GPS-enabled wayfinding interfaces (i.e. digital maps) are now commonly used as wayfinding devices in urban locations. While these wayfinding interfaces provide increasingly accurate geographic and routing information, little attention has been paid to how novel information design approaches may support particular user-experiences within particular use-contexts. This practice-based research focuses on the design of GPS-enabled wayfinding interfaces within the use-context of urban recreational walking/wandering. In particular, it investigates how these interfaces could be designed to visually support situation awarenessin use. That is, awareness of one’s embodied involvement in the surrounding environment while using the interface. The enquiry progresses through two phases. In the first phase, a programme of semi-structured interviews are conducted with urban recreational walkers/wanderers. Analysis of the data reveals participants’ motivations to walk, their experience of exploratory wayfinding, as well as their use of wayfinding materials in general and GPS-enabled technology in particular. With regard to the latter,attention is paid to ways in which these wayfinding interfaces are negatively perceived. Here, it is identified that, amongst the group as a whole, the undermining of situation awareness (SA) and the negation of exploratory wayfinding practices are seen as significant issues. Having made this identification, an area for experimentation is framed and, within this, a design hypothesis is formulated. Next, in the enquiry’s second phase, a series of design experiments are undertaken in order to develop a novel wayfinding interface in response to this hypothesis. Here, an iterative development cycle leads to the design and testing of a mixed-fidelity working prototype interface through the application of qualitative and quantitative methods of data collection and analysis. By integrating and assessing the results, it is possible to assert that,for the majority of participants, SA-in-use was supported, thus verifying the hypothesis. Thereafter, the interface is presented as a practical response to the primary research question of the enquiry and, as such, is positioned as an artefactual contribution to knowledge. Then, through a graphic syntax analysis (Engelhardt 2002) of this artefact, a contextualised graphic syntax for design is generated. In setting out a series of principles, it provides an outline for the design of a GPS-enabled WI to visually support an urban recreational walker’s/wanderer’s situation awareness in use and, so, may guide/inform future designs. Further to this, in graphic syntax analysis, a reflection on the dynamic and interactive aspects of the interface leads to an extension of Engelhardt’s graphic syntax framework(2002) being proposed. Here, by expanding the framework’s scope, the description of the dynamic and interactive aspects of graphic representations is now made possible. It is held that this, in turn, may support the development of an expanded theory of graphic syntax.

Media Architecture design, although visually prominent and involving interdisciplinary collaboration, rarely succeeds in creating urban situations of contextual relevance beyond temporary effects. This research understands Media Architecture as a communication medium and proposes the need to engage with its multi-stakeholder audience from early on in the conceptual design stage. This practice-led design research presents a broad critical investigation into the emerging field of Media Architecture (Jaschko & Sauter 2006; Foth 2008; Haeusler 2009) spanning conceptions of media space, experience, participation and design as discourse (Scollon & Scollon 2003; Fatah gen. Schieck 2006). Its findings contribute a new perspective on Media Architecture as experiential visual design process, based on an analysis of design methods, principles of participatory design and reflection, as well as an overview and classification of Media Architecture practice. Following a related literature review, the thesis identified experiential learning and the notion of troublesome knowledge (Meyer & Land 2003; Perkins 1999) as a distinguishable new perspective on design for Media Architecture. By connecting exploratory and generative design research tools (i.e., interviews, collaborative expert workshops, visual prototyping) with theoretical constructs of learning theory (Schön 1983; Kolb 1983), experience (McCarthy & Wright 2004) and ownership in urban design (McDonnell 2009; Townsend 2013; Lange & Waal 2013), this thesis developed an experimental design methodology for stakeholder involvement in Media Architecture. An iterative review and reflection process led to methods evolving from initial research tools for analysis to self-reflective design process outcomes. The findings of this study were used to create the Media Architecture Archive (MAA), a digital participatory database using a comprehensive classification system of Media Architecture practice. It is complemented by an experiential method framework based on visual design for contextual research, envisioning and prototyping in Media Architecture. Thus, the research contributes a novel approach to visual communication in Media Architecture, by applying visual design to encourage stakeholder involvement, discourse and reflection at early stages in the design process. The self-reflective structure of the study contributes to our knowledge of how practice-led learning processes applied through visual communication can serve as an extension of the Media Architecture experience as both process and outcome.

Over the last two decades a category of artefact has appeared that has come to be termed 'design art': highly expressive furniture and domestic products that are created as self-initiated, often limited edition designs, sold through galleries, exhibited in museums and collected in the manner traditionally ascribed to art. To date no in-depth theoretical analysis of the growth of such design has been conducted and key protagonists such as Droog Design have received little critical attention, as those involved have been largely left to write their own history. Consequently, the aim of this thesis is to account for the development of these objects as the products of particular cultural and historical conditions and ask what the implications of the rise of these particular practices of making, distribution and use may be. This thesis proposes that close analysis of the objects, their form and functional potential, reveals their dialectical qualities, in that in their materiality the tensions and conflicts of the period of their development can be discerned. Through an account of the development of the market for such goods it examines the way in which these things can be studied as commodities, in that they can clearly be understood as status symbols or a form of cultural capital. It is also asserted that by regarding such design as having the potential to impact upon everyday life, and not just as existing as something to be consumed by an elite, such practices illuminate broader problems of the ethics of design in a wider sense. In this way it is argued that these communicative objects, in their ambiguous form and problematic relationship to function, can give an insight into the way we live with performative things: the ideological products of modernity that act upon us as we use them and which contain in their being the protocols and disciplinary forces of their time. The intention therefore is to ask whether design art can be seen as a politically radical practice that suggests ways in which both makers and users can assert a new relationship to the things with which we live.

This research analyses the dissemination of political and ideological content through the music graphics of selected bands associated with punk and post-punk. It concentrates on the anarcho-punk movement and the neo-fascist scene in the United Kingdom between 1978 and 2008. The aim is to show how music graphics were integral to the philosophy of politically engaged bands, and acted as systems of propaganda. The research further deconstructs these systems and reveals underlying narratives, intentions, tropes and visual codes. The research presents three main novel contributions to scholarship and knowledge. The first is the creation and cataloguing of the most extensive archive to date of the material under analysis providing an instrumental resource for further research on the subject. The second is the development of a methodology for analysing the dissemination of ideological and political content through graphic design objects in a subcultural context. This methodology allows for an exploration of the heretofore neglected area of the inter-relationship between dissemination of the message and specific graphic systems. The analysis is conducted through the use of multiple research methods, drawing upon qualitative research methodologies and the development of complementary methodologies devised for the field of graphic design. The focus is on the analysis of political camps and comparisons between them, noting points of commonality and divergence between dialogues of opposition within the common subcultural context. The third contribution is the identification, analysis and interpretation of ‘extreme’ political music graphics produced by artists from the United Kingdom from 1978 to 2008. Covering an under-researched field and time span of subcultural movements that were critical for the punk subculture and the corresponding political groups, the analysis of the music graphics presents an insight into their political theory and strategies. This comparative work involved methodologies drawn from cultural studies, subcultural studies and historical studies, and can therefore be seen as a contribution to these fields as well as to that of graphic design studies.

The aim of this thesis is to give an alternative insight to the existing concept of individuality in visual art through an examination of the meaning of being individual for visual art practitioners, particularly for those who operate in an artists’ group setting. This research project is a critique of the seemingly unchallenged emphasis on the individuality and its strong association with creativity in the current British art schools. Cultivating individuality is one of the most important aims in both British and Japanese institutions where I have trained as an artist. Nevertheless, my group-oriented cultural background and my membership of an artists’ group studying in an individually-oriented environment raise questions challenging the meaning of being an individual itself. This thesis has no methodology set up at the beginning, which would usually be the case in a conventional academic thesis. Instead, the thesis develops thought experiments to examine what ‘individual’ means in order to arrive at methodology towards the end. Moreover, this piece of practiceled research is not about the contents of my practice but about the group feeling underlying my practice as an individual fine art practitioner. The investigation into the relational idea of the self of Zen, followed by Charles Sanders Peirce’s semiotics of the Universe of Three Categories, provide the research with a useful visual thinking tool: the triadic diagram. The investigation into the meaning of the individual develops further through an exploration of the concept of ‘groupness’. Definitions of the term are carefully unfolded until the terminology allows us to contemplate different senses of the individual: singularity- and groupness- oriented individual. As a result of the thought experiments examining different ideas of one’s individuality, there emerge several action research practice-led methodologies for the fine art practitioner working in a group situation. One methodology brings groupness into my individual practice, and another introduces groupness situations to other practitioners. The contribution of this thesis is to provide a basis for fine art practitioners like myself to revalue their individuality in harmony with their group membership.

This study examines the creation and professionalisation of a recognisable English couture industry in the mid-twentieth century and in particular the role designer collaboration played within this process. The focal point is the Incorporated Society of London Fashion Designers, a design group established as a wartime measure in order to preserve and protect a number of London’s made-to-measure dress houses and to promote the creative aspirations of the wider British fashion industry. The focus on this specific design group and collaborative practice, rather than the individual couturiers, offers an exceptional case study of designers working in association and the impact this can have on design practice. A number of central themes emerge that focus on the networks and mediated representations that supported this field of design. In dealing with these themes this study recognises that the Incorporated Society’s formation and operation did not occur in a vacuum but within a specific industrial, political, economic and social infrastructure. It therefore explores the networks and narratives that were used to sustain its specific form of luxury fashion production throughout a particularly turbulent period. Today London is acknowledged, alongside Paris, New York and Milan, as one of the world’s major fashion cities and this thesis aims to achieve a better understanding of the role couturier-collaboration played in the early development of this recognition. Through the analysis of an extensive range of previously unconsidered primary material it questions whether and how, through the process of collaboration, the London couturiers established unprecedented and much needed cohesion for British design talent and the exact nature of their role within the construction and understanding of London as an internationally recognised fashion centre. The period under consideration allows not only an exploration of the creation of a London couture industry but also the cultural politics of design practice throughout a difficult period of economic depression, war and post-war reconstruction. In so doing, it explores the wider significance of the Incorporated Society’s elite made-to-measure dressmakers both for and beyond the discipline of Design History.

This study focuses on critical design practice. The research challenges the colloquial understanding of ‘critical design.’ It problamatises, defines and reassesses the concept of ‘critical design’ situating it among other forms of critical design practice. The research reviews the field of activity from a historical perspective. It reviews contemporary activity in contexts of design research and the gallery system to establish domain authorities and theoretical perspectives that inform critical design practice. The research draws from a body of literature relating to design theory and critical design practice to identify several important themes by which to discuss the practice. The research employs a hermeneutic methodology and engages expert ‘critical’ designers through a series of conversational interviews. The interviews are analysed using code to theory methods of inductive qualitative analysis and subjected to hermeneutic analysis that draws on the extensive contextual review. Salient concepts found in the discourse are extracted, theorised and organised to create taxonomy of critical design practice. In the taxonomy, the field of critical design practice is categorised by three types of practice: Associative Design, Speculative Design and Critical Design. These three practices are differentiated by topics addressed in each and further differentiated by the type of Satire, Narrative and Object Rationality used in each practice. The original contribution of this research is a Taxonomy of critical practice in product design, which consists of a written and visual dimension. The taxonomy acts as a discursive tool to chart design activity and it illustrates the diversity in critical design practice beyond the colloquial understanding of ‘critical design’. The taxonomy presents three distinct types of critical design practice; it outlines the design methods used to establish the critical move through design and identifies the contexts where critical design is practiced. It can be used to compare projects, chart designers’ activity over time, illustrate trajectories of practice and identify themes in practice. The taxonomy provides theoretical apparatus to analyse the field. Such analysis contributes towards a discussion on critical design within design studies.

During thesis brings second-order cybernetics into design research, in the context of the Internet of Things (IoT) and ‘smart’ homes. My main proposition is to question and critically analyse the embedded epistemology in IoT technology in relation to human centred activities. I examine how human lives are represented within the quantified approaches inherent in current notions of ‘smart’ technology, derived from Artificial Intelligence (AI), and characterise this as the Algorithmic Paradigm. I explore questions of how complex, lived, human experience is oversimplified in the IoT. By adopting an epistemology derived from second-order cybernetics — acknowledging the importance of the observer — combined with my ‘IdIoT Proposition’, a way of ‘slowing down’ research on a fast-paced topic, I explore designing reflectively. The IdIoT is a methodological framework characterised by the process of slowing down and asking ‘What are we busy doing?’ in order to become aware of algorithmic oversimplifications. This methodological approach provides self- awareness and self-reflection on ‘the way of knowing the world’ to the researcher and to the participants, in the context of the Algorithmic Paradigm applied in IoT. Through a series of practice-based projects, I use the figure of the ‘SMART’ fridge to examine the implications of the Algorithmic Paradigm in the ‘smart’ home. The consideration that ‘smartness’ is relational is investigated in Becoming Your ‘SMART’ Fridge, in which I position myself as the algorithm behind a ‘smart’ fridge, using quantitative and qualitative data to make sense and ‘nonsense’ outcomes, and exploring householders’ interpretations. In the ‘SMART’ Fridge Session, I developed scripted dialogues characterised by active, reflective users, and assigned roles in which the ‘smartness’ of the algorithms is explored via professional performances and fictitious roles taken on by members of the public. The findings reveal the value of second-order cybernetics, acknowledging an unpredictable observer and embracing ‘smart’ as relational in interaction with IoT technology. They suggest that a shift in perspective is required to create more meaningful interactions with devices in the ‘smart’ home, questioning the current technological path, challenging the dominant epistemology and proposing alternatives. My methodological approach demonstrates how design research and 1 second-order considerations can work together, asking novel questions to inform disciplines with an interest in the IoT, both from a design perspective and in terms of broader implications for society. The work has value for design, HCI, Critical Algorithm Studies, and for technical developers involved in the creation of IoT systems.

For the past three decades, research on the topic of synaesthesia has been largely dominated by the field of psychology and neuroscience, and has focused on scientifically investigating its experience and causes to define the phenomenon of synaesthesia. However, the scientific research on this subject is now enquiring into potential future implementations and asking how this subject may be useful to wider audiences, and is attempting to expand its research spectrum beyond the mere scientific analysis. This PhD research in design by practice attempts to contribute and expand this scope: it shares a creative interpretation of synaesthesia research and questions its existing boundary. The past synaesthesia research in design has been largely focused on the possibility and potentials of sensory optimisation and cross-modal sensory interaction between users and artefacts. However, this research investigates the provocative properties and characteristics of synaesthesia and shares different approaches to its application for generating creative ideas in design. This PhD research presents nine projects, and they consist of approaches to synaesthesia application, toolkits and validations. Synaesthesia is one of those rare subjects where both science and creative context intersect and nurture each other. By looking into this PhD research, readers may gain insights of how a designer tries to discover a new value within this interdisciplinary context. This research contributes three types of new knowledge and new perspectives. Firstly, it provides a new interpretation and awareness in and of synaesthesia research, and expands its research boundaries, moving from analysis based research to application based research. Secondly, it outlines three approaches, a range of themes and toolkits for using synaesthesia as a provocation in generating creative ideas in the design process. Thirdly, it identifies the differences between previous synaesthesia application research and current application research within the context of design. Research on the topic of synaesthesia has been boosted significantly since the technological innovations (e.g. fMRI brain scanning and neuroimaging) in the early 1990s. However, this research was somewhat limited to scientific analysis analysis in order to understand the nature of the phenomenon. This research paradigm and the scientific focus have now shifted, and they are attempting to discover the potentials of synaesthesia's usefulness through different disciplines and channels. How can we apply the provocative qualities of synaesthesia within the context of design? This research journey begins by investigating this foundational question from a designer's point of view.

The Socialist Federal Republic of Yugoslavia was often labelled a country “in-between”. Following the split with Stalin in 1948, socialist Yugoslavia established its “third way”, one that was based on workers’ self-management as an alternative to both capitalism, as well as to Soviet-style communism. Yugoslavia’s “in-betweenness” was emphasised in public rhetoric and propaganda during its existence, and has since been carefully examined by economic, political, social and cultural historians. This thesis explores this narrative about Yugoslav exceptionalism through the lens of design practice, asking to what extent has the experience of its unique system of self-management been “designed”. It positions design practice as an active agent in the processes of construction of Yugoslav socialism, through an in-depth analysis of important public projects, mass produced objects, design institutions, exhibitions and publications. Designing Self-Management offers a new understanding of post-war modernity in Yugoslavia by contextualising the analysis of design practice within the structures of self-management and, vice versa, by situating the study of self-management within the framework of design. To understand the impact design had on the experinece of self-management, this thesis positions the study of Yugoslav socialism within wider discussions about post-war modernity and seeks to reassess its claim to exceptionalism. On the one hand, the Yugoslav economic and social system that was based on workers’ councils proposed a more authentic and democratic form of socialism, in contrast to the dictatorial regimes of Eastern Europe. However, the success of self-management was indexed to the materialisation of the “good life” that was characterised by Western-style consumerism. Between 1955 and 1975, the Yugoslav experience of everyday life was shaped by modern mass-produced goods, mass housing, increased mobility, and the proliferation of pop-culture, all provided through the system of self-management. This lived experience of post-war modernity was not unique to Yugoslavia. Instead, it was part of broader social, cultural, political and economic processes that shaped everyday life on both sides of the Cold War divide. Within this context, Designing Self-Management examines the role of design in shaping Yugoslav post-war modernity, focusing on the spaces and places of everyday life, and the objects that defined them: from kiosks to washing machines; from telephones to public seating systems; from mass housing blocks to TVs and radios. Each chapter examines a specific space through a case-study approach. Chapter 1 focuses on design practice within the workplace through the work of designers in Iskra and Rade Končar companies. The second analyses spaces of consumption through printed pages of Svijet magazine and physical spaces of department stores, supply centres and the Zagreb Fair. In the third chapter, the home is examined through normative discussions about kultura stanovanja (domestic culture), as well as DIY practices shaped by Naš dom and Sam svoj majstor magazines. The final chapter looks at public space through K67 kiosk designed by Saša Mächtig as well as UNI87 seating system produced by Jadran company. All four chapters explore the relationship between design discourse and practice, government policies and propaganda, and consumers-self-managers, and argue that the material culture of everyday life shaped Yugoslav citizens’ understanding of and compliance with self-management. This builds on research undertaken across public and private archives, such as the Archive of Yugoslavia in Belgrade, Rade Končar Archive in Zagreb, Croatian State Archive in Zagreb, Ljubljana Historical Archive in Kranj, Archive of the Technical Museum and Museum of Architecture and Design in Ljubljana.