Feuchtgebiete, un bestseller érotique par l’allemande Charlotte Roche. Bien fier de voir FF Karo en action.
Understanding the who, what, where, when, and of course why of a design cannot be underestimated. Without a viable matrix of justification or the ability to argue and question and discover, design is merely an act of faith.
Heller, Steven. « Better Skills through Better Research » dans Bennett, Audrey (éditeur). Design Studies: Theory and Research in Graphic Design. New York (É.-U.): Princeton Architectural Press, 2006.
Abstract
With the growing acceptance that research-through-design can elicit a form of design knowing, this study considers how design research might be engaged with by the community of practice the research seeks to inform. Academic literature on dissemination might usually privilege the word findings with words like verifiable, credible or quantifiable; but for future-oriented practices like design, might it be more productive to frame research findings in terms of potential and possibilities?
This paper proposes that if we understand that the realm of design is about ‘possibilities’ then the question becomes not just what form to adopt for disseminating design knowing, but asks the more elemental question: what is productive to disseminate? This led to questioning whether accounts of design research can be about more than retrospectively describing what happened, but rather seeking to provoke a discursive designerly engagement in another practitioners design knowing. Given the nature of design inquiry and the expertise of designers, could dissemination artifacts be designed to engage individuals within the practice community to question the potential of the design knowing for future situations.
By Lisa Grocott. / Link to PDF article.
Notes from the text
- Fallman defines design-oriented research as primarily a research project characterized by the researchers’ commitment to knowledge creation through the process of designing. In contrast he describes research-oriented design as first and foremost a design project that deploys appropriate research methodologies to produce a designed object.
- The practice of design is by nature a situated activity and as such does not lend itself to generalized theories, pure abstractions or verifiable facts. But even if design research recognizes that it would be antithetical to the domain of design to promote repetition over invention, there does need to be some accounting for what knowing practice-led research can share with others
«There is a group of brand consultants and cultural anthropologists alike that believe now that it is not the actual research itself that is the problem. It is rather about how research is often misused, what type of design concepts and stimulus are tested, and how data is analyzed that is most often at fault. When used correctly, research shouldn’t stifle creativity but rather offer designers stronger inspiration and focus.
There are a wide variety of research techniques that can have merit for designers, but like any techniques, there are different tools, stimulus and surveying mechanisms that are appropriate for each technique. There is not, repeat not, one correct way to test design.»
par Debbie Millman et Mike Bainbridge
lire sur AIGA
«Now if you’ve followed closely so far, you’ll have noticed that there are two kinds of objectives at work here. Firstly, there’s an objective for the outcome of a process or a task or set of tasks, an objective for the kind of results you want to see after someone has done something. Secondly, there’s an objective to see done the things that should be done to achieve desired results. The first is an objective for the results; the second is an objective for the performance that leads to the results – i.e., a “performance objective.”»
Par Thom Quine. PDF original.