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Design and Dissensus: Framing and Staging Participation in Design Research
University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Industrial design.ORCID iD: 0000-0002-6310-7767
2013 (English)In: Design Philosophy Papers, ISSN 1448-7136, Vol. 11, no 1, 7-29 p.Article in journal (Other academic) Published
Abstract [en]

When people cite Herbert Simon’s definition of design (as they frequently do) as an activity that seeks to Change Existing Situations Into Preferred Ones, this is usually an entrée into what they really want to discuss, which is “how do designers do this?” Here lies the history of the ‘design methods’ movement that sought to rationalise design as process, and the counter-reaction to it as researchers and designers began to conceptualise their work in terms of human-centred design, participatory design, co-design, design ethnography, and so on. But what’s been overlooked in Simon’s oft-repeated definition of design is the change bit – the move from existing to preferred is glided over as if obvious. If pressed to name the gap between the existing and the preferred, those who cite Simon would perhaps say something like – better functionality, performance, convenience, efficiency, aesthetic appeal, and so on. The parameters of change are assumed as given, as issuing from the client, thus they are circumscribed, delimited, not an issue.

Place, publisher, year, edition, pages
2013. Vol. 11, no 1, 7-29 p.
National Category
Design
Identifiers
URN: urn:nbn:se:konstfack:diva-4892DOI: 10.2752/089279313X13968799815994OAI: oai:DiVA.org:konstfack-4892DiVA: diva2:787750
Available from: 2015-02-11 Created: 2015-02-11 Last updated: 2016-04-05Bibliographically approved

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