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The Nature of Research
... According to Ellis and Levy [5] research is the process of collecting and analyzing new information/data in order to enhance the body of knowledge, i.e., to create identifiable new knowledge, in an applicable domain. Similarly, Archer [2] considers research as a systematic enquiry in order to produce communicable knowledge. In other words, research is done according to a plan (i.e., being systematic) to find answers to some questions (i.e., being inquiry based). ...
... When the acquired information is new for an entity (a person or an organization) but is already known in the literature of that domain, the process is not considered research [8]. In order to determine whether an endeavor is research one has to ask the following questions according to [2]: (1) "Was the activity directed towards the acquisition of knowledge?" (2) "Was it systematically conducted?" ...
... By virtue of the definition of research, see [5], we believe that the term "knowledge" mentioned in question 6 is "new knowledge, in an applicable domain" [5]. If the answers of all these questions are yes, then the corresponding activity is considered as research [2]. ...
... According to Ellis and Levy [5] research is the process of collecting and analyzing new information/data in order to enhance the body of knowledge, i.e., to create identifiable new knowledge, in an applicable domain. Similarly, Archer [2] considers research as a systematic enquiry in order to produce communicable knowledge. In other words, research is done according to a plan (i.e., being systematic) to find answers to some questions (i.e., being inquiry based). ...
... When the acquired information is new for an entity (a person or an organization) but is already known in the literature of that domain, the process is not considered research [8]. In order to determine whether an endeavor is research one has to ask the following questions according to [2]: (1) "Was the activity directed towards the acquisition of knowledge?" (2) "Was it systematically conducted?" ...
... By virtue of the definition of research, see [5], we believe that the term "knowledge" mentioned in question 6 is "new knowledge, in an applicable domain" [5]. If the answers of all these questions are yes, then the corresponding activity is considered as research [2]. ...
Undergraduate students who seek a bachelor degree in Dutch universities of applied sciences are supposed to learn also research skills so that they can provide innovative solutions to real problems of the society and businesses in their future careers. Current education and textbooks on research skills are not tuned well to software engineering disciplines. This paper describes our vision about the scope and model of the research suitable for software engineering disciplines in Dutch universities of applied sciences. Based on literature study we identify a number of research models that are commonly used in computer science. Through reviewing a number of graduation reports in our university, we further identify which of the research models are most suitable for the (graduation) projects of software engineering disciplines and also investigate their shortcomings with respect to the desired research skills. Our study reveals that the approach of most graduation works is close to the implementation-based (also called build-based or proof by example based) research model. In order to be considered as a realization of sound applied research, however, most of theses graduation works need to be improved on a number of aspects such as problem context definition, system/prototype evaluation, and critical literature study.
... La ruta metodológica se basa en una amplia revisión documental de orden teórico, la misma que se subvierte en la polaridad evidenciada paralelamente en el campo que, no olvidemos, no será descrito ni analizado en este trabajo. Lo que sí es cierto es que es la dicotómica experiencia de conocimiento y reconocimiento del saber apropiado, y las maneras de proyectar el mundo espontáneamente, las que nos convocaron a El ejercicio teórico se instala en una tercera vía del saber humano, situación que ha sido fuertemente referida desde finales de la década de los setenta y está aún en boga, oscilando entre las apuestas disciplinares que se acunaron en las visiones que abrieron un nuevo horizonte bajo la revolución del siglo XX gracias a las vanguardias y a la modernidad bahuausiana y lecorbusiana y, más recientemente, las de la tardomodernidad bajo la tutela y diversidad discursiva de autores como Archer (1979;1995), Cross (1982;2011) o Buchanan (1998, solo por citar a unos pocos de los más ampliamente debatidos desde la década de los setenta hasta nuestros días, alrededor del "área de la experiencia humana, la habilidad y el entendimiento que refleja la preocupación del hombre alrededor de lo que lo rodea bajo la luz de sus necesidades materiales y espirituales" (Archer, 1979, p. 17). ...
... Valga aclarar de antemano, que la postura discursiva de la que trata este artículo no es una afrenta a la Modernidad -pues entre otros, debemos reconocer en ella el origen del diseño como saber independiente, o al menos libertario-, ni tampoco es una apología ciega a los discursos más recientes, como los de Archer (1995), Manzini (2009), Forlizzi, Stolterman, Zimmerman (2009) o Hernández (2006 y otros tantos, pues comprendemos que el horizonte hacia donde se dirige la preocupación ontológica parece difuso pero, sin menoscabo ni pretensión de desconocer su aporte, es evidente que se han detenido más en las reflexiones metodológicas que parecen legitimar el diseño como problema de investigación, lo que deja entrever que conceptualmente el asunto de fondo aún se fragua. ...
Se retoman los orígenes disciplinados del diseño desde la dicotomía entre las lógicas creativas del académico y las de un hombre común sin formación académica como proyectista. El ejercicio investigativo nos ha permitido avizorar que las prácticas culturales “incorporadas” y las apuestas colectivas, entendidas como intención consentida por un grupo social, pueden ser comprendidas como el sustrato que determina las lógicas del quehacer proyectivo transformador de mundo. Estos supuestos fueron determinantes en el momento de establecer la postura que habría de definir el diseño como una “tercera área del saber humano” desde el siglo XX hasta hoy. El resultado de esta pesquisa invita a asumir una postura crítica frente al rol del diseño visto como una disciplina que oscila entre el mundo de lo ideado desde las lógicas del proyectista disciplinado y el mundo de lo realizado en manos del obrador, en el escenario de la multiplicidad de coexistencias de facto que yuxtaponen lo uno con lo otro en lugares precisos y en tiempos determinados.Palabras clave: arquitectura moderna, creación, crítica arquitectónica, diseño, proyecto cultural.The plan, a messianic act of the project architect. The historical situation of design in the modernizing utopiaAbstractThe disciplinary origins of design are resumed based on the dichotomy between the creative logics of an academic and the logics of a common man without academic training as a project architect. The investigative exercise has allowed to recognize that "built-in" cultural practices and collective bets, understood as an intention approved by a social group, can be seen as the substrate that determines the logics of the projective task that transforms the world. These assumptions were decisive at the moment of establishing the position that would define design as a "third area of human knowledge" from the twentieth century until today. The result of this research invites the reader to take a critical stance against the role of design seen as a discipline that oscillates between what is conceived from the logic of the trained project architect and what is completed by the hands of the worker, in a scenario of multiplicity of de facto coexistences that juxtapose one with the other in concrete places and in determined times.Keywords: modern architecture, creation, architectural criticism, design, cultural project.Recibido: octubre 10 / 2015Evaluado: octubre 04 / 2016Aceptado: noviembre 10 / 2016Publicación: noviembre de 2016. Actualización: febrero de 2017
... The primary means to investigate the consequences of a phenomenologyinspired approach to design is through design itself. As I am a designer, not a philosopher, I take a research-throughdesign approach (Archer, 1995;Frayling, 1993) in which I develop both theoretical and practical insights in the act of designing. In my case, through several vision-driven (i.e., a vision directed by the theories) design exemplars, I develop both theoretical and practical knowledge on interaction design. ...
... 'Strong concepts' (Höök & Löwgren, 2012), 'design patterns' (Tidwell, 2005), and 'annotated portfolios' (Gaver, 2011;Gaver & Bowers, 2012) primarily depart from practice (i.e., design cases) in generating so-called intermediate forms of knowledge between theory and practice (Löwgren, 2013). As such, these types of research through design are situation-specific and, like Archer's (1995) research through practice, difficult to generalize from. The concept-driven interaction design research 34 This work inescapable took shape in the form of a reflective transformative research approach, after being trained by Hummels and ...
... It is based on incomplete models (Lawson, 2006) and methods that allow variations to be created rapidly (Akin and Lin, 1995). In contrast, science and engineering processes are based on problem-focused systemic processes, each with a clearly defined goal and method of investigation (Archer, 1995), attempting to identify the basis of each condition to propose a solution through a more complete model, which often requires an extensive setup and expert background knowledge. Furthermore, design research methods can be dissected into the three categories of theoretical-conceptual research into design, methodological-instrumental research for design and experimental-hypothetical research through design (Frayling, 1993). ...
... However, according to other notable philosophers of science, Thomas Kuhn (1962), Ian Hacking (1991) and Imre Lakatos (1978), the truth is that the process of scientific work is commonly less stringent and often disorganised, chaotic, in varied tempi and often non-linear with truth hierarchies. Nonetheless, in this goal-oriented (Frayling, 1993;Archer, 1995), systematised messiness of formulating a theory, a model and an experiment, ideas evolve and are challenged towards verification. As Hacking (1991) asserts, phenomena are created, which are often found in the abnormalities inside the experiments, usually considered experimental setup imprecisions or indeterminate experimental noise. ...
This paper targets practising architects with an interest in architectural theories and methodologies, academic architects and experimental researchers in architecture. It aims for the advancement of architectural thinking towards instrumental models that improve both creative solutions and problem-solving aspects. It attempts to identify and discuss the possible connections and shared terrain between practice and research in architecture. It also proposes the development of more hybrid explorative models that support both the diversity and the specificity of architectural proposals, ultimately towards supporting a general higher quality of the built environment. To visualise theoretical notions and practice-oriented processes, vectors are initially used as metaphors, which in turn form the basis for the provided diagrams of architectural processes. Following the clarification of these processes, experimentation as the common catalyst and denominator is further discussed, including two case studies. Lastly, the conclusion and the discussion of the arguments are presented for further questions, analyses and studies in the fields of architectural theories and methods and models for instrumental, experimental architectural design. Based on the above objectives, it can be asked: Are practice and research converging in architecture? This question is open-ended, non-contextualised and unspecified, hence difficult to address without further clarification of the inquiry. If we consider whether the modes of thinking and doing of practice and research are becoming more related, we approximate an examination of the two fields of architecture, which might help support Vectors
... To ensure a high flow of thoughts, ideas and knowledge, a research through design approach is taken, in which the generation of knowledge and the development of applications go hand in hand. Research through design is used as a form of research to contribute to a design activity [1], [21]. It is recognized as a form of action research, defined as systematic investigation through practical action calculated to devise or test new information, ideas, forms or procedures and to produce communicable knowledge [1], [9]. ...
... Research through design is used as a form of research to contribute to a design activity [1], [21]. It is recognized as a form of action research, defined as systematic investigation through practical action calculated to devise or test new information, ideas, forms or procedures and to produce communicable knowledge [1], [9]. Action research is an iterative process involving researchers and practitioners acting together in a particular cycle of activities [2], [20]. ...
This research aims to explore how to bring the richness of collaborative design into the (formal) context of the offices and colleagues. This research went through five stages to design product service systems: 1) product service system analysis, 2) collaborative design, 3) Research on computer supported cooperative work (CSCW) model, 4) User experience research, and 5) Product service system design. Recommendations are given to design and develop interactive collaborative design platforms in the work context. Researchers and designers who are interested in designing and developing rapidly evolving and experiential ICT systems would benefit from learning this research.
... Some research disciplines in the humanities are based on empirical evidence, but mostly, the humanities are based on previous writings and generally accepted arguments, theories and philosophy. In that sense, research in the humanities is generally subjective in character, and fundamentally, there is no such thing as objective knowledge in this field of research (Archer, 1995). Research as a broader field includes experience other than that which is gained from science. ...
... The distinction between research and practice has often been discussed. The argument has often been that works of architecture are themselves synonymous with research activity, and that the act of publicly exhibiting, installing, manufacturing or distributing the works constitutes publication (Archer, 1995). The position in this paper is that research might also be expressed in other ways than words but is different from architectural practice – especially by the degree of generalisation and contemplation, with research explicitly looking for values that go beyond the individual case – in search of general and normative aspects. ...
... Their attitude is primarily cognitive, in the sense that, as Jonas (2004, 29) phrases it, they "try, whenever possible, not to change their object" but merely to become better acquainted with it. Taken as a whole, their research makes up the broad, varied field of design studies, which Frayling (1993) terms "research into design" and Archer (1995) calls "research about design." Second, there is research at the service of the design profession (Buchanan 2001). ...
In this chapter, we call into question the nature of academic design research. A reconstruction of the debate over the role of academic research in the field of design shows that its origins created the bias of attempting to model design research on the historically contingent form of scientific research rather than on its deeper reason. Indeed, design academics often imitate what scientific disciplines do when they do research (i.e. applying codified methods), yet the discussion about why such disciplines behave that way is still limited. According to science studies the answer to this why lies in scientists’ habit of making the results of their research public, thus building what we refer to as the Great Archive of Science (GAS). By analyzing the dynamics of the GAS, we show that the rules, methods, and models typical of the research environment have as their main purpose to make the reliability of researchers’ knowledge claims as durable as possible. Regarding design research in general, and research through design more specifically, we thus argue that what turns designers’ work into academic research is not just the application of scientific methods but primarily the participation in the grand game of the GAS, whose dynamics enables a circumscribed corpus of knowledge to be held reliable by a community.
... First, we provide an annotated portfolio [16] through first-person accounts of design exemplars. The design exemplars-or ultimate particulars in the words of Stolterman [11]-serve as definitions made through design [17,18] in a Research through Design (RtD) practice [6,[18][19][20][21][22][23][24][25][26][27]. The design exemplars serve two purposes here: first, they show how our first-person perspective is able to generate viable, functioning, qualitatively different design work feeding off our movements and bodily engagements; second, through providing first-person accounts of use we provide a glimpse of the kind of somatic engagement they enable. ...
A set of prominent designers embarked on a research journey to explore aesthetics in movement-based design. Here we unpack one of the design sensitivities unique to our practice: a strong first person perspective—where the movements, somatics and aesthetic sensibilities of the designer, design researcher and user are at the forefront. We present an annotated portfolio of design exemplars and a brief introduction to some of the design methods and theory we use, together substantiating and explaining the first-person perspective. At the same time, we show how this felt dimension, despite its subjective nature, is what provides rigor and structure to our design research. Our aim is to assist researchers in soma-based design and designers wanting to consider the multiple facets when designing for the aesthetics of movement. The applications span a large field of designs, including slow introspective, contemplative interactions, arts, dance, health applications, games, work applications and many others.
... La investigación creación conduce, por lo general, a tres tipos de productos: 1) la obra, el objeto o el producto de creación propiamente dicha; 2) la documentación, los rastros o el registro del proceso; y 3) un cuerpo crítico en el cual se consigna la reflexión sobre la experiencia creativa y su relación con la pregunta o problema de investigación (Archer 1995;López Cano 2013). De tal modo, cuando hablamos de investigación creación nos referimos al hecho de otorgar a los procesos de creación y producción de obras artísticas, llámense espectáculos escénicos, objetos plásticovisuales, actos performáticos, piezas sonoras, etc., la condición de objetos cognitivos. ...
p>El objetivo de este artículo es presentar las bases del proceso de reconocimiento de las actividades relacionadas con la creación artística, arquitectónica y del diseño como formas de producción de conocimiento en Colombia. En él se exponen los antecedentes, las definiciones y los criterios que alimentaron la discusión en los debates sobre la definición de políticas que establecen los mecanismos de evaluación de la producción de conocimiento, realizados entre el Departamento Administrativo de Ciencia y Tecnología (Colciencias), la Asociación Colombiana de Facultades y Programas de Artes (Acofartes), la Asociación Colombiana de Facultades de Arquitectura (ACFA) y la Asociación Colombiana Red Académica de Diseño (RAD) entre 2013 y 2016. La discusión condujo a la construcción de un modelo propio para medir la producción de investigadores creadores vinculados a grupos de investigación en artes, arquitectura y diseño (AAD). Tras introducir brevemente el contexto del Sistema de Ciencia y Tecnología de Colombia (SNCTI), la primera parte argumenta y presenta ejemplos de investigación creación, con aportes del debate internacional como procesos de generación de conocimiento de las disciplinas creativas. La segunda parte aborda la investigación creación como resultado de la “polinización cruzada” entre disciplinas, asumiendo la diversidad de prácticas y lenguajes, estéticos y culturales, que también se nutre y dialoga con la investigación tradicional. La tercera parte presenta el marco jurídico-institucional y de política del SNCTI de Colombia, sus nexos con el sistema educativo formal y profesionalizante, para apalancar el desarrollo con criterios de productividad y competitividad en la “economía naranja”, en el marco de las industrias creativas y culturales. Se concluye con los resultados de la adopción y aplicación del modelo de medición.</p
... Although the philosopher and researcher reformist Michael Polanyi made the initial attempts to investigate the tacit dimension of human brain and knowledge acquisition, Donald Schön's approximation of the discourse in relation to design education and design itself, has opened a very wide road for debate. Later on, more current interpretations made by researchers such as Bruce Archer (1995), Chris , Michael Biggs (2007), Owain Pedgley (2007) and they brought the debate to its contemporary elevation. It is still a hot topic among the design researchers and being argued with diverse opinions in the academy. ...
Industrial designers, perform as professionals in various disciplines unrelated to design as well as conventional professional practice. During several professional and non-professional occasions it has been observed that designers’ knowledge of problem solving, multi-directional thinking, inclination to team work shows up during everyday life and is used both in everyday situations and also in professional workflow. Industrial design knowledge, has a compound nature, with close contact with engineering, ergonomics, business, aesthetics, society, environment and culture. The aim of the study is to investigate how practitioners graduated from industrial design departments use design knowledge while performing outside orthodox industrial design fields. With this aim, first the nature of industrial design education and its contribution to the design students was examined through theories about the experiential and explicit knowledge of design education. To further discuss the arguments with practitioners’ experiences, an exploratory field research was conducted.
... Archer and Frayling advanced the above-mentioned and widely used three modes of design research (Archer, 1995;Frayling, 1993;Rust et al., 2007): ...
The main approach of this paper is to look at design research from a systems-oriented perspective. This implies that design research is understood as a dynamic and emergent field of interrelated or contradicting thoughts, concepts and ideas. The first three sections of this paper draw cross-sections into the emerging richness in design research as it matures as a genuine mode of knowledge production. They address some of the positions, concepts, and discussions going on in the field, arguing that practice research in design is the most central. The current state is discussed and the relation between design research and other modes of knowledge production are looked at. A main tendency seems to be that design research is moving towards greater complexity both in issues and approaches and that Research by Design is becoming ever more central. Research by Design emphasizes insider perspectives, a generative approach, operates in rich and multiple layers and relates to real life contexts. The output is new communicable knowledge that is only found within design practice. The next two sections of the paper discuss the various possible relations between design practice and reflection. These span from distant perspectives where design practice is observed by outsider researchers, looking at practice retrospectively or contemporarily as in case studies, to participatory research and insider perspectives where the designer-researcher uses his or her own practice as a means for investigation and a bases and subject for reflection and knowledge production. The last section proposes the critical application of multiple perspectives, methods and media in composite approaches to design research. This analysis does not claim to provide a complete picture, but it suggests a method of looking at the field of design research in both a more holistic and more specific way. This could be helpful to position the individual design researchers approach in the complex landscape of design research. Arguing that ‘traditional sciences’ are very complex and manifold, design research is in itself a very complex, if not one of the most complex field of knowledge production. The paper claims that such a complexity demands an equally rich repertoire of interrelated methods and positions.
... This categorization presented a widely used framework to describe the relationship between research and design. Although later on extended with other pronouns (see Archer, 1995;Jonas, 2014;Jong & Voordt, 2002) that denominate similar relations between research and design, the categorization essentially remained the same and was also recently used in landscape architecture publications on the topic (Lenzholzer, 2010: 19, Deming & Swaffield, 2011. In the following section we give hints on the meaning of these categories within landscape architecture. ...
... This also relates to Nelson and Stolterman's (2012) notion of an ultimate particular. As design problems are ill-defined and open ended (Rittel & Webber, 1973), the designer's goal is not to reach a single correct solution or truth, as is the case in the natural sciences for example (see also Archer (1995;1979)). Instead the designer must draw towards an ultimate particular; a best solution given a developing understanding of the design problem. ...
Adopting a research-through-design approach we report a study to examine how radical departures from archetypal product form influence product meaning. We then consider implications for product acceptability. To achieve this we employ form theory to drive the design of three conceptual products. The three concepts were then prototyped and used as stimuli to gather participant responses to radical departures in product form from a dominant archetype. Results indicated the necessity of balance between typicality and novelty of form to achieve more acceptable meaning innovations. Specifically, results showed a requirement for maintaining inherent archetypal form characteristics and qualities, while at the same time providing opportunities for meaning change through radically novel form compositions, axis and balance. This approach to form-driven meaning change we tentatively term Referential Form-driven Meaning Innovation (RFMI). Implications for the application of the RFMI approach both in practice and as conceptual departure point for further studies are finally discussed.
... In the case presented herein, an experienced designer contributed to a collaborative project as part of her PhD research. Whilst creative practice can contribute towards or be the means of research (Archer, 1995;Frayling, 1994), in what follows we consider the value of creative practice as a pragmatic inquiry into what might be irrespective of whether this practice constitutes academic research. Indeed, approaches currently discussed as research through design (Gaver, 2012;Zimmerman, Stolterman, & Forlizzi, 2010) depend upon this 'designerly' quality of the practice within them e or 'makerly' if, like Frayling, Archer and Ingold, we consider artists, designers and other makers collectively. ...
This paper reports a case study investigating the productive value of designers' creative practice within complex academic-industrial collaborations in which a designer's practice had a formative role. Adopting a pragmatic approach, collaborators' experiences of this project were reconstructed through interviews and 'annotated timelines.' Collaborators were found to value the designer's work in responding to their particular concerns whilst also opening up new possibilities. This paper discusses how such benefit is attributable to the '. designerly thinking' of skilled designers, shifting the focus of work from problem-solving to problematisation and enabling participants to collectively formulate concerns, roles, and potentialities. The paper concludes that designers' creative practice can enable collaborative projects to build upon and transcend participants' expertise and expectations through 'creative exchange.'.
... The results are further based on research-through-design (Frayling 1993;Archer 1995) and an experiential inquiry cycle composed of four steps (Kolb 1984): (1) designing the interventions, (2) conducting design interventions through design tools in the hubs, (3) observing the action and (4) reflecting based on relevant theory with the purpose of extracting design intervention principles and propositional knowledge. We report from experiments with two service business cases. ...
In recent years, co-design research has moved into the heart of business and organisational matters of concern. As a consequence of that fact, the idea of what design is capable of evolves into something that does not only encompass product and service design, but also at the same time changes organisations’ way of doing things – or in other words, it challenges the organisational culture and the mindset of the decision-makers as a way towards the successful embedding of a project within the organisation. This paper investigates how the development of a new service design project together with integrated co-design interventions might raise the chances for creating a shift in decision-maker mindset and viewpoints. We argue that, as a matter of course, a new service design will lead to significant organisational changes; therefore, this might as well be addressed from the very beginning. This creates a path for design to intervene in and gain influence over various organisational levels in support of a specific service design project, hence becoming a stronger interventionist force.
... For this reason we applied in the study a researchthrough-design approach, defined by [5] as a "systematic enquiry conducted through the medium of practical action, calculated to generate or test new, or newly imported, information, ideas, forms or procedures and to generate communicable knowledge". This kind of research is knowledge-directed. ...
In this paper we describe Game of Stimuli (GoS) an interactive tangible game for children and adolescents diagnosed with Autistic Spectrum Disorder. The system is designed to engage children in play scenarios addressing different stages of development from practice play to rule-based play. The objective of the game is to maintain the attention on a given task while filtering irrelevant stimuli. The study was developed adopting a research-through-design approach, a design method that uses prototypes in the real context of use to generate new knowledge and future visions. The study exploited the modularity of GoS to adapt play activities to the current level of development of autistic children, and to appreciate if the tool could support them in mastering different stages of play of increasing complexity, from practice play (initial level of child development) to rule-based play (a more advanced and skilled playful competence), in solitary and collaborative way. The paper concludes with a reflection on the knowledge gained from testing in the field. Reflection-in-action happened while prototyping solutions and it allowed us to reshape our design. Reflection-on-action occurred after the final prototype was completed. This level of reflection was achieved by reflecting back on the overall experience with therapists and parents, questioning our beliefs, decisions and obtained results.
... To ensure a high flow of thoughts, ideas and knowledge, a research through design approach is taken, in which the generation of knowledge and the development of applications go hand in hand. Research through design is used as a form of research to contribute to a design activity [2,4]. It is recognized as a form of action research, defined as systematic investigation through practical action calculated to devise or test new information, ideas, forms or procedures and to produce communicable knowledge [8,31]. ...
This research aims to explore how to bring the richness of tangible interaction designs into the everyday living and working contexts of the aged users. To do so, we introduced an interactive technology design at two Chinese Universities, for the first time interactive prototyping skills become important for their undergraduate and graduate students to learn and practice. In an interactive prototyping course, a number of prototypes designed for aged users were built and experienced. From these prototypes, experiences for regularly running interaction design education based on traditional industrial design education were discussed.
... In fact according to Brown and Chandrasekaran (1985) and Gero (1990), Design, when it is not addressed as a routine product but innovative or creative, can produce different kind of changes in knowledge. In addition for others including Archer (1995), design artifacts can produce knowledge facilitating -sometimes -major changes in people's perceptions and values. The hypothesis that Design can be assimilated to Science is therefore valid under the condition that the changed state of knowledge does not remain tacit, but conscious and transmissible. ...
[Full video presentation at: vimeo.com/156914143]
The paper presents the author's experiences in architectural design education as answers to questions that, for some years, have been hovering around Design as the Third Culture and its relationship with Science. More precisely, the paper proposes to address the following questions: Can Design itself be used as a tool for scientific research? If so, what are its characteristics and features? Can research through Design be used as an educational method? If so, with what results? In addition, and as a complementary aspect, the paper also focuses on Modeling as a core language of Design that, in its recent digital nature, can bring accuracy to the production process, and " makes Science visible " so that an holistic approach in learning can be reinforced and usefully adopted.
... Archer and Frayling advanced the above-mentioned and widely used three modes of design research (Archer, 1995;Frayling, 1993;Rust et al., 2007): ...
The main approach of this paper is to look at design research from a systems-oriented perspective. This implies that design research is understood as a dynamic and emergent field of interrelated or contradicting thoughts, concepts and ideas. The first three sections of this paper draw cross-sections into the emerging richness in design research as it matures as a genuine mode of knowledge production. They address some of the positions, concepts, and discussions going on in the field, arguing that practice research in design is the most central. The current state is discussed and the relation between design research and other modes of knowledge production are looked at. A main tendency seems to be that design research is moving towards greater complexity both in issues and approaches and that Research by Design is becoming ever more central. Research by Design emphasizes insider perspectives, a generative approach, operates in rich and multiple layers and relates to real life contexts. The output is new communicable knowledge that is only found within design practice. The next two sections of the paper discuss the various possible relations between design practice and reflection. These span from distant perspectives where design practice is observed by outsider researchers, looking at practice retrospectively or contemporarily as in case studies, to participatory research and insider perspectives where the designer-researcher uses his or her own practice as a means for investigation and a bases and subject for reflection and knowledge production. The last section proposes the critical application of multiple perspectives, methods and media in composite approaches to design research. This analysis does not claim to provide a complete picture, but it suggests a method of looking at the field of design research in both a more holistic and more specific way. This could be helpful to position the individual design researchers approach in the complex landscape of design research. Arguing that ‘traditional sciences’ are very complex and manifold, design research is in itself a very complex, if not one of the most complex field of knowledge production. The paper claims that such a complexity demands an equally rich repertoire of interrelated methods and positions.
... Research through design (hereafter abbreviated as RtD) has matured into an established research approach with a rapidly growing body of literature dealing with all sorts of foundational issues and questions for the discipline. The seminal work of Frayling (1993), Archer (1995) and Cross (2001) were vital in positioning research through design as a scientific culture of its own, a "third culture", so to speak, if we consider it existing next to the two other cultures suggested by C. P. Snow (1960): science and art. These epistemological distinctions -or "ways of knowing" (Cross) -are still lurking behind recent discussions, while the image has certainly become more nuanced. ...
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 cross-disciplinary perspective where research through design is based on models and standards borrowed from natural science, social sciences, humanities and art, while the other position claims a unique epistemology for research through design insisting on its particularities and warning against importing standards from these other disciplines. In this paper we argue for taking a third position, an intra-disciplinary position that appreciate how design processes and the making of artifact can be a method of inquiry, while at the same time insisting on using standards and terminology that can foster a dialogue with surrounding scientific cultures. To substantiate our claim we further introduce five methods of evaluation in research through design, which are derived from a close examination of a sample of PhD theses that are claimed to be exemplary of the field. In so doing, we aim to lay new grounds for a methodology.
... Since then, however, there has been growing interest and exploration into design methodology generated by the idea of 'research through design' as initiated by Frayling (1993) and Archer (1995). This development of design-led approaches to research is a response to Rittel's (1972) call for design approaches to resolving wicked problems that are collective, collaborative, intuitive and developing cultural perspectives on complex issues through co-design and co-creation (Hocking 2013). ...
... Design theorists (Archer, 1995;Dilnot, 1998) agree that practice alone does not constitute research. Reflection on the work must take place in order for design knowledge to be considered as research. ...
There is growing awareness in the physics education research community about the importance of using representations in physics teaching and the need for lecturers to reflect on their practice. This research study adopted a design-based research approach in an attempt to design a reliable, valid and practically useful artefact (framework/strategy) that could be used to trigger introductory physics lecturers’ reflections on their instructional use of representations. The artefact, which was instantiated with physics lecturers, comprised an observation protocol, an accompanying definitions key, a communication platform, and an instrument to assess the outcome (the levels of reflection). The video-data of lecturer practice were analysed using a priori codes to generate profiles of teaching practice. The resulting profiles were used to trigger individual video-stimulated reflection. The levels of reflection were assessed using a purpose-designed ‘Expectations of Reflection’ taxonomy. Thereafter a set of design guidelines and design principles were generated to guide further similar design-based educational studies. The process was validated via interview data but, while it was deemed a valid and reliable solution to the research problem, there were varying levels of perceived value of the artefact among the participating lecturers.
Key words: design principles; design-based research; physics education research; instructional use of physics representations, reflective practice; video-stimulated reflection
... Cf. Frayling (1993), Archer (1995), and Cross (1995). 16 The term experience is in this text used to refer to how something is reflected in the consciousness of a specific person. ...
Products help people act, but also thrill, excite, and elicit fear, joy and anger. Artefacts are a natural part of people’s everyday lives, sometimes associated with values, dreams and aspirations. While traditional user-centred approaches have focused on efficiency and effectiveness of use, injury prevention etc. new approaches focusing on product experience have emerged. However, while increased attention is being paid to the experiential side of goods and services there remains a need for knowledge and methodology with which to address experiences with things, especially with regard to elicitation, specification and evaluation of requirements. This project has therefore taken an exploratory qualitative approach, aiming to elucidate what it is that people find significant in experiences with products. 159 participants in six different studies have shared descriptions of experiences with things. The studies have come from different perspectives, triangulating data collected in individual and group interviews with self-reports. The analysis indicates that things often matter not in terms of their mere presence or physical properties, but by standing out from expectations, requiring attention or referring to some idea. Often the significance of products lay in the role(s) they play in events, and the perceived impact the thing has on the person’s ability to realise motives. While only a fraction of all experiences with things could be prescribed in product development it is possible to scaffold conditions that increase or decrease their likelihood. Three perspectives that could potentially be addressable in development work are: significant things and associated meanings, significance in use and significance of consequences beyond use. These imply somewhat different objectives for design and different needs for knowledge. User experience is not a property or quality of an artefact, but a perspective that can to some extent be addressed by enabling developers to identify requirements and align their understanding with what users find significant.
... Suggestions to view research within instructional design from broader perspectives are not unique to this chapter. Over the years, various types of design research have been described using many labels, including action research (Archer, 1995), design experiments (Brown, 1992), developmental research (Richey & Nelson, 1995), development research (van den Akker, 1999), design and development research , and engineering research (Edelson, 2006). Early attempts at describing developmental research within instructional design delineated several purposes for research activities and hinted at some of the different categories described in this chapter (Richey & Nelson, 1995). ...
This chapter examines instructional design and research within the field of instructional technology, noting differences in conceptualization of design and research held by other design fields. With this broader perspective, an examination of the ways that research is used in instructional design is presented. Research during design, research about design, and research through design are described. This analysis suggests ways that research and practice can be better integrated and extends the notion of instructional design research beyond the classic definitions of scholarly research. Finally, the implications of this framework for instructional design curriculum and future research directions are discussed.
... It is important to note that research through design has been the subject of lively debate the past 20 years but is not yet recognized as a formalized approach and many questions about this remain unanswered (Zimmerman, Stolterman, & Forlizzi, 2010). Still, an increasing amount of research has been aimed at developing the methodology and formalizing the principles for producing and evaluating knowledge gained by using design as research artifacts (Archer, 1995;Brandt & Binder, 2007;Cross, 2001;Frayling, 1993;Koskinen, Zimmerman, Binder, Redstrom, & Wensveen, 2011;Redström, 2011;Zimmerman & Forlizzi, 2008). ...
Today's pediatric health care lacks methods to tap into the emotional state of hospitalized pediatric patients (age 4-6 years). The most frequently used approaches were developed for adults and fail to acknowledge the importance of imaginary experiences and the notion of play that may appeal to children. The scope of this article is to introduce a new design-oriented method of gathering information about the emotional state of pediatric patients using an experimental computer game called the Child Patient game (CPgame). The CPgame was developed at a Danish hospital, and the results of the preliminary tests show that games could serve as a system in which children are willing to express their emotions through play. The results are based on two comparative analyses of the CPgame through which it is possible to identify three different types of players among the patients playing the game. Furthermore, the data reveal that pediatric patients display a radically different play pattern than children who are not in hospital. The inquiry takes an interdisciplinary approach; it has obvious health care-related objectives and seeks to meet the urgent need for new methods within health care to optimize communication with young children. At the same time, design research (i.e., the development of new knowledge through the development of a new design) heavily impacts the method.
... Qualitative must be well-structured to qualify as research in terms of "a systematic enquiry whose goal is communicable knowledge" [20]. A research plan, goals, central questions and analytical approaches appropriate to the data have been setup. ...
Concept mapping software is emerging as a powerful tool for supporting complex thinking. The Decision Rationale editor (DRed) provides an illustrative example from industry. Eight years after its development, 700+ engineers in Rolls-Royce have received direct training, others have adopted it independently and it is increasingly used for knowledge management, creativity and communication. This study seeks lessons from these experiences to inform broader map-based tools and methods development. Semi-structured interviews were performed with 11 professionals ranging from junior engineers to chief designers. A qualitative analysis of transcripts and sample maps examined the value of new features and methods in practical contexts. Results suggest mapping is often the “path of least resistance” to organise unstructured ideas and conflicting perspectives. The flexible nature of maps, however, presents challenges for standardising methods. Feature development will require a continued balance of simplicity, learnability and functionality supported by integrated help documentation.
... Qualitative does not, however, mean unstructured. It must meet the criteria of research through "a systematic enquiry whose goal is communicable knowledge" [41]. A research plan, goals, central questions and analytical approaches appropriate to the data are still required. ...
Engineering design thinking combines concepts from heterogeneous sources like personal experience, colleagues, digital and hardcopy media. Despite this challenge, modes of thinking across levels of abstraction through multi-dimensional (spatial) representations are widely neglected in digital support systems. This paper aims to summarize lessons learned through years of experience with software tools that augment this visio-spatial conceptual thinking. This work cuts across disciplines to provide a needed, coherent starting point for other researchers to examine complex outstanding issues on a class of promising support tools which have yet to gain widespread popularity. Three studies are used to provide specific examples across design phases, from conceptual design to embodiment. Each study also focuses on an exemplar of diagrammatic software: the University of Cambridge Design Rationale editor (DRed), the Institute for Human Machine Cognition’s (IHMC) CmapTools and the Open University’s Compendium hypermedia tool. This synthesis reiterates how hypermedia diagrams provide many unique, valuable functions while indicating important practical boundaries and limitations. Future research proposed includes: a need to build more diagrammatic literacy into engineering practice, the need for more detailed studies with experts in industry and specific directions for refining the hypermedia diagram software interfaces.
El mundo que habitamos hoy es mucho más artificial que natural, estamos rodeados de cosas materiales e inmateriales creadas por el ser humano, las cuales fueron conformadas por alguien que a partir de algún método proyectual, así sea intuitivo, determinó las características formales de dicho elemento y configuró una cosa, bien o mal diseñada, pero que de alguna manera existe y afecta un entorno y unas personas. Es por esto que el diseño es un mediador entre la vida cotidiana del ser humano y su entorno ecológico, cultural, social, económico y tecnológico, es transversal a toda actividad humana porque sin los objetos materiales o inmateriales que nos rodean sería imposible nuestra vida.
Por lo anterior, el diseño es un acto de creación que se manifiesta permanentemente en la vida cotidiana y es una actividad digna de ser estudiada de forma rigurosa para pensar y teorizar estos fenómenos artificiales que predominan en la vida del hombre contemporáneo que tiene una necesidad imperativa de intervenir el mundo a partir de la creación de proyectos
We discuss the role and importance of sketching during conceptual design ideation and position it as instrumental in understanding what it means to design. To do this we first define design as a generative, transformative act. We then situate sketching as an effective means through which the transformative requirement of design is achieved as reason for its prolific use in design. Following this, in order to ground our theoretical discussion, two examples of sketch work are presented and discussed. The two examples provide an illustration of how sketching is used to both resolve the indeterminacy of the conceptual design situation, and establish a means by which the designer may navigate a design solution. Finally, we reflect upon the potential of a focus upon sketch representation to contribute to developing an understanding of what it means to design and implications for efforts towards building a philosophy of design.
This essay addresses the question of how participatory design (PD) researchers and practitioners can pursue commitments to social justice and democracy while retaining commitments to reflective practice, the voices of the marginal, and design experiments “in the small.” I argue that contemporary feminist utopianism has, on its own terms, confronted similar issues, and I observe that it and PD pursue similar agendas, but with complementary strengths. I thus propose a cooperative engagement between feminist utopianism and PD at the levels of theory, methodology, and on-the-ground practice. I offer an analysis of a case—an urban renewal project in Taipei, Taiwan—as a means of exploring what such a cooperative engagement might entail. I argue that feminist utopianism and PD have complementary strengths that could be united to develop and to propose alternative futures that reflect democratic values and procedures, emerging technologies and infrastructures as design materials, a commitment to marginalized voices (and the bodies that speak them), and an ambitious, even literary, imagination.
Over the years, we have experimented with several course set-ups in which master students collaborate with companies on a specific service design problem or opportunity. This has resulted in – at least at the outset and based on feedback – inspiring service design concepts that the company decision makers could bring into the organisation.
How designers think throughout the creative process is one of the major issues in the field of design. This study aims to introduce a meta-analysis method that documents and analyses the idea development processes of fashion designers. Eighteen designers created five contemporary women’s wear designs in sessions with video/audio-recorded pre- and post-design interviews. Our analysis distilled the ideation process into seven steps, and we developed a design process coding map for each designer. This coding method reveals how salient features extracted from the source of inspiration change over time and how they converge in the final design sketches. This coding method helps us map the evolution of the design process on one page, allowing for a visual summation of key points in the process. Using this method, educators can develop systematic exercises for students, while practitioners can use the method to activate a self-learning process.
The paper highlights aspects of a particular parametric design thinking (PDT) distilled from practice. It describes the components of PDT – cognitive model, design method and information processing model – that are critical to an efficacious, collaborative search for solutions to architectural problems. The aspect related to the information processing model is afforded a detailed examination, synthesising the state-of-the-art in practice and research. Lastly, case studies spanning six years trace the transfer of methods and knowledge from collaborations and prototypes into projects of Zaha Hadid Architects Computation and Design group (ZHCODE). These exemplify the role of a shared language of geometry and several process related aspects of parametric design critical to its success.
Taking the ambitious educational programmes and global collecting practices of 19th century industrial arts museums as case studies this article analyses the role of design in shaping the future. The article examines the historical dynamics behind the construction of futures knowledge and futures expertise on the one hand, and current futures construction within design museum collections on the other. It tests strategic drivers and trends for the imagination and design of futures in the museum within the context of wider debates about the value of museums as sites of transdisciplinary practical learning. In this way the article also considers how cultural value is articulated through changing concepts of time and temporality embodied in material form. The final section examines the potential for social agency and activism within the design museum to foster critical reflection on the methods by which social institutions signal and shape directions of change. The article finds that in providing tools for the sharing as well as shaping of visions of the future, wider debates about the designed object in the museum have much to contribute to futures agency and literacy across disciplinary and professional boundaries.
Today computing power and sophisticated digital tools
are changing architectural design. Scripting and new design software is becoming ubiquitous and opens new opportunities for tech savvy designers, in turn computation
seems set to fundamentally re-structure design practices. In the field of digital architecture
, a number of critical voices have emerged from within its own ranks, vitally engaging with its theory and practice. These critiques universally assume that designers are, in fact, facing a new terrain for design thinking and that there consequently is a need to formulate a rationale for digital design research. If this is so, how can we begin to understand this new digital terrain, and what might its impact be on creativity
and cognition? We approach these questions through the lens of Material Engagement Theory
, exploring how computers and digital design research are changing the stakes for imaginative and creative thinking
in architecture. We find that the potential of digital tools for bringing together vastly heterogeneous worlds might indeed extend the creative capacities of savvy designers, but that this relies on much more than a simple understanding of computation and involves materials, transactions and affect at several levels and temporal scales
.
The educational technology field’s capability to contribute to widespread educational improvement can be enhanced by redirecting and more sufficiently developing our approaches to inquiry. Several steps that can be taken include (1) embracing design as a unique and essential form of inquiry, (2) developing design inquiry systems, which integrate design and research and which embrace systems concepts and principles more fully than we have to date, and (3) developing tools/technologies for strengthening these systems and, potentially as a result, design practice, design education, and design cases. This chapter describes an example of a tool, an Enhanced Design Inquiry System (EDISYS).
The role of design shifts from designing objects towards designing for experiences. The design profession has to follow this trend but the current skill-set of designers focuses mainly on objects; their form, function, manufacturing and interaction. However, contemporary methods and tools that support the designers’ creative efforts provide little help in addressing the subjective, context-dependent and temporal nature of experiences. Designers hence need to learn by trial and error how to place experiences at the center of their creative intentions. We are convinced that there is room for new tools and methods that can assist them in this process. In this chapter, we argue that storycraft can offer part of the guidance that designers require to put experiences before products right from the very start of the design process. First, we establish the background behind the shift from products to experiences and explain the challenges it poses for the designer’s creative process. Next we explore the contemporary conceptual design process to understand its shortcomings, point out the opportunity that storycraft offers and propose our approach to take on this challenge. Last but not least, we propose a specific method called Storyply that we have designed and developed iteratively by testing it in conceptual design workshops with students and professionals.
In this essay, with the term ‘advanced design the author intends to conceive, problematize, contextualize and finally display research solutions that can predict and change the traditionally conservative path and the incremental evolution of objects. Advanced design, according to this interpretation, has to do with research and innovation and therefore has a deep relationship with the qualitative aspect of the product, a relationship with the expression, with the structural innovation that leads to the new form. Within this framework, the author also provides two case studies of advanced product design.
The Faculty of Architecture at Slovak University of Technology in Bratislava, Slovakia, in cooperation with the Alliance for Old Market Hall initiated a student studio project. Its main topic was architectural interventions to the Old Market Hall building in Bratislava. The objective was to bring new aesthetic, functional, operational and social qualities to this historic piece of architecture. The scope of studio work ranged from analytical to the production phase. The results were prototypes in 1:1 scale or prototypes of critical design details. This article deals with the implementation options of the research by design methodology into the educational process. One of the objectives was to combine this methodology with other design methods, e.g. with participatory design or socially focused research. The research by design methodology does not rule out using other supporting procedures, e.g. digital or parametric architecture methods.
If we focus on Practice-Based Design Research (PBDR) in its various forms and terminologies one can consider Design Research as a process of “generating the unknown from the known” or of “organizing the transition from knowns to unknowns” (Hatchuel, 2013: 5). It is thereby confronted with the fundamental problems of control (non-reducible complexity in design situations), of prediction (not-knowing of evolutionary emerging futures) and of incompatible domains of knowing. The problems become apparent in causal gaps between bodily, psychic and communicative systems and between the phases of evolutionary development. PBDR explores the possibilities of bridging these gaps in the medium of design projects and thereby creates new knowledge. This is necessarily done with scientific support, but in a situated, “designerly” mode, which means that the designer is part of the design / inquiring system. This is the epistemological characteristic of design. The text argues for a strong coupling of PBDR and advanced systems thinking to face the problems mentioned above.
Sound is an important part of our experience of buildings. However, architects design largely using visually based techniques and largely for visual phenomena. Aiming to address this problem, the research presented in this paper proposes four digital design workflows that integrate acoustic computer simulation into architectural design. These techniques enable architects to design for both visual and acoustic criteria. The goal is to develop rapid and accessible workflows for architects that allow acoustic performance to be tuned as geometry and materials are modified at the scale of the room, and also at the scale of the surface. The discovery and testing of these techniques takes place within the design of the FabPod, a semi-enclosed meeting room situated within an open-plan working environment. The project builds on previous research investigating the design principles, the acoustic performance, and the fabrication methods of hyperboloid surface geometry. Four design workflows were developed: two of these investigate the acoustic performance of the room and use existing acoustic simulation software, and the other two workflows investigate the acoustic performance of the surface and use custom-written scripts to calculate and visualize sound scattering. This paper presents the background to the study, outlines the digital workflows, describes how they integrate acoustic simulation, and shows some of the data produced by these simulations.
This paper investigates architectural students’ ‘year-out’ learning experiences in architectural offices after completing RIBA Part I study within a UK university. By interviewing and analysing their reflections on the experience, the study examines how individual architecture students perceive and value their learning experience in architectural offices and how students understand and integrate what they have learned through two distinct elements of their training: in university and in offices.
The architectural offices that students worked with vary in terms of workforce size and projects undertaken. The students’ training experience is not unified. The processes of engaging with concrete situations in real projects may permit students to follow opportunities that most inspire them and to develop their differing expertise, but their development in offices can also be restricted by the vicissitudes of market economics.
This study has demonstrated that architectural students’ learning and development in architectural offices continued through ‘learning by doing’ and used drawings as primary design and communicative media. Working in offices gave weight to both explicit and tacit knowledge and used subjective judgments. A further understanding was also achieved about what architects are and what they do in practice. The realities of their architectural practice experience discouraged some Part I students from progressing into the next stage of architectural education, Part II, but for others it demonstrated that a career in architecture was ‘achievable’.
This study argues that creative design, practical and technical abilities are not separate skill-sets that are developed in the university and in architectural offices respectively. They are linked and united in the learning process required to become a professional architect. The study also suggests that education in the university should do more to prepare students for their training in practice.
During the practice of industrial design, digital methods are used to support the generation, development and specification of creative three dimensional (3D) form. Despite the increasing capabilities of digital methods, the distinctive nuances of current practice continue to use non-digital methods, particularly during the creative concept generation activities. This paper reports on a research project that combined emerging and established digital design technologies to define an approach for total 'Digital Industrial Design' (DID) that employs only digital methods (e.g. no pens/paper) with no post-process finishing (e.g. smoothing/painting of rapid prototype parts). The paper concludes that DID has the greatest potential for change and benefit during concept generation, where haptic feedback modelling and monochrome 3D printing have the capacity to replicate some of the qualities of tactile formgiving associated with workshop-based sketch modelling. To maximise impact, the case study was translated into in a web-based resource.
There is contention in the design research community surrounding the legitimacy of industrial design practice used in design research in academia. This study claims that research-led practice in design research within the context of universities through industry-sponsored projects is deserving of scholarly recognition. It can be argued that research-led practice in design research provides a platform for demonstrating the applicability of design theories in practice. Design practice is inspired and directed by research where concepts generated through industrial design practice provide evidence that research-led industrial design practice has the ability to generate a new body of knowledge. It is the research that informs decisions concerning the design process; and by default informing practice of 'research-led industrial design practice'. To substantiate this, two research-led industrial design practice case studies from Swinburne University of Technology, Melbourne, Australia are highlighted to show how design theories are used in practice to benefit industries separate to academic environments.
This article argues that designers are currently not able to effectively address contemporary environmental and social problems due to the systemic priorities of the design industry. Despite the fact that emergent cognitive and perceptual capacities enable a greater understanding of complexity and design practice evolves creating potential for social and technological innovation, the structural dynamics of the design industry reproduce conditions of deep unsustainability. In this article,“design” is theorized as the professional practice of creating new products, buildings, services, and communication. This is a broader practice than the work that is produced within the “design industry.” The design industry operates according to highly reductive feedback generated by capitalism that systemically ignores signals from the ecological and social systems. The exclusive focus on profit and quantitative economic growth results in distortions of knowledge and reason thereby undermining prospects for the design of long-term prosperity. Redirected design practice could be an antidote to this dilemma by transforming the system that determines what is designed. This article provides an overview of the political and economic dynamics that are relevant to designers concerned with sustainability.
This paper contributes to the field of practice based research and includes insights from research through design, both research perspectives that apply methods and processes from design practice as basis for knowledge generation. The objective of the paper is to introduce a design historical case and demonstrate that it can inform and produce relevant knowledge to practice-based research and research through design. It is the assumption that – by forming the basis for making an epistemic artefact – a design historical case can construct knowledge on how to transform statistics into visualisations. It is also the assumption that the combination of design history and designerly experiments can extend the theoretical scope of practice-based research, which is normally defined by focusing on the present and the future. Three contiguous experiments are demonstrated through
dynamic research sketching, a new explanatory tool, with the purpose of showing how, by building on each other, they form a medium for knowledge expansion. Finally the paper reveals visual research methods and tools that should be acknowledged as valuable for knowledge production within the growing field of practice based research.
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