Reflective Design Practice

2021 ◽  
pp. 239-251
Author(s):  
Adam Royalty
Keyword(s):  
Design Practice ◽  
Reflective Design

Saving the teacher's soul: exorcising the terrors of performativity

2009 ◽  
Author(s):  
Jude Chua Soo Meng
Keyword(s):  
Performance Indicators ◽  
Educational Goals ◽  
Design Practice ◽  
Reflective Design ◽  
State Of Affairs

In this paper I frame the totalizing dominance of performativity in educational arenas in terms of its effects on professional thinking and attitudes. The problem is that the education professional's cognition ends up artificially obsessed with defined performance indicators and closed by default to the fluidity that should accompany reflective design practice. To mitigate this state of affairs, I propose that educators be encouraged to playfully consider non-performative goals, and that institutions can even welcome insincere or experimental consideration of non-performative educational goals. Such solutions may also correct excessively performative cultures outside educational contexts.

scholarly journals Devious Design: Digital Infrastructure Challenges for Experimental Ethnography

Design Issues ◽  
2017 ◽  
Vol 33 (2) ◽  
pp. 70-83 ◽  
Author(s):  
Lindsay Poirier
Keyword(s):  
Digital Humanities ◽  
Design Practice ◽  
Digital Infrastructure ◽  
Reflective Design ◽  
Material Form

Diverse disciplinary communities approach design with diverse design logics design directives informed by critical theoretical commitments that are to be translated into material form. Recounting the design of a digital humanities platform, this paper shows how design logics of existing digital infrastructure can at times be out of sync with those of a design community seeking to leverage it. I argue that, in such situations, a designer should do more than simply “make do” with available infrastructure; the designer should instead design deviously – leveraging infrastructure in ways that undercut its logics. This suggests that reflective design involves reflecting, not only on design practice, but also on the logics of the infrastructure available to designers.

The end of the line

1995 ◽  
Vol 8 (2) ◽  
pp. 125-152 ◽  
Author(s):  
Paul Stiff
Keyword(s):  
Decision Making ◽  
Electronic Publishing ◽  
Design Practice ◽  
Craft Knowledge ◽  
Reflective Design ◽  
Computer Scientists

This article is about encounters between electronic publishing and typography, seen through the lens of one issue: decisions about ending lines in typeset text. Computer scientists working in electronic publishing have long pressed typographers to explain the thinking behind their practice. But craft knowledge, represented by typographers, has so far largely remained mute. An apparently minor issue in typographic decision-making -whether to typeset text in justified or unjustified mode -reveals some of the situated reasoning which informs reflective design practice. The following questions are surveyed: What are the characteristics of unjustified setting? For what purpose is it used? How effective is it? How is it done in practice? Why has it been a subject of argument among typographers? Examining these questions tells something about the intricacy of typographic decision-making, and is a forcible reminder of the materiality of designing.

Raison d'etre: Embodying design history and rationale in hypermedia folklore—an experiment in reflective design practice

1994 ◽  
Vol 12 (4) ◽  
pp. 59-81
Author(s):  
John M. Carroll ◽  
Sherman R. Alpert ◽  
John Karat ◽  
Mary S. Van Deusen ◽  
Mary Beth Rosson
Keyword(s):  
Design History ◽  
Design Practice ◽  
Reflective Design

Discourse Mapping

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Joanna BOEHNERT
Keyword(s):  
Environmental Politics ◽  
Technology Policy ◽  
Policy Research ◽  
Mapping Method ◽  
Science And Technology Policy ◽  
Design Practice ◽  
Analysis Method ◽  
Environmental Sciences ◽  
University Of Colorado ◽  
The University

This workshop will create a space for discussion on environmental politics and its impact on design for sustainable transitions. It will help participants identify different sustainability discourses; create a space for reflection on how these discourses influence design practice; and consider the environmental and social implications of different discourses. The workshop will do this work by encouraging knowledge sharing, reflection and interpretative mapping in a participatory space where individuals will create their own discourse maps. This work is informed by my research “Mapping Climate Communication” conducted at the Centre for Science and Technology Policy Research (CSTPR) in the Cooperative Institute for Environmental Sciences (CIRES), the University of Colorado, Boulder. With this research project I developed a discourse mapping method based on the discourse analysis method of political scientists and sustainability scholars. Using my own work as an example, I will facilitate a process that will enable participants to create new discourse maps reflecting their own ideas and agendas.

Design Capability for Science-based Innovation

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
ROTHKÖTTER Stefanie ◽  
Craig C. GARNER ◽  
Sándor VAJNA
Keyword(s):  
Literature Review ◽  
Scientific Discovery ◽  
New Technology ◽  
Academic Research ◽  
Research Interest ◽  
Design Practice ◽  
Design Technology ◽  
Innovation Potential ◽  
Design Integration ◽  
Cultural Constraints

In light of a growing research interest in the innovation potential that lies at the inter­section of design, technology, and science, this paper offers a literature review of design initiatives centered on scientific discovery and invention. The focus of this paper is on evidence of design capabilities in the academic research environment. The results are structured along the Four Orders of Design, with examples of design-in-science initiatives ranging from (1) the design of scientific figures and (2) laboratory devices using new technology to (3) interactions in design workshops for scientists and (4) inter­disciplinary design labs. While design capabilities have appeared in all four orders of design, there are barriers and cultural constraints that have to be taken into account for working at or researching these creative intersections. Modes of design integration and potentially necessary adaptations of design practice are therefore also highlighted.

Personal, political, professional

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Niki WALLACE
Keyword(s):  
Action Research ◽  
The Political ◽  
Reflective Practices ◽  
Design Practice ◽  
Participant Engagement ◽  
Auto Ethnography

It is widely agreed that in order to contribute to transitions towards sustainability, both practitioners and design itself must also transition. This paper presents findings from the first two years of transition in my Australian-based design practice. The paper explores what this transition has required of me personally, politically, and professionally, and draws on cases from my PhD. The PhD and paper are both part of an analytic auto-ethnography of my practice’s transition from ‘making greener things’ towards design for transitions. The projects discussed use ethnography, action research and reflective practices in their temporal approaches. This paper explores how slower methods such as transition design and autonomous design can extend the political reach of a design practice and discusses sacrifice and the financial stabilisation that comes from enveloping old practices within the new. The analysis presented here also reflects on my experiences practicing design for transitions and on data collected through participant engagement.

Queer-Sensible Designing

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Silas DENZ ◽  
Wouter EGGINK
Keyword(s):  
Queer Theory ◽  
Design Process ◽  
Industrial Design ◽  
Gender Norms ◽  
Design Practice ◽  
Gender Scripts ◽  
Femininity And Masculinity ◽  
Design Workshop ◽  
Definition Of ◽  
Design Style

Conventional design practices regard gender as a given precondition defined by femininity and masculinity. To shift these strategies to include non-heteronormative or queer users, queer theory served as a source of inspiration as well as user sensitive design techniques. As a result, a co-design workshop was developed and executed. Participants supported claims that gender scripts in designed artefacts uphold gender norms. The practice did not specify a definition of a queer design style. However, the co-design practice opened up the design process to non-normative gender scripts by unmasking binary gender dichotomies in industrial design.

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