Design Studies最新文献

Approximately 65% of a garment's climate impact stems from fabric production. With 53 M tons of fibre produced every year and 87% ending in landfills, the fashion industry is polluting and wasting precious resources. Therefore, waste prevention and recapturing value become essential. Our research explores the development of a new circular design strategy (CDS) - Refashion, for service innovation through a design thinking process. Grounded in sustainable design strategies and advanced manufacturing technology, the Refashion CDS aims to enable multiple reutilization of fabric before fibre recycling. This is showcased via a proof-of-concept collection launched on the market in 2022, where three pre-designed multifunctional fabric blocks create 11 different garments, accompanied by a diagram showcasing the product-service system's closed-loop material flow.

Material agency describes how material affordances and constraints have the inherent capacity to suggest formal transformations. Digital fabrication typically excludes material agency because it requires the final form is digitally modelled before it can be fabricated. To enrich the fabrication design space with material agency, we introduce 1) a programming grammar that relates the sensing of material states with the transformation of fabrication actions via explicit rule notations; 2) a grammatical compiler that translates these rule notations into a responsive robot executable program; 3) a set of critical reflections on how this grammar enhances the fabrication design space with material agency. Consequently, our contributions broaden digital fabrication to produce intricate material forms that cannot be simulated by geometrical definitions.

Despite the increasing interest in bringing together the fields of sustainability transitions and design research, the ways transition design connects to earlier theories on design action have not been extensively studied. By using Buchanan’s (1992; 1998) ‘four orders of design’ and Young’s (2008) ‘complexity in design’ models as a framework, this article provides an empirical example of how to examine transition co-design dynamics. With a case study of a national sustainable development strategy creation in Finland, we argue that design does not only contribute to transition processes instrumentally but also from attitudinal and intellectual perspectives. Designing for transitions blends existing forms of design work for success, and it offers new agencies for design in supporting governance of highly complex policy processes.

Current discussions in practice-led design research concentrate on the thoughtful dimension of working with materials and the problem of analyzing acts of making at the scale of individual practice. Informed by the theoretical tenets of sociomateriality, this paper encloses a practice-led study addressing both issues. We followed the making of a collaboration-based, material-intensive workshop designed by the first author, where he also participated as a maker. This approach afforded us an insider's perspective to delineate how thinking through making transcends the individual and distributes across the entangled becoming of the social and the material. Our findings shed light on four features of sociomaterial assemblages that warrant critical attention in practice-led design research: temporality, contingency, epistemic capability, and analytical agency.

Managing ideas is a central activity of professional designers and an essential element in the creative design process. However, while designers use a diverse range of tools to capture, manage, and recollect ideas, they often lack well-established and proven efficient routines for doing so. To better understand how these idea-centered design processes play out and, potentially, might be improved, we conducted a longitudinal study with ten professional designers where we deployed a technology probe in the form of an app, Recollect, to explore critical aspects of their idea management practices. Based on weekly interviews, we contribute four central insights, which pairwise form two current tensions related to idea capture and idea recollection among designers. These two tensions are that 1) designers have similar conceptions of what constitutes a good design idea, but have very diverse practices for working with ideas; and that 2) designers find value in revisiting ideas, but lack structured and efficient approaches for doing so. We discuss the implications of these findings, and we propose that the complexity of designers' idea management practices call for more research.

The increasingly transdisciplinary context of design, where designers collaborate with other disciplinary and domain experts, means there is a growing need to evidence the effectiveness of design methods. We address this need in two ways. First, we propose a ‘chain of evidence’, from motivation to claims, operationalising this in a systematic assessment framework. Second, we systematically review current design method research. Our results reveal that while all links in the chain of evidence are reported across the literature and best practices can be identified, no individual paper either reports all links or consistently achieves best practice. Our framework and results demonstrate the need for standards of evidence in this area, with implications for design method research, development, education, and practice.

Designers often face situations where the only way forward is through the exploration of possibilities. However, there is a critical disconnect between understanding of how designer’s think and act in such situations. We address this disconnect by proposing and testing (via protocol analysis) the cognitive co-evolution model. Our model comprises a new approach to co-evolutionary design theory by explaining both the progression of the process itself and the creation of design outputs via an interplay between metacognitive perceived uncertainty, cognition, and the external world. We thus connect explanations of how designers think with descriptions of how they act. We provide a foundation for connecting to other theories, models, and questions in design research via common links to cognition and metacognition.

Design, as a field, is inherently multifaceted. For this reason, it might be expected that design research would be reflective of this diversity, not only regarding research themes, but also geographic representation. This paper employs bibliometric methods to explore the issue of country of institutional affiliation of the authors of 14 design journals. Through the analysis of data on paper authorship, cited references and patterns of co-authorship collaboration, we develop a profile of country participation in the design research field. Our findings indicate that the distributions of country affiliation are alarmingly concentrated. As a result, we aim to foster a deeper discussion on the topic of geographic inclusivity in design research, suggesting probable causes and possible ways forward aimed at alleviating this reality.

Underlying theories behind visualisation are well reported in literature; likewise, are visualisation strategies from the perspective of in-house design operations. This research addresses a gap in literature on the topic of visualisation with respect to collaborative design projects with manufacturers that have little or no industrial design capability. The research investigates designers' practices and characteristics of visualisations from 15 new product development projects, followed by a series of reflections by designers involved. Findings illustrate how designers combine different styles of visualisation to balance details, accuracy, aesthetics and fidelity in response to the type of project and collaborator's capability. We conclude with examples of best practice for designers when using visualisation to engage manufacturers who have little experience with industrial design.