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Research through design is a murky field and there is an increasing interest in understanding its varied practices and methodology. In the research literature that is initially reviewed in this paper two positions are located as the most dominant representing opposite opinions concerning the nature of such a methodology. One position proposes a cro...
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... The identified process logics include: 1) Accumulative, 2) Comparative, 3) Serial, 4) Expansive, 5) Probing, and 6) Inverse. The feedback from the panel resulted in adding the 6th component (inverse) to the ones identified byKrogh, Markussen, and Bang (2015). The Inverse model reflects the process where the designers move backwards from a "generative idea", "parti", or "Aha moment", and test and iterate until the solutions have reached the desired level of development (Curry, 2014). ...
The role of Design Experimentation has been increasingly recognized in dealing with uncertainties inherent in Nature-based Solutions and designing performative systems.The term Design Experimentation has been widely used in Design Research scholarship. However, there is no agreed common definition and criteria to clarify what it entails in terms of both epistemology and methodology. This paper aims to address the lack of definition, criteria, and methodological approaches for designing, operationalizing, assessing, and learning from Design Experiments for creating climate resilient Nature-based Solutions. Through a Delphi method, a Design Experimentation Taxonomy is developed based on conceptual and empirical understandings of the term. A three-round Delphi survey with 15 experts across 8 countries was undertaken to capture expert knowledge and perceptions of the role of Design Experiments, as well as key criteria and characteristics of Design Experiments. The findings informed the development of a Design Experimentation Taxonomy. Results show that Design Experiments should be purposive, bound to context and solutions-oriented, and have practical relevance while driven by a strong research agenda. They help linking intuitive approaches used in design, to scientific inquiry, which can lead to innovative and performative outcomes. In the quest for evidence-based approaches to integrate nature in our built environments, Design Experiments offer more agency to nature and natural processes in design. The developed taxonomy is the first step in establishing a reflexive, data-driven and performance-based practice, as well as advancing experimental agendas in landscape research and practices related to Nature-based Solutions.
On what grounds do we judge whether a theory for design is useful, valuable or successful? What is validity in constructive design research? What is the role of theory produced from design? Chapter 4 dealt with ways of construing hypotheses and how the K-R model may help map the constituent parts of a research process. Chapter 5 presented the typology of ways of drifting explaining how design experiments inform and urges design researchers to drift. This chapter turns to how design researchers can evaluate and justify their claims about knowledge. And completes our core trilogy of dialectic activities serving the dual ambition of relevance and knowledge production in constructive design research.
This chapter asks how constructive design researchers construe hypotheses. What guides the construal process, is it theory, research program, or design reasoning? We will argue that this question involves two sub-questions: one concerns the hypothesis that guides research, another the hypothesis that guides design. We argue that constructive design research has to balance both of these to be effective, and we also point out that many of the controversies we have discussed in the previous chapters are in fact efforts to grapple with the Janus-faced character of the discipline. It is this character that has inspired us to suggest the Knowledge-Relevance model that help the constructive design researcher to balance the core research activities when the process is driven by design.
This paper studies the transition from research to concept in design through examples from some well-known designers and design researchers. It shows that this " drifting, " as we call it, takes several forms in design. The range is from cases in which the drift is kept in check by methodological choices and aims, to cases in which the drift is seen as free form. We describe two successful classes in which we have been teaching drifting, one for Master's students in Hong Kong, another for PhD students in Denmark. In discussion, we contrast the concept of drifting to the notions of radical innovation and rationalistic process models of design, proposing that these misspecify the diversity of what actually happens in design during the transition this paper focuses on.
