scholarly journals Material Agency

2021 ◽  
Author(s):  
◽  
Isabelle Bush
Keyword(s):  
Design Process ◽  
Feedback Loop ◽  
Design Research ◽  
Design Method ◽  
Historic Site ◽  
Material Agency ◽  
Material Turn ◽  
Building Designs ◽  
Emotional Level

<p>The ‘material turn’ of the twentieth century focuses on the vibrancy of matter and non-human agency, providing an engaging platform from which to re-assess, and also promote, the role of materiality in design. The material turn draws away from a ‘representational’ paradigm towards a focus on materials as being non-objective, performative and responsive, where materials operate as authoritative matter. This design research thesis investigates the agential capacity of materials to amplify atmospheric experience in architecture. Through this research proposition, the thesis harnesses contemporary material perspectives to drive a series of enquiries that explore material agency in design. Within this framework, the design research seeks to strengthen relationships between user, matter and site. This method engages and evaluates materials on a tactile and emotional level, reflected in its atmospheric outputs.  Ultimately, the design research employs materiality as an agent in the production of a 1:1 scale installation and two speculative building designs at the domestic and public scale. A historic site in East London has been selected to provide the contextual and material foundations for the design research. This thesis concludes that materials have an ability to exert force on the design process when they are engaged in a responsive feedback loop which acknowledges the transformative capacity of both ‘human’ and ‘nonhuman’ elements. The dynamic nature of scaling as a design method supported these findings by encouraging progressive dialogue between matter and design process.</p>

scholarly journals Material Agency

2021 ◽  
Author(s):  
◽  
Isabelle Bush
Keyword(s):  
Design Process ◽  
Feedback Loop ◽  
Design Research ◽  
Design Method ◽  
Historic Site ◽  
Material Agency ◽  
Material Turn ◽  
Building Designs ◽  
Emotional Level

<p>The ‘material turn’ of the twentieth century focuses on the vibrancy of matter and non-human agency, providing an engaging platform from which to re-assess, and also promote, the role of materiality in design. The material turn draws away from a ‘representational’ paradigm towards a focus on materials as being non-objective, performative and responsive, where materials operate as authoritative matter. This design research thesis investigates the agential capacity of materials to amplify atmospheric experience in architecture. Through this research proposition, the thesis harnesses contemporary material perspectives to drive a series of enquiries that explore material agency in design. Within this framework, the design research seeks to strengthen relationships between user, matter and site. This method engages and evaluates materials on a tactile and emotional level, reflected in its atmospheric outputs.  Ultimately, the design research employs materiality as an agent in the production of a 1:1 scale installation and two speculative building designs at the domestic and public scale. A historic site in East London has been selected to provide the contextual and material foundations for the design research. This thesis concludes that materials have an ability to exert force on the design process when they are engaged in a responsive feedback loop which acknowledges the transformative capacity of both ‘human’ and ‘nonhuman’ elements. The dynamic nature of scaling as a design method supported these findings by encouraging progressive dialogue between matter and design process.</p>

scholarly journals Fab the Knowledge

2021 ◽  
pp. 119-124
Author(s):  
Sofia Scataglini ◽  
Daniele Busciantella-Ricci
Keyword(s):  
Design Process ◽  
Collaborative Design ◽  
Design Research ◽  
Computing System ◽  
Biological Mechanism ◽  
Collaborative Model ◽  
Learning Contexts ◽  
Innovative Learning ◽  
Multiple Actors

AbstractThis paper draws a link between what happens in maker spaces and how these processes can be simulated in the mathematical collaborative model (co-model) of the research through collaborative design (co-design) process (RTC). The result is the ability to identify the main variables for simulating the “making” dynamics of the RTC model. This outcome is discussed with an emphasis on the “intangible” role of “making,” alongside the proposed concept of “fab the knowledge.” Speculative thinking is used here to link the innovative and theoretical aspects of design research to their application in and for innovative learning contexts. The RTC co-model can be used to compute, simulate and train a co-design process in intangible spaces, such as fab labs. In these spaces, multiple actors with different skills and backgrounds, who may or may not be experts in design, collaborate on setting a design question and identifying a shared design answer, in a process of RTC. A “network” of neural mechanisms operating and communicating between design experts and non-experts, like a computing system of a biological mechanism, can be used to train and simulate a research answer, thereby “fabricating” knowledge.

scholarly journals Design through synthesis: the role of sculpture in the design process of Max Bill

2013 ◽  
Author(s):  
Tania Calovi Pereira
Keyword(s):  
Case Studies ◽  
Design Process ◽  
Design Method ◽  
Visual Space ◽  
Arts And Sciences ◽  
The Arts ◽  
The Senses ◽  
Art And Architecture

In the late 19th and early 20th centuries, research into the understanding of visual space in the arts and sciences narrowed the distinctions between architecture and the arts, contributing to a growing desire to unify all the senses in the production of more meaningful art and architecture. The Bauhaus, in its proposed synthesis of the arts, left with few examples of architecture, but the modern desire for the unification of the formal vocabulary of architecture and the arts persisted, and was advanced especially through the reduction and refinement of their elements. I argue that Max Bill, a Bauhaus graduate, realized this synthesis of the arts through his Concrete design method, which reconciled the rational and the intuitive through conceptual associations between different media. His approach to design resisted formalism and arbitrary decisions, and went far beyond the visual by producing designs which embraced functionality, creativity and simplicity, and unfolded in a diverse array of forms instead of repetitive formulas. To this day formalism and a superficial regard for aesthetics hinders discussion and the exchange of concepts between art and architecture, especially regarding the design process. This paper will explore the methods and conceptual underpinnings of Max Bill’s sculptural work and architecture through case studies from 1932 through 1968.  

Reimagining digital health education: Reflections on the possibilities of the storyboarding method

2019 ◽  
Vol 78 (6) ◽  
pp. 633-646 ◽  
Author(s):  
Deborah Lupton ◽  
Deana Leahy
Keyword(s):  
Health Education ◽  
Research Method ◽  
Design Research ◽  
Design Method ◽  
Digital Health ◽  
Health Behaviours ◽  
Health Technologies ◽  
Sociotechnical Imaginaries ◽  
Health Device

Objectives: To use the design method of storyboarding to challenge pre-service health education teachers to work together to think creatively and differently about digital health, to introduce pre-service teachers to the method as a pedagogical technique for use in their own classrooms, to experiment with our methods as a design sociology research project and to analyse the materials generated by the participants. Design: Storyboarding, a design research method for engagement and research that invites participants to generate a narrative using images and words, was used. Setting: We conducted a 3-hour workshop using storyboarding as part of an Australian university programme for pre-service health education teachers. Method: Following an introduction to the sociology of digital health and the possibilities of design methods, the pre-service teachers were formed into groups. Each group was provided with guidelines for imagining a new digital health device. They worked in their groups to generate a narrative in a storyboard format that described how this device would be used as part of everyday life. The groups then presented their storyboard to the class. The storyboards provided the research materials for analysing the sociotechnical imaginaries concerning digital health they presented. Results: We found that the storyboarding method worked well as an engaging and creative exercise for the participants and to generate insights for us as researchers on the ways in which they conceptualised and imagined the role of digital health technologies. However, despite attempts to educate the pre-service teachers in critical thinking in the lead-up to the workshop that emphasised the sociocultural and political contexts of health behaviours, their storyboards largely presented visions of digital health technologies that relied on individualistic behaviour change. Conclusion: After reflecting on the process, our conclusions provide some ideas for the way forward in using storyboarding as a transformative pedagogical and research tool.

scholarly journals Modernisation of LEMACH 6 Design-Research Method as a Reliability Engineering Tool

2020 ◽  
Vol 50 (2) ◽  
pp. 145-164
Author(s):  
Łucja Maria Kuraś ◽  
Maksymilian Smolnik
Keyword(s):  
Detailed Analysis ◽  
Design Process ◽  
Research Method ◽  
Design Research ◽  
Design Method ◽  
New Method ◽  
Reliability Testing ◽  
Reliability Engineering ◽  
Iterative Design ◽  
Mechanical Objects

AbstractThe article presents the developed design-research method for mechanical objects, which is a modernisation of the sequential-iterative design method LEMACH 6. As part of the design process organised by method guidelines, a number of activities related to designed object’s reliability testing and engineering were included. The article charac-terises selected design methods, with particular emphasis on the LEMACH 6 method. Next, assumptions were made regarding the development and use of the proposed solution, and a diagram and detailed analysis of individual elements of the new method were presented. The developed method enables the organisation of design works, allowing one to rapidly create new solutions and avoid mistakes during designing.

scholarly journals A New Car Concept Developed with Stylistic Design Engineering (SDE)

Inventions ◽  
2020 ◽  
Vol 5 (3) ◽  
pp. 30
Author(s):  
Giampiero Donnici ◽  
Leonardo Frizziero ◽  
Alfredo Liverani ◽  
Giulio Buscaroli ◽  
Luna Raimondo ◽  
...  
Keyword(s):  
Design Process ◽  
Computer Aided Design ◽  
Quality Function Deployment ◽  
Design Research ◽  
Design Method ◽  
Three Dimensional ◽  
Design Engineering ◽  
3D Cad ◽  
Cad Models ◽  
New City

In this work, a structured design method, the Stylistic Design Engineering (SDE), is applied for the construction of a new minivan car, in particular a new city car, which we will call FIAT 600 Omega. The SDE, or Stylistic Design Engineering, is a structured engineering method for carrying out automotive design projects. The SDE method consists of six different phases: (1) Analysis of stylistic trends; (2) Sketches; (3) 2D Computer Aided Design (CAD) drawings; (4) 3D CAD models; (5) Rendering; (6) Solid stylistic model (also called style maquette). This project deals with the external redesign of the Fiat 600 multiple, a small minivan which was very successful in the 1950s and 1960s. SDE is a methodology consisting of various technologies and design methodologies that will be further explained in detail, such as the Pininfarina method, the Quality Function Deployment (QFD) method, Benchmarking (BM), and Top Flop Analysis (TPA). The work was organized according to the different phases. Initially, the Fiat style was studied, in particular the style of the FIAT 600 MULTI PURPOUSE VEHICLE (MPV). This step is essential to better understand the characteristics of the brand and also the main characteristics carried out over the decades. Then we moved on to the freehand sketching phase, based on what we learned in the previous phase of the study. When a satisfactory shape was found for the new car, by analyzing and discarding the different proposals of the various types of style, we proceeded to the evaluation of the proportions and dimensions through two-dimensional drawings and finally we obtained the three-dimensional shape of the new car thanks to 3D CAD software and rendering software. Many advantages in the industrial world SDE takes together with its development. In fact, until the early 2000s, car design and styling was considered quite a craft activity, not a technical or scientific one, mostly based on the great capability of famous car designers and masters, just like Giugiaro, Zagato, Bertone, Pininfarina, Stephenson, Bangle, etc. Then, thanks to the industrial activity of Eng. Lorenzo Ramacciotti, former CEO of Pininfarina Spa and Mechanical Engineer, and also thanks to the academic studies developed at ALMA MATER STUDIORUM University of Bologna, SDE became the object of attention, because it is able to systematize the car design process and reduce costs. With SDE, a good design research or an industrial product development team can complete a car design project, also without the presence of a mentor. Car Design Process finally becomes with SDE a scientific method; Car Design becomes with SDE an industrial method. Industrial needs are nice products made in a short time; SDE is structured to attend these issues. Industrial challenges follow innovation, in shape and functionality; SDE is able to recognize innovation. Industrial benefits can be reached with SDE, ensuring beautiful aesthetic projects are realized systematically and with low costs.

scholarly journals Explorative Materiality and Knowledge. The Role of Creative Exploration and Artefacts in Design Research

2013 ◽  
Vol 6 (2) ◽  
Author(s):  
Kristina Niedderer
Keyword(s):  
Design Process ◽  
Design Research ◽  
Research Process ◽  
Theoretical Framework ◽  
Experiential Knowledge ◽  
Methodological Issues ◽  
Key Characteristics ◽  
Theoretical Foundations

Juxtaposing the nature of design and the foundations of research in the traditional science and humanities disciplines puts their differences into sharp relief. The comparison highlights the key characteristics of design – its creative and experiential nature – which any design research must take into account, as well as the theoretical foundations of research. The aim of this article is to develop an understanding of the ontological, epistemological and methodological issues of design research, and to offer a framework that can embrace equally the notions of creativity and experiential knowledge, and of academic rigour. Furthermore,the potential roles of the design process and artefact within research are examined within this theoretical framework, which suggests that design processes and artefacts can – if appropriately framed – play an important partin the research process, facilitating an approach commensurate with the aims ofdesign enquiry. A case study of the Niedderer’s own work serves to illustratethe balance and integration of theory and (creative) practice within the research process, and how this integration can enable a multi-layered contribution to the theoretical and practical advancement of the field.

Roles of externalisation activities in the design process

2016 ◽  
Vol 11 (1) ◽  
pp. 34
Author(s):  
Maral Babapour Chafi
Keyword(s):  
Design Process ◽  
Design Research ◽  
Research Literature ◽  
Physical Models ◽  
Future Research ◽  
Knowledge Gaps ◽  
Design Processes ◽  
Digital Modelling

Designers engage in various activities, dealing with different materials and media to externalise and represent their form ideas. This paper presents a review of design research literature regarding externalisation activities in design process: sketching, building physical models and digital modelling. The aim has been to review research on the roles of media and representations in design processes, and highlight knowledge gaps and questions for future research.

Drama in Education Reaching Beyond the “Art Form or Teaching Tool” Dichotomy

2018 ◽  
Vol 5 (3) ◽  
pp. 70-77
Author(s):  
Irina Lešnik
Keyword(s):  
Elementary Education ◽  
Social Issues ◽  
Drama In Education ◽  
History Curriculum ◽  
Art Form ◽  
Creative Solutions ◽  
Theatre Pedagogy ◽  
Emotional Level

Abstract In the following article we try to re-evaluate, the place drama occupies in contemporary elementary education. By limiting the role of drama to literature studies and theatre productions, we lose a greater potential Theatre Pedagogy has to offer to a much broader educational spectrum. The participatory practices of Theatre and Drama in Education (TiE, DiE) promote active learning, based on a most organic children’s activity - play. While students co-create the fictional world of drama, teacher's guidance is crucial in setting new challenges, encouraging students to find creative solutions and reflect on often-complex social issues. Because of its art component, drama challenges the participants on a cognitive as well as emotional level, becoming a truly transformational experience. As such, Drama in Education is especially useful when approaching sensitive and controversial topics. This thesis is presented on a case study observing Year 6 students at St’ Michael’s CE Academy in Birmingham, UK, using Drama in Education method as part of History curriculum.

Development of the design method for the optimal design of the Neutron Converter experimental plant

2020 ◽  
Author(s):  
Timur Smetani ◽  
Elizaveta Gureva ◽  
Vyacheslav Andreev ◽  
Natalya Tarasova ◽  
Nikolai Andree
Keyword(s):  
Optimal Design ◽  
Flux Density ◽  
Design Process ◽  
Design Method ◽  
Fast Neutrons ◽  
Experimental Plant ◽  
Plant Design ◽  
State Technical ◽  
Research Organizations ◽  
Neutron Converter

The article discusses methods for optimizing the design of the Neutron Converter research plant design with parameters that are most suitable for a particular consumer. 38 similar plant structures with different materials and sources were calculated, on the basis of which the most optimal options were found. As part of the interaction between OKBM Afrikantov JSC and the Nizhny Novgorod State Technical University named after R. E. Alekseev, the Neutron Converter research plant was designed and assembled. The universal neutron converter is a device for converting a stream of fast neutrons emitted by isotopic sources into a "standardized" value of flux density with known parameters in the volume of the central part of the product, which is the working part of the universal neutron converter. To supply neutron converters to other customer organizations (universities, research organizations and collective centers), it is necessary to take into account the experience of operating an existing facility, as well as rationalize the design process of each specific instance in accordance with the requirements of the customer.

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