phd by design – researching across difference (2015)

PHDBYDESIGN

RESEARCHING ACROSS DIFFERENCE

5th and 6th of November 2015 Goldsmiths, University of London

conferencedocumentation

2015

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Print ISSN 2397-7019

Online ISSN 2397-7027

forewordBuilding on the 2014 focus of ‘Navigating the messiness of practice-based research’, the focus of this years PhD By Design conference was ‘Researching across difference’. This aimed to highlight the diversity of fields, languages, institutional boundaries, modes of enquiry, genders, abilities, countries, communities, audiences and interests that design researchers are bridging through their work.

The two day event consisted of lively discussions, research presentations, skill sharing workshops, instant publishing and two keynotes that were designed to generate knowledge on how researching across difference functions amongst designers. So, in both this document and Issue 2 of the Instant Journal we have collated notes, transcripts, images, comments and insights to try and evidence this new knowledge. As always, not everything went to plan so there are some sessions that were not recorded and we can only document through participants notes.

All in all, we feel that this PhD By Design event continued to contribute to the building of a practice-based design research community and we thank everyone who contributed to it. To find out more about everyone who took part, we would encourage you to check out the conference programme which holds research bios and images.

We hope you enjoy reading.

Alison Thomson, Maria Portugal, Bianca Elzenbaumer

ORGANISING COMITTEEAlison ThomsonGoldsmiths, University of LondonBianca ElzenbaumerLeeds College of ArtMaria Portugal Goldsmiths, University of London

CHAIRSHelen StratfordSheffield School of ArchitectureNicola GrayGoldsmiths, University of LondonOlga NoronhaGoldsmiths, University of LondonPaulina YurmanGoldsmiths, University of LondonSarah PenningtonGoldsmiths, University of London

Goldsmiths, University of London

KEYNOTE SPEAKERSProf. Doina PetrescuSheffield School of Architecture Prof. Roberto FeoGoldsmiths, University of London

DISCUSSANTSAlex WilkieGoldsmiths, University of LondonBill GaverGoldsmiths, University of LondonJennifer GabrysGoldsmiths, University of LondonJoanna BoehnertUniversity of WestminsterKim TrogalCentral Saint Martins, University of the ArtsMatt WardGoldsmiths, University of LondonNerea CalvilloUniversity of WarwickPaolo PlotegherGoldsmiths, University of LondonPeter LloydUniversity of BrightonSonia MatosEdinburgh College of ArtTobie KerridgeGoldsmiths, University of LondonLondon

keynotes, discussants & team

participants Almudena CanoRoyal College of Art

Andrea Augsten Volkswagen AG | design:transfer

Andrea ScheerHasso-Plattner-Institut für Softwaresystemtechnik GmbH

Andrew Sempere Ecole Polytechnique Fédérale de Lausanne

Anthi KosmaEscuela Técnica Superior de Arquitectura de Madrid, Universidad Politécnica de Madrid

Anuradha ReddyMalmö University

Aya MusmarUniversity of Sheffield

Ayse Zeynep AydemirIstanbul Technical University

Azza Rajhi Ecole Supérieure des Sciences et Technologies du Design

Cagri SanliturkUniversity of Sheffield

Caroline ClaisseSheffield Hallam University

Cathy GaleKingston University

Daniel KraszewskiLoughborough University

Daniela PeukertLeuphana University Lüneburg

Dave PaoRoyal College of Art

David BenqueRoyal College of Art

Dimeji OnafuwaCarnegie Mellon University

Eleonora FiorePolitecnico di Torino

Eli HatleskogUniversity of Ljubljana

Elisa PasqualIUAV—Faculty of Design

Emma DyerUniversity of Cambridge

Ersi IoannidouKingston University

Francesco MazzarellaLoughborough University

Gionata GattoLoughborough Design School

Giovanni MarmontUniversity of Brighton

Gyorgyi GalikRoyal College of Art

Helga AichmaierUniversity of Art and Design Linz

Isabel PaivaNew University of Lisbon

Isabella LoddoIUAV

James ForrenDalhousie University

Jana ThierfelderZürcher Hochschule der Künste, Zurich University of the Arts

Jeounga-Ah KimUniversity of Gothenburg

Joana Casaca LemosCentral Saint Martins

Katarina DimitrijevicGoldsmiths, University of London

Katerina GorkovenkoUniversity of Dundee

Kate WilsonBath University

Luca GiulianoPolitecnico di Torino

Lucy RussellCentral Saint Martins

Maria FerrandThe University of Edinburgh

Mark GreenNorthumbria University

Max FickelRoyal College of Art

Michelle WesterlakenMalmö University

Moritz Greiner-Petter Academy of Art and Design, University of Applied Sciences and Arts Northwestern Switzerland (FHNW)

Nantia KoulidouNorthumbria Univerisity

Nolwenn MaudetUniversité Paris-Sud, INRIA, LRI, CNRS

Paul EmmersonNorthumbria University

Robert DjaelaniNorthumbria University

Rose SinclairGoldsmiths, University of London

Rune RosselandUniversity of Oslo

Saul MarcadentIUAV University of Venice

So!a HallikEstonian Academy of Arts

Søren Rosenbak Umeå Institute of Design, Umeå University

Stacey PitsillidesGoldsmiths, University of London

Sumit PandeyUniversity of Oslo

Swati Srivastava University of Oslo

Tara MooneyUniversity of Wolverhampton

Tzortzis Rallis London College of Communication, UAL

Vera-Karina GebhardtUniversity of Dundee

Veronica De SalvoSUN - Second University of Naples

Yahuei YangGoldsmiths, University of London

INDEX

TIMELINEpg 5

NOTES FROM THE WELCOME SPEECHpg 6-7

NOTES FROM THE DISCUSSION SESSIONSpg 8-35

MAPPING ACTIVITY DOCUMENTATIONpg 36-39

WORKSHOP DOCUMENTATIONpg 40-51

INSTANT JOURNAL OUTLINEpg 52-53

4

DAY ! FRIDAY !TH NOV

0930-1000RHB 142

MAPPING ACTIVITY Group resource generation

1000-1130Room 1, 2, 3 & 4

INSTANT JOURNAL ACTIVITYDevelopment of content for the

Instant Journal

DISCUSSION SESSION "4 groups of 6 presentations (5 minutes each)

led by a chair and a discussant

1145-1230Room 5

1330-1430Room 1 , 2 & 3

LUNCH1230 - 1330RHB 142

TEA & COFFEE1430-1500RHB 142

INSTANT JOURNAL LAUNCH!1500-1530Room 5

COLLECTIVE DEBRIEFING1530-1600Room 5

CONFERENCE CLOSE1600Room 5

WORKSHOP SESSIONS C3 workshop sessions

0900-0930RHB 142

TEA & COFFEE

timelineDAY "

THURSDAY #TH NOV

0900-0945RHB 142

REGISTRATION Tea, coffee & pastries

0945-1000Room 5

MESSY INTRODUCTIONS90 seconds per participant

CONFERENCE WELCOMEBill Gaver

Alison Thomson, Maria Portugal & Bianca Elzenbaumer

1000 - 1100Room 4 & 5

LUNCH1230 - 1330RHB 142

WORKSHOP SESSIONS A3 workshop sessions

1530- 1615Room 1, 2 & 3

DISCUSSION SESSION $4 groups of 6 presentations (5 minutes each)


1100 - 1230 Room 1, 2, 3 & 4

TEA & COFFEE1500 - 1530RHB 142

DISCUSSION SESSION %4 groups of 6 presentations (5 minutes each)


1330 - 1500 Room 1, 2, 3 & 4

KEYNOTE TALK & DRINKS RECEPTIONDoina Petrescu & Roberto Feo

1730 - 2000Ian Gulland

LT

WORKSHOP SESSIONS B3 workshop sessions

1615- 1700Room 1, 2 & 3

5

NOTES FROM THE WELCOME SPEECH BY Professor Bill GaverUniversity of London

Conferences are full of rituals, and I have been asked to provide the motivational exhortation to open the conference. So allow me to tell you a couple of anecdotes that might suit the occasion.

The first comes from when I was a graduate student, a long time ago, and concerns a professor who was very popular among the students. He was very thoughtful and approachable but also very authoritative, and we held him in great respect. On this occasion, we discovered that it was going to be his 60th birthday, so a group of us got together and bought him a bottle of single malt whisky. We took it to his office at about 10 in the morning and presented it to him as a way of expressing our appreciation. To our surprise, he insisted on opening it then and there and serving us all a bit -- this was pretty scandalous (even if it was California). And as we sat around his office, sipping our whisky, he looked around at us and said: ‘You know, I’ve been wondering when everybody is going to find out what a fraud I am – sooner or later, I’m convinced that people are going to find out that I’ve been faking it all these years.’ Of course we were all shocked. We knew he was no fake, but he seemed to be sincere. And to me that was a life-changing gift, because it made me realise that all the feelings I had (and still have!) of insecurity and uncertainty come with the job. For him to give that to us was really generous.

So in that spirit, let me share a little secret with you. No matter what anybody says, nobody really knows what a good practice-based PhD looks like. People have done great practice-based PhDs, and there are a number out there at this point. Still, nobody can tell you the one best way to do a practice-based PhD because nobody knows. And that means that we are all in the business of discovering successful strategies for ourselves. So when your supervisor comes to you and tells you “this is how you should do it”, just say “No. Bill said no” – and then let me know how that goes.

The next anecdote concerns a conversation I had with a friend of mine, Peter Krogh, from the Aarhus School of Architecture in Denmark. We were walking on the harbour in Hong Kong, chatting about this and that, when he said, ‘You know, the situation that I often find when I bring in people to do a practice-based PhD in Design is that they already know about design, so they say, I must be here to learn something new and I guess that something new must be theory and scholarship.’ So they push the design to one side and dive into theory. What happens then is that they get immersed in theory for a long time, and when they poke their head up a couple of years later they are totally lost. So what he tries to remind people is that when you come to do a practice-based PhD it is great to involve yourself in theory and in scholarship, but never forget that design is your resource. Design is the thing you are good at and that’s what makes the PhD. Don’t lose that.

The last thing I was planning to tell you was about a talk I was having with a friend recently, which ended up being about the American genesis of the can-do-spirit. I was going to try to draw some tenuous link to the idea that each of you are exploring a new frontier, searching for nuggets of wisdom or some similar cliché. But I realised, as I waited to speak this morning, that this is actually not what is going on at all. Instead, I realised that as Bianca, Maria and Alison struggled to understand practice-based research, what they did is form this conference as a way of crowd-sourcing the answer. There are lots of people grappling with this, but you all are the ones who will find the answer. No pressure, though – have a great couple of days.

6

“ No matter what anybody says, nobody really knows what a good practice-based PhD looks like. People have done great practice-based PhDs, and there are a number out there at this point. Still, nobody can tell you the one best way to do a practice-based PhD because nobody knows. And that means that we are all in the business of discovering successful strategies for ourselves.”

7

8

SESSIONS

SESSION $ / GROUP !Discussant: Bill GaverChair: Helen Stratford

ANDREA AUGSTENVolkswagen AG | design:transferAction researchDesign StrategyReframing Innovation

ANDREA SCHEERHasso-Plattner-Institut für So&twaresystemtechnik GmbHInterdisciplinary knowledge buildingDesign thinking analysisTeam interaction dynamics

DANIEL KRASZEWKSILoughborough UniversityProduct meaningProduct innovationDesign practice

NOLWENN MAUDETUniversité Paris-Sud, INRIA,LRI, CNRSDesign PortraitsCreativity Support ToolsAcross Fields Communication

Who is involved in knowledge production through design research?Who analyses the data that is collected? What ways are there to involveparticipants in this?Trying to find commonalities in data from the bottom up can be important.What mechanisms can we put in place to actually get feedback from the participants on the research outcomes?

Research of design for designWhere do we see the use of the tools we create? At what point in a process can they be helpful for others?How do we imagine our tools to be used by other designers?What kind of help do we think designers need?How to make the knowledge we create approachable and adaptable?

The lenses of design researchWe always come to research with a certain lens, which necessarily reveals and obscures certain things.To what extent are theoretical lenses useful or restraining?

Are designers creating knowledge?What might be an alternative word for ‘knowledge’?Can we speak of practice rather than knowledge? Of insights, perspectives?Knowledge as a justified belief. How do teams jointly justify knowledge?Designers are constantly trying to escape what we already know. It is about the ability to question even the initial question.

Dealing with the obsession of creating toolsIs it too prescriptive to aim at creating tools and methods? Would it not be more beneficial to come up with something that is allows for more imagination and experimentation? Aiming at producing a tool towards the end of the thesis often feels quite contrived.Producing a turn-key for producing good design comes with a lot of rigidity, which is often not very useful.With the tool you produce, can you break the rules and do it wrong?It can be enlightening to describe how a method has been transformed and appropriated.But do you really need to proof where it comes from? Who are you accountable to?

Communicating design research across disciplinesHow do we present rich visual materials to a scientific community?Being a servant to power or collaborate more equally? Being slightly outside power and comment back from that point of view?The naming of what we are doing is often very problematic. It is not always useful to resort to buzz words.What is the appropriate way to communicate outcomes that cannot be communicated in a paper?

What do we mean by design thinking?Is it about not only arguing with words, but through models and more tangible things?Does the label of the design thinker make it more easy to be accepted in interdisciplinary teams? Does it need materiality? Heavily synthetic? Is it about things you might be doing, sketching where things might go and this does not necessarily have to be material?

Who do we want to be after finishing the PhD?Why are we doing the research we are doing? What is the PhD giving to us? What is it giving to others?

NOTES FROM THE DISCUSSION SESSION(from audio)Thursday, !th November""##-"$%#

What do we mean by design thinking?

10

Issues of ’naming’ itMy research ‘for’ or ‘about’ design is so much more chosen?

NOTES ON POST-ITS AT SESSION END

How can researchers from different disciplines work better together?

What are the key facts and competences other disciplines might have in mind to collaborate with designers in innovation processes? What future role are design researcher going to take in business?Design and Design thinking overlaysSearch for new language to describe what we’re doing. Tools, methods etc. seem too cheap.What is the function of ‘design thinking’ as a phenomena?

How do designers build knowledge in an interdisciplinary team setting?Is design thinking critical thinking in order to discover novelty?Design: is it giving knowledge? Is it asking questions? Is it final product?Is every designer implementing a research method in a unique way?PhD Outcome: method / knowledge. Is this a valid dichotomy?

How can researchers from different disciplines work together more effectively?What is design?Design is an attitude towards a problem.Why pay attention to discipline at all?

How to maintain scientific rigour when borrowing and adapting methods from outside of the design field?Words > imagesTransparency is helpful when borrowing methods. Please describe this transfer.

At the end, it doesn’t matter what discipline the participants (or the methods) come from, but what is important is the fact that a collaboration across disciplines led to a product (or a productive design research process).

How can we convey the richness of design materials in the format of the scientific paper?Grounded theoryWhat is richness of design?Ethnomethodology - how to account for your own practice.Why not the reverse?

11

SESSION $ / GROUP "Discussant: Nerea CalvilloChair: Paulina Yurman

ELEONORA FIOREPolitecnico di TorinoEcodesignProductSystemic design

GYORGYI GALIKRoyal College of ArtSocio-ecological systems designEnvironmental health sciencesThe ‘crisis of agency’

ISABEL PAIVANew University of LisbonSustainabilityInterdisciplinarityUbiquitous computing

JAMES FORRENDalhousie UniversityArchitectureTechnologySociety

SØREN ROSENBANKUmea Institute of DesignUmea UniversityPata-designCritical practicePrototyping practices

Which is my audience? which is the narrative of my research for that specific audience?The question and no one asks because they are too big to be asked. intuition is valuable

How can we acquire all the know how necessary to design in a specific field by saving the time needed to become an expert of that topic?Why does your research question matter? Where is the new knowledge? What is the role of both design and designer?

How does one maintain intellectual consistency and rigour in practice when confronted with censorship and/or potential compromises in project integrity?Commons to commoningHow do we locate ourselves in our research?Reframe sustainability in terms of fairness between citizensChoose a trajectory, be systematic, present results.

Which is my audience? Which is the narrative of my research for that specific audience?

NOTES FROM THE DISCUSSION SESSION(from chair)Thursday, !th November""##-"$%#

12

SESSION $ / GROUP #Discussant: Joanna BoehnertChair: Bianca Elzenbaumer

DANIELA PEUKERTLeuphana University LüneburgTransdisciplinarityDesignerly knowledge productionSustainability

JOANA CASACA LEMOSCentral Saint Martins, University of the Arts LondonCommunication DesignCo-creationSustainability

KATARINA DIMITRIJEVICGoldsmiths, University of LondonPlastic Waste ReuseDesignedisposalDesign Activism

SWATI SRIVASTAVAUniversity of OsloService DesignSustainabilityValue Propositions

Challenges of combining design and sustainabilityWork on sustainability is difficult, challenging work that can often be heavy on one’s well-being.If we want to be a functional person in this culture, we need to be complicit with climate change and environmental destruction. How do we deal with this in our research projects?There are some things that are definitely not sustainable and we have to pay attention to not relativize them in and through our research.What is the potential of expanding the problems of sustainability to a system problem? Is this a challenge we can take on as designers?Why are you working on sustainability in your PhD? What sense do you find for it in your world?

Commissioned research on sustainabilityThe struggle one goes through when for your PhD you’re not working on your own research theme, but on a project framed by someone else.How do you talk about sustainability when a product is already in use through the mass market?Intervening in the mass market possesses the power of creating a bigger impact and get sustainability out of a niche and embed it in everyday life. How do we negotiate this as design researchers?Can design have a role in reframing the need for a “mass market”? How do you work within a context whose fundamental ethos you’re questioning? How to change a context while you design for it?

The role of the words we useMove from “sustainability” to “sustaining”. How to give something a longevity? To move it to a different frame might lead to a leap in thinking.Sustainability is not an absolute term and we can mobilise this in our research.Whatever words we use will have problems attached to them.Can we just do sustainability without wasting energies in trying to define it.

Design and spiritualityWhen doing research on sustainability and the environment, what is the role of spirituality? Can believe systems help us in framing research that deals with issues of sustainability?Spiritual capital and the spiritual as a way to look at back on oneself and at nature?Putting capital and spiritual together places to major problems right next to each other.

NOTES FROM THE DISCUSSION SESSION (from audio)Thursday, !th November""##-"$%#

Why are you working on sustainability in your PhD?

14


How does knowledge production in design differ from other disciplines?

How toxic is my design approach? What are the current aspects of people’s relations and values towards marine plastic waste and five Gyres?Sustainable manifesto: to set up a strategic agenda for design research and practice.Anthropocene > ecoscene > and beyond. Co-sustainment.Anthroposcene Vs. Capitalscene.Sustainability. Spiritual capital. Methodological debate. Sustaining sustainability.How do we become responsible citizens? Playfulness? Sustainability?Sustainability: becoming redundant term. Semantic issues must be tackled to help frame arguments and audiences (impact) objects and ideas.Sustainability - oscillating between aphathy, fear, anger.

How can we utilise repair as a mechanism for creating new and different relationships with existing things rather than consuming new things?Slow vs mass.Are mostly women taking up the work that is depressing/ psychologically heavy?Do we need to frame everything as capital? What to be risk, gain, loose out? Designer/ user. Agency + ownership. In civil + commercial sphere.Thinking (about) with things. Sociality of waste and emotional attachment.

How can we evaluate the impact that co-creation processes have on participants?There are too many ways to measure the qualities of designs impact.qualitatively: questions, observations.Quality of relationships: cultural, environmental, economic, social. Reframing sustainability.The spirit of design.

How does knowledge production in design differ from other disciplines?It’s more contextual.Exposing tacit knowledge of designers.Is there an expectation for designers to change the world? In the hierarchy, designers are often low. How do we position ourselves in system?Institutions, people + knowledge = production.Design often plays the role of facilitating knowledge production, but what if design was the knowledge?What are the dangers of framing design as a science?

How might we influence business driven real-world design context with the knowledge and insights generated from speculative/ fictional explanations?With knowledge visualisations.Service design is not only about dematerialisation, it’s about co-creating quality relationships to enable systemic change.Sustainability: affect > affecting: never ending cycle. The overwhelmingness of the politics beyond us.If you fit into the poltical scenario you will fit, otherwise you’ll be shut out.

15

SESSION $ / GROUP $Discussant: Matt WardChair: Nicola Gray

CAROLINE CLAISSEShe'field Hallam UniversityStorytellingTangibleEngaging

EMMA DYERUniversity of CambridgeArchitectureEducationCommunication

LUCA GIULIANOPolitecnico di TorinoHuman Robot InteractionRoboethicsHuman Machine Interface

MORITZ GREINER-PETTERAcademy of Art and Design, University of Applied Sciences and Arts Northwestern Switzerland (FHNW)Media TheoryInterfaceCritique

SUMIT PANDEYUniversity of OsloDesign methodsDesignerly thinkingResearch through design

Design, method and knowledge productionWhat is the relationship between a method involved in a practice and when you need to make the knowledge transferable, as knowledge that can move in world? How can we do this without making it so generic it is now useless - like in the production of a toolkit? Could the figure of a ‘knowledge broker’ be a way of doing this to share the knowledge? Could we use a form of creative place making (embedding yourself within a community and identify what you’ve done) as a way to draw on that knowledge to create a database, as a way to translate information for others?Technologies that we use to capture the world that we’re investigating become both a mode and mediator of that difference. We should be aware of this.

Design and critique as an interventionThere is something about critique that is distancing, you can’t have critique from within (a critique from within the practice you are doing) and so in critiquing we are separating ourselves from the object of critique, placing ourselves outside the problem, the culture of study etc. Can we think about different forms of critique that are performative and are embodied within the different methods we are investigating?Design is about action and acting in the world and a problem with critique is that it leads to questions after the critique, “and so what will you do?” We know that design can offer more than purely functional design (aesthetically, theoretically), through different forms of thinking about the world and ways of investigating and using critique through practice rather than just through drawing on theory. How can we evolve a material critique where the investigation is thoughtful and asks questions in and of itself?

The design toolkit - keeping with the messiness of design research, not cleaning it upToolkits tend to be reductionist and prescriptive in that they produce a reduced, essentialist view of the human being, an engineered version. Can we ask different questions of toolkits? How can the toolkit become a mode of participatory engagement but also acknowledge that they don’t always do what they set out to do. Let’s stay with the messiness of researching across difference. Thinking about John Law’s writings on the messiness of method, let’s not fall into the trap of sterilising and cleaning up our work and not hide away the messy, awkward bits of data that don’t fit in with our thesis or point. How can institutions, supervisors, academic networks support PhD students to be brave in redefining the strict formats of submission of PhD design research?

NOTES FROM THE DISCUSSION SESSION (from audio)Thursday, !th November""##-"$%#

How can we evolve a material critique where the investigation is thoughtful and asks questions in and of itself?

16

SESSION % / GROUP !Discussant: Peter LloydChair: Sarah Pennington

ANTHI KOSMAUniversity of MadridDrawingActionExploration

CATHY GALEKingston UniveristyMultiplicity Ambiguity Critical design

ERSI IOANNIDOUKingston UniveristyReferencingCreative Spatial representation

KATE WILSONBath UniversityCeramicVesselCulture

How does the clay practitioner and explore ideas of cultural differences in the context a factory made mass produced ceramic objects?I’m curious about how mass produce ceramic objects explore that difference. Really interesting research into everyday objects.

How different experiences and personal outcomes cant be contextualised and form a narrative on the ways of drawing?When is action research in first person valuable?

What is the role of references in the development of a design research project and how can it be represented and incorporated in the design outcome?How to deal with two seemingly opposite things: the spontaneity of sketchbooks, and the construction of intricate documentation as a website involving scanning, linking, coding etc which in effect constitute a designed outcome?What the solution between the research material and the final product, the paper?Is research a question of formats?Is your new way of presenting references going to influence the way you represent them in your next project?Is ambiguity bad?How do you challenge the dominant, often stereotype, culture of branding for Portuguese products for a UK audience?

I have an ambition to integrate research into my design practice to substantiate the experiential impact of visual communication designing interventions. As far as I’m aware this is not a common practice for a visual communication designer and researcher. What is the difference I need to work across to make my practice economically viable?What makes you say that it is not a common practice? I’m intrigued by that as I use it as much as possible in my own work.

NOTES FROM THE DISCUSSION SESSION(from audio) Thursday, !th November"%%#-"!##

How different experiences and personal outcomes cant be contextualised and form a narrativeon the ways of drawing?

18

SESSION % / GROUP "Discussant: Kim TrogalChair: Bianca Elzenbaumer

ALMUDENA CANORoyal College of ArtParticipationDesignLocalism

AYSE ZEYNEP AYDEMIRIstanbul Technical UniversityTriggering conceptsExtraordinary representationsStudio setting

DIMEJI ONAFUWACarnegie Mellon UniversityCommonsCommunityCo-Design

PAUL EMMERSONNorthumbria UniversityDesign-as-CivicsDesign for SustainabilityParticipatory Design

Co-design with communitiesDesign research can carefully empower local communities. But designers need to be attentive to ingrained hierarchies and power structures. Can design research projects become a space for dissent?What does it mean to bring tacit knowledge of communities into a co-design process?Communities can’t make money-related decision. Are design researchers instrumentalsing communities for tick-box exercises? What tactics are there to deal with this dilemma?Designers who manage those who are at the fringe. How to avoid instrumentalising them?Design research can be activated to design communities.What is the role of the university when engaging with communities and their issues?How to maintain a positive approach when doing design research in a depressing context? Not seeing the PhD as a solo journey can help.

Design research and social changeEven when you start a PhD on your own, there is a need to build a bigger network so that your work has a long-term impact.Design researcher as a facilitator of positive deviance.Design (research) as coming together in order to try to change something.How can we share the task of design decision making for sustainability with the communities we work with?Design research also needs to question if what we are designing actually has a reason for existing.The design researcher can’t be separated from the question of how we live the good life.What would be the criteria for a good novel thing? It often seems so arbitrary and detached from politics of power.

Design and commonsMoving from nouns to words puts emphasis on action and process. This is where we can intervene as designers. From commons to commoning.Can co-design prevent people from leaving a commons? Can it draw on those who do not immediately want to participate? Can design level the playing field and allow people to participate?Design research can make physical, material and discursive space for different kinds of knowledge, for giving relevance to what is undervalued or invisible.

Designing across differenceTrusting working relations need a degree of translation between different languages.Showing in practice what design research can produce is part of this translation process.There is a pressing need to engage with the politics and ethics of the difference we encounter in our research.Where are we located in our research? How do differences become to matter?When working with communities, design research can focus on enabling new kind of relationships.Not romanticizing the notion of community. Working across difference can constitute community. Communities are rather liquid.Design research as a way of re-framing what blocks a community and to thus bring up unexpected openings.

NOTES FROM THE DISCUSSION SESSION (from audio)Thursday, !th November"%%#-"!##

What does it mean to bring tacit knowledge of communities into a co-design process?

20


Could we define this process as continuous criticality?

Could we define this process as continuous criticality?What is the political possibility of designer in different scales?Difference: how to situate yourself. How to develop knowledge with others, that they need.Why designers and designers’ role has to always relate to product (physical)?Why do we believe that a PhD needs to be a solo endeavour? This seems a rather counter-productive attitude.How not to become the masters tool?How do we define the communities to work with or for?Design as a process of transformation. Towards what?What is our role as designers? What is our role as citizens? Where do they overlap? Are they one and the same?Whose knowledge is being activated in community-based design projects? And to what ends?What are our criteria if something is/does good or bad?

How can we combine the expertise of the designer and the user to maximise the potential of design?How do we work with participants who want to walk away or disengage?What is our role as citizens?The designer participating in the process and also acting as a gardener to amplify best practices.How to avoid that own design reproduces hierarchies.What are our criteria for something being ‘good’ or doing ‘good’? Handing power to people is not possible. How can design enable communities to build it or take it?

How can the use of trigger concepts, the production of extraordinary representations and reconfiguration of the studio setting contribute to novel forms of designing and learning in an architectural design studio?What triggers a community’s ideas at the beginning of the design process? Texts, movies, images, philosophical concepts? What role do they play once the design process is unfolding.

How does design enable commoning online and in geographical communities?Who is the community? How do you work with continuously changing the the notion of the ‘community’? Commons is a thingThis desire to present hopeful possibilities…I was just eavesdropping: and still I ask myself - what are the benefits of using designerly methods in the field of commoning? What is communing? What is a community? How can it be defined? What is the role of design in these processes?How do the commons impact on design?

How do we design to constitute ‘citizen communities’ that appreciate and undertake community practice-based research – for designing transitions towards sustainment – to develop theory regarding how the ‘shared social practice’ of design functions?Sustainability is a wicked problem they usually puts the researchers in a state of disbelief.Otherness is about desire to learn about places of the unknown (curiosity).What is the role of improvisation when researching across difference?

21

SESSION % / GROUP #Discussant: Jennifer GabrysChair: Helen Stratford

ANDREW SEMPEREEcole Polytechnique Fédéralede LausanneTheatreScenographyFeral

ANURADHA REDDYMalmo UniversityParticipationPrototypingAutonomy

MICHELLE WESTERLAKENMalmo UniversityCo-designNon-humanActors

ROBERT DJAELANINorthumbria UniversityParticipatory designHealthcare systemsSocial isolation

VERA-KARINA GEBHARDTUniversity of DundeeSmart cityParticipative Art

Why do artistic research at all? Is it more about a process?The importance of foregrounding the topic area to situate it in a place that supersedes academic disciplines.The need to research what are the emerging fields (in industry) and consider ways to interact with that world, that new arena to create shared bridges with.

Beyond Academia– interdisciplinarity as strength– practice as producing new forms of knowledge– designing with and for uncertainty – inventive methods.

Recognition of ‘Live Methods’– sociality / STS / design / creative practice / prototyping– ‘Liveness’ as a way to generate bespoke ways of thinking about research areas– How to formalise that? How to talk about that? (What do cows want?)

Non-human– the non digital interaction– animal theory– agency– autonomous – critique – reflective of our society– disruption – hacking– creating space and the interaction

What counts as data?– how to find a relationship with ambiguity and flux?– dialogue with materials data – IN/ON – reflection in / on action– missing expectations as findings– how to articulate the process? Journal 4000/6000 word piece. Where is gender in all this?Designed for uncertaintyMaterials. Agency. Participation. Autonomy. Design with, for, by, non-human actors.New methods. Live methods.Autonomy.

NOTES FROM THE DISCUSSION SESSION (from the chair)Thursday, !th November"%%#-"!##

Why do artistic research at all? Is it more abouta process?

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Are there cultural differences in practice based design research?Could technology necessarily disrupt performance? Is that a bad thing? what other things emerge?


Are there cultural differences in practice based design research?

As computational Systems become more autonomous designing with and for uncertain outcomes becomes ever more crucial. In a joint research effort with computer scientists, and industry stakeholders what methods of negotiation could effectively Address designer concerns?How can data improve the design process?Practice based design - insider/outsider. New process: reflection. Schon

What are the practical challenges confronted when designing for and in response to deviance?What other demands from the environment? What does our environment demand from us?The role of the designer in creating an environment, how do participants (un) expectedly interact?

By what means can we encourage greater institutional acceptance of work done in practice based mode?Who gets to own interdisciplinary work?How can we playfully interact with our environment?

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SESSION % / GROUP $Discussant: Paolo PlotegherChair: Nicola Gray

AYA MUSMARUniversity of She'fieldRefugee campCommunal learningTheory- Practice

CAGRI SANLITURKUniversity of She'fieldCommunity specific interventionTheory and practicePolitics of space

ELI HATLESKOGUniversity of LjubljanaPracticeNegotiationSustainability

FRANCESCO MAZZARELLALoughborough University Service DesignSustainable Textile ArtisanshipSocial Innovation

YAHUEI YANGGoldsmiths, University of LondonEco-communityDialogical design Metadesign

Design Researchers roleWhat are the roles that we are taking up by getting involved in the research?What are the multiple roles that a designer has when researching within a community? How do design researchers situate themselves within groups and communities of other people and also hold on to their autonomy?The question of participation is also the question of your relationship with the audience...Do we have to be architects? Do we have to be designers? Do we have to embrace a profession 100% or can we actually work within one of these roles and then question and explore the boundaries of the practice? How can we breakdown the territories of professions?

Design and communityHow do you create boundaries for your research when you are researching hybrid communities?How to inhabit, and place yourself, within a research context? Be realistic about what we can achieve in these situations - we might not be able to solve massive conflicts, but we can contribute to the everyday. What is community? How to do service design with a community that is not really a community? And then, what is the role of a service designer?

NOTES FROM THE DISCUSSION SESSION (from audio)Thursday, !th November"%%#-"!##

What are the roles that we are taking up by getting involved in the research?

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What is the future of design sustainability?

How can a service design model be developed to ensure conclusions can be drawn from participatory action research across different contexts?Alternative economy in a post-capitalised world.What is stewardship?What is the future of design sustainability?

How can we refine skills post PhD that can help us to develop new ways of working both in research and practice?Challenge identity in a cosmopolitan localism.Theory > participatory action research < practice

How can we enable infrastructure through our research both online and off-line?Top down > middle up down < bottom-up

How can I reflect my nomadic position as a researcher (between theory and practice) when I write my PhD thesis?Cultural practice. Social practice. Not knowing...

Will mindful practice create performance consciousness that works across different disciplines that engage the public?Future aspect is important as utopia dystopia or beyond.Beyond facilitation: design = sense making.

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SESSION " / GROUP !Discussant: Sonia MatosChair: Olga Noronha

LUCY RUSSELLCentral Saint MartinsRepresentationReframingFacilitation

NANTIA KOLIDOUNorthumbria University Digital JewelleryTransitional experiencesSense of Self

OLGA NORONHAGoldsmiths, University of LondonBodyScienceArt

ROSE SINCLAIRGoldsmiths, University of LondonTextilesNetworksSustaining

SAUL MARCADENTIUAV University of VeniceIndependent publishingMagazineImagery

SOFIA HALLIKEstonian Academy of ArtsTheomorphismVirtualityAutonomy

TARA MOONEYUniversity of WolverhamptonLived ExperiencePersonhoodFashion

Who to design for?Are we OK with catering to a luxury market with our research outputs?The need to also speak to audiences who are looking for inspiration rather than information.Design research as a way to carefully amplify the voice of those who are not heard.Setting up spaces for making as a way to give visibility to hidden, undervalued practices of making.Show your research in places where you would usually not show it. Step into unknown territory.

Design outputs can work across differenceOnce you have proper objects to show, people start taking your speculations serious.Drawing as a way to co-produce data with participants.Drawings as an interpretation of the data gathered through participatory-action research.Design as an interface between ourselves and the wider world in which we live.The need to communicate through the channels the communities we work with are familiar with.

The role of (self-)reflection in design researchReflective practice, but reflective with whom? Is a PhD in Design about self-reflection? What validity does that have? What about collaborative reflection?How can reflection not be detached from the human context that it relates to/reflects on?Being critical in your self-reflection. Moving back and forth between different modes.

What is the critical framework you chose to look at things and processes?How does your research contribute to the bigger questions, the questions that go beyond our own research interest?

Design research within academiaWhat is the role of design research within academia? What does it mean for design as an academic, scholarly field? How do we use that role to continue to promote the creation of visual and material imaginaries? Where is the public of/for design research? What new formats for PhDs can be created through design research? What is our contribution to other fields? There is a need to be more daring. Breaking out of the format while still being rigorous.

NOTES FROM THE DISCUSSION SESSION(from audio)Friday, &th November"###-""%#

What is the critical framework you chose to look at things and processes?

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SESSION " / GROUP "Discussant: Paolo PlotegherChair: Maria Portugal

ELISA PASQUAL IUAV University of VeniceMethodological InnovationNation BrandingCorporate Identity

HELGA AICHMAIERUniversity of Art and Design LinzDocumentary photographyVisual communicationPractice-led iconic research

KATERINA GORKOVENKOUniversity of DundeeSecond screensDebatesDiscourses

What is the tension between the nation identity production and localized process of branding? How to produce a more inclusive branding of a ‘country’ and landscape? How to select the ‘right’ and ‘good’ way to represent the country identity? How to incorporate workshops and local production into the nation branding? How designers can incorporate different practices and be involved in process since the beginning?

How the relationship with a specific cultural framework can change your perception of branding? Can the country symbols increase or decrease their retrotic approach?Can we design the same branding identity for two completely different countries? How ‘analysis of images’ within sociology, visual cultures and photography can’t be detached from the space where it’s happening - situated-knowledge within your institution, your cultural framework Working between fields on documentary photography is also a design process - finding out ways of analysing the photography making.Who owns the photography and who owns the research space?

How the local approach and framework can change the way you read your own research?Is there a way to find new ways of representing and visualising public space? How can this process/production feed your audience and your academic community?

How designers can contribute to the documentary representation process? What type of resistance exists within that process? How can we construct different tools of representation of practice?

How can the recruitment of participants reduce, expand or feed your research? How social media move the political priorities into single issues - How the tv debates do not represent the different spaces of conversation about politics ? How the social media engagement and voices representation can create an alternative political interaction?What other types of platforms can feed a research about political debates? How to group or structure the different levels of political conversations? What is my audience on social media?

NOTES FROM THE DISCUSSION SESSION(from audio)Friday, &th November"###-""%#

How can the recruitment of participants reduce, expand or feed your research?

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How would the world look like without immigration?

Situated knowledge: where is your position in the research process? What are your motivations (or multiple motivations) and what is the drive of your project?The personal is political - the political starts from the personal - if you don’t see it anywhere else.What is quality?Postcard as modes of disseminating official images of places = visually literate audiences.Is corporate modernism blanding national identities? There is no neutral anaesthetic when nations are commodified.Exploring/ Sharing difference need to time and awareness.The drive question by Paolo should be a ‘must’ for the next conference. (intrinsic motivation to do a certain PhD)Today we explored areas of tension and motivation design.

How would the world look like without immigration?Is the creation of images allows you to keep the same pictorial features?How the framing of corporate can be included in the different contexts?What is an immigrant?Can you ever really remove the context?Local

Is the figure of the designer ready for leading projects where actors from different disciplines are involved?What is a designers job?Rethinking designer studiesMapping the geography of identity

What are the most appropriate ways to transition from the research to the design stage of the project?Making.

How to evaluate design process and the outcome in a practice based research?What is driving your research? What is at stake?Situated knowledgeKeep the question open.

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SESSION " / GROUP #Discussant: Alex WilkieChair: Alison Thomson

DAVE PAORoyal College of ArtConversationTimelineSexual Health

ISABELLA LODDOIUAV University of VeniceTangible InteractionBalanceEmbodiment

JEOUNGA-AH KIMUniversity of GothenburgSustainable designDesign for healthcareMultidisciplinary

RUNE ROSSELANDUniversity of OsloMusic MovementHealth

STACEY PITSILLIDESGoldsmiths, University of LondonBereavementCraftingArchive

Assumptions within designWhat are the assumptions that float around design research and how do we interrogate, accept and acknowledge these? These are things like the relationship between design and the user and how this is enacted within the methods that we use, how we transform people into users through design, through observation etc.What is the relationship between design and expertise, and how do we think about expertise and design. More often than not, we see the expert as the ‘other’ whether it is clinicians, or patients, there is a certain understanding of where expertise is located. How do we as designers reflect on our own expertise and practices?What are the assumptions of methods, and are they compatible when we use them together? E.g. can we use the theory of affect with affordances? Is the knowledge that they produce commensurable or are they drawing on different understandings of what the social is, what people are, what design is?We can never fully grasp the context we are designing in which makes scaling up of a product difficult as it then makes presumptions. Should and could we in our research become more specific to know more?

Design research within the institution, ownership and collaborationHow do we as designers recognise the Institution? How can an understanding of the institution and the institutional setting be brought into our research? What is the relationship between design and its subjects? Are they research subjects, stakeholders participants and what is their status in the research process and what do these words do? Does design have a discourse?When we’re researching across difference, what happens to ownership of the project and also the contribution to knowledge when different fields and contexts only acknowledge or are interested in one format? E.g. the inaccessibility of a thesis document for patient participants. What happens when we are put in a position of difference, or we discover difference between the framing of the research aims and the research topic?

NOTES FROM THE DISCUSSION SESSION (from audio)Friday, &th November"###-""%#

How do we as designers reflect on our own expertise and practices?

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Can we use interdisciplinary teams to research methodologies, best practices and ethics for death online that can have a application within legislation and the developing industries?What I find interesting is the motif “end of life “research is “create a good last chapter” but yours also spills into “afterlife”.The thesis document is defined by the space of the institution.Designing within institutions: Labs, universities, hospitals, companies... What’s the best way to go about this?What are the status of people when named: user, participant, co-creator, client. Do they really ever get a version of the thesis?Interdisciplinary groups could work on the field of death online according with the negotiation of this complex process and multiplicity of disciplines.


How can embodied designs, be experienced by people through their difference?

How to negotiate the tensions between the need for methodological rigour in science and the adductive and creative processes of design in a practice based research project?Can designers use lots and versions of methodologies? Should we just use one?Try at least a short period, build a relationship with the elderly into their circle to understand them without thinking about your project.Relationships of design and social science: let’s not jump their too quickly.Difference between methodological rigour and innovative methodology.Perhaps by defining some of the unique ways that design functions, what are these relationships?

How can embodied designs, be experienced by people through their difference?How can designers highlight difference in more meaningful ways?Parasitical aspect of design.Perhaps this as to complexity.

How can we solve the issues of the impact of conflict of interest and disagreement in direction between stakeholders within a multidisciplinary research project?What are the assumptions of design research? User, designer, discipline….Do we need to find solutions to conflict? What do these tensions and conflicts produce?Different motivations of participants, and designers on a research project.Before solving conflicts of interests how do we ‘identify’ them? From whose perspective?With an action research approach a clinic view could give stability to stakeholders.

What if sexual health medical records were designed by clinicians, for clinicians rather than ‘not designed’ for administrators?Designed for clinicians - yes. But why by clinicians?What about designing for health researchers and clinicians? They might have different needs.How can records be visualised in a way that communicates who a person is?Need an awareness of the scaling of design, from one survey up to the population.

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SESSION " / GROUP $Discussant: Tobie KerridgeChair: Paulina Yurman

DAVID BENQUERoyal College of ArtScience / technologySpeculationMachine predictions

GIONATA GATTOLoughborough Design SchoolPlant’s action potentialsData emergenceCritical design

GIOVANNI MARMONTUniversity of BrightonCritical DesignInteractionExistential Psychotherapy

JANA THIERFELDERZürcher Hochschule der Künste, Zurich University of the ArtsTransdisciplinarityVisual CommunicationEthnographic research

MARK GREENUniversity of NorthumbriaDisruptionUnfinishednessDesign activism

Research disseminationBeing aware of our need to be in control of where our outputs are disseminated. But do we want to be in control?Being aware of the limits of our scope and responsibilities as designers.Sometimes we do more work than necessary for our thesis. How do we make that useful, what do we do with it? Are we responsible for translating?

Critical designCritical design as superficial - design should use real people - but what would it mean for real people to be active?Is critical design about designers talking to other designers? But we have now built a network, so we now have responsibilities. What do we do now?

Disruption and unfinishednessWhat is the frame of disruptive practices?Unfinishedness- that could be fruitful.

NOTES FROM THE DISCUSSION SESSION(from session participant)Friday, &th November"###-""%#

Disruption- what is the frame of disruptive practices?

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Can a raised awareness from visual communication help different fields of science to collaborate, make research more transparent, and improve the importance of the results for society?Bruno Labour talks about references circulations. Have you looked at the whole process for the biologists?


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MAPPING ACTIVITY

WHAT MAKES A GOOD MAILING LIST?Give sections guided by professionalsNot too redundantPlease don’t overuse itMake it relevant (topic orientated)RIP?CurationFlurry of activityNewsletter - VisualPersonalisedNot overwhelmed by ‘other’ peopleOpen searchableDipping in and outA mute buttonA strong titleRelated to one pageA managed oneCommunitySlack (app)Not too oftenClear titleNot every “reply all” to everyoneHave no Ken FriedmanLinkedGroup forum, Stack, FBCfPsShort coursesTags, keywords = more searchableRelevant (ourselves and credits)Not for opinionsOnce a monthUpdates on PhD by Design participantsThematic mailing listConference proceedings worth looking atConference alerts

ANY ADVICE ON POSTDOCTORAL OPPORTUNITIES?Job board (for people to post jobs to also)PhD by Design Jobs boardAdvice about jobs and portfolios and mentoringPublish PhD in public domain as soon as possibleThinking ahead when writing format of publicationBe brave, be OpenApply for ERCTransferable skillsNetworkSupervisorKnowledge exchangeWorkshopsWrite bidsAdvice from someone who is a post-doc: find a direction, find your own way, a good idea. Be more flexible (than in PhD). Recharge on energy. Send proposal to very different places. Become an inde pendent researcher.

NOTES FROM THE MAPPING POSTERS Friday, &th November#'%#-"###

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WHAT DESIGN CONFERENCES OR MEETINGS WOULD YOU RECOMMEND NOT TO MISS?DESMA network: Design and management. Google hangout. Deism Vibes.TEI conf. 2016 in Eindhoven (Interaction Design)Interaction 16 in Helsinki. (Interaction Design)WCC-BF conf. (Belgium)Horizon 2020? Possible as just designMaking futuresCumulusMakeshiftParticipatory designServ DesDRSCHIBritish HCITUXNordesAHRADISLIftSensuous knowledgeFuture everything4sEASSTCritical studiesResearch group conference (Brighton)SS EDR Summer schoolArt of researchPhD By DesignMarie Curie TradersDesign 4 LifeSheffield Hallam Methods conference JuneTie 16ACADIA (USA)Design History SocietyAlvar AaltoResonateTransmedialeDutch Design WeekLondon Design FestivalTechnologies knowledges and society conference* propose a session and chair it rather than submita paper.ChiringuitoFuturezwei (Germany)Social Science and HumanitiesPitch PhD By Design to other institutions outsidethe UK

ANY ADVICE ON FUNDING OPPORTUNITIES?Avoid European grants (too murky, too much paper work)Inviting people when organising an event at yourUniversityPlug into a networkStart with something small and apply for fundingERCSWISS WSF HESSOAHRC

WHAT TECHNOLOGY/ WEBSITES/ APPS WOULD YOU RECOMMEND FOR MAKING RESEARCH EASIER?MendeleyEvernoteFashion web archives. ex. Business of Fashion.ThunderbirdNvivoVoobopobInstapoperPapers for MACaaaaaarg.failJSTORElsevierACMSAGEopentranscripts.orgGithub

ANY GOOD RESEARCH INSTITUTES YOU KNOW OF?Akademie der Bildenden Künste WienTu Delft in Berlin. Image Knowledge …? Berlin

WHAT ARE THE KEY DAYS IN THE PHD ANNUAL DIARY?Annual and 2 x annual PhD colloquium presentationsAnnual progression report

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WORKSHOPS

A selection of the workshops that took place over the two days are documented in this publication. Due to the lack of imagery of some topics of discussion (Scrivener, Digital academic, Zotero), we felt it would be more useful to document these topics online. Please visit the PhD By Design Tumblr for digital documentation of these.

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RESEARCH & VISUALCOMMUNICATION Word to InDesign

Nicola Gray, Maria Portugaland Mara Rossi

How to build an alternative reading ofyour practice and writing,how it can help speakingto new audiences and energize your research.We will explore how to useIndesign as an editorial tool for yourWord files as a way offinding your own process and communication/language.Walking through two possible approaches:research process (diaries,art boards, informationcollector) and writing(article, thesis, publications).

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Referenceshttps://www.youtube.com/watch?v=ZxQn8ywWSY0 https://www.youtube.com/watch?v=iHDy_nEvgd4http://tv.adobe.com/watch/adobe-evangelists-terrywhite/how-to-get-started-with-adobe-indesign-cs610-things-beginners- want-to-know-how-to-do/

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CRITICAL OBJECTINTERVIEWSFrom field data togenerative storiesNolwenn Maudet

To study users’ specificand creative practices, wepropose an interviewmethodology to gatherspecific, surprising andinspiring stories. We illustrate the storieswith storyboards thatcan then be used toanalyse practices, comunicate results to abroader audience andinspire designers.

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MAPPING SOCIAL RELATIONS

Teresa Hoskyns

Doctoral design research canoften involve diverse activities,taking part in complex socialnetworks and organisations.How do we record and reresent these activities, networks and relationships?This workshop will examinesome mapping techniquesto represent and documentsocial relationships.

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SCRIVENER:A writing tool for creatives

Alison Thomson

Scrivener is a writingsoftware that can dealwith a huge amount oftext in multiple docments and has the flexibility to allow you tocreatively organise sections of text throughfeatures such as ‘pinboards’. In this workshopwe will discuss how it canbe used to control differentsections of text and workwithin difficult documents.

ZOTERO & ENDNOTEKeeping your references under control

Kevin Wilson, Helga Aichmaier and Bianca Elzenbaumer

This workshop willintroduce the use of Zoteroand Endnotes, two reference managementsoftwares. We willintroduce how thesesoftwares work, what thedifference is between themand how they can help toimprove the writing process.

EVERNOTEOrganise your thoughts, your phd, your life

Danah Abdulla & Caroline Claisse

Evernote is a digital workspace that allows youto organise your workand your research in anefficient way. This workshop will introduceEvernote and show howwe use key features suchas note taking, web clipping and using it withyour email on a dailybasis to stay on top ofthings!

DIGITAL ACADEMICUsing online platforms to circulate your work

Bianca Elzenbaumer and Moritz Greiner-Petter

How can we mobilisedigital channels to publishpractice-led research, toincrease the impact of ourwork but also to simplyembed oneself in a strongresearch network. We willexplore the use of Twitter,Academia.edu, Slideshare,research websites andmore … depending on theknowledge and questionspeople bring to the workshop.

DESIGNTRANSPOSALVisualizing through the gyre

Katarina Dimitrijevic - KraalD

We live in a plastic debrisera. In the first decade ofthe twenty-first centuryplastic production hasquadrupled in comparisonto the last century. Ouroceans are the largest uprotected ecosystem onEarth. Anthropogeniclitter is present in allmarine habitats, from thecoast to the most remotepoints in the oceans.Plastic and metal arethe most prevalent litteritem found on the deep seabed. Plastic waste is cocentrated in five rotatingcurrents, known as gyres(Maximenko et al., 2012).The workshop’s primaryobjective is to visualize thefuture possibilities forocean plastic depollution,using plastic disposal toco-create a 3D gyre waterinstallation. Joyful activism will incorporatetrash aesthetics and craftmaking.

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We live in a plastic debris era. Marine research has revealed that synthetic polymers are a toxic pollutant, as they are spread throughout all the world’s oceans. Currently 269,000 tons of plastic composed of 5.25 trillion particles are afloat at sea (Eriksen et al., 2014).How can we gaze in to the radical environmental changes facing us in the 21st century and visualise toxic chronic disaster. Currently, Earth’s Oceans are the largest global landfill and the most vulnerable and unprotected eco-system. Anthropogenic litter is present in all marine habitats, from the coast to the most remote points in the oceans. Workshop allows invisible to become visible, through do-it-yourself (DIY) and Do-it-with-others (DIWO) technologies. Making plastic soup as the three dimensional nar-ration of Gyra’s qualities. Discuss social, cultural, political qualities of waste things that are usually excluded from everyday life re: tale. Combining design advocacy and marine scientific data, fasilitating conversation platform for bringing awareness to personal daily habits, values and emotions.

I trash therefore we are: https://twitter.com/kraald https://www.facebook.com/KraalD

ReferencesDavison, P., Asch, R.G., (2011). Plastic ingestion by mesopelagic fishes in the North Pacific Subtropical Gyre. Mar EcolAvailable at: http://www.int-res.com/abstracts/meps/v432/p173-180/Eriksen, M., Lebreton, C.M., Carson, H.S., Moore, J.C., Borerro, J.C., Galgani, F., Ryan, J., (2014). Plastic Pollution in the World’s Oceans: More than 5 Trillion Plastic Pieces Weighing over 250,000 Tons Afloat at Sea. PloS one, 9(12), e111913.Available at: http://journals.plos.org/plosone/article?id=10.1371/journal.pone.0111913 Le Guern Lytle, C., (2012). When the Mermaids Cry: The Great Plastic Tide. Available at: http://www.bluecommunity.info/view/article/51cbf84e7896bb431f6b8934Liboiron. M., (2015).Visually Representing Slow Disasters, Discard Studies. Available at: http://discardstudies.com/2015/03/27/visually-representing-slow-disasters/

INSTANT JOURNAL

READ THE JOURNAL AT:

HTTPS://ISSUU.COM/PHDBYDESIGN

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3. send the contribution

1. your question

5 minutes presentation

group discussion5 min

presentation

use the template

2. YOur contribution30 minutes

your take on “researchingacross di ference”

- scan- draw - sketch - write- illustrate

questionquestion

profile

4. instant journal Launch!

instantjournal

let’smakethis travel!

memory Stick

Hard Copy give the proposal to one of our team members

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phd by design – researching across difference (2015)

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