustainable fashion consumption patterns.

keywordsEmotional attachment, Fashion, Craft

Mila BurcikovaWWW.MISENSEFASHION.CO.UK

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questionHow can PhD training in arts universities adapt to the in-creasing trans-disciplinary practice-based design research that collaborates with science?

a!liationUniversity of the Arts LondonChelsea College of ArtsUnited Kingdom

Miriam Ribul is a design researcher exploring new models for design-sci-ence collaboration in materials research. Her PhD research ‘Material Ac-tivism’ is funded by the London Doctoral Design Centre (LDoc). Recent publications are the outcomes of her research engagements with TED’s ‘interconnected design thinking and processes’ project in the international MISTRA Future Fashion consortium (2011-2015), with UAL Futures for developing a Digital Creative Toolkit (2015), and with scientists in COST (2014).

My area of investigation is at the intersection of material science and de-sign research. By exploring how design can o%er new insights for textiles when designers intervene with materials; not in their "nished form, but at their raw stage in the science laboratory, this PhD proposal intends to develop a design-led paradigm for textile manufacturing "t for a 21st cen-tury circular economy where materials can o%er new activist approaches.!is practice-based research poses the question: How can design research in the scienti"c development of materials inform the next generation of regenerated textiles in a circular economy?!e aims of this PhD research are to develop new models for design-science collaboration at the raw material stage in the fabrication of new sustainable textiles, and to explore opportunities to create a range of tex-tile artefacts that emerge from this design practice. !e practice-based re-search will explore how design practice in the scienti"c development of regenerated cellulose can inform new collaborative models for the circular economy. !rough design-science collaboration in technical science labs to explore design interventions at the raw stage of regenerated materials, I will document and develop tools and methodologies for a new framework of material activism.

keywordsRegenerated cellulose, Science collaboration,Design interventions

Miriam RibulMIRIAMRIBUL.COM @MIRIAMRIBUL

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Mylene Petermann @RETROZEITGEIST

questionHow does practice-based design research in the form of specu-lative prototypes a%ect change in terms of in#uencing the trajectory of current and future technologies?

a!liationKingston University LondonFaculty of Art, Design and ArchitectureUnited Kingdom

I am in my "rst year of an AHRC funded PhD at the Faculty of Art, Design and Architecture at Kingston University, London. My interest in critical practices in design arises from professional experience in software development for multinational technology companies. My BA in sociol-ogy and politics, as well as an MSc in technology and innovation man-agement helps me to critically examine the future of technologies from a human-centred perspective.

My research focuses on using speculative design practices to explore is-sues around privacy and security of wearable technologies. !e Internet of !ings (IoT) is an example of a contemporary technology whose techni-cal, social and commercial implications remain as yet unexplored. Specu-lative design practices enable an exploration of the near future while also having a critical orientation. !eir aim is to stimulate debate about what constitutes a desirable or preferable future and to anticipate possible con-sequences of technological applications before they happen. However, it is not clear how speculative design practices impact on current discourses and how they a%ect actions as well as ideologies embedded in technolo-gies. My work positions speculative design practices as a form of design research, which requires a better understanding of their techniques, their impact in terms of intended e%ects and conditions of success, as well as how we might use them as a tool for research and the knowledge this research generates. !e speculative prototype used as part of my research is an emotion-sensing ‘smart’ wristband. Di%erent potential applications will be explored with workshop participants, some of which have negative connotations in terms of data privacy and security.

keywordsSpeculative Design, Design research,Wearable technologies

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questionWhat type of new regime for design politics aim not only the disruption of the $xed meanings attributed to the objects but also $xed identities of the bodies and embodied subjects?

a!liationEdinburgh College of ArtSchool of DesignUnited Kingdom

I am a designer and researcher currently conducting my PhD in Edin-burgh College of Art. My research and practice mainly focus on post-structuralist theory and new encounters with critical design practice. I’m interested in experimental making processes, and artefacts as non-objects. I scrutinise all forms of experimental art and seeking for practices that en-able rupture in everyday life.

Taking the a%ective quality of design outcomes into consideration my re-search explores the objectness of the artefacts. Focusing on the tension be-tween object and not-yet-object I investigate new methods for generative design processes. !is in itself is a new method for critical design and an unexplored area both in terms of making processes and user interaction. My project aims to point out current shortcomings of precedent critical design activities while exploring new approaches in critical design theory and practice through proposing new methods for generative design prac-tice. !is type of generative processes aim at genuine encounters between the artefacts and the bodies that are encountering them. !is is a new regime for design politics and it aims not only the disruption of the "xed mean-ings but also "xed identities of the bodies and embodied subjects. !e yet-to-be explored a%ordances of the artefacts aim to work as triggers and means to negotiate new forms of subjectivities.

keywordsNon-object, Objectile, Critical design

Neslihan Tepehan@ APORETICDESIGN

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questionHow can we make a better use of design research methods and knowledge in healthcare contexts in order to foster empower-ment and awareness of young patients and their families to-wards a better adjustment and preparation for a ‘New Normal’ after disruptive life events?

a!liationTU Delft - Delft University of TechnologyIndustrial DesignNetherlands

Patrizia D’Olivo is a PhD candidate in Industrial Design at Delft Uni-versity of Technology, with a background in Design & Engineering and Material Selection for Industrial Products. She collaborates with the Prin-cess Maxima Centre for Pediatric Oncology in Utrecht (NL) on the topic of Development-Oriented-Care. !rough a research-through-design ap-proach she intends to built design knowledge and realize products that support the psychosocial well-being of children with cancer and their families.

!e research focuses on understanding how a New Normal can be built in response to life-disruptive events such as childhood cancer. !e re-search takes the family as unit of analysis and brings together knowledge from di%erent domains. !e project looks into psychology, by referring to models of family adjustment, resilience and analysis of stressors; dives into social ecology systems theory, to understand the nature of interactions and communication among family members; and makes use of interaction design knowledge to facilitate the implementation of new approaches and methods in healthcare and home contexts. Furthermore, by following a research-through-design approach the validation of research hypotheses is made through the use of prototypes. !ose prototypes will help in collect-ing insights about the user experience and therefore contributing to build scienti"c knowledge. Experimenting with technology and materials will lead to the creation of artifacts that users can integrate in their everyday life in order to fully experience the intent of the designs. !e richness of data coming from the "eld study will provide an understanding on how to promote innovative ways of addressing healthcare related issues and user empowerment without the exploitation of classic clinical interventions.

keywordsNew Normal, Life disruptive events, Empowerment

Patrizia D’Olivo@DOLIVOPATRIZIA

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Pauline Gourlet

questionHow can practice-based design research empower people, not only in their actions but also in enhancing their critical think-ing?

a!liationUniversité Paris 8 and EnsadLabLaboratoire Paragraphe, C3U France

2013: Master degree - Graphic and Interaction Design |#Ensad 2013-2014: Teaching activity | Design workshops in a primary school, Design Practice activitiesSince 2014: PhD student a$liated to an ergonomics team (Paris 8), in partnership with a design school (EnsadLab)June 2015: Workshop LearnxDesign 2015, Chicago | Designing Knowl-edge Tools for EducationOccasionally: Teaching activity | Design workshops (Paris 8 - Ensad), De-sign Practice activities, Consulting | Education

I began my research doing a participant observation study for a year in a primary school, conducting design workshops with pupils 7-10. Informed by this experience, I design tools (digital and tangible) to support re&ec-tion during learning by doing activities. !is research is developed in two types of environments : classroom environments and fablabs or maker workshops. I evaluate the tools and activities that I design in situation, using a combination of methodologies and theoretical frameworks, at the frontiers of the learning sciences, the cognitive sciences, psychology / er-gonomics, and HCI. My research strongly deals with the material conditions that foster re&ec-tion during open-ended activities and with the means to record these re-&ective processes - to support them but also to study them.

keywordsRe#ective tools, Ways of showing, Learning by doing

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questionHow can digital research methods and computational design tools be used to enhance both the scale and breadth of our de-sign knowledge and outputs without loosing the richness that comes from qualitative research and tacit design practices?

a!liationMassachusetts Institute of TechnologyMedia Lab (Media Arts and Sciences)USA

Philippa Mothersill is a PhD student at the MIT Media Lab where she investigates the design language of physical artifacts and explores how this knowledge can be integrated into more intuitive computational creativity support tools. Previously, Philippa worked for three years as a product designer for Procter&Gamble. She holds a MEng in Aeronautical Engi-neering and a MA in Industrial Design Engineering from the Royal Col-lege of Art.

As designers, we are literate in the ‘design language’ of objects and are skilled in embodying abstract perceptual experiences in the tangible quali-ties of physical artifacts. !e future of design is becoming ever more digi-tal, however. Computationally driven systems such as Computer Aided Design tools, digital fabrication machines, or even online crowd-sourcing research methods allow us to execute our research and designs at very large scale and with great speed, but their quantitative and reductive nature can potentially neglect the unexpected idiosyncrasies and qualitative richness gained from a designer’s tacit knowledge. My research seeks to understand how we can bring these seemingly incoherent styles of design research and creation together so that we can better use computation, and even compu-tational intelligence, to meaningfully enhance how we understand, create and communicate through man-made artifacts. Building on my previous EmotiveModeler project – a CAD tool that uses words and emotions to generate expressive forms - my current research is looking to develop new design research methodologies and tools that can translate this very tacit design knowledge into computationally-parsable syntaxes able to power more intuitive and accessible design tools. (Read more about the Emo-tiveModeler at emotivemodeler.media.mit.edu)

keywordsComputational design, Design research, Creativity support tools

Philippa MothersillWWW.PIPMOTHERSILL.COM/

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questionHow can a social innovative model be developed and assessed to ensure that the values of sustainable luxury and the Public are assimilated such that the luxury brands and domestic craftsmanship survive in a symbiotic relationship?

a!liationLoughborough UniversityLoughborough Design SchoolUnited Kingdom

I am experienced Interior designer in high-end luxury bespoke projects. I hold a professional certi"cate in Architecture from University of Arts London and a Master in Design Management from University of South-ampton. With hands on experience in Design and Management, my PhD investigates the challenges and opportunities for the Design of Social In-novation in the context of Luxury Industry.

My Research concerns the expansion of Luxury Industry in a develop-ing market at the expense of resources for the desire of the ‘happy’ few. Its Exponential growth and globalization have not only procured a huge demand which is contributing to rising societal problems as well as under-mining Sustainable development. !ereby, the key focus of this research is sustainability encompassing a social equity which goes well beyond sus-tainability which currently only focuses on the ecology within emerging market economy. !e complex world problems like poverty and climate change are not only about governments and politicians but also the ac-tion of Business leaders. As the stress on production and manufacturing increases, western luxury brands are trying to embrace rising issues like textile supply chain, working labour conditions, sourcing of raw materi-als and animal welfare issues for luxury leather goods. !is research will be used to redirect these actions by scrutinising the relationship of luxury with sustainable development, both conceptually and practically. !e out-comes would aim to bridge the gap between the challenges the industry and the market face by developing a business model to facilitate social innovation for the long term sustainability and prosperity of the western brands and the country.

keywordsSocial innovation, Sustainable development, Luxury

Preethi Rajaprakasam@ PRITIRAJPRAKASH

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questionHow can sustainable solutions be explored through design to address environmental and climate change issues a%ecting human health?

a!liationCape Peninsula University of Technology (CPUT)Department of DesignSouth Africa

Ralitsa D. Debrah is a design researcher and educator at the Cape Penin-sula University of Technology (CPUT) and Kwame Nkrumah University of Science and Technology (KNUST). Ralitsa has a background in com-munication design. Her research interests are in health informatics and design. Ralitsa’s work evolves around healthcare service design, design for sustainability and social innovation, climate change and environment. Her methodology in tackling these issues is through design-based research.

My current PhD research is in the "eld of healthcare service design with a focus on health information communication. !rough service design pro-cesses, the possibilities of improving information dissemination between health intermediaries and mothers in resource-constrained context are be-ing explored.A healthy environment has great bene"ts on how we live and therefore needs to be sustained for a happier and healthy living. As part of my fur-ther research, I am exploring the design of sustainable solutions to pro-mote good health and wellbeing. Due to the growing environmental and climate change issues that confront us, I focused the research on maternal and child health in order to reduce the risks that impact human health to the next generation. Some of the questions to be answered in this inquiry are: “how to create empathy and communicate communicatively with us-ers during the design and development of sustainable solutions?”.

keywordsHealthcare, Service design, Sustainability

Ralitsa Diana Debrah

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Rebecca Partridge @RPART

questionHow can you involve and communicate practice-based research to communities, such as healthcare, that might be unfamiliar with its methods?

a!liationShe!eld Hallam UniversityArts, Computing, Engineering and SciencesUnited Kingdom

Prior to studying for my PhD I was as a Design Researcher at She$eld Hallam University. During my posts within User-centred healthcare design and Lab4living I was involved in a variety of projects that explored the role of design in health, these included; running design thinking workshops, teaching design skills to patients with spinal injuries and implementing a frailty checklist to Acute medical units across 12 UK hospital sites.

!ere are an estimated 15 million people in the UK with a long term con-dition, e%ective self-management of these results in a better quality of life for patients, reduced use of NHS resources and in turn, reduced healthcare costs. In my study I am using design practice to explore self-management in adolescents with long-term conditions (Chronic Pain and Osteogenesis Imperfecta) through design skills workshops, cultural probes and other activities. I aim to explore whether Design Practice could be a tool to sup-port self-management, explore complex issues and change mindsets.Research Questions:

-agement?

-agement behaviours?Study aims:

challenges they might face.

managementRecruited through She$eld Children’s hospital, participants will go through a series of workshops and activities that will cover strategies to allow participants an insight into the process of design practice and allow them to see how it might "t within their own lives.

keywordsPractice, Adolescents, Health

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questionWhen involved in the codesign of social spaces, how are PhD design projects impacting and challenging existing urban planning consultation methods and how is sociomateriality entangled within this?

a!filiationLancaster UniversityHighWireUnited Kingdom

I have published with Arts & Business, London (2009), presented at EAD (2012), FabLearn Europe (2014), All Makers Now (2014), Urban IXD (2014) and Bees in a Tin (2015). When invited to present I promote an action research approach to being curious about doing design. A Partner of !e Curiosity Bureau, I am a doctoral, project-led design researcher funded by the UK Research Council Digital Economy programme.

Two years into a four-year doctoral research programme (HighWire, Lan-caster University), I am curious about how people who live and work in the Northern Quarter, Manchester are greening urban, social spaces. Fo-cusing on the codesign process I openly wrestle with the lenses through which ‘we’ experience design, and design experiences. As the process has unfolded "ve applications of design have so far emerged, these are: De-sign Exploration; Codesign; Design Activism; Designing Experience and; Critical Design.!e live project in which I am immersed is !e Rooftop Project. It began in October 2014 as a response to the need for more green space in Man-chester’s city centre. It is an experimental, multifunctional social space on the roof of 24NQ - a building occupied by approximately 230+ people who work across areas such as; the bar and restaurant trade; creative com-munications, design; social innovation; tech-start ups; fashion and distri-bution marketing; and educational programming, post-graduate degrees in Digital Marketing and UX Design. Underpinning the practice, theory and intentions of the research are four subject areas that have emerged from the literature and alongside the code-signing of !e Rooftop Project, these are: Design Activism; Social Anthro-pology; Ecological Philosophy and; Sociomateriality.

keywordsSociomateriality, Codesign, Activism

Rebecca TaylorWWW.THECURIOSITYBUREAU.COM @CU1TURESPONGE

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questionBy exposing charities to design-led approaches, can Design Research address Health and Social Care problems in the UK?

a!filiationNorthumbria UniversityDepartment of DesignUnited Kingdom

Robert Djaelani studied Product Design at the University of Dundee in 2003 and Design Ethnography at the same university in 2010. He has worked with research teams from organisations including Intel, Nesta, the UN and !e Highland Council. His work has previously focused on healthcare technology in communities and understanding social barriers in free healthcare systems. Robert is currently studying his PhD at North-umbria University, supervised by Professor Paul Rodgers.

Poorly designed mental health services reinforce the inequalities and in-justice already commonplace within the UK’s Health and Social Care sys-tems. !is research examines how Design Research can expose Voluntary Community Sector (VCS) organisations to design-led approaches as a methodology of developing fairer services for society. Using Action Re-search and a case study structure, the approach has been introduced and applied within multiple organisations in the North East of England. !e research "ndings have provided valuable evidence and insight into design’s capacity to incite transformational change, and the challenges of doing so, at a critical time for the Health and Social Care sectors. !e research presents an Art Studio community that is developing a fairer mental health service for their own community by utilising their existing creative skills. !e research also presents a series of Design Labs that helped Health and Social Care practitioners consider the social, cultural and moral dimen-sions of their services and designing prototypes that highlight their new understanding. !is Design Research approach is supporting disparate communities in shaping their own social systems, providing the UK with an alternative way of designing more just Health and Social Care systems.

keywordsAction research, Healthcare systems, Social justice

Robert Djaelani@ROBERTDJAELANI

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questionHow can we re-examine our design experience for the creation of an enduring process?

a!filiationLoughborough UniversityInstitute for Design InnovationUnited Kingdom

With industry experience of over 10 years in Vienna (A), London and Brighton (UK), I am commencing my PhD in Design Innovation at Loughborough University London. I’ve completed my initial degree in Painting and Graphic Art. My practical work spans from digital image re-alities to product design in technology, particularly aimed at social change. Having traditionally applied ethnographic studies for user experience re-search, I am now intending to explore the designer’s experience of the design process.

With organisations adopting methodologies such as design thinking for business processes, and the emergence of jobs such as design strategists, user experience designers and service designers, organisations "nally em-brace what design theory has postulated for a long time - that design prac-tices pose an opportunity for an organisation, and that social practices and meaning- making form part of the construct in the design process (Du Gay et al., 1996, Verganti, 2008).If the widely held consensus that design principles, social practices and meaning creation are the crucial human factor in successful design driven innovation, then a focus must also be applied on designers’ experiences and social practices.Designers aren’t autonomous agents who just apply design techniques. Designers in praxis are required to create a link between their existing knowledge and the organisations’ practices, and through this con&ation enable design and innovation (Brown, 1990). Furthermore, design is a &uid process where meanings are created, applied and translated (Du Gay et al., 1996). !rough their practices designers are not only creators of meanings but also recipients which in turn in&uences their practices and the creation (Latour, 1990). Designers apply practices and create an expe-rience, and designers themselves are subject to an experience that in&u-ences their practices.

keywordsSocial practices, Designer, Experience

Ruth Neubauer

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Stefanie ReichWWW.REICH"DESIGN.COM

questionWhat is the future role of the designer in society?

a!filiationMuthesius Academy of Arts and Design, KielIndustrial Design, Design ResearchGermany

Stefanie Reich is a Master of Industrial Design, with a special focus on Medical Design. She graduated in 2014 at the Muthesius Academy of Arts and Design, Kiel, Germany. Since April 2015 she has started her PhD and is currently investigating the design of political qualities of technical objects and their e%ects on societal practices in her dissertation.

Design Medical DemocratizationDemocratic potentials as design qualities in future medical devicesWorldwide, we are still signi"cantly dependent on medical institutions and sta%, to measure, collect and store data about our own bodies and health status. But through the increasing use of information technologies in the medical "eld, there are indications showing that medical practice will be revolutionized by the process of democratization (Topol, 2012). In the future collecting and analyzing endogenous data through medical devices could be done by the patient himself at home. In this scenario, a redesign of medical devices must embody a speci"c form of authority and democratic power, as found in participative or collaborative design processes. !e research project investigates the possible realization and e%ects of such future devices on medical practice and care as well as on the practice of design. It is aimed to gain insights especially for the future role of designers and their social responsibility in the context of designing highly technical artifacts for our distributed heterogeneous societal practices.

keywordsHealthcare, Society, Democratization

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questionIn order to address societal problems could and should design research prioritise the process over the $nal product?

a!liationCardi% Metropolitan UniversityCardi" School of Art & DesignWales

Formally trained in textile design Steve Coleman has over ten years com-mercial experience of digital textile design and production. Whilst un-dertaking a Masters degree he developed a keen interest in the theories of creativity, play, and applied research methods. !ese interests became a passion and led to a PhD scholarship researching creative activities within the dementia care environment at the Centre for Applied Research in In-clusive Arts and Design.

!e research considers how creative activities can be used to support the wellbeing of residents living with dementia in long term care environ-ments. Ethnographic "ndings were used to inform a design research approach and generative tools were created in order to obtain insights into the values, beliefs, and tacit knowledge held by professional care sta%. Workshops were conducted with front line sta% and data was used to produce a design model for care strategies based on the subtleties and often latent nuances which inform the relationship between resident and carer.!e generative tools provided a space for contemplation and re&ection through the process of making, resulting in important insights into care practice not only for the researcher, but also the care sta% themselves. !e economic challenges facing dementia care services mean that available re-sources will need to be fully utilised. Findings suggest that the tacit knowl-edge of sta% should be regarded as one such resource, and that design research can be play an important role in harnessing it’s potential.

keywordsResearch tools, Dementia care, Service strategies

Steve Coleman

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questionHow can design as part of trans disciplinary PhD research merge with other academic traditions and how can their epis-temologies be reconciled?

a!liationUniversity of Technology SydneyInstitute for Sustainable FuturesAustralia

I am a PhD candidate at Institute for Sustainable Futures at University of Technology Sydney, conducting a trans-disciplinary study into the politics of urban sanitation in Indonesia. I previously conducted research within the "elds of participatory design and co-design and as a lead designer at an NGO in Cambodia designed water and sanitation solutions for the rural poor in Asia and Africa.

My research is a critical inquiry into the relationship between poor urban communities and local government in Indonesia as manifested through the experience communities have with public service provision. It is a trans-disciplinary study merging the areas of service design, public admin-istration and international development.Around 9000 poor urban communities in Indonesia use community-man-aged sanitation systems. Government of Indonesia funds the systems but the communities implement, operate and maintain them. !e communi-ty-management structures however are often unsustainable, and many sys-tems have not been su$ciently maintained and service levels are declining.Inspired by design activisms, my research questions whether poor com-munities can and should be made responsible for delivering sanitation services, which values and societal norms have made this an accepted ser-vice model and which alternative service models could be imagined. !e research is build around a series of engagements with communities and local government. I use design games to empower communities to evalu-ate their service experiences and their meeting with local government at various service touch points and engage local government stakeholders in questioning the institutional arrangements currently governing sanitation services. Lastly, I will be conducting workshops in which communities and local government stakeholders co-design new governance models.

keywordsGovernance, Power dynamics, Public service design

Tanja Rosenqvist@TANJAROSENQVIST

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questionHow can design be globalised in a postcolonial way?

a!liation"e Open University!e Design GroupUnited Kingdom

I have a professional background as a photographer and designer, working for a range of clients in the music and fashion industries. I have also collab-orated with the British Council, exhibiting work and delivering workshops in the Far East and the Middle East. Alongside my practice, I have worked for over ten years as a lecturer in fashion design in several London colleges.

!is research will address the ways in which fashion culture represents race and ethnicity. !is will be done by undertaking an in-depth analysis of how di%erent cultures are drawn on and represented in and through processes of fashion design. !is project emerges from my experiences of teaching fashion design and an interest in how cultural di%erences are drawn on and worked with as part of the design process. !is project has two aims: to investigate design processes in fashion education which stereotype, exoticize and orientalise cultures; and, to consider a more cul-turally conscious approach to fashion education through the development of resources and strategies to support educators and students working in contemporary fashion design.While academics have long argued that dominant Eurocentric approaches to fashion are highly problematic, undergraduate fashion design pro-grammes in the UK and beyond continue to propagate forms of education that disregard the socio-cultural contexts of race, ethnicity and globalisa-tion. Surprisingly little academic attention has been given to how cultures are represented in contemporary fashion design education. How might postcolonial strategies be used to develop fashion curricula? What forms might the aesthetic, cultural and material outcomes of such fashion design education take?

keywordsFashion, Race, Inequality

Tanveer Ahmed@ TANVSYEDA

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questionHow can we ensure that disciplines with di%erent standards to methodology, such as clinical and psychological science, can bene$t from practice-based design research without designs becoming “just” a note in the method section of clinical stud-ies?

a!liationDelft University of TechnologyIndustrial DesignNetherlands

I’m a PhD candidate of Delft University of Technology, currently working on the project “Tailoring Healthcare !rough Customer Pro"ling”. I have a master’s degree in Social and Health Psychology (Utrecht University, NL) where I studied automatic strategies towards con&ict identi"cation in ambivalent stimuli. I previously worked at the Self-Regulation Lab on the topics of nudging, self-control, and healthy habits. I "nd grati"cation in the meaningful integration of interdisciplinary research.

Tailored Healthcare !rough Customer Pro"ling” is an interdisciplinary e%ort to provide patients with a design-based, personal approach to hip replacement surgery. In joint surgery, patients receive uniform informa-tion about the surgery procedure and are expected to adhere to similar rehabilitation programs. Because individual psychological characteristics (e.g. coping behaviour, health literacy, and outcome expectancies) of pa-tients are not taken into account, this “one-size-"ts-all” approach results in under, over and misuse of healthcare services. While the limits of the cur-rent approach are apparent, it is not known how patient groups di%er and what designers of healthcare products and services can do to tailor their products towards various patient groups. By employing mixed methods we aim to 1) study the di%erences and similarities in hip surgery patients that a%ect satisfaction and functional outcome, 2) develop a measurement tool to assess and categorize patients in “patient pro"les” based on the found individual characteristics, 3) integrate “patient pro"les” in the design of both health communication and rehabilitation tools, and "nally 4) test the clinical e%ectiveness of these designs in real-life healthcare settings. !is research will provide a validated, hands-on tool that translates distant psychological concepts in guidelines for the design of personal, e%ective, medical products.

keywordsTailoring, Interdisciplinary research, Personalization

Tessa Dekkers

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questionHow can practice-based design research be used to understand a di%erent interaction paradigm?

a!filiationUniversity of BrightonSchool of Computing, Engineering and MathematicsUnited Kingdom

Tobias Mulling acts as a PhD Candidate at the University of Brighton, In-teractive Technologies program, and has a master’s degree in Hypermedia University of Santa Catarina (Brazil). He also works as an assistant profes-sor at the Federal University of Pelotas (Brazil) in the course of Digital Design. He has experience in the area of Human Computer Interaction (HCI) and and principal research interests are:: interaction design, service design, gestural interactions, mobility and ubiquitous systems.

With the technological development of devices that able to interpret ges-tures generated by hands and arms Kinect and Leap Motion, designers and developers might think beyond the traditional mouse and keyboard input when designing mid-air interfaces. However, these interfaces, which supposedly aim to be more natural and intuitive, have found barriers to its acceptance by users and researchers. !is happens due to he following: the attempt of simulating the use of a mouse with the hands, ergonomics and the lack of existing standards. To investigate this problem, the starting point is the understanding of the following: mental model of touchscreen interfaces (sign paradigm), evolution of own graphical user interfaces, and the use of transitions to assist the interaction in mid-air interfaces. It is also important that the gestures used present some features such as learn-ability, memorability, ease of performance and low fatigue. By re&ecting on this variables, this research aims to present alternatives to the design of graphical user interfaces and navigation of the mid-air type, establishing a communication process based on the following principles: (1) gesture set should be small, simple and memorable, (2) interaction without pointing, (3) provide feedback for any interaction and (4) support di%erent levels of content hierarchy. As a result, a set of guidelines for mid-air interactions is expected.

keywordsMid-air interfaces, Gestural interaction, Navigation

Tobias Mulling@TANJAROSENQVIST

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questionWhat is the knowledge component that comes from practice-based design research? How can it be disseminated in an academic context that depends so wholly on papers?

a!filiationGeorgia Institute of TechnologySchool of Literature, Media, and CommunicationUSA

Tom Jenkins is a PhD student in the Public Design Workshop at Georgia Tech’s Digital Media program. His practice draws from Science and Tech-nology Studies, Design Research, and Human-Computer Interaction to develop, prototype, and deploy electronic platforms that unpack assump-tions about technology’s everyday role. He completed his Master’s studies at NYU’s Interactive Telecommunications Program in 2008, and recieved a BA from Cornell University in 2006.

”Object Ecology”describes how objects hold membership in multiple networks--information, electronic, legal, cultural, material, and more. An ecological understanding of objects means that objects cannot and should not be treated discretely. Instead, they must be considered as component members of assemblages, with their own kind of agency. ‘Domesticity’ is an object ecology comprised of all sorts of things: plates, furniture, heat-ing vents, entertainment devices, family members, rugs and more. !e Internet of !ings has provided computational capabilities to materials like these. It o%ers greater control of their environment to residents of “smart homes.” Access to this kind of technology is asymmetrical, how-ever. Many communities and styles of living are excluded. !ese outliers o%er a perspective to critique IoT practice as well as a site for producing ecologically-oriented design work.!is thesis provides a theoretical foundation for ecological design in order to create design objects in novel, useful ways. Second, it describes and clas-si"es the contemporary Internet of !ings to provide as a springboard for design prototyping. Finally, the last component is a design research project that uses an ecological approach to develop speculative Internet of !ings devices for domestic outliers--in this case, cohousing communities.

keywordsPrototyping, Domesitic, Iot

Tom JenkinsTHOMASJENKINS.NET

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Trine Højbak GøttscheWWW.HAPPY"HELP.COM @ MOELLERTRINE

questionWhat is the role of design experiments in future practice-based design research?

a!filiationDesign School KoldingResearch and EducationDenmark

Møller holds an MA in Design Management and a MA in Design; Health & Wellbeing from Kingston University London, where she also assisted the University’s Design Research Centre. With a background in fashion and textiles design, Møller is a design researcher who investigates and re-sponds through materials, working closely with citizens, patients and sta%. She uses an emotional and experience-based problem solving approach designing for individuals with speci"c needs.

!e PhD research project investigates the relationship between individu-als with speci"c needs e.g. elderly, autistic adults and cardiology patients, and wearable health technology. Hypothesising that explorations of social, cultural, and emotional values embedded in accessory design such as jew-ellery, functional helping aids i.e. glasses, hearing aids etc. and clothing accessories, will in&uence the design of future wearable health technology, the goal of the project is solution-oriented towards a social welfare design context. !e research approach will be based on design experiments to position the research contribution in a research-through-design (Frayling 1993) landscape. !eorizing social welfare design, the term represents a design approach to be better able to understand individuals with speci"c needs, their situation, and feelings: all in all, for designers to be more em-pathic (Batterbee & Koskinen 2003; Kouprie & Visser 2009). Empathic design is an approach directed towards building creative understanding of users and their everyday lives for new product development (Postma et al. 2012) !e research will generate new knowledge, based on "ndings from the explorative research methods to suggest accessory approaches to use in early phase design projects. !is is part of the research aim to identify an accessory thinking when designing future wearable health technology.

keywordsIntimacy, Accessories, Wearables

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questionWhat particular skills would future practice-based design researchers need to have, and how can a negotiation between di%erent types of skills be achieved?

a!filiationKTH Royal Institute of Technology and Mobile Life Research Media Interaction DesignSweden

I have already completed 3 out of the total 5 years of my PhD, doing 80% research, and teaching 20% at KTH Royal Institute of Technology. My background is in product design, and in my research I am approaching questions in the interaction design discourse from a practice-based per-spective, and crafts perspective. !e conferences where I have presented my research so far are DIS, Nordes, CHI and TEI.

With my research I am contributing to the on-going discussions around materiality in interaction design, with a focus on practice-based approach-es and crafts. As new types of computational materials are entering the interaction design arena, there is a need to articulate how they re-shape design practices, for example in regards to tools and methods involved. My research draws on that topic through several studies that showcase di%erent angles from which physical crafting within interaction design can be studied. Having either a speci"c material or a crafting practice as a starting point, I have looked at particular crafting practices, such as leather crafting, silversmith crafting, and crafting of garments. Each case study highlights a number of topics and directions, taking into account materials involved, the making process, the interaction gestalt of designed outcomes and its cultural signi"cance. Such a perspective highlights a broader cul-tural grounding within the interaction design discourse, by creating new framings and understandings of interactive products and digital media, while challenging already established assumptions around them. !rough my research I am now focusing speci"cally on the topics of ephemerality and obsolescence in contemporary computing, in terms of both software and hardware.

keywordsCrafting, Computational materials, Interaction design

Vasiliki TsaknakiVASILIKITSAKNAKI.COM

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Designer story mapping:map the designer’s experienceRuth NeubauerKaajal Modi

Somebody Else’s Problema session of problem’sexchange around thetheme of healthy working environmentsFiona MacLellanAnna Louise SpencerAlicia SmedbergWednesday 29th

1600 - 1730

As designers/researchers, we would very rarely start designing a product or service without "rst mapping out and investigating all of the stakeholders, but how often do we take into account our own in&uence in shaping the design outcome? Our observation is that designers’ individual/social/cultural experi-ences and understandings of power/dominance/hierarchy are a signi"cant yet unconscious factor in&uencing the ways in which they design/research. It is impossible to disarticulate their own identities and understandings from the ways in which they choose to create, (re)present and communicate.!is workshop aims to ask the questions:What are our own social, cultural and individual experiences, and how do these in&uence the ways in which we design, or conduct and interpret research? How do we become more aware of the ways in which we negotiate internal/external understandings of the problem space, ourselves and each other whilst collaborating on a project, and how do these nego-tiations themselves impact the outcomes of said project?

Tuesday 28th 1400 – 1530

Today’s and tomorrow’s design researcher reinventing the intersectionAndrea Augsten Daniela Peukert Vera-Karina Gebhardt Jana "ierfelder

!e workshop will be based on an initial study kicked o% by design:transfer, an initiative which focuses on issues of design research in transformation processes in science, business, politics and society, about di%erent roles and competences of design research-ers, focussing on the personal role the participants currently ful"l. !e interim report of the survey was presented at the Swiss Design Research Conference in January 2016 and provided insights into the implicit links between competences, methods and team formation. It resulted in ambitious, yet critical discussions – and showed, that there is an urgent need to keep this discussion running. !erefore we are proposing a workshop session during the PhDbyDesign 2016, which will be both, an active re&ection about competencies of design researchers and an interactive production of new ideas and knowl-edge about their linking role in teams.

Thursday 30th 1115 - 1245

“One day, struggling on the sofa o$ce, I decided to share my thoughts with my peer Ed, he gave me a phone number, thinking that this could have helped me in some reasoning. !e problem was solved in half hour call with Ed’s mum.”Giulia Fiorista, PhD student and organiser.

!is workshop will explore how to deal with obstacles that get in the way of productive working environments (used very broadly to incorporate our homes, libraries, studios, and the people we engage with in these spaces). !e focus, however, will be on passing these problems onto other people, rather than solving them yourself.!is will build upon a series of creative experiments undertaken by a group of PhDs to test how we respond to obstacles and problems we have encountered over the past six months.

Common ground inhealthcare research: bridging perspectivesbetween healthcare and design researchTessa DekkersPatrizia D’OlivoBoudewijn BoonBob Groeneveld

Tuesday 28th1115 - 1245

Product and service design play an important role in improving healthcare. It can lead to innovative hospital environments and medical devices, as well as new approaches to care and treatment. Successfully implementing new products and services requires an understanding of the di%erent end users involved. Consequently, in addition to the clinical research by healthcare professionals mainly focussed on the patient, there is a demand for research concerning needs and experiences of all involved end users. !is means a collabo-rative e%ort is necessary between design researchers and clinical re-searchers. However, it can be di$cult to share and align perspectives on methodology, expectations, and modalities of an intervention. In the present workshop we will bridge the clinical and the design perspective by developing a ‘"rst aid kit’. Participants will share their experiences and generate implementable strategies for good design research practice in the healthcare context.

our publications so far

2015 LEEDS INSTANT JOURNAL!e "rst Instant Journal brings together materials pro-duced for and during a PhD By Design study and work-shop day held at Leeds College of Art on May 14th 2015. !is day was dedicated to exploring multiple possibilities of innovatively disseminating practice based design re-search. Twenty-nine participants contributed to the day with a 5 minute presentation of one instance of dissemina-tion of their research, re&ecting on what they did, what worked and what did not and why. !ese presentations, and the practices at their core, where the basis for our col-lective exploration.

2015 GOLDSMITHS INSTANT JOURNAL!e second issue of the PhD By Design Instant Journal brings together re&ections, provocations and thoughts elicited from the PhD by Design two day conference held at Goldsmiths in November 2015. !e conference was interested in exploring how practice-based design PhD students research across di%erence. Sixty participants have contributed to this second issue which was initiated from a 5 minute presentation of one instance of researching across di%erence in their work.

2014 CONFERENCE DOCUMENTATION!e 2014 conference documentation brings together snippets from the "rst PhD By Design conference held at Goldsmiths on the 6th and 7th November 2014. Over 90 design researchers attended the two-day event which was an energising sign that our desires to bring this commu-nity together were resonating with others. !e two days we spent together presenting and discussing proved exciting and vibrant. Lots of shared questions were brought to the fore - which we believe will shape the processes, outcomes and impacts of practice-based design research in the years to come. But see for yourself in this document.

2015 CONFERENCE DOCUMENTATION!e 2015 conference documentation brings together snip-pets from the second PhD By Design two-day conference held at Goldsmiths again on the 5th and 6th November 2016. 60 practice based design researchers attended the two-day event to further discuss issues of researching across di%erence through practice based design research. !e two days of the event were "lled with presentations, workshops and resource building activities. !e issues of researching across di%erence was tacked through critical questions posed by each participant as they registered then further addressed through their presentations and discus-sion. !is documentation document highlights and shares the direction of these discussions.

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notesGETTING STARTED WITH TWITTERWe’ve put together this information (tweaking it from the Twitter web-site) to help you get started with Twitter if your interested. Our account is @PhdDesignGold and the PhD By Design conference hashtag is #PhdByDesign

What is Twitter?Twitter is an information network made up of 140-character messages called Tweets. It’s an easy way to discover the latest news related to sub-jects you care about.

How is it useful?Twitter contains information you may !nd useful. Messages from users you choose to follow will show up on your home page for you to read. For PhD students it’s an easy way to keep up to date with funding calls, event announcements, and topics being discussed at conferences.

1. DISCOVER SOURCES: Find and follow othersStart by !nding and following other interesting Twitter accounts. Look for academics you know, practitioners you like, research institutes, or news sources you read. Tip: One great way to !nd more interesting ac-counts is see who those you know or respect are following.

2. CHECK YOUR TIMELINE: See what’s happeningMessages from those you follow will show up in a readable stream on your Twitter homepage, called your “Timeline”. Once you’ve followed a few accounts you’ll have a new page of information to read each time you log in. Click links in others’ Tweets to view articles, images or vid-eos they’ve linked to. Click hashtagged keywords (#) to view all Tweets about that topic.

3. TAKE IT WITH YOU (and stay on top of it)You can connect your account to your phone or download a Twitter applications to read Tweets from multiple sources, like HootSuite or Tweetdeck.

How to start tweeting: You don’t have to sign up to Twitter to read any of the content, but you do have to have an account if you want to contribute, or ‘tweet’. If you want to start ‘tweeting’, here are some good ways to get started. People who are interested in what you have to say may follow you and they’ll see all the Tweets you share with them.

1. BUILD A VOICE: Retweet, reply, reactUse existing information (other people’s Tweets) on Twitter to !nd your own voice and show others what your interested about. Retweet mes-sages you’ve found and love, or @reply with your reaction to a Tweet you !nd interesting.

2. MENTION: Include others in your contentOnce you’re ready to begin authoring your own messages, consider men-tioning other users by their Twitter username (preceded by the @ sign) in your Tweets. "is can help you think of what to write, will draw more eyes to your message, and can even start a new conversation.

3. GET FANCY: Explore advanced featuresAs you become more engaged on Twitter, others will begin to !nd and follow you. Once you’re familiar with Twitter basics, there are more ad-vanced features: lists, direct messages, and favorites. Some starting recommendations from the @phdbydesign:@ahrcevents@DRS2016uk@Write4Research

PHDBYDESIGN.COMteam@phdbydesign.com@phdbydesign #phdbydesign Facebook /PhDbyDesign phdbydesign.tumblr.com

DRSWWW.DRS2016.ORGUniversity of Brighton Grand ParadeBrightonBN2 0JYUnited Kingdom+44 (0)1273 600900

PhD By Design DRS University of Brighton (City Campus)Edward Street building 154 Edward Street, Brighton BN2 0JG [actual entrance on Dorset Place, almost on the corner with Edward Street]switchboard - +44 (0)1273 600900

For more information, please contact: ALISON THOMSON 0044 !0"78 4659 8417 MARIA PORTUGAL0044 !0"78 6439 6907 BIANCA ELZENBAUMER0044 !0"75 8660 2977

PHDBYDESIGN