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The use of 'ethnographic research' to solve problems in the relationship between technology and culture has resulted in a simplification of the role of 'design' in product development, especially in the design and diffusion of technological innovations. Norman (1990, 1998, 2004) decries the popular 'focus group' design research method as misleading and inappropriate, preferring instead a model for 'rapid ethnography' which may lead designers to understand product uses within their social environment. In the same vein, the 'product semantics' of Krippendorff and Butter (1984), and the 'high design' approach of various industry professionals, aim to enhance the designer's understanding of the consumer's individual 'needs' and 'desires.' / However, these approaches often result in an oversimplification of the relationship between design, production and consumption. In many cases this is an interactive and reflexive relationship, as can be seen by examining the consumption practices of certain subcultures. In contrast to the 'rapid ethnography' of Norman, Miller (1988) suggests a view of consumption in which 'design' is not the only means through which artefacts acquire cultural 'relevance' (a view supported by Forty [1986], Julier [2000], and Clark [1999]. Whilst the intent of this thesis is not to formulate a universal model for 'design research' that may be applied to all categories of product design (and it is acknowledged that in many product categories 'reflexive' design is neither feasible nor required), this thesis provides insights for designers in the often - difficult area of the diffusion of technological innovations. In the 'leisure' community of Local-Area Network (LAN) gaming culture, for example, technological innovations (both hardware and software) form a platform upon which the 'group values' of the culture are formed. This is evidenced by the modification, customisation and improvement of computer equipment within a community setting. Furthermore, these subcultural 'signifying practices' are not in essence opposed to systems of design and production for the 'mainstream.' On the contrary, such practices may be effectively utilised in the 'pre-critical mass' development and validation of new technologies and their social contexts. As this suggests, design, production and consumption continuously inform and influence one other in a continual and interactive process. / Thesis (MDes(Architecture))--University of South Australia, 2005.

Thesis (MEngineering)--University of South Australia, 2003.

The project undertaken was aimed at extending a current craft based jewellery practice. Related by structure and materiality, the research sought to develop exploratory shapes as low seating objects to exist within small scale living spaces and studio apartments. Signaling an increased conscious way of thinking and working, a reflective process examining each form as series, provided an incremental creative strategy. The availability of discarded materials suggested possibilities for a sustainable cost effective option as a mode of contemporary practice. This combined approach was considered impact negative, diffusing global waste, and impact positive providing valid alternatives through functional and aesthetic objects. At present waste materials exist as products are still designed and made on the basis of planned obsolescence, thus an exploitation and escalation of global resources and resultant hazardous outcomes continues. Citing selected writings by Victor Papanek, (1992), and Edwin Datschefski, (2006) provided an understanding of the misuse high impact advanced technologies imposes on the environment. These notions were discussed during the project and in relation to contemporary models of practice which currently use discarded materials to make objects for living. Based on a survey observing the local homewares and furniture industries within Sydney, Australia, and recent published material, a niche market was discovered for challenging conventions of low seating objects. Initial sketches were transformed into marquettes then developed into full size prototypes of multi functional forms. a series of forms were scaled up, made of discarded materials using simple hand crafted processes and minimal production methods. As a reference influences included architects, sculptors and craft practitioners who were examined particularly for their use of discarded materials or for their construction methods. During experimental studies visual source material drew upon an observation and analysis of architecture, skeletal structures and land formations. In an exhibition originally titled, "Be Seated", these forms made as initial prototypes were exhibited at Kudos Gallery, Sydney, Australia, during May 2007. They were later refined and renamed as "Low Life" for a group exhibition "Contained" held at Kudos Gallery during 2008.