NEXUS - Researching, Developing and Educating for the Future

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Design School Kolding research publication 2015-2016


<ul><li><p>NEXUS Researching, Developingand Educating for the Future</p><p>Research Publication 2015-2016</p></li><li><p> ABOUT DESIGN SCHOOL KOLDING </p><p>Design School Kolding is a government-funded independent institution under the auspices of the Danish Ministry for Higher Education and Science. Our programmes originate in a unique interplay between creativity, innovative methods, research and design. We strive to be a centre of excellence for design and equip our students with methods and tools that allow them to grow as design professionals and engage in new forms of collaboration after they graduate. We train our 330 students on Bachelors, Masters and PhD levels within Communication Design, Industrial Design, Accessory Design, Textile Design and Fashion Design. We also offer a Masters Degree programme in Design Management in collaboration with the University of Southern Denmark. In addition to this, we offer continu-ing education, consultancy services, etc. to businesses and the public sector, just as we participate in a number of large-scale development projects in the field of design. The school has a special commitment to the issues of social inclusion, sustainability, and cultural diversity. </p><p>Design School Kolding was founded in 1967 and has been building its research environment since 2002. In 2010, the school received accreditation as university and research institution. The school gives priority to research collaboration, which includes research projects with private companies, public institutions and professional organisations. Also, the school works to inspire other professional areas to adopt the working methods of the designer and encourage companies to innovate through design.</p><p>nexusn. pl. nexus or nexuses1. A means of connection; a link or tie.2. A connected series or group.3. The core or centre.</p></li><li><p>TABLE OF CONTENT</p><p>3/ FOREWORD </p><p>4/ TEACHING GOES HAND IN HAND WITH RESEARCH AND DEVELOPMENT </p><p>11/ PERSPECTIVES ON RESEARCH IN EDUCATION</p><p>11/ 1. RESEARCH AND TEACHING: </p><p>INTEGRATED IN THE WELFARE DESIGN PROJECT 2015</p><p>14/ 2. THE DM* MAGAZINE: A DESIGNERLY WAY OF SYNTHESIZING THEORY</p><p>21/ 3. TEACHING SUSTAINABILITY </p><p>26/ 4. LEARNING IN AN EXPERIENTIAL MATERIAL PRACTICE</p><p>30/ PERSPECTIVES ON DEVELOPMENT IN EDUCATION </p><p>30/ 1. LEARNING YOU CANNOT ACHIEVE THROUGH THINKING OR READING</p><p>32/ 2. YOU NEED TO UNDERSTAND THE COMPANY DNA TO CREATE CHANGE</p><p>36/ THE KNOWLEDGE BASE OF THE DESIGN EDUCATION</p><p>RESEARCH STRATEGY AND PLAN</p><p>40/ PROJECTS: RESEARCH &amp; DEVELOPMENT</p><p>47/ PEOPLE</p><p>48/ LIST OF PUBLICATIONS</p><p>52/ ADVISORY BOARD AND AFFILIATE HONORARY PROFESSORS</p></li><li><p>3/ DK: </p><p>Educating Designers to Build Sustainable FuturesDesigners can change the future and they can solve the challenges of the world. So can artists, journalists, scien-tists, engineers, and politicians. Yet, neither can do it on their own. We must come together in order to turn our thoughts into actions, our inventions into innovations, and put new technologies into use. </p><p>Educating the future designers is at the centre of De-sign School Koldings strategic attention. We strive to educate designers who engage with the wider commu-nity to build sustainable futures. We base our educa-tion on the highest level of knowledge fuelled by three sources: Scientific research, artistic development work, and practice. They all play an equally important role in the professional life of the future designer who will need the three-fold knowledge base to meet the expectations, potentials and demands of the outside world.</p><p>In the 21st century, it is becoming increasingly clear that the solutions provided exclusively by the rationalist discourse are no longer working. The fossil power sta-tions are a manifest example that the world is decaying and will continue to do so if we carry on this discourse.</p><p>In other words: We need new models for thinking. And we need new ways of implementing research results, which are not linked to technology. We need to see human beings as humans and not just as rational </p><p>FOREWORD</p><p>Elsebeth Gerner Nielsen, Rector, Design School Kolding</p><p>machines. This requires that scientists and people of the scientific world team up with artists, designers, philoso-phers, and others who can help re-enchant the world and make it meaningful to human beings. </p><p>In order for research results to have an impact, we need to communicate them in ways that leave room for pas-sions. At Design School Kolding this starts with educa-tion. Therefore, we constantly focus on how to integrate our three sources of knowledge in our education and how to cross-fertilize between our knowledge sources and our education. Our researchers, developers and teachers are committed to building education. They involve students directly in their projects teaching them to research, develop and engage. Students be-come agents in the cycle of learning, building, and putting knowledge into action.</p><p>The topic of this publication is exactly this: How our knowledge base in research and development fuels our education and how our teaching fuels our knowledge creation. Enjoy!</p></li><li><p>4/ DK: </p><p>Design School Kolding wants the design profession </p><p>to grow and develop beyond its known boundaries. </p><p>Therefore, the school places teaching at the centre </p><p>of a productive interplay between its departments for </p><p>research and development.</p><p>Three capable women help ensure that all students at the Design School Kolding, regardless of study pro-gramme, receive training that is based on research and development within their field and across disciplines. We keep each other on our toes. We have what you could call a very happy interplay between scientific re-search, teaching, and artistic development, the women agree. The trio is comprised of Irene Alma Lnne, Head of Research, Lone Dalsgaard Andr, Head of Educa-tion, and Prorector Mette Mikkelsen, who leads the field in the schools development activities. They make sure that throughout their studies, students learn to include reflection and theory in their practice-oriented design education. All three have agreed to do a triple in-terview about Design School Koldings special interplay between research, development, and teaching. </p><p>A Useful CycleIrene Alma Lnne: The schools researchers are commit-ted to our teaching activities, which are associated with just as much prestige as research. To have a culture that integrates research and teaching to this degree is unique. Everyone is eager to put knowledge into play to educate </p><p>the best designers of the future. The researchers are dedicated to the development of new teaching methods and to involving the students in research matters. In the most successful cases, the teaching feeds directly into the researchers knowledge production.</p><p>Lone Dalsgaard Andr: Our research distinguishes itself by the fact that some researchers like to test new methods or theses via the teaching. At the same time, students become able to apply knowledge based on research and development and if then, they wonder what might happen in real life, they are able to re-in-spire the research. This is truly valuable because it means that our work matters. When employees from all three fields work together, design turns into music.</p><p>Mette Mikkelsen: In that respect, development activi-ties can help enhance knowledge about design through practical examples, to the benefit of the students. Likewise, the interplay with the teaching can contribute significantly to the design professional development work and research. Indeed, students projects producemuch learning and applicable empirical knowledge. A graduation project, for instance, involves 80% practical work and 20% theoretical work, yet we always require our students to be able to link theory and practice.</p><p>TEACHING GOES HAND IN HAND WITH RESEARCH AND DEVELOPMENT</p><p>Interview</p></li><li><p>6/ DK: </p><p>Constant InterplayIrene Alma Lnne: Design is a young research field that has only been around for 20 years or so. However, it is gaining recognition as a knowledge and research based field, with its own portfolio of theories and potential to interact with other scientific fields. Our students will encounter great competition in their future professional lives where they will be required to work with other strong professions and different fields of knowledge. The teaching that our researchers and developers are able to provide enables the students to reflect on their own professional competencies, supplies them with tools for acquiring new knowledge, and allows them to con-textualise their competences professionally with other knowledge workers, for instance economists, engineers, or humanists.</p><p>Mette Mikkelsen: In a knowledge society you need to be able to articulate what it is that you do in order to gain respect professionally and researchers help us with that. Research helps validate the design profession and gives it a necessary academic voice.</p><p>At the same time, our maker pillar supports us when we stand in the open and want to test if the ice will hold. You could say that our research defines what you COULD do if you are not sure which path to choose. Meanwhile, the Development Department constantly challenges research when it tests new paths that the </p><p>Research Department has not explored yet. This way, there is a constant interplay.</p><p>Lone Dalsgaard Andr: The advantage for our students is that they dont have to bridge the gap between theory and practice themselves. We support their knowledge and ability to put themselves into play by providing instructors that are experts in their fields. We train them to articulate what they do; you learn much more this way. At the same time, the researchers achieve a very different understanding of their own research. Academ-ic research can easily appear murky, and therefore, what is interesting with the way we do things here is that through our development work, new questions keep emerging that our researchers can explore further and reflect on. Our researchers sense that they are wanted and that we need them to have the time to dig deeper into things.</p><p>Irene Alma Lnne: Our students are free to choose the methods they are most comfortable with. With this comes a sense of unpredictability, which is one of the most exciting aspects of teaching here. Yet, at the same time, our researchers use the teaching to test theories and get direct feedback from students; highly diverse feedback, that is. This means that we show better results, also on a theoretical level, because we challenge aca-demic conventions. This way of working simply makes us achieve more. </p></li><li><p>7/ DK: </p><p>Plenty of LifebloodLone Dalsgaard Andr: Our reason for existing, com-pared to other schools, is our arts and crafts tradition. When we first decided that we wanted to become a research-accredited institution, it took us some time to learn the craft of academia because we wanted to train our designers to be researchers. We imposed a yoke of research on them. Yet today, this means that our researchers have a special kind of credibility because they have their theory on one hand and are able to operate a loom with the other. This makes it easier and more fun for us to integrate research, development, and teaching.</p><p>Irene Alma Lnne: We have always made sure that our research is based on the design profession and with the purpose of educating researchers with a design back-ground. However, the most prominent characteristic of design research is its cross-disciplinarity and the fact that we incorporate elements from both the natural sci-ences, social sciences, and the humanistic research tradi-tion. Design School Kolding retains researchers with diverse backgrounds from the design profession as well as other professions. In line with this, our research is al-ways applied. Research needs to interact with the wider community. The same principle goes for our teaching, where reciprocal exchange and mutual inspiration also takes place. We conduct research through design, which means that we dont look at design from the outside but through our design glasses.</p><p>Lone Dalsgaard Andr: Its important to us to include the makers, those who do. By always including the makers you are also able to show visual and communi-cative results which makes it easier to get your mes-sage across instead of only relying on the written word. At the same time, the researchers are able to look at the work of the practitioners from a helicopter view and put it into a wider context.</p><p>Mette Mikkelsen: Its obvious that the close links to practice affects the research in a positive and usefulway. The term design has become somewhat diluted but we want to entrench design as a field that is able to think and do at the same time. Working as closely as we do with our researchers strengthens both our education and our development and makes them more relevant. Design is a methodical approach to changing the world. When we are also able to refer to theoretical positions, we are able to generate new knowledge and reach higher goals. </p></li><li><p>9/ DK: </p><p>PERSPECTIVES ON RESEARCH IN EDUCATION/ 1</p><p>Research and Teaching: Integrated in the Welfare Design Project 2015</p><p>Richard Herriott, Assistant Professor, PhD</p><p>One of the small but important gaps in our appreciation </p><p>of the design process is in requirements capture and </p><p>validation. Theory and practice have not addressed the </p><p>difficulty of requirements definition in industrial design. </p><p>Taking the context of Welfare Design as an example, </p><p>the Industrial Design department has attempted to use </p><p>this theoretical insight as a basis for teaching practice. </p><p> The Welfare Design project is a collaboration between the Design School Kolding and Lilleblt Hospital. The aim is twofold. For the students it is an opportunity to apply their experience to a very concrete situation to find appropriate and innovative solutions. For Lilleblt Hospital the project allows new insight on how to solve long-standing or perhaps overlooked problems in the hospital environment that affect patients, family and staff at all levels. It allows also a beginning in the pro-cess of realising solutions with benefits for patients and manufacturers. In the course of running this project, the Schools course supervisors have been able to take an idea based on research (about requirements capture and validation) and use this element to guide students work.</p><p>The brief for welfare design encompasses the purpose of improving patient welfare. The means is user-centred design with a focus on validation. I will now look more closely at those means and issues arising from them.</p><p>User-centred design processes (formerly ISO 13407, now ISO 9241-210) such as Inclusive Design have been proposed (Clarkson et al, 2003, Coleman et al 2009) as an alternative to the standard model (e.g as described by Dong et al 2003) with its gaps between the paying client and users, and users and designer (Ziesel, 1984). User-centred design is often discussed in terms of its objec-tives (e.g Norman, 1988), that the design is based upon an explicit understanding of users, tasks and environ-ments, that users are involv...</p></li></ul>