DESIGNING CRITICAL MESSAGES: creating open design dialogues 17th February
2015
This symposium, organised by Plymouth Universityıs School of
Architecture, Design and Environment and DESIGN KNOWLEDGE RESEARCH
aims to bring together a dynamic group of international professionals
interested in the notion of value for design; academics, designers and
architects. It begins from the premise that if there is a need for
designers to realise that they have to propose something that inspires
stakeholders to adopt designs as viable, desirable alternatives, but how
does this equate design processes/design thinking/materiality and
research writing, in a demonstration of what could become real. This
symposium is interested in the suggestion that this is part of the skill
set
that designers better have or need to have now. Is this perhaps a
different value form of design practice or design research? If Design is
collaborative, whether as participatory design, working in design teams,
or in collaborations with other disciplines working on projects that
involve humans, can the core values of design change to encompass and
characterise new skills for designers? Can we develop models that
value design skills and methods but proactively seek connections to
ethical, philosophical, social, value for the economy and value for
Change?
KEY NOTE SPEAKERS: DESIGNING CRITICAL MESSAGES (creating open design
dialogues)
Lucy Kimbell: I work as a designer, researcher and educator. My
background and activities are a mixture of academic research and
consulting in
design innovation, especially in digital/services and policy, and
post-graduate teaching.
I aim to critically explore what design approaches - sometimes called
"design thinking" - bring to policy-making, social innovation and
organisational challenges. I am particularly interested in making better
connections between academic research and practice and how design
and participatory innovation enable this. My current role is currently
Arts and Humanities Research Council (AHRC) research fellow embedded in
the Cabinet Office Policy Lab, part of the Open Policy Making team, and
prinicipal research fellow at the University of Brighton.
My works blur the boundaries between artist and designer,
practitioner and social scientist. Many of these projects use unregulated
methods to
gather data and make visible sets of relations. Data are gathered, but to
what purpose? People are evaluated, but according to what criteria and
whose values? Often using absurdity and humour, these projects show the
messiness of evaluation practices, how people are entangled with
things and with each other.
John Wood: My main focus, at present, is the development of a new
approach to design practice that we are calling 'metadesign'. My first job
at Goldsmiths was Deputy Head of the Fine Art Department (from 1978-1988).
After ten years I co-wrote, and ran, an unusually broad, reflective
and ethically oriented BA(Hons) degree in design. This programme helped to
launch the current Department of Design. Ten years later I wrote,
launched and ran the current MA Design Futures programme. Having studied
art in the late 1960's I invented and marketed several energy
conservation systems, created some of the first animated holograms,
developed electronic toys and invented an authoring software
application (IDEAbase). As a solo and collaborating artist my work has
been shown in 21 countries including the Australian Biennale (1988). My
site-specific installations include a full size fake peep show built in
Soho, London (1986). As a performer I recorded four albums and still, on
occasion, play in public as a founder member of the cult band 'Deaf
School'. I currently supervise five doctoral students and have been
involved in the successful completion of more than a dozen others. Many of
the research topics within my supervision have explored new ways
to broaden the practice of design, and to render it as a more ecological
and ethical discipline. This breadth, and depth, of concern
corresponds to my own research in 'metadesign'. It represents widely
differing approaches, ranging from the food industry, networks of
commercial innovation, to explorations of evolutionary theory, creativity
and co-authorship all within the practice of design.
Also speakers from India, France, Holland, USA and Canada: Request more
information from [log in to unmask]
The event is co-ordinated for Design Knowledge Research by Pete Quinn
Davis
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