Dear Professor Mauricio, I'm glad to know about you here after your
seminar. We explored another papers that talk about design research in the
different topics (“research through design”, “research-creation” also
"investigative designing”, among others), in Dr. Jaime Pardo's past
seminar: La Investigación en Diseño y Creación. Here some references,
perhaps contributes with the topic:
- Archer, B. (s.f.) A View of the Nature of Design Research, Department of
Design Research, Royal College of Arts, London.
- Belo, M. (2011) “Doctoral Research in Art and Design, en Pre-Conference
Proceedings, Doctoral education in
Design Conference [en línea], disponible en:
http://www.sd.polyu.edu.hk/docedudesign2011/doc/papers/290.pdf
recuperado: 14 de enero de 2012
- Sevaldson, B. (2010) “Discussions & Movements in Design Research”, en
FORMakademisk, vol. 3, núm. 1, pp. 8-35.
- Durling & Niedderer (2007) “The benefits and limits of investigative
designing”, in Proceedings IASDR07
- Reilly, L. (2002) “An alternative model of "knowledge" for the arts” en
Working Papers in Art and Design 2,
[en línea], disponible en: http://sitem.herts.ac.uk/artdes_research/
papers/wpades/ vol2/reillyfull.html, recuperado: 14 de
mayo de 2010.
- Niedderer, K. (2013) “Explorative Materiality and Knowledge” en
FORMakademisk, vol. 6, núm. 2, pp. 1-20.
*Fernando Alberto Alvarez Romero* *PROFESOR ASOCIADO II* PROGRAMA
DE DISENO INDUSTRIAL PBX: [log in to unmask] - Colombia
On 4 March 2015 at 17:35, Ken Friedman <[log in to unmask]>
wrote:
> Dear Mauricio.
>
> This is an important question. There have been serious discussions on this
> for many years — just yesterday and today, I was reviewing an online debate
> from 2000 — and the proceedings of the La Clusaz conference on doctoral
> education in design. Many of the comments and contributions revolve around
> the questions you ask. But so far, no one seems to have answered the
> questions in a satisfactory way.
>
> Mario Bunge (1999: 251) defines research as: "The methodical search for
> knowledge. Original research tackles new problems or checks previous
> findings. Rigorous research is the mark of science, technology, and the
> ‘living’ branches of the humanities.” The synonyms for research include
> exploration, investigation, and inquiry.
>
> Many “research-creation” projects lack a question. Pablo Picasso once
> said, “Others seek. I find.” He was a magician and an artist, not a
> researcher. Researchers seek, they describe their search, and if they find,
> they show how they found what they found and what it means. Research
> involves 1) explaining the research problem, 2) describing the research
> process, and 3) discussing the results so that others can 1) further
> develop the research problem, 2) further develop the research method, or 3)
> further develop the research outcome. Few “research-creation” projects meet
> these criteria. That is, they may be creative, but they generally are not
> research.
>
> In 2010, I examined some of these issues from another perspective
> (Friedman 2010), but my general conclusion is probably the same as that of
> Zimmerman, Stolterman, and Forlizzi (2010)-
>
> Most of what people do as “research-creation” has little impact. The work
> has little value as research because it yields little that allows others to
> 1) develop the problem, 2) the method, or 3) the outcome. What most folks
> seem to want is to represent that they are doing research by creating
> something — it doesn’t matter to them that no one uses it or builds on it.
>
> People doing “research-creation” often make a distinction between “knowing
> that” and “knowing how,” as though design research involves knowing how to
> do something practical rather than describing something in the world and
> generalising from it. One of the great problems in the field involves
> exactly this distinction. Designers do know how to do something. Showing a
> creative product shows us “that” a designer knows “how.” Research shows us
> “how.” Research shows us the “how” of how to do it.
>
> Research involves 1) explaining our research problem, 2) describing our
> process, and 3) explaining our results so that others can 1) further
> develop the research problem, 2) further develop the research method, or 3)
> further develop the research outcome. As a general model, explanation in
> any form of research requires the researcher to: 1) state the research
> problem, 2) discuss the knowledge in the field to date, 3) discuss past
> attempts to examine or solve the problem, 4) discuss methods and approach,
> 5) compare possible alternative methods, 6) discuss problems encountered in
> the research, and 7) explain how the researcher addresses those problems,
> 8) explicitly contribute to the body of knowledge within the field, and in
> most cases, 9) state the implications for future research.
>
> Serious research allows us to build on individual projects in the larger
> context of a progressive research program.
>
> Tore Kristensen (1999: np) states that a progressive research program
> involves: “building a body of generalized knowledge; improving problem
> solving capacity; generalizing knowledge into new areas; identifying value
> creation and cost effects; explaining differences in design strategies and
> their risks or benefits; learning on the individual level; collective
> learning; and meta-learning.” A great deal of design research involves
> useful individual learning to solve situated problems for specific clients
> – but this kind of research goes no further than professional practice
> does. The difference between practice and practice-based research requires
> building a body of generalized knowledge, then generalizing the knowledge
> into new areas while helping the field to learn as a community.
>
> Practice-based research is a serious and significant kind of research in
> many fields — law, medicine, engineering, nursing. Meeting the criteria of
> all forms of research makes practice-based research a form of research. To
> constitute research, practice-based research, research through design, and
> research-creation must meet the criteria that apply to research of any
> kind. Much of what is called “research through design” fails to do this.
> The record for “research-creation” tends to be even worse. Design projects
> may be effective, useful, and creative. Research goes beyond the specific
> project to something broader and more general — research enables others
> across the field to understand general principles and apply them across
> other projects in useful and effective ways.
>
> Warm wishes,
>
> Ken
>
> Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | 设计 She Ji. The
> Journal of Design, Economics, and Innovation | Published by Elsevier in
> Cooperation with Tongji University Press | Launching in 2015
>
> Chair Professor of Design Innovation Studies | College of Design and
> Innovation | Tongji University | Shanghai, China ||| University
> Distinguished Professor | Centre for Design Innovation | Swinburne
> University of Technology | Melbourne, Australia
>
> Email [log in to unmask] | Academia
> http://swinburne.academia.edu/KenFriedman | D&I http://tjdi.tongji.edu.cn
>
> —
>
> Reference
>
> Bunge, Mario. 1999. The Dictionary of Philosophy. Amherst, New York:
> Prometheus Books.
>
> Friedman, Ken. 2010. “Heuristic Reflections on Assessing Creativity in the
> Design Disciplines.” In Creativity, Design and Education. Theories
> Positions and Challenges. Anthony Williams, Michael J. Ostwald & Hedda
> Haugen Askland, eds. Sydney, Australia: ALTC Australian Learning and
> Teaching Council, pp. 171-180.
>
> Kristensen, Tore. 1999. “Research on Design in Business.” Useful and
> Critical: Research in Design. University of Art and Design, Helsinki.
>
> Zimmerman, J., Stolterman, E., & Forlizzi, J. (2010). An Analysis and
> Critique of Research through Design: towards a formalization of a research
> approach (pp. 310–319). Presented at the DIS 2010, Aarhus, Denmark: ACM
> Press.
>
> —
>
> Mauricio Mejia wrote:
>
> —snip—
>
> In my department, we have a PhD program in design and we are always
> discussing what is and what is not design research. There are several
> students that hope to use practice as the central part of the research
> activity and some have been interested in approaches such as “research
> through design” and “research-creation”. I argue that practice can be part
> of research when practice activities serve research purposes; in other
> words, engaging in practice may allow the researcher to answer certain
> types of questions or provide scenarios or products to test hypotheses. I
> add that “research through design” and “research-creation” are not, yet,
> mature approaches to reliably use them in PhD level research. Zimmerman,
> Stolterman, and Forlizzi (2010) identified three obstacles of research
> through design: a romantic view of design; theory is not an intended
> outcome; the need of a standard to document the design process. These are
> large challenges.
>
> I have seen, with awe, in this list and elsewhere many events and calls
> for researchers and authors using “research through design” and
> “research-creation” approaches.
>
> Is the design research community close to deal with Zimmerman and
> colleagues’ obstacles? Does anyone know of recent and relevant literature
> on this issue? This has been previously discussed in this list, but it
> would be interesting to update the discussion or know current developments
> on design research epistemology and methodology.
>
> —snip—
>
>
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