nexus - researching, developing and educating for the future
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Design School Kolding research publication 2015-2016TRANSCRIPT
NEXUS Researching, Developingand Educating for the Future
Research Publication 2015-2016
ABOUT DESIGN SCHOOL KOLDING
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 Bachelor’s, Master’s and PhD levels within Communication Design, Industrial Design, Accessory Design, Textile Design and Fashion Design. We also offer a Master’s 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.
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.
nex·usn. pl. nexus or nex·us·es1. A means of connection; a link or tie.2. A connected series or group.3. The core or centre.
TABLE OF CONTENT
3/ FOREWORD
4/ TEACHING GOES HAND IN HAND WITH RESEARCH AND DEVELOPMENT
11/ PERSPECTIVES ON RESEARCH IN EDUCATION
11/ 1. RESEARCH AND TEACHING:
INTEGRATED IN THE WELFARE DESIGN PROJECT 2015
14/ 2. THE DM* MAGAZINE: A DESIGNERLY WAY OF SYNTHESIZING THEORY
21/ 3. TEACHING SUSTAINABILITY
26/ 4. LEARNING IN AN EXPERIENTIAL MATERIAL PRACTICE
30/ PERSPECTIVES ON DEVELOPMENT IN EDUCATION
30/ 1. LEARNING YOU CANNOT ACHIEVE THROUGH THINKING OR READING
32/ 2. YOU NEED TO UNDERSTAND THE COMPANY DNA TO CREATE CHANGE
36/ THE KNOWLEDGE BASE OF THE DESIGN EDUCATION
RESEARCH STRATEGY AND PLAN
40/ PROJECTS: RESEARCH & DEVELOPMENT
47/ PEOPLE
48/ LIST OF PUBLICATIONS
52/ ADVISORY BOARD AND AFFILIATE HONORARY PROFESSORS
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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.
Educating the future designers is at the centre of De-sign School Kolding’s 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.
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.
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
FOREWORD
Elsebeth Gerner Nielsen, Rector, Design School Kolding
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.
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.
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!
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Design School Kolding wants the design profession
to grow and develop beyond its known boundaries.
Therefore, the school places teaching at the centre
of a productive interplay between its departments for
research and development.
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 Lønne, Head of Research, Lone Dalsgaard André, Head of Educa-tion, and Prorector Mette Mikkelsen, who leads the field in the school’s 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 Kolding’s special interplay between research, development, and teaching.
A Useful CycleIrene Alma Lønne: ”The school’s 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
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.”
Lone Dalsgaard André: ”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.”
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.”
TEACHING GOES HAND IN HAND WITH RESEARCH AND DEVELOPMENT
Interview
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Constant InterplayIrene Alma Lønne: ”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.”
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.
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
Research Department has not explored yet. This way, there is a constant interplay.”
Lone Dalsgaard André: ”The advantage for our students is that they don’t 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.”
Irene Alma Lønne: ”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.”
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Plenty of LifebloodLone Dalsgaard André: ”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.”
Irene Alma Lønne: ”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 don’t look at design from the outside but through our design glasses.”
Lone Dalsgaard André: ”It’s 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.”
Mette Mikkelsen: ”It’s 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.”
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PERSPECTIVES ON RESEARCH IN EDUCATION/ 1
Research and Teaching: Integrated in the Welfare Design Project 2015
Richard Herriott, Assistant Professor, PhD
One of the small but important gaps in our appreciation
of the design process is in requirements capture and
validation. Theory and practice have not addressed the
difficulty of requirements definition in industrial design.
Taking the context of Welfare Design as an example,
the Industrial Design department has attempted to use
this theoretical insight as a basis for teaching practice.
The Welfare Design project is a collaboration between the Design School Kolding and Lillebælt 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 Lillebælt 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 School’s 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.
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.
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 involved throughout development and the design is driven and refined by user-centred evaluation. Attention is paid to the steps within the de-sign process of identifying the need, understanding the need, requirements definition, concept development and solution development (Clarkson, 2007).
Specifically the step identified as “requirements” is a critical point where stakeholders’ involvement is lack-ing (Herriott, 2013, and Herriott and Cook 2013). The literature on product requirements is sparse and focused on physical dimensions e.g McKay et al (2001):“Product definition processes take a product specification (defin-ing the requirements that the product must satisfy) and transform it into a product definition defining, at least, the shape and material of the required product so that it can be manufactured ” (McKay et al 2001). Alterna-tively, the literature concerns the inputs needed for the definition (e.g. Wang and Zeng, 2009). It is unrelated to design for consumer products generally.
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The students on the Welfare Project in Autumn 2015 were informed of the value of stakeholder involvement at the validation stage. Within the limits of a non-commercial setting, they were instructed to engage with stakeholders frequently and especially at the validation stage of their process. Work is underway to gather data on how this methodology affected the design process of the students and, in particular, what material effects it had on the design outcome and the structure of the design process.
There are two aspects to the integration of this research-based theory into the teaching programme for the course. One is to see in practice how to best present research issues for students in an accessible manner, or indeed whether to make this purpose explicit. The other is to use a research question to change and drive teach-ing practice in a direction it might otherwise not have gone.
While it is in theory desirable to explain and present the problem formulation to stakeholders, it might be difficult to implement in practice. How are require-ments presented? If it is a text, the terms of the lan-guage can be difficult for users to comprehend. If it is a prototype or CAD model, the design process has proceeded to a late stage and certain assumptions may be built-in too soon. A hypothesis is that requirements specification is a means to convey information to engi-
neers and designers but that the user or stakeholder is not the intended reader of the document. Further, there is a gap between the explicit terms of the requirements document and the implicit terms. It may be difficult for the user to grasp the terms of the document. Presenting this information in a manner that is understandable to the nonprofessional is difficult. The issue is essentially one of coding: using terms that mean the same to us-ers, designers, engineers and other stakeholders. An outcome of this inquiry may involve at least an initial look at how to communicate proposals without locking-down the design process or foreclosing the possibility of revision.
Not all students were able to or chose to maximise stakeholder engagement. A valid question is why this was the case and how students chose to rationalise this approach. Students are aware of the general desirability of addressing stakeholder requirements. A useful quali-tative investigation could show what motivates students to disregard teaching instructions and to find out what means or methods might have increased compliance.The Welfare Design Project, in summary, starts with a footing in research inquiry. It uses a question arising from this to inform teaching practice and provides an opportunity to create data that explores the hypothesis. In this way, there is an interlocking of research and teaching practice, with a positive effect on both.
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REFERENCES
Asking the right questions to elicit product requirements
/ Wang, Min; & Zeng, Yong. 2009. International Journal of
Computer Integrated Manufacturing. Volume 22. Issue 4.
Critical User-Forums: an effective research method for
Inclusive Design
/ Dong, Hua; Clarkson, John; Cassim, Julia; & Keates,
Simeon. 2003. The Design Journal 8 (2) p. 49-59.
Design for Inclusivity: A practical guide to accessible
innovative and user-centred design
/ Coleman, Roger; Clarkson, John; Dong, Hua; & Cassim,
Julia. 2009. Gower, Aldershot.
Inclusive Design: Design for the whole population
/ Clarkson, John; Coleman, Roger; Keates, Simeon; &
Lebbon, Cherie. 2003. Springer, London.
Inclusive Design in Public Transport
/ Herriott, Richard; & Cook, S. 2013. Abstract submitted
to CWUUAT 2014. Accepted Sept, 2014.
Inquiry by design
/ Ziesel, John. 1984. Cambridge University Press,
Cambridge.
ISO DIS 13407
User-Centered Design Draft Standard. International
Standards Organisation 13407.
ISO 9241-210
Ergonomics of human-system interaction -- Part 210:
Human-centred design for interactive systems.
International Standards Organisation. 2010.
Requirements management: a representation scheme
for product specifications
/ McKay, Alison; de Pennington, Alan; & Baxter, Jim.
2001. Computer-Aided Design. Volume 33, Issue 7, June,
p. 511–520.
The Design of Everyday Things
/ Norman, Don A.1988. Basic Books, New York.
pp. 187-218.
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PERSPECTIVES ON RESEARCH IN EDUCATION/ 2
The Dm* Magazine: A Designerly Way of Synthesizing Theory
Kathrina Dankl, Assistant Professor, PhD
This cross-disciplinary course for design master
students centres on Design Methodology in a histori-
cal and contemporary context. Its learning objective
is to gain in-depth knowledge about the theoretical
foundations of the design profession as well as current
developments in the field.
The overall focus is learning design theory in a ‘design-erly’ way (see Bang et al 2014; Cross 2001; Friis and Gelting 2014; Oxman 1999). The three main assign-ments are based on group works, where students are asked to read, analyse, synthesize, summarize and draw key theory texts by various design theoreticians, among them Christopher Alexander, John Christopher Jones, Nigel Cross, Bryan Lawson, Roberto Verganti, Elisa-beth Sanders and Don Norman. The illustrations are poster size and a way to share their expert knowledge in bigger groups and symposium. This course structure was developed by Anne-Louise Bang, Anne Katrine Gelting and Silje Kamille Friis and was developed further by Kathrina Dankl and Sidse Bordal with new learning activities such as the DM Magazine introduced in this article.
The Integration of a New Learning ActivityThe mode of assessment for this course has been attend-
* DM is a shortcut for Design Methodology. I chose the term “magazine” due to its familiarity in design suggesting an
inspiring browsing through theoretical matter.
ance in the past. Although students’ course feedback has been positive and attendance high, the structure of as-signments and assessment did not give a clear picture of students’ learning outcome. Students read four key texts of twenty-two in total and were introduced to a larger number of texts and theory via a rotation of groups. One crucial observation was that visualizations have been disposed of after the course – and with it, part of the collective knowledge gained over the two weeks. Based on these observations, I searched for a format that would support students in taking on responsibility for their learning outcome. Consequently, we expanded the mode of assessment in 2015 to include the handing in of a DM Magazine.
The DM MagazineThis assignment experimented with and studied the effects of students taking more responsibility for their own learning. It addressed the skill of critically assessing the collective knowledge gained over the two weeks by taking on the role of publication editors. On a practi-cal level, we ask students to create a magazine based on their work, by documenting, editing and synthesizing all 22 key texts, by doing professional photos shoots of their posters and edit summaries of colleagues’ texts. To operationalise the challenge, the following sub-ques-
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tions are relevant: Does the assignment help students to document and edit the learnings gained as a group ef-fort? What magazine/compendium formats are chosen (eBook, tacit, expandable, re-printable, etc.)? Does the magazine assignment contribute to take on learning responsibility?
Analysis of the Learning Activity In groups of four, students reviewed colleagues’ work. Two days are reserved for the teams to cluster the mate-rial and design a magazine that compiles the material in a clear way. One goal of the initiative was students’ familiarity with key design methodological texts beyond this course. It should serve as a knowledge base for their written master assignments. Students carried out the evaluation of this learning activity themselves, col-lectively with their instructors. Groups presented their magazines in symposium, so every student was asked to vote for their favourites. One section of the written evaluation focused especially on the magazine task, so students had the possibility to reflect on it in relation to the whole course. Instructors’ evaluation methods included observation throughout the course and assess-ment of the magazines handed in.
The OutcomeThe cross-disciplinary sub groups handed in twelve different magazines with formats showing a great variety. The majority of groups worked with analogue
versions. However, one group set up a complete web-site. The most common formats have been A5 and A4 with text and poster sitting next to each other. Students used binding or paper size and colour as a structuring element. Some students deliberately chose b/w prints and simple binding techniques to make it reproducible by peers in an inexpensive manner. Besides the classic magazine formats, students also used posters, calendars and postcards. The ‘Methodology Calendar’ is a table object that provides the poster and a short summary of the text on one page. The visualization is of post-card size while the text can be cut off to be used as a bookmark. One group interpreted the magazine task as a compendium of single folded A3 posters cover-ing one text each and held together by a metal ring. Index and icons structure the posters in sections such as ‘Collaboration & Innovation’, ‘Human-centred design and co-design’ or ‘The nature of design: Soft system’. A compendium of postcards, the DM Postcard-Set, marked another format; it communicates a single quote from each text together with a coloured illustration. This group argued that quotes give a concise glimpse of the text and therefore potentially inspire to read the whole article or to research into the subject. One group went for a separation of texts and posters in one booklet each. They asserted that this would give the possibility to opt either for the colour poster or for an inexpensive text version only. In this magazine, the students used bigger typography for summaries; one overview page provides
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a selection of keywords for each reading. The webpage www.designmethodology.org offers a whole range of interactive tools such as tags, summaries, links that analogue booklets cannot provide. This version of the magazine also ranked highest in students’ votes.
Students’ View and Evaluation44 students in total filled out an evaluation form at the end of the course. 50% of students responded that the magazine assignment was relevant for them and provided them with new insights into Design Method-ology. Quotes include:
“This last assignment was one of the best endings of a course that I have ever passed! And we had to review all the different papers. So now I can really say that I know, what’s the difference between methods in design and design methodology.”
“It made us rethink the way articles are connected.”
34% of the evaluations expressed mixed feelings about the provision of new insights to Design Methodology but liked aspects of the task. Quotes point to the re-stricted time frame to make full use of the possibilities:
“The idea is great. But (…) it is a biiig project to collect 32 posters and projects.”
“More time needed to succeed with gaining more knowledge…”
16% expressed that the task did not provide them with new insights into Design Methodology. Quotes asserted typically that the task felt more like a layout work than being directed towards gaining knowledge:
“No, because of the short time it was more a layout task.”
“No! It seemed only to be a stressful diversion!”
The critique put forward by the students resonates with my own observations. An adapted version of the learning activity ought to provide a more generous time frame for this task. A template for obligatory text and poster information should keep disorder to a minimum while giving students more time for working with the texts and posters as such.
Conclusion and Implications for Further ResearchThe magazine task of editing and formatting peer material required an additional involvement with the texts and visualizations. As evinced by the delivered magazines, students were able to document the material gained by the whole class. Some groups added read-ability and accessibility; this added benefit suggests that students were able to synthesize material and learn-
To date, the design education offers little opportunities for equipping designers with questioning, analysing and synthesizing skills on an equal footing with
traditional design expertise. Formats that combine theory with “designerly” skills are one way to address
this general lack in the curriculum.Kathrina Dankl, Assistant Professor, PhD
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ings, as well as adding a layer of (academic) rigour to their work. Additionally, the DM Magazine provided students with a product, which they presented to their peer group and which they plan to use for their writ-ten master’s projects. Another (subjective) observation made was that the visual quality of the posters has been higher than in the previous year. One explanation for that might be that students knew that their poster had a means to an end: the magazine.
To date, the design education offers little opportunities for equipping designers with questioning, analysing and synthesizing skills on an equal footing with traditional design expertise. Formats that combine theory with “de-signerly” skills are one way to address this general lack in the curriculum. The DM Magazine is an experiment that needs further development and evaluation. The course format thus calls for critically oriented research efforts into a) its potential for a seamless integration of design research and theory into design education, b) DM Magazines as a low-threshold, inclusive entry to theory for the “designerly” thinker and practitioner and c) DM Magazine’s transferability and expansion to other art and design institutions for creating an alternative library.
REFERENCES
Designerly Ways of Knowing:
Design Discipline Versus Design Science.
Explorations in Design Studies
/ Cross, Nigel. 2001. Paper prepared for the
Design+Research Symposium, Politecnico di Milano,
Italy, May 2000 (2001: MIT Online).
Designerly Ways to Theoretical Insight:
Visualisation as a means to explore, discuss and
understand design theory
/ Bang, Anne Louise; Gelting, Anne Katrine Gøtzsche;
& Friis, Silje Alberte Kamille. 2014.
Educating the Designerly Thinker
/ Oxman, R. 1999. Design Studies, 20(2), p.105-122.
The 5C Model
/ Friis, Silje Alberte Kamille; & Gelting, Anne Katrine
Gøtzsche. 2014. Proceedings of DesignEd Asia
Conference.
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PERSPECTIVES ON RESEARCH IN EDUCATION/ 3
Sustainability and Research-based Teaching
Vibeke Riisberg, Associate Professor, PhD Anne Louise Bang, Associate Professor, PhD
Sustainability is part of Design School Kolding’s overall
strategy. This article briefly introduces how we link
research projects with teaching sustainability to fashion
and textile students.
Design education is often divided between different demands from e.g. government’s education policy, the companies’ ‘here and now needs’ as well as society and the design community’s expectation of artistic innova-tion and visions for the future. This dilemma becomes evident when teaching sustainable design – a complex subject with no definitive answers.
One pedagogical obstacle is the role model that stu-dents already subscribe to when entering the school. This mental picture forms partly out of images com-municated in fashion media and the culture of our consumer society, but traditions in design education also play a central role (Folkmann & Riisberg 2015, Grose 2013, Hasling 2015, Leerberg et al 2010, Riisberg et al 2014, Skjold 2014b). The challenge for us as educators is thus to find ways of opening what might already be rooted in the minds of the students, the institution and ourselves in order to seek new ways to further more sustainable futures.
However, in recent years a paradigm shift related to teaching sustainability has started at Design School Kolding due to a number of circumstances. First of
all the growing awareness of global responsibility has influenced the fashion and textile industry, which has led to international events like Copenhagen Fashion Summit, including the Youth Fashion Summit for design students. Furthermore, digital knowledge platforms have developed, e.g. The HIGG INDEX by Sustainable Apparel Coalition, along with new business models, academic research projects and new journals. In addition, many design schools have initiated curricular changes.
At Design School Kolding, the curriculum has devel-oped continuously since 1998, where we introduced the first bachelor course in material science and sustain-ability. Today, more mandatory courses with different approaches to sustainability have been implemented. Currently, our focus is on how to integrate sustainability in more and more design projects as well as in the theo-retical part of the curriculum. As part of this endeavour, the PhD thesis ‘Learning through Materials – Devel-oping Materials Teaching in the Design Education’ by Karen Marie Hasling was completed in 2015.
Research Developing Methods and ToolsTeaching sustainability to fashion and textile students, we have identified a need for specific user-centered methods in order to investigate the use phase. This is important since the lifespan of garments is a key issue in order to further ‘slow fashion’ and more sustainable
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lifestyles (Entwistle 2000, Fletcher & Grose 2012). Therefore, we take a special interest in studying user relations and emotional attachment to garments in our research.
A number of projects at Design School Kolding focus on developing new dialogue tools based on the Reper-tory Grid technique and the method Wardrobe Studies (Bang 2013, Skjold 2014, Riisberg et al 2015). The Rep-ertory Grid technique originates in psychotherapy and establishes a dialogue based on a selection of elements as props. In fashion and textile design, these elements may be a selection of materials, objects and other items deemed relevant for the purpose of a particular type of dialogue. A Wardrobe Study is a methodological ap-proach that allows for the analysis of the way clothes are used in everyday life, how they are perceived in relation to each other and as parts of the personal wardrobe. At the same time, wardrobe studies opens a space of intimacy, where users often reveal personal stories and values connected to their clothes (Fletcher 2011, Klep & Bjerck 2014, Skjold 2014).
Research on a new business model‘VIGGA’ is a new business concept that offers users a subscription service for baby clothes, with the aim of promoting more sustainable behaviour through a shared economy business model. The company launched the first collection in January 2015, and the concept
demands a distinct design strategy depending on high quality organic cotton textiles, design aesthetics, logistics, trust and profound communication with the users as well as a high level of service. Researchers from Design School Kolding and University of Southern Denmark are studying the project with a special interest in sustainable perspectives. Among other things, we investigate the parents’ expectations and experiences with the service, the quality of the textiles and the fit of the baby clothing.
In autumn of 2015, we conducted a series of interviews employing a combination of tangible dialogue tools and wardrobe studies as a starting point for the conversation about the users’ personal experiences with baby cloth-ing. We interviewed ‘VIGGA’ subscribers as well as non-subscribers. From earlier research, we have experi-enced that the tools and methods introduced above can establish a rich dialogue with users. Here, we employ them to investigate our assumption that parents value comfort, well-being and environmental safety for their children. Based on these studies, a collection of new textile designs and fabric qualities will be developed to meet the challenges of several users, wear and mainte-nance. Besides gaining new insights and knowledge for the purpose of future research, we will use this study to develop further the combination of tools and methods for teaching.
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PerspectiveAs mentioned earlier there seems to be a paradigm shift regarding the students’ attitude towards sustainability. Until now, they have applied the methods we have developed with great enthusiasm. This correlates with several years of evaluations of the cross-disciplinary teaching in user-oriented and problem solving design methods. Our aim with these courses is to provide the students with sufficient methodological knowledge, skills and competences that enable them to develop fur-ther the methods within their own discipline. Analys-ing the ways students do this informs our research and supports improvements. It also feeds into the theoretical foundation. Furthermore, the ‘VIGGA’ project provides insight on how design and new business models engag-ing users in collaborative consumption may support sus-tainability. The next step is to see how we may stimulate fashion and textile students to engage even more with users during the design process. This will contribute to not only teaching sustainability to tomorrow’s designers but also to the field of design research and, hopefully, new strategies to prolong the lifespan of garments.
REFERENCER
A Methodological Approach to the Materiality of
Clothing: Wardrobe Studies
/ Klepp, Ingun; & Bjerck, Mari. 2014. International Journal
of Social Research Methodology. 17: 4, pp. 373–386.
AWARENESS: Tactility and Experience as
Transformational Strategy
/ Riisberg, Vibeke; Bang, Anne Louise; Locher, Laura;
& Moat, Alina. 2015. Proceedings of Shapeshifting: A
Conference on Transformative Paradigms of Fashion and
Textile Design. April 2014. Auckland.
Design Responsibility and Sustainable Design as
Reflective Practice: An Educational Challenge
/ Leerberg, Malene; Riisberg, Vibeke; & Boutrup, Joy.
2010. Sustainable Development. Vol 18, no 5, pp.
306-317.
Exploring the Aesthetics of Sustainable Fashion
/ Folkmann, Mads; & Riisberg, Vibeke. 2015. Nordcode
seminar, University of Jyväskylä, Finland. Peer Review /
Paper. Forthcoming.
Fashion & Sustainability – Design for Change
/ Fletcher, Kate; & Grose, Lynda. 2012. London: Laurens
King Publishing.
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Fashion design education for sustainability practice -
Reflections on undergraduate level teaching
/ Grose, Lynda. 2013. Gardetti, Miguel; & Torres, Ana.
(eds.): Sustainability in Fashion and Textiles - Values, De-
sign, Production and Consumption. Greenleaf Publishing.
Learning through Materials – Developing Materials
Teaching in the Design Education
/ Hasling, Karen Marie. 2015. PhD Dissertation. Design
School Kolding.
Post-Growth Fashion and the Craft of Users
/ Fletcher Kate. 2011. Gwilt, Alison; & Rissanen, Timo
(eds): Shaping Sustainable Fashion. Earthscan.
The Daily Selection
/ Skjold, Else. 2014a. PhD Dissertation. Design School
Kolding & Copenhagen Business School.
The Fashioned Body
/ Entwistle, Joanne. 2000. Cambridge: Polity Press.
The Repertory Grid as a Tool for Dialogue about Emo-
tional Value of Textiles
/ Bang Anne Louise. 2013. Journal of Textile Design
Research and Practice. Vol 1, no 1, 2, pp. 9-26.
Towards Fashion Media for Sustainability
/ Skjold, Else. 2014b. Fletcher, Kate; & Tham, Mathilda
(eds.). Routledge Handbook of Sustainability and Fash-
ion.
VIGGA: http://www.vigga.us [10 December 2015].
Currently, our focus is on how to integrate sustainability in more and more design projects as well as in the theoretical part of the curriculum.Vibeke Riisberg, Associate Professor, PhD
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PERSPECTIVES ON RESEARCH IN EDUCATION/ 4
Learning in an Experiential Material Practice
Karen Marie Hasling, Postdoc, PhD Ulla Ræbild, Assistant Professor, PhD
The following discusses the prospects and challenges
in interaction between research and educational
practices based on observations and investigations in
experimental material practices in design education. In
an interacting system like this, the two practices feed
each other with enquiries and insights.
Conducting research in education has a number of characteristics. First of all, it creates another kind of empirical data as experiments take place in dynamic learning environments with underlying limitations. When initiating an experiment with students, a new frame is established where a mutual space for interaction and dialogue between the researcher and the student(s) is created. Experiments like these are fully reliant on the time and effort students put into them, but the setup al-lows students to influence the final output and the pro-gression of the experiments. Thus able to follow a stu-dent’s process closely, you gain access to the progression of learning and to potential barriers and challenges on the way. In learning environments, improvised research is facilitated and unrestricted by allocated teaching hour limits. Thereby it is possible to explore the opportunities that arise, discover ideas and initiate experiments within a relatively short time frame. The learning approach applied in the two studies described here may be called experiential or practice-based learning with emphasis on individual learning as well as group discussions (Kolb, 1984; Schön, 1987).
Learning about materials at Design School Kolding puts a strong emphasis on sustainability, which makes it relevant to clarify our understanding of the notion. We understand sustainability (in design) as the approaches and aspects of design that serve to improve practices in a holistic understanding of sustainable development being environmental, economic and ethical as well as experiential ranging from raw materials and processes to systems, strategies, and cultural practices. Examples of approaches could be ‘bio-materials’, ‘eco-design’, ‘circular economy’, ‘emotional design’ and ‘slow fashion’ (Fletcher, 2008).
Learning through Materials The first example of a project with strong interaction between education and learning is the PhD project ’Learning through Materials’ (2012-2015) that inves-tigated and developed learning methods for materi-als teaching in design education (Hasling, 2015). The project was based on the hypothesis that students should learn ‘through’ materials rather than ‘about’ materials, meaning that in order to establish meanings and values about materials, it is essential that students are encour-aged and allowed to experience materials in theory and, specifically, practice.
The primary empirical data was created and collected in two materials courses, ‘Materials Introduction’ and ‘Materials and Sustainability’ for first and second year
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fashion, textile and industrial design students at Design School Kolding. The courses provided a frame for continuity in semi-structured iterations that respected the conditions for conducting research in a learning environment. The project proposed a methodology for teaching materials in design education that embraces essential aspects of materials with focus on technical and experiential understandings of materials shifting between inductive and deductive reasoning in the pro-cess. Thereby, the methodology served to translate stu-dents’ use of materials into a holistic perspective making it easier to incorporate materials as part of working with sustainable design.
The learning environment appeared as a natural context for the empirical investigations and it provided valuable insights into students’ needs and requests that would have been difficult to detect elsewise. The main advan-tage of conducting research in a course setting is that, to students, it does not seem like research and it should not. As the project dealt with materials teaching, it was essential to have access to ‘real’ teaching rather than well-prepared workshops with fixed aims and goals, and in the courses teaching and research activities were not separated. It allowed students to link their own work to the research project, which created curiosity, interest and future involvement and provided an informal space for discussing the challenges students experience. Conducting research in learning environments has
limitations, which primarily links to the relative lack of control and ethical responsibility ensuring that students’ learning is always the primary focus. It means that ex-periments should be conducted within the frames of the existing course curriculum and that all students should be given more or less the same premises, which compli-cates the use of direct benchmarking. In our experience, however, the advantages outweigh the disadvantages when conducting research in education, e.g. by means of the teacher/researcher and student interaction in a course.
Re-furbish The second example of a research project conducted in collaboration with students was ‘Re-Furbish’ (autumn 2015). It was part of a larger research project made in collaboration with Kopenhagen Fur that explored fur as a sustainable material. ‘Re-Furbish’ was structured as a six-week project with focus on recycled fur.
The school had been given a large amount of old furs of various types from the National Museum’s exhibi-tion ‘Liv og død’ (‘Life and Death’), to be archived and used in research and teaching. Introducing a shorter and non-mandatory course made it possible to test a range of perspectives based on students’ interests and works valuable to the research project. At the samt time, it al-lowed students to work within a fixed frame and with a material that is usually expensive to access.
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With keywords from sustainable fashion theory such as ‘slow design’, ‘user involvement and co-creation’ and ‘adaptability and transformability’, students were asked to develop their takes on what sustainable fur can be. Teacher involvement was limited to three plenary dis-cussions as well as non-mandatory guidance in materi-als and techniques and methods use in the process.In each plenary discussion, students were asked to present their thoughts on the topic and the progress. These presentations served as dynamic research enquir-ies and as guidelines in the discussions. They helped demonstrate students’ processes and the motivations behind their choices. The discussion furthermore created a space for students in which to learn from each other and exchange experiences, thus transfering knowledge from the individual student to the group.
ConclusionThe two research projects provide examples of how research and education may feed each other and the prospects and limitations of conducting research in education. The projects are very different, but both dem-onstrate some of the things that happen when research and education interact.
These projects require the researcher/educator to act in both of those capacities. Therefore, the projects add research value for educational purposes, and the value of the research-education activity can be traced both inter-
nally in education and externally in research activities. Research in education allows exploring tentative propo-sitions within a short timeframe. Here, the challenge can be to maintain an open-minded approach and stay within research parameters rather than following input from student participants and the workflow found in the practice of making.
REFERENCES
Educating the Reflective Practitioner
/ Schön, Donald A. 1987. Jossey-Bass, San Franscisco,
USA.
Experiential Learning: experience as the source of
learning and development
/ Kolb, David A. 1984. Prentice-Hall, Englewood Cliffs,
New Jersey, USA.
Learning through Materials - Developing Materials
Teaching in Design Education
/ Hasling, Karen Marie. 2015. PhD Dissertation. Design
School Kolding, Kolding, Denmark.
Sustainable Fashion & Textiles - Design Journeys
/ Fletcher, Kate. 2008. Earthscan, London, UK.
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PERSPECTIVES ON DEVELOPMENT IN EDUCATION/ 1
Learning that Cannot be Achievedthrough Thinking or Reading
Design School Kolding has established a Development
Department that completes ongoing collaborations with
industry, public authorities, and other organisations.
The department houses four laboratories in which
designers, technologists, communicators, design stu-
dents, and other specialists explore the use of design
methods to generate practical change processes within
social inclusion, sustainability, play and design, and
continuing education.
The Development Department is responsible for conducting design professional development activities and for collecting knowledge accumulated. They live up to this responsibility through various reportings and by implementing the knowledge that the educational courses generate. The Development Department and the laboratories collaborate with the researchers who track and contextualise, for instance the large-scale ‘Sustainable Disruptions’ project, or describe what takes place in PhD projects, master projects, and research papers.
When Change Creates Change‘Når forandring forandrer’ (‘When Change Creates Change’), is the title of Laila Grøn Truelsen’s master project. She is head of the LAB for Social Inclusion at Design School Kolding, and in her project she describes the role and competences of the designer based on LAB cases.
The knowledge that Laila Grøn Truelsen and the ad-ditional laboratory staff bring to the school is the notion that change creates change. That they as designers contribute new knowledge to a number of companies, which triggers a change process there, and that they return with new knowledge that can create change here.
The school’s students participate in laboratory work-shops, field studies and internships, yet the most con-crete type of learning takes place when the department staff teaches the students.
The knowledge that the Development Department is able to embed in the teaching drives on the difference that design makes on a practical level. Seeing how you can apply design in areas where it is not traditionally used inspires students to expand and explore their own design professional latitude and gives them a sense of direction for how to build, for instance, business models or create social changes using the same methods that they would use for designing new products and services.
Learning from Practical Experience“Participating in projects where you test design on a practical level is a great learning experience. We take students with us in the field and show them that they can use design methods to create coherence. This learn-ing you cannot achieve through thinking or reading. In the words of American Researcher and Philosopher
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Donald Schön, this is training your capacity to reflect on action, says Mette Mikkelsen, Prorector and Head of the Development Department.
Designers usually take their starting point in Design School Kolding’s methodology, described by the school’s researchers.
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PERSPECTIVES ON DEVELOPMENT IN EDUCATION/ 2
You Need to Understand the Company DNA to Create Change
Tools that enable a company to comprehend what it
takes to have a more sustainable production. A hospital
playground that allows children to be children, parents
a break, and staff to observe. Telemedicine. A tool that
helps women decide which treatment to accept after
breast cancer surgery. These are topics that Design
School Kolding’s laboratories work on and use to dis-
play to the wider community that design methods are
highly relevant tools for creating growth, prosperity, and
change.
Yet designers need to do more: They need to bring their experiences to the classroom. Designers have a responsi-bility to teach managers and staff all over the world how to change their services to make them more meaningful to themselves, and to present and future users. Design-ers have produced a series of methods and tools, and primarily they show that you can use design methods to change mind-sets. Students quickly learn from these experiences, and we see that students appreciate the close link between theory and practice.
“We teach them that in order to create change, you need to give people a sense of ownership and involve as many as possible in the change process. This requires that we as designers include people and give them a role. That they see the point,” says Laila Grøn Truelsen, Head of the LAB for Social Inclusion. She emphasises that indeed this is the core principle of everything that
goes on in the LAB and everything the designers bring to the classroom: The students must understand that if they want to create change, they need to understand the company DNA.
Lykke Kjær, Head of the LAB for Sustainability, also refers to the DNA when she answers the question of what she and her team bring to the classroom.
“One important thing that we learned through our large-scale ‘Sustainable Disruptions’ project is that the only way to achieve a lasting effect is by devoting your-self to an overall strategy. A management must want the change, and it needs to become part of the company identity and DNA. There must be a basic understand-ing of the elements that make up a company’s whole,” Lykke Kjær says.
From Restriction to PossibilityLykke Kjær explains how the ‘Sustainable Disruptions’ project workers have spent a lot of time developing methods and strategies for understanding the value chains, markets, customers, segments, mind-sets, and internal cultures of companies.
“When we introduce the methods in the classrooms, the students have different reactions. Some view the new requirements as restricting, others welcome them as a possibility to increase the effect of what they do
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and “I feel”. Usually the design process is open and you don’t know the outcome in advance. You dare to venture into the unknown. With ‘Kitchen Stories’, we tried this strategy for a long time but it didn’t work. The open and unknown is clearly too dangerous when it involves something as important as food, and for the staff it was very much about caring - emotions, that is. Therefore, we decided to revert the design process: We presented our goal – and it worked. One visit to another institu-tion changed the entire project and everyone adopted a positive attitude.
“This experience helped me a great deal in terms of the project – and has helped me in the classroom ever since because I‘m able to show the students a different type of approach,” she says. In Laila Grøn Truelsen’s experience, the LAB work shows the students that they can use their design abilities in more ways than they originally thought.
“Some of the things we teach them is very practical and down-to-earth. We’ve involved many of them in our user workshops and co-creation processes, and when they sit there with 100 elderly people and their relatives, they learn something that they could never learn in school. It gives them a sense of urgency and an awareness that their work is about real life and real people.”
and take it in a positive and sustainable direction,” says Lykke Kjær.
Experience shows us that the students have a hard time linking business models with their personal design pro-cess. “But by maintaining a high professional level and by giving them a strong business understanding, they can contribute to developments that are naturally func-tional and aesthetic but also sustainable and financially sound. In other words, a commercial way of thinking that does not compromise on their artistic expression,” says Lykke Kjær. In her experience, the outcome of the students’ processes and analyses is that they expand their repertoire. “They learn more tricks and we get designers with diverse profiles. Altogether, they know much more than students who do not receive this kind of training,” she says.
Channelling Practical Experience into the SchoolLaila Grøn Truelsen assesses that what the students gain most from is the fact that the LAB team channels practical experience into the school.
“Even minor projects with limited finances provides us with important new knowledge, she says, and mentions the project ‘Køkkenfortællinger’ (‘Kitchen Stories’); a project about food culture in the public sector. “Our challenge was how to endure a methodical approach that would not involve emotional attitudes like “I think”
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Watch Out for Blind AnglesShe hesitates briefly, afraid to sound cheeky: ”The people who work in the LAB are really good at explaining how to do a project, and our experience benefits the students: Watch out for blind angles. Don’t automatically assume that what a company management says is wise and good for the project. Perhaps you need an outsider in order to see the clear picture. Perhaps one of the cleaning staff ”.
“Our students learn more tricks and we get designers with diverse profiles. Altogether, they know much more than students who do not receive this kind of training.”Lykke Kjær, Head of the LAB for Sustainability
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The overall objective of any research strategy and any
curriculum at any university or university-like institution
should be to generate and transfer knowledge in ways
that create value at many different levels of society. In
the case of Design School Kolding, our knowledge in-
tends to reinforce the fields of communication design,
industrial design, fashion and textile design, and ac-
cessory design in a wider context focusing on our three
strategic focus areas: Sustainability, Play & Design,
and Welfare & Well-being. All of our research projects
support one of the fields as well as one strategic focus
area.
While knowledge generation has always been a given within higher education, it has become increasingly important to find new ways of sharing this knowledge with the wider community and prepare students for the life that awaits them after they graduate. Reciprocal exchange is key. Exchange between universities, industry and governments and exchange between education and research, what is referred to as the research-education nexus. At Design School Kolding, we work hard to tear down the division between research and education and between education and business development. We do so by having an internal organisation that supports cross collaboration and sustains the nexus between knowledge production and teaching and by setting up partnership agreements with institutions and businesses.
Knowledge ProductionScientific research and design based development working together constitute the knowledge produc-tion generated internally at Design School Kolding. The school considers both categories equally important. They cover basic and applied research, and development work based on knowledge attained through research and practical experience, with the goal of creating new or substantially improved materials, products, processes, systems or services. The activities are organised in a col-laboration between the school’s Research Department and the school’s Development Department, referred to as the LAB.
The continual appointment of guest lecturers, who introduce current professional knowledge into the programme, and of affiliate professors with considerable professional recognition and experience from interna-tional practice generate knowledge from practice.
Our research approach is characterised by a high degree of integration of design professionalism and knowledge from design. The starting point is research into and with design, with a constant portfolio of researchers and PhD students with a background in design. All researchers teach within the school’s curriculum. Our strategy is to raise the knowledge in the design field based on the core competences of the school’s disciplines. This means that we train our designers to become researchers and
THE KNOWLEDGE BASE OF THE DESIGN EDUCATION
Research Strategy and Plan
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therefore able to articulate the design profession from within. To ensure cross-disciplinarity, we incorporate other professions and theoretical approaches from the humanities and from the technical sciences.
Three Research ClustersWe have defined three research clusters: Sustainability, Play & Design, and Welfare & Well-being. Research on fashion and textiles at Design School Kolding aims to raise the level of sustainability within the garment and textile sector. The goal is to contribute with new knowledge rooted in design processes that will tie together more closely the production and consumption of garments and textiles, thus reducing the waste of resources. What is particular for the existing cluster of fashion and textile researchers at Design School Kolding is the close interlinking of scholarly approaches targeted towards these shared aims and goals. The cross-disciplinarity of the cluster represents a wide range of approaches such as textile design, fashion design, design methods, textile engineering, cultural studies, business and organisational studies, art history and design anthropology.
Design can make a difference in the development of new insights, methods and solutions in the welfare soci-ety. With the strategic focus area Welfare & Well-being, Design School Kolding wants to contribute to the generation of applicable knowledge within the field. In
research, the focus is on welfare design related to hospi-tals and health, for example in the school’s collaboration with Lillebælt Hospital.
Play & Design is an emerging research theme, which we will expand in the coming years. Interaction design is central in this area, and therefore the social interaction and the social relations that form during the act of playing is one of the focus points of this research cluster. Games are by definition social, but ”the social” part of games can take many forms and there is a need to study and explore these forms further. Furthermore, there is a lack of communication between research and industry (in the field of play & design) – which means that design research cannot inform the industry (of play, toys and games) fruitfully. The aim of this cluster is therefore also to bridge the knowledge produced by research with the expertise produced by the industry. Our research also comprises cross-disciplinary themes, which are central to design in both research and education, such as aesthetics, method, and material. The themes overlap and interconnect and the work involves continuing integration, learning and synergy between the fields.
Sustainable FuturesThe themes and clusters all relate to Design School Kolding’s research umbrella: ‘Sustainable Futures’ – the term we have chosen in order to unite the different
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scientific research approaches. Design has always been preoccupied with the future. It is embedded in the way designers work and think. The design process offers tools and ways through which the designer can un-derstand, analyse and create future objects or services. Creating futures is thus a core element of design and central for understanding the scope of design and the way we use and understand design. As such, it is also a core element of design research – both in terms of artis-tic design development and through scientific research. Through research, we strive to contribute in creating futures that enable sustainable approaches. The idea of sustainability traditionally refers mainly to ecology and economics: issues of consumption and products focus-ing on production, materials, re-cycling, etc. At Design School Kolding, we like to define sustainability as also involving politics and culture – issues of welfare and social well-being – forming a direct link to our research themes and strategic areas. ‘Sustainable Futures’ frames what we are aiming at – namely a close relationship between the deeper sense and nature of design, i.e. understanding and shaping the future, and a sustainable society.
Knowledge Transfer So how do we achieve this? How do we turn research results and community engagement into action? How do we make sure that research and knowledge have a much greater impact? The answer is knowledge transfer,
and it is the result of the core activities of the university, namely teaching and research.
Our student learning is research-based, in order for students to develop the skills for generating and dis-seminating knowledge in their communities. Histori-cally, Design School Kolding is an arts and crafts-based design education focusing on materials, the workshops, and the tangible, facilitating an intimate learning process from master to pupil. The foundation for the in-struction and the training is an in-depth understanding and knowledge about materials, tactility, aesthetics, and form. This grounding still exists and remains an integral part of the programme. However, the handing down of knowledge from master to pupil is no longer “tacit” but an explicit learning process in which design students are taught to reflect on and appreciate their own design process and practice. We simply articulate and actively construct the inherent link between teaching and re-search and transfer knowledge from one to the other.
We complete many of our courses in collaboration with industry and the public sector. Students learn to gather knowledge from other professions enabling them to develop their design professionalism into a broader context and to put it in perspective. As such, industry plays a role in the development of university coursework and curricula. Industry, government and the community also help determine research areas of importance in
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collaboration with researchers. This allows us to create an education that produces relevant knowledge, which we can transfer through meaningful collaborations, and that can possibly lead to enhanced employment oppor-tunities for graduates.
Design research is a relatively new discipline, one that Design School Kolding has been practising for little over a decade. The theoretical and academic develop-ment of design helps us to open new paths, both in the education and in the relation to design professional practice, for example by illustrating how knowledge and processes from design may transfer and apply to differ-ent levels in society in a manner that creates new benefits.
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CLUSTERS AND LABS
Design School Kolding’s strategic focus areas form the overall framework for the direction of the school’s re-search and development. Moreover, they provide a basis for the organisation of the activities. The three research clusters are within Welfare & Well-being, Sustainabil-ity, and Play & Design, and have their counterpart in the three Labs: LAB for Sustainability, LAB for Social Inclusion, and LAB for Play and Design.
Research and development also comprise cross-dis-ciplinary themes, which are central to design in both research and education, such as aesthetics, method, col-ours and material. The themes overlap and interconnect and the work involves continuing integration, learning and synergy between the fields. Another key element in Design School Kolding’s research approach is the close link between research and teaching. Research and development transfer into the school’s curriculum to reinforce a research-based education with knowledge about communication design, industrial design, fashion and textile design, and accessory design.
ONGOING PROJECTS WITHIN PARTNERSHIP
AGREEMENTS
Design School Kolding maintains and develops nu-merous collaborative efforts and partnerships with a
variety of partners. By engaging in regional, national and international activities, we set out to create societal value through design and research. We have established private sector collaborations with ambitious innovators such as ECCO, Kopenhagen Fur and TREFOR. Public welfare institutions such as hospitals, local governments and prisons are also familiar collaborators. The nature of the collaborations varies from artistic-based develop-ment projects where designers respond to challenges or assignments, to scientific research and teaching also involving long-term development projects.
LILLEBÆLT HOSPITAL The joint agreement between Lillebælt Hospital, Design School Kolding and the Region of Southern Denmark runs for five years. In 2014, we appointed a professor with special responsibilities as part of the agreement, and he divides his time between Lillebælt Hospital and Design School Kolding. The agreement also includes a range of projects within research, development and teaching. In addition, we build relationships and mutual understanding through workshops, seminars and com-mon fundraising activities. In 2013 we launched the first projects. They all take their point of departure in reality and actual day-to-day needs at the hospital. A central theme and strategic effort at the hospital is the area of ‘Shared Decision Making’, which focuses on how to involve patients in their own treatment in a sensible and meaningful manner.
RESEARCH AND DEVELOPMENT PROJECTS 2015-2016
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Projects in the Agreement 2015-2016
Health & ITThe focus of this research area is on the development and use of design coupled with healthcare information technology, which has the potential to contribute towards sustainable health care. The research looks at advanced IT solutions that can support an active and healthy life by enabling early detection, minimisation of risks associated with aging and/or medical conditions, and emotional support. Another major research goal within this area is to design a new type of health care provider that supports patients’ wishes and needs, self-monitoring, adherence to long-term treatments, and personalised follow-up management. The project is ongoing.
Patient Democracy – Shared Decision Making‘Patient Democracy’ and ‘Shared Decision Making’ investigate how patients can take on a more active role in the current health care system. Patient democracy presupposes equality, respecting patients’ individual values and health care professionals’ recommendations. Through research and co-creation processes with pa-tients and clinicians, we explore system-based solutions that enable patients to become involved in their own treatment. In 2015 we mapped out preliminary and international studies into “state of the art”. In addition, we conducted two pre-studies within patient commu-nication and created a generic tool for shared decision making. In 2016 we will carry out further research and development work in order to gain knowledge about how design and design methods contribute to this field and to develop the overall prospective needed for creat-ing generic tools to help patients, relatives and health professionals in the decision making process about cancer treatment. The projects are ongoing.
Decision Tool for Breast Cancer PatientsThe project aims to develop an actual decision tool to help the Oncological Department at Vejle Hospital engage with newly diagnosed breast cancer patients and their involvement/decision making regarding aftercare. The project intends to improve communication between health care personnel and patients. The ambition is to ease the decision making process for breast cancer
patients when it is time to choose whether to continue with further treatment after their operation. Further-more, the project aims to produce overall knowledge about shared decision making processes that will feed into the overall field of shared decision making. The first part of the project finished in 2015. In 2016 we will proceed with the second part, which is to create and test a tool for shared decision making within breast cancer. Participants:
Project management: Mette Mikkelsen, Head of
Development, Irene Lønne, Head of Research.
Research: Andrea Corradini, Professor, PhD, Kathrina
Dankl, Assistant Professor, PhD, Maria Søebro, Research
Assistant Sidse Carroll, Research Assistant
Development: Laila Grøn Truelsen, Project Manager,
Joan Pedersen, Design Consultant, Lærke Thorst Balslev,
Project Worker, Liv Maria Henning, Project Worker,
Denise Dyrvig Clemente Jensen, Project Worker
KOPENHAGEN FURIn 2013, Design School Kolding established a collaborative agreement with Kopenhagen Fur with sustainability as the core concept in relation to fashion, materials and users. The agreement includes research, teaching and development projects. Kopenhagen Fur has established a fur workshop at Design School Kolding where the students have the opportunity to work with the actual material. The collaboration agreement with Kopenhagen Fur covers a period of three years and includes research, development and training. Kopenhagen Fur collaborates with 20 design schools all over the world. Kopenhagen Fur is Denmark’s main player within the fur industry and a leader in the international market.
Projects in the Agreement 2015-2016
Fur and SustainabilityThis is a research project in collaboration with Kopenhagen Fur, which, from a design research perspective, applies four different angles to fur and sustainability (user, design, memory, and material). The project will include a user-oriented study specifically targeted at the use of fur and towards creating a better understanding of the meaning of fur in the consumer’s wardrobe. The researchers working on the project
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have recently completed their PhDs at Design School Kolding within the field and thus add fresh knowledge and methods to the project. The goal of the project is to create new knowledge about sustainability in textile and fashion seen from a broader perspective.In 2015, we also completed a study into the DNA of Kopenhagen Fur. In 2016 we intend to finish two projects that will contribute to the knowledge about fur and sustainability in a broader perspective. Participants:
Project Management: Irene Lønne, PhD, Head of
Research
Research: PhD, Else Skjold, Assistant Professor (Project
coordinator); Karen Marie Hasling, Postdoc, PhD; Ulla
Ræbild, Assistant Professor, PhD; Sisse Tanderup,
Postdoc, PhD
Development: Lykke Bloch Kjær, Head of LAB for
Sustainability; Maja Lindstrøm Hansen, Project Worker
TREFORTelemedicine from the Viewpoint of Professionals The project is part of the partnership agreement between TREFOR and Design School Kolding. TREFOR and the welfare technology company Medisat wish to learn how Medisat can increase awareness of telemedicine solutions and their use-value among professional staff and decision makers. The project explores the barriers of implementing telemedicine: how to solve them, and how to create acceptance among decision makers and influential professionals. The objective is to develop concrete “spaces of opportunity” and future scenarios that will enable TREFOR and Medisat to achieve their goal of creating awareness and acceptance among professionals and decision makers in the field (focusing on hospital staff at Lillebælt Hospital, the Region of Southern Denmark, and others). The project was carried out and completed in 2015.Participants:
Laila Grøn Truelsen, Project Manager; Liv Maria Henning,
Project Worker; Denise Dyrvig Clemente Jensen, Project
Worker
RESEARCH & DEVELOPMENT PROJECTS IN
COLLABORATION WITH EXTERNAL PARTNERS
Communication and Parkinson – Information that Makes SenseCollaborative partner: AbbVieAbbVie has produced a series of leaflets that make up a collection of onboarding material for patients with Parkinson’s disease. The leaflets describe how the various stages of Parkinson affect the patient. The doctor hands out the individual leaflets as the disease progresses. The material needed an update and adjustments to improve its usefulness for Parkinson patients. AbbVie asked De-sign School Kolding to conduct a survey that involved the users and subsequently to present an analysis of the material and a series of recommendations based on the accumulated insights. The project was carried out and completed in 2015.Participants:
Laila Grøn Truelsen, Project Manager; Rikke Otte, Project
Worker
The RefugeCollaborative partner: Southern Jutland Hospital in AabenraaWith ‘The Refuge’, Southern Jutland Hospital in Aabenraa and Design School Kolding want to cre-ate outdoor environments that help sick children and youths recover through movement and contemplation. Fulfilling this vision requires creative teamwork between children, youths and treatment providers (nurses, doc-tors, physiotherapists) on the one hand, and architects and designers on the other. It is a known fact that physical activity during illness promotes recovery and health, and the Southern Jutland Hospital believes that as a hospital, they have a special obligation to give out-patients and inpatients the possibility to be physically active. The project started in 2014 and was completed in 2015.Participants:
Karen Feder, Project Manager; Anne Corlin, Research
Assistant, Project Worker
Himmelhøjen & OasenCollaborative partner: The Psychiatric Hospital in Southern Jutland
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The project takes its starting point in an already completed project and established outdoor environ-ment belonging to the Family Centre at the Southern Jutland Hospital in Aabenraa. Both projects share the basic belief that you can achieve healing and quality of life through play, movement and contemplation, yet the terms of the projects differ. In the future, the outdoor environments will be part of the everyday lives of chil-dren and youths suffering from mental illness; children and youths who struggle with very different challenges and functional disabilities but share the fact that they are also ordinary children and youths. The project started in 2014 and was completed in 2015.Participants:
Sidse Carroll, Project Worker; Anne Corlin, Research
Assistant, Project Worker
BandCizerCollaborative Partner: RoboCluster
Bandcizer is an elastic sensor that you attach to your elastic training band. The sensor allows you to monitor almost every element of your training. Research shows that even small amounts of targeted everyday train-ing can reduce pain in connection with sedentary or monotonous work. This is a great incentive for compa-nies to offer employees the possibility to exercise during work hours. However, it can be a struggle to integrate exercise in the culture and daily routines of a company. The project maps possibilities and barriers for imple-menting training technology in workplaces and explores how to integrate simple physical exercise in the culture-bearing infrastructure of a company and thus make the BandCizer appeal to both management and staff. The project was carried out and completed in 2015.Participants:
Laila Grøn Truelsen, Project Manager; Denise Dyrvig
Clemente Jensen, Project Worker; Liv Maria Henning,
Project Worker
Dementia at HomeCollaborative partner: Vejle MunicipalityIn the next few years, we expect the number of persons with dementia to increase, partially because people now live longer with dementia. The current care focuses on compensating for physical disabilities. This means that it is difficult to provide support for citizens with dementia
who want to live an independent life in the safety of their own home. Consequently, more and more of the citizens that live in care homes suffer from dementia. In close collaboration with Vejle Hospital, the project develops new activities that will show how citizens with dementia can stay in their own home and keep their independence without conventional institutional care. Through design methods and user-involvement, the pro-ject develops activities that make it possible to activate citizens BEFORE their relatives give up, and the transi-tion to the care home becomes chaotic and traumatic. The project is ongoing and will be completed in 2016.Participants:
Mette Mikkelsen, Head of Development; Joan Pedersen,
Design Consultant; Liv Maria Henning, Project Worker
The Care Home of the FutureCollaborative partners: Care Home Birkelund, Aabenraa MunicipalityThe project intends to improve communication and a set of actions at Care Home Birkelund that can potentially inspire towards creating ”the care home of the future”. By applying the design process, the project participants hope to gain an understanding of the existing culture in order to identify the development potential among staff, citizens, relatives, and others. The project was carried out and completed in 2015.Participants:
Laila Grøn Truelsen, Project Manager; Joan Pedersen, De-
sign Consultant; Lærke Thorst Balslev, Design Consultant
Sustainable DisruptionsCollaborative partners: University of Southern Denmark, D2i - Design to innovate‘Business as usual is not the way forward, and opti-misation alone is insufficient if you want to create an economically sustainable business.’The primary goal of ‘Sustainable Disruptions’ was to ensure more clarity, fo-cus and action in a more sustainable development within the companies’ strategy and day-to-day operation. The project has created and communicated insight, knowl-edge and tools of general interest for companies as well as for new research and development initiatives. Finally, the project introduces the companies to the potentials of using design professional competences at all devel-opment levels in a company: Strategic, organisational,
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relational and in the analysis of value creation.The project is a four-year project founded in a partner-ship between Design School Kolding and the University of Southern Denmark. The project was completed in 2015.Participants: Lykke Bloch Kjær, Project Manager; Maja Lindstrøm
Hansen, Project Worker; Sidse Carroll, Project Worker;
Pia Schytz, Design Consultant; Allan Schmidt, Project
Worker; Rikke Juhl Karlsen, Project Worker
Design StudyCollaborative partner: Kolding MunicipalityThe project is inspired by Kolding Municipality’s vi-sion ‘We Design Life’ and the design venture behind it. The project investigates how and to what degree people understand and accept the use of design, the design concept, and the potential of design in relation to children and youths in Kolding Municipality, as well as design’s perceived value. The project collects knowledge via observations and interviews with children, youths, parents, teachers, pedagogues and managers in the field. It maps the current situation and proposes possible ways of improving the shared understanding and use of design within Kolding Municipality in relation to the field of children and youths, and how design can contribute positively to the future work of the participants. The project was carried out and completed in 2015.Participants: Laila Grøn Truelsen, Project Manager; Maja Lindstrøm
Hansen, Project Worker
VIGGA – Sustainable Clothing for BabiesCollaborative Partner: VIGGA A/SDesign School Kolding is part of a research and devel-opment project called ‘VIGGA’. It is a new business concept that offers a baby clothes subscription service, promoting sustainability through shared economy. The project studies parents’ conception of the service and fashion within this context as well as laundry habits and reception of the design aesthetics offered by the com-pany. Furthermore, we conduct practice based research developing new designs in order to test how best to meet the high requirements of use, maintenance and ‘shared’ aesthetics by the users of a subscription service. The project is ongoing and will be completed in 2016. The
project is supported by the Danish Ministry of Business and Growth.Participants:
Vibeke Riisberg, Associate Professor, PhD; Louise Ravn-
løkke, PhD Student; Anna-Mamusu Sesay, PhD Student
Design2Network: Design as Competition Parameter for Danish Sub-suppliers. Collaborative partner: University of Southern Denmark + several companiesThe project considers design in a network perspective. It breaks with the assumption that design takes place in and is controlled by the individual organisation. It also incorporates a design concept that breaks with the traditional perception of design as a finite design of materials and technology. It regards design as a platform for collaboration between material-technological and constructional-technical domains – in this case between sub-suppliers and clients. The project embraces special-ised knowledge and concepts from interaction design and industrial design. This means that the sub-suppliers, as part of the project, will learn to use new technology within the field of industrial design. This is a three-year project and will be completed in 2016. The project is supported by The Danish Industry Foundation.Participants:
Anne Louise Bang, Associate Professor, PhD
RESEARCH & DEVELOPMENT PROJECTS
Sustainability and Business UnderstandingThe research project is part of a design-based artistic development project formulated by ‘Sustainable Disrup-tions’, which explores and develops opportunities for companies to grow and develop sustainably. Based on ‘design thinking’, the project ‘Sustainable Disruptions’ has developed approaches for how to help small and medium-sized companies create long-term growth through sustainable development. The objective of the development project is twofold: one is to investigate the methods, tools, and approaches from a research perspective, addressing the overall question of how to achieve sustainable transformation at the level of the individual, the team, the organisation, and the com-munity and disseminating the findings in peer-reviewed
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publications. We conduct the research in relation to the already developed approaches, interviewing actors from existing cases and, if possible, conducting a case study in the making process. The project is ongoing and will be finished in 2016. Participants: Silje Kamille Friis, Associate Professor, PhD; Eva Kappel,
Lecturer; Lykke Bloch Kjær, Project Manager
Design AestheticsIn collaboration with The University of Southern Denmark, the project aims to explore aesthetics in the realm of design. The project develops and expands the concept of aesthetics in terms of design and the specific impact of aesthetics on perception, experience, development and use of design. The project is ongoing.Participants:
Vibeke Riisberg, Associate Professor, PhD; Anne Louise
Bang, Associate Professor, PhD
Design for Change‘Design for Change’ was born from our affiliation to Local Wisdom; a large UK-based research project lead by Dr. Kate Fletcher. “Design for Change” examines how clothing and fashion as phenomena can be trans-formed by considering the use phase during the design process. In addition, focus is on how to involve the user as an active participant in the transition to more sustainable behaviours. Thus, the project subscribes to an expanded notion of sustainability including the users and their interaction with garments. The aim is to study how to incorporate this expanded notion into new busi-ness models and production as well as integrate it in the training of future designers.Participants:
Anne Louise Bang, Associate Professor, PhD; Vibeke
Riisberg, Associate Professor, PhD
ColourThe objective of the project is to generate new knowl-edge about colours that can be applied to Design School Kolding’s chromatology curriculum and the stu-dents’ individual design projects. In 1975, Artist Kasper Heiberg set out to define the European palette. He ex-plained the palette as a series of related colours that you do not necessarily have to experience collectively. When
you experience the colours in a collection of nail polish in a shop or brochure, they appear as a collective, but outside that context, they become separate. However, you always experience the colours on a poster or a piece of fabric collectively. Likewise, the palette is affected by the time in which it is created. So the colours we may perceive as our personal palette, may very well be influ-enced by the times. The fashion industry in particular is known for colour forecasting but other industries as well use trend materials about colours. Participants:
Maria Kirk Mikkelsen, Lecturer and Coordinator; Jannik
Seidelin, Teacher
Designing Relationships, Accessibility and Inclusive DesignThe research aims to discover what differences exist in applicability of user-centred design when the scale, duration and complexity of the project varies in comparison to the area for which it was first developed. Using a development project undertaken by the Development Department at Design School Kolding called ”Designing Relationships” and data gathered in that project, we will implement a study that will analyse how design and design processes have impacted the project and created innovative solutions. This work will serve as raw data for research in the area of Accessibility and Inclusive Design. The research will include how user participation in design for hospital architecture differs from that in other similarly scaled projects in other areas. The project is ongoingParticipants:
Richard Herriott, Assistant Professor, PhD
PHD PROJECTS 2015-2016
Unfuzzing Design – Revisiting Epistemology of Design Processes Sidse Ansbjerg Bordal, PhD Student
In the PhD project ‘Unfuzzing Design – Revisiting Epistemology of Design Processes’, Sidse Bordal ques-tions how to strengthen the epistemic foundations of design processes and bridge methodological disputes by critically revisiting prevalent design process understand-ings. From a critical realist perspective, and through
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both empirical, theoretical, and philosophical studies, the project explores and seeks to explicate underlying mechanisms of ill-defined design processes. The PhD project will be completed in 2017.
Place Making/MakersAnne Corlin, PhD Student
The project aims at designing socially sustainable neighbourhoods focusing on urban spaces and interaction by asking how spatial configuration and creation can support network and interaction. The project researches pivotal design parameters in the creation of well-functioning city and housing areas, seeing the physical and the social spaces as mutually dependent. The PhD project is part of the partnership agreement with Kolding Municipality and will be completed in 2018.Collaborative partners: Kolding Municipality, AAB Kolding, Landsbyggefonden
Intimacy, Accessories and Wearables – Identifying Accessory Thinking as a Way to Inform the Design of Future Wearable Health Technology that Empathizes Personal ExperienceTrine Højbak Møller Gøttsche, PhD Student
The PhD project investigates the relationship between citizens with special needs and wearables. Hypothesizing that explorations of the social, cultural, and emotional values embedded in accessory design such as jewellery, functional helping aids i.e. glasses, hearing aids, etc. and clothing accessories will influence the design of future wearables, the goal of the project is solution-oriented towards a social welfare design context. The thesis will be completed in 2018.
Learning Through Materials – Developing Material Teaching in the Design EducationKaren Marie Hasling, Postdoc
The PhD project ‘Learning through Materials’ explores materials teaching in design education based on the curriculum and learning environment in a Danish artis-tic design school. The project aims to understand how design students approach materials in their design prac-tice, and based on this the project proposes modified teaching structures that can accommodate a stronger focus on materials based on both physical and experi-
ential means to understanding materials. The project embraces ways of thinking of and working with materi-als based on materials teaching traditions in artistic and engineering design education. The thesis was handed in, defended and rewarded with the PhD title in 2015.
Beyond Rows of Little Men – Resuming Isotype Transformation with the Case of the Bilson Venture Exhibition, 1946Pia Pedersen, PhD Student
In the 1920s, the graphic approach Isotype was suc-cessful in creating infographics and integrating the two separate worlds, statistics and design, by develop-ing the role of the transformer. Unfortunately, many aspects of the transformer’s process remain elusive for today’s designers, misunderstood and imitated as ‘rows of little men’. The thesis suggests that it is possible to create a more transparent and usable notion of Isotype transformation by using research through design as a complementary research method to investigate archived Isotype material. The project contributes with a novel piece of graphic design history, visualization methods and tools for design research, and a set of visualized transformation components, which can become a source to inform a contemporary design curriculum on how to transform in design. The thesis was handed in in 2015 and will be defended in 2016.
Sustainable and Aesthetic Attributes in ClothingLouise Ravnløkke Munk Petersen, PhD Student
One of the main environmental problems of the fashion industry is the short life span and disposal of clothing. Resources become scarcer while our consumption increases. This requires a change in the fashion system, production and the use of clothes. The PhD project explores how the textile designer in a clothing company can contribute to change towards more sustainable textiles and clothes. The assumption is, that increasing the awareness towards aesthetic attributes like material qualities, textile technologies, and aesthetics experiences, may prolong the lifetime of clothes and thereby contribute to sustainable clothing. The thesis will be completed in 2018.
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Uncovering Fashion Design Method Practice – The Influence of Body, Time and CollectionUlla Ræbild, Assistant Professor
The theme of the study is fashion design method practice in a professional context. The topic under investigation is the design methods that fashion designers apply when they conduct fashion design. The study focuses on designers’ own experiences with regard to practice in fashion design method, in particular the role of the body, the collection format, and the temporal dimension through data production on descriptions and actions obtained from practice itself. The study takes places within a Nordic context, as case participants all have Scandinavian origins and/or work in a company situated geographically in Copenhagen, Denmark. The thesis was handed in, defended and rewarded with the PhD title in 2015.
Sustainable Consumption, Liminal Transition, Aesthetic ConsiderationsAnna-Mamusu Sesay, PhD Student
The project examines sustainability and consumption in relationship to baby clothing during the transition phases in a Danish context. Taking its investigative point of departure within the field of Design Anthropology, this ethnographic exploration seeks to critically reassess predefined ideas and discourses on sustainable consumption by placing everyday practices and lived experiences of citizen-consumers at the centre of its investigation. By doing so, the project seeks to provide a holistic understanding of sustainability in relation to consumption practices, including aesthetically, economically as well as culturally and politically informed considerations taking place on the micro-level where citizen-consumers’ decision-making processes are taking place. The thesis will be completed in 2018.
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PEOPLE 2015-2016:
THE RESEARCH & DEVELOPMENT TEAM
Management and Administration
• Irene Lønne, PhD, Head of Research• Mette Mikkelsen, Prorector, Head of Development• Christina Stind Rosendahl, Research & Development
Secretary
Project Managers, Development Team/LABs
• Karen Feder, Head of Lab for Play and Design• Lykke Block Kjær, Head of Lab for Sustainability• Laila Grøn Truelsen, Head of Lab for Social Inclusion
Research Team
• Andrea Corradini, Professor WSR, PhD• Anne Louise Bang, Associate Professor, PhD• Silje Alberte Kamille Friis, Associate Professor, PhD• Vibeke Riisberg, Associate Professor, PhD• Kathrina Dankl, Assistant Professor, PhD• Richard Herriott, Assistant Professor, PhD• Ulla Ræbild, Assistant Professor, PhD• Else Skjold, Assistant professor PhD• Karen Marie Hasling, Postdoc, PhD (2015)• Sisse Tanderup, Postdoc, PhD (2015)• Karen Feder, Pre-doc • Maria Søbroe, Pre-doc (2015)• Sidse Carroll, Pre-doc (2015)
Teaching Team
• Eva Kappel, Design Teacher• Thomas Zindorff Lagoni, Design Teacher• Maria Kirk Mikkelsen, Design Teacher• Jannik Seidelin, Design Teacher• Barnabas Wetton, Design Teacher
Development Team/LABs
• Joan Pedersen, Design Consultant• Karsten Bech, Project Worker• Maja Lindstrøm Hansen, Project Worker (2015)• Liv Maria Henning, Project Worker• Denise Dyrvig Clemente Jensen, Project Worker• Jesper Legaard, Project Worker, PhD• Allan Schmidt, Project Worker• Kirsten Bohl, Journalist
PhD Students
• Sidse Ansbjerg Bordal• Anne Corlin• Trine Højbak Møller Gøttsche• Nevena Jensen• Pia Pedersen• Louise Ravnløkke Munk Petersen• Anna-Mamusu Sesay
For more info: www.designskolenkolding.dk
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LIST OF PUBLICATIONS 2015
A Design-based Approach to the Creation of Decision Aids for Breast Cancer/ Corradini, Andrea; Jensen, Denise Dyrvig Clemente; Pedersen, Joan; & Truelsen, Laila Grøn. 2015. Proceedings of the 7th International Shared Decision Making (ISDM) Conference and the 4th International Society for Evidence-Based Health Care (ISEHC) Conference (ISDM/ISEHC’15. Sydney, Australia. Abstract.
A Digital Application that Helps Cancer-stricken Kids to Learn of and Cope with their Condition/ Corradini, Andrea; Christensen, Christina H., & Nielsen, Karwa. 2015. Proceedings of the International Conference on Communication in Healthcare (ICCH’15). New Orleans, USA. Abstract.
AWARENESS: Tactility and Experience as Transformational Strategy/ Riisberg, Vibeke; Bang, Anne Louise; Locher, Laura; & Breuil Moat, Alina. 2015. Conference Proceedings Shape Shifting. Peer review/Paper.
Beslutningsværktøj – Samtalen mellem fagpersonale og patient/pårørende ved adjuverende brystkræftbehandling/ LAB for Social Inklusion. Design School Kolding. 2015. Report.
Bæredygtige Forstyrrelser/ Bæredygtige Forstyrrelser / Design School Kolding. 2015. Report.
CAMbulance: A Live Video Streaming System For Ambulance Services/ Corradini, Andrea; & Gheorghiasa, Alexander Constantino. Proceedings of the IEEE International Conference on Information and Communication Technology Research (ICICTR ‘15). Abu Dhabi, UAE. Peer review.
Co-Creation Cards/ Friis, Silje Kamille. U Press 2015. ISBN: 5711612023879.
Decoration and Durability - Ornaments and their ‘Appropriateness’ from Fashion and Design to Architecture/ Riisberg, Vibeke; & Munch, Anders V. Forthcoming in Articfact. Peer review/Article.
Der er behov for kritisk masse. Dimensionering af de kunstnerisk baserede uddannelser/ Skjold, Else; & Lønne, Irene. 2015. Arkitekten #7. Dissemination.
Designerly Ways to Theoretical Insight: Visualisation as a Means to Explore, Discuss and Understand Design Theory/ Bang, Anne Louise; Friis, Silje Kamille; & Gelting, Anne Katrine Gøtzsche. 2015. Journal of Design & Technology Education, Vol. 20, No. 1, 1, pp. 8-17. Peer review/Paper.
Disruptive Diversity: Aspirational Connections between User Groups/ Dankl, Kathrina. 2015. Include 2015 Proceedings, ISBN 978-1-910642-06-1. Peer review.
Draw a Shoe. Sketch a Bag/ Just Add Design / Design School Kolding. 2015. Dissemination.
Embodied Interactions: Proceedings of the 11th Student Interaction Conference (SIDeR 2015)/ Lucero, Andrés; Castaneda, Michelle; Bang, Anne Louise; & Buur, Jacob. 2015. Peer review/Anthology.
Embracing the Concepts og Memory and forgetting through Poetical Thought in Italien Design/ Tanderup, Sisse. 2015. Nordic Journal of Architectural Research, Vol. 27, No. 2, pp. 69-84.
Et lille stykke Danmark i Rom – og lidt rom i et dansk hus/ Bang, Anne Louise. 2015. Rapporter – fra textilernes verden, No. 2, pp. 8-12. Paper. Dissemination.
Et liv med KOL/ Carstensen, Anne. 2015. Report.
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Exploring the Aesthetics of Sustainable Fashion/ Folkmann, Mads Nygaard; & Riisberg, Vibeke. 2015. Nordcode seminar, University of Jyväskylä, Finland. Peer review/Paper. Forthcoming.
How Associative Material Characteristics Create Textile Reflection/ Hasling, Karen Marie; & Bang, Anne Louise. 2015. Proceedings of EAD 2015: The Value of Design Research. Peer review/Conference paper for proceedings.
Lessons of Social Co-Design for Inclusive Design/ Herriott, Richard. 2015. Journal of Accessibility and Design for all. Vol. 5, No 2. Peer review/Paper.
Læg kul på bordet og sæt dig på avispapir/ Hasling, Karen Marie. 2015. October 11th. Jyllandsposten Bolig. Interview. Dissemination.
Making Sense of Dress/ Skjold, Else. 2015. Proceedings of EKSIG: Tangible Means – Experiential Knowledge Through Materials. Kolding, Denmark. Peer review/Paper.
Multisensory Engagement of Students in Teaching Design/ Herriott, Richard. 2015. TAL Teaching for Active Learning Conference, University of Southern Denmark. Odense, Denmark. Paper.
Museum forærer 70 pelse til designskole/ Ræbild, Ulla; Skjold, Else; Hasling, Karen Marie; & Tanderup, Sisse. Jyske Vestkysten. 2015. October 5th. Dissemination.
On What Grounds? An Intra-Disciplinary Account of Evaluation in Research Through Design/ Markussen, Thomas; Krogh, Peter; & Bang, Anne Louise. 2015. Proceedings of INTER-PLAY 2015. IASDR Conference. Brisbane, Australia.
Road-map to a Prospective Assessment of Frailty in Newly Diagnosed Myeloma Patients/ Plesner, T.; Broch, B.: Corradini, Andrea; Andersen, K.; & Axelsen, L. 2015. Proceedings of the MASCC/ISOO Annual Meeting on Supportive Care in Cancer. Copenhagen, Denmark.
Second Mind: A System for Authoring Behaviors in Virtual Worlds/ Mehta, Manish; & Corradini, Andrea. 2015. Proceed-ings of the Interaccion, 16th International Conference on HCI, pp. 345-350. Vilanova i la Geltru, Spain. Conference paper for proceedings. Peer review.
Skjult vækstpotentiale i dansk mode/ Ræbild, Ulla; & Skjold, Else. 2015. January 26th. Berlingske Tidende. Dissemination.Social innovation & Entrepreneurship/ Design School Kolding. 2015. Report.
Sådan holder dit tøj i længere tid/ Hasling, Karen Marie. 2015. November 6th. Avisen.dk. Interview. Dissemination.
Tangible Means: Experiential Knowledge of Materials. Book of Abstracts- International Conference 2015 of the Design Research Society Special Interest Group on Experiential Knowledge./ Bang, Anne Louise; Buur, Jacob; Lønne, Irene Alma; & Nithikul, Nimkulrat (eds.). 2015. Kolding. Peer review/Anthology. Tangible Means: Experiential Knowledge Through Materials. Conference Proceedings - International Conference 2015 of the Design Research Society Special Interest Group on Experiential Knowledge./ Bang, Anne Louise; Buur, Jacob; Lønne, Irene Alma; & Nithikul, Nimkulrat (eds.). 2015. Kolding. Peer review/Anthology.
Teaching Activites for the Reflexive Designer/ Dankl, Kathrina. 2015. TAL Teaching for Active Learning Conference, University of Southern Denmark. Odense, Denmark. Paper.
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Teaching for Future Health Care Innovation/ Dankl, Kathrina. 2015. LearnXDesign, Proceed-ings of the 3rd International Conference for Design Education Researchers, Volume 2 DOI: 10.13140/RG.2.1.5001.8409, pp. 535-547. Published by Aalto University School of Arts, Design and Architecture. Peer review/Conference paper for proceedings.
The Awareness Project: Ways of Talking with Materials/ Bang, Anne Louise; & Riisberg, Vibeke. 2015. Active Textile, Arcintex International Scientific Conference. Panemune, Lithuania.
The Paradox of Design Methods: Towards Alternative Functions/ Dankl. Kathrina. 2015. Nordes 2015: Design Ecologies, ISSN 1604-9705. Peer review/Con-ference paper for proceedings.
The Potential of Design Aesthetics/ Folkmann, Mads Nygaard; Jensen, Hans-Christian; Riisberg, Vibeke; & Bang, Anne Louise. 2015. EAD, 11th European Academy of Design Conference. Peer review/paper. Forthcoming.
The Role of Fiction in Experiments within Design, Art & Architectture/ Knutz, Eva; Ccristensen,Thomas & Rind, Poul. 2015. Artifact, Vol. 3, No. 2. Peer review/Paper.
The Third Space: A Hypothetical Framework of Triadic Co-Evolution/ Bordal, Sidse Ansbjerg. 2015. Presented at IASDR 2015. Doctoral Colloquium. Peer review/Conference paper.
The Use of Statistics as a Drunken Man Uses Lamp-posts: for Support Rather than Illumination/ Corradini, Andrea. 2015. Proceedings of the 23rd Cochrane Colloquium. Vienna, Austria. Abstract.
Ways of Drifting: 5 Methods of Experimentation in Research Through Design/ Krogh, Peter; Markussen, Thomas; & Bang, Anne Louise. 2015. Chakrabarti, A. (ed.) ICoRD’ 15 – Research into Design Across Boundaries, Volume 1: Theory, Research Methodology, Aesthetics, Human Factors and Education, pp. 39-50. Springer Publishing Company.
Ways of Talking With (and about) Materials/ Bang, Anne Louise; Caglio, Agnese; Riisberg, Vibeke; & Hasling, Karen Marie. 2015. Proceedings of Nordes: Design Ecologies. Stockholm, Sweden.
What Have We Learned?/ Herriott, Richard. 2015. Thinking Urban (blog). Contribution. Dissemination.
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ADVISORY BOARD
FOR RESEARCH AND DEVELOPMENT
Richard Buchanan, Professor, PhDDesign, Management, & Information Systems. Department of Design & Innovation, Weatherhead School of Management, Case Western Reserve University, USA.
Ellen Dissanayake, Affiliate ProfessorIndependent Scholar.. School of Music, University of Washington, USA.
William B. Gartner, Professor, PhDCenter for Entrepreneurship, California Lutheran University, USA, and Department of Management, Politics and Philosophy, Copenhagen Business School, Denmark.
Tuuli Mattelmäki, Associate Professor, Doctor of ArtsDepartment of Design, Aalto University School of Arts, Finland.
Janet McDonnell, Professor, PhDAssociate Dean of Research. Central Saint Martins College of Art and Design, University of the Arts, London.
Johan Redström, Professor, PhDRector, Umeå Institute of Design, Umeå University, Sweden.
Saras Sarasvathy, PhDIsidore Horween Research Professor of Business Administration, Darden Graduate School of Business, Virginia, USA.
Martin Woolley, Emeritus Professor, PhDDesign Research. Associate Dean, Applied Research. Coventry University, United Kingdom.
Lou Yongqi, Professor, PhDDean, College of Design & Innovation of Tongji University, Tongji University, Shanghai, China.
HONORARY AFFILIATE PROFESSORS
Anders MorgenthalerIllustrator, Comics Artist and Filmmaker. Copenhagen, Denmark.
Mads NipperGroup President, CEO. Grundfos, Denmark.
Christien MeindertsmaTextile Designer. Owner and founder of FLOCKS, Asperen, Holland
Ejnar TruelsenDesign Manager. ECCO Sko A/S, Bredebro, Denmark.
Henrik VibskovFashion Designer. Owner and founder of Henrik Vibskov Studio, Copenhagen Denmark
Jesper KongshaugLighting Designer, architectural and stage lightning. Copenhagen, Denmark.
Mads QuistgaardGraphic Designer. Founder and Creative Director, Urgent.Agency, Copenhagen, Denmark.
Rebekka BayFashion Designer. Head of Product and Design, Everlane, San Fransisco, USA.
Simona MaschiCo-founder, CEO and Head of Programme, CIID, Copenhagen Institute of Interaction Design, Denmark.
For more info: www.designskolenkolding.dk
NEXUS
Researching, Developing
and Educating for the Future
Design School Kolding 2016
Editor in Chief: Irene Alma LønneEditing: Christina Stind Rosendahl, Marianne Baggesen HilgerWriting: Mette Reinhardt Jakobsen, Kirsten Bohl, Marianne Baggesen HilgerTranslation: Marianne Baggesen HilgerProofreading: Thomas Møller CarlsenPhotography: Katrine Worsøe, Diana LovringCopy: PRINFOVEJLE – Jelling Bogtrykkeri ASGraphic Design: Daugbjerg + Lassen
ISBN: 978-87-93416-00-0©Design School Kolding, 2016
Design School KoldingAagade 10DK-6000 KoldingT: +45 76301100E: [email protected]: www.designskolenkolding.dk
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