I am hoping to publish multiple papers from this dataset, only one is
almost ready for submitting to a journal, and when I submit that, I will
share it with you. In terms of variance, I don’t want to spoil the suprises
now :)
Ali
On Tue, Jun 26, 2018 at 12:19 Terence Love <[log in to unmask]> wrote:
> Wow, Ali,
>
> You mapped 15000 items on product design. That is great!
> Please post when you publish your analysis.
> Please can you say more about the variance?
>
> (My own searches have been via Z39.50 library protocol across major
> libraries, and their library databases, targeting the word 'design' in
> their titles and descriptions in decades from 1900.)
>
> Cheers,
> Terry
>
> -----Original Message-----
> From: [log in to unmask] <[log in to unmask]>
> On Behalf Of Ali Ilhan
> Sent: Tuesday, 26 June 2018 4:58 PM
> To: PhD-Design - This list is for discussion of PhD studies and related
> research in Design <[log in to unmask]>
> Subject: Re: Help! Our field needs a new name:
>
> Terry,
>
> A quick note to support you: I am doing a mid scale bibliometric analysis
> of product design literature, between 2000-2015. There are more than 15000
> articles in the database I created, and as you said only a small portion
> comes from non-engineering designers, proportionately. Again not saying
> anything about the importance or impact. And you will be suprised about the
> variance.
>
> My two cents,
>
> Ali
>
> On Tue, Jun 26, 2018 at 11:31 Terence Love <[log in to unmask]> wrote:
>
> > Hi Richard,
> >
> > If you look at the history of the design research movement you will
> > find that it was started by engineering designers and to date the
> > majority of design research (by a very large proportion) is
> > undertaken in engineering design.
> >
> > Other design fields started to be included in design research after
> > about
> > 20 years (by the early 1980s). For the first 10 years, this mainly
> > involved architecture and planning, later (in the 1990s) the other Art
> > and Design fields began to be included more.
> >
> > The Art and Design fields, particularly the visual arts (as taught in
> > Art and Design courses in universities and in Art and Design schools)
> > remain the minor parties in design research as a whole.
> >
> > What you are seeing is that if you do not look beyond the publications
> > and organisations of the art and design fields, you do not see the
> > massive amount of work that happens in design research in other fields
> > (and my much of which visual art designers benefit).
> >
> > This is not to say that design research does not happen in art and
> > design fields, only to say that it is a very small part of design
> > research as a whole.
> >
> > Regards,
> > Terry
> >
> > ==
> > Dr Terence Love
> > MICA, PMACM, MAISA, FDRS, AMIMechE
> > CEO
> > Design Out Crime & CPTED Centre
> > Perth, Western Australia
> > [log in to unmask]
> > www.designoutcrime.org
> > +61 (0)4 3497 5848
> > ==
> > ORCID 0000-0002-2436-7566
> >
> >
> >
> >
> > -----Original Message-----
> > From: [log in to unmask]
> > <[log in to unmask]> On Behalf Of Richard Herriott
> > Sent: Tuesday, 26 June 2018 4:02 PM
> > To: PhD-Design - This list is for discussion of PhD studies and
> > related research in Design <[log in to unmask]>
> > Subject: RE: Help! Our field needs a new name:
> >
> > Dear Ken:
> >
> > (I have attached the original message so others can follow the
> > argument)
> >
> > Thanks for your message. As always, you ask good questions which I
> > shall try to do justice to.
> >
> > Dealing with the "invisible" things: they are the result of
> > engineering and problem solving. At best some of the apparent bits
> > like the medical equipment you mentioned involve shaping and the doing
> > of what David Pye calls useless work. This satisfies my very lowest
> > criteria of design (in my strict usage) of eliminating visual noise.
> > An engineer who lays out a tidy engine bay or an okay-looking electric
> > plug does this sort of thing out of what one might call courtesy to
> > the user even if it doesn´t affect performance. A waiter in a
> > restaurant puts down the service quietly in front of the guest for the
> > same reason even if it won´t affect the nutritional content of the food.
> >
> > " Is it necessary that designers engage with the visual to design
> > invisible processes or system that work well?", you asked. I am trying
> > to argue that designers are the ones who engage with the visible.
> > Others are planners or engineers though a designer can do some of that
> > too. If designers worked with planners our infrastructure and city
> > layouts would not be so horrible. They don´t often do this though.
> > This is because in the allocation of work such tasks go to
> > professionals who see the aesthetic as outside their purview, as
> > somehow extraneous. Their work lacks the courtesy of the waiter.
> >
> > "What do you mean by the aesthetic dimension?" By this I mean the
> > sensory, chiefly visible and tactile but extending to sound and
> > haptics. A tax systems might be easy to engage with and efficient. It
> > is a bit of a stretch to call it beautiful unless one is referring to
> > the elegance of the system (a maths sense of elegant) of the moral
> > acceptability of the outcome. I would not call that design work but
> > planning with courtesy and ethics.
> >
> > When I was talking of the engineer regarding the breeze block wall and
> > the Baroque façade, I was thinking that they are seen as functionally
> > equivalent. I didn´t mean the engineer as a person would not see
> > differencs (though to judge by the monstrous crudity of Irish civil
> > engineering - I am Irish - one might wonder) but only that both
> > objects hold up the roof and keep the rain out. From that engineering
> > point of view a lump of concrete and a fine church are equivalent.
> >
> > I have indeed read Buchanan´s article and have lectured upon its
> contents.
> > If people haven´t read it, it´s worth a close read. Influential as it
> > is, I seem to recall concluding Buchanan over-reached a bit with what
> > design was when it got to the fourth order.
> >
> > There isn´t a mysterious quality to designers in my view - it´s that
> > they want to make things that would look noticeably appealing when
> > drawn. That brings me to the visual. The designer draws a shape that
> > is aesthetically rich and then tries to make a physical thing that
> > reflects that design intent. "Would I draw it that way?" is the test
> > of the 3D artefact from an aesthetic point of view. I have expanded
> > on this in my essay " What is like to see a bat?"
> >
> > http://www.svid.se/en/Research/Design-Research-Journal/Research-articl
> > es/Research-articles-2017/What-is-it-like-to-see-a-bat/
> > where this visual sense is discussed.
> >
> > Design research deals with what these designers do.
> >
> > I hope this goes some way to answering your questions.
> >
> > Regards,
> >
> > Richard
> >
> > -----Original Message-----
> > From: PhD-Design - This list is for discussion of PhD studies and
> > related research in Design [mailto:[log in to unmask]] On
> > Behalf Of Ken Friedman
> > Sent: Monday, June 25, 2018 10:34 PM
> > To: [log in to unmask]
> > Subject: Re: Help! Our field needs a new name:
> >
> > Dear Richard,
> >
> > You wrote, “However, from within design we should be alert to what
> > design is and is not. Simon’s famous definition is way too broad. If
> > we add the visual and aesthetic to it we arrive at a reasonably
> > defensible definition.”
> >
> > This leaves me with two questions. The first question involves the
> visual.
> > Many of things that we now design are invisible. They constitute
> > processes, services, or hidden structures that enable other things to
> > work. Other things that we design involve visible parts — but we do
> > not measure the success of the visible parts based on visual qualities.
> >
> > Last month, I spent ten days in the hospital, with a week in an
> isolation.
> > I found myself thinking often of how many of the processes that I
> > required were purposefully and carefully designed, often quite well,
> > despite the fact that I only saw a tiny part of the process where it
> > specifically affected me. I only learned about some aspects of the
> > systems inadvertently when physicians explained to me how they arrived
> at one decision or another.
> >
> > Other things were quite important and entirely visible, but the
> > qualities they represented had little to do with how they looked. For
> > example, for blood tests, many systems now permit medical specialists
> > to use only one needle and a special device rather than multiple
> > needles: the device is such that the person taking blood uses a series
> > of different devices resembling test tubes with a rubber seal on one
> > end, placing one after the next within the single device and its one
> > needle. When you are being tested for blood four or five times a day,
> > you don’t care how the thing looks: if it works so you are only
> > pierced once each time, you are grateful for the change from earlier
> systems.
> >
> > Is it necessary that designers engage with the visual to design
> > invisible processes or system that work well?
> >
> > The second question involves the word “aesthetic.” This word makes
> > sense in one way, but it remains quite vague. What do you mean by the
> > aesthetic dimension? Depending on the definitions you use, a tax
> > system may have aesthetic dimensions — or it may not. The same applies
> > to many of the kinds of things that meet Simon’s admittedly broad
> definition.
> >
> > Much of the problem in these recurring debates involves attempting to
> > demarcate boundaries that may not exist in the real world. If we want
> > to argue that people are not designers who design systems, artifacts,
> > and processes without visual or aesthetic dimensions, then we’re
> > excluding from the practice of design many people who we might
> > otherwise think of as designers.
> >
> > People really do design breeze block walls. Some of those people are
> > engineers, some are architects, some are construction managers. These
> > artifacts are definitely different from a Baroque church exterior.
> > I’ve never met anyone who designs a blunt functional wall who would
> > say that this wall is the same to them as a Baroque church exterior.
> > People recognize the differences between different kinds of designed
> things.
> > People who design functional things all day may appreciate the beauty
> > of something designed for prayer and glorification just as much as you
> > or I might do.
> >
> > Again, I recommend Richard Buchanan’s article, "Design Research and
> > the New Learning.” The four orders of design offers a useful way to
> > think about design.
> >
> >
> > https://www.ida.liu.se/divisions/hcs/ixs/material/DesResMeth09/Theory/
> > 01-buchanan.pdf
> >
> > It seems to me odd to say that one may fulfill Simon’s definition yet
> > not be a designer — perhaps I am wrong, but then it would help to have
> > better and more clear definitions of design and designers. Without
> > that, there would have to be some mysterious quality that designers
> > possess, a quality that others do not possess, that renders them
> > “designers” as contrasted with people who would otherwise be designers.
> >
> > This may be the case. If it is, defining and explaining it clearly is
> > the purpose of research on these issues.
> >
> > I’d be interested in a clear answer to my two questions.
> >
> > Yours,
> >
> > Ken
> >
> > Ken Friedman, Ph.D., D.Sc. (hc), FDRS | Editor-in-Chief | 设计 She Ji.
> > The Journal of Design, Economics, and Innovation | Published by Tongji
> > University in Cooperation with Elsevier | URL:
> > http://www.journals.elsevier.com/she-ji-the-journal-of-design-economic
> > s-and-innovation/
> >
> > Chair Professor of Design Innovation Studies | College of Design and
> > Innovation | Tongji University | Shanghai, China ||| Email
> > [log in to unmask] | Academia
> > http://swinburne.academia.edu/KenFriedman | D&I
> > http://tjdi.tongji.edu.cn
> >
> >
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