Information technology (IT) plays an increasingly important role for individuals, organizations, markets, and society as a whole. IT systems are artefacts (human made objects) designed for various purposes. Given the multiple-purpose characteristics of computers, such artefacts may, for example, support workflows, perform advanced calculations, support human communication and socialization, enable delivery of services and digital products, facilitate learning, or simply entertain. The diverging application areas for IT present a challenge to designers who, as a consequence, have to address increasingly divergent design situations. There have been numerous arguments suggesting that the IT artefact has been 'taken for granted', and needs to be understood and conceptualized better within information systems (IS) research. This thesis is based on the pragmatist notion that one important value of IT resides in its potential to support human collaboration. Such a belief has implications for the development of (1) knowledge aimed for action, change and improvement; (2) knowledge about actions, activities and practices; and (3) knowledge through action, experimentation and exploration. A view of the IT artefact is outlined, showing it as part of a social and technological context. IT artefact design is explained in relation to the induction of social change. The notion of stakeholder-centric design is advocated, along with practical theory to promote a situated understanding of use qualities and design ideals. A set of meta-theoretical implications for design-oriented IS research is proposed. The research process consisted of five inquiries into different IT-reliant social contexts. In the first four inquiries, social and communicative qualities of IT artefacts were assessed, governed primarily by Dewey's notion of inquiry as a theory of knowledge. The fifth inquiry was a large-scale action research project, including interventions into the social setting, and the design and implementation of a new IT artefact into that setting.

Historically, haptics—all different aspects of the sense of touch and its study—has developed around very technical and scientific inquiries. Despite considerable haptic research advances and the obviousness of haptics in everyday life, this modality remains mostly foreign and unfamiliar to designers. The guiding motif of this research relates to a desire to reverse the situation and have designers designing for and with the haptic sense, for human use and looking beyond technical advances. Consequently, this thesis aims to nurture the development of haptics from a designerly perspective, leading to a new field of activities labeled haptic interaction design. It advances that haptic attributes and characteristics are increasingly part of the qualities that make up the interactions and the experiences we have with objects and the interfaces that surround us, and that these considerations can and ought to be knowingly and explicitly designed by designers. The book encompasses an annotated research through design exploration of the developing field of haptic interaction design, building on a considerable account of self-initiated individual design activities and empirical-style group activities with others. This extensive investigation of designing haptic interactions leads to the Simple Haptics proposition, an approach to ease the discovery and appropriation of haptics by designers. Simple Haptics consists in a simplistic, rustic approach to the design of haptic interactions, and advocates an effervescence of direct perceptual experiences in lieu of technical reverence. Simple Haptics boils down to three main traits: 1) a reliance on sketching in hardware to engage with haptics; 2) a fondness for basic, uncomplicated, and accessible tools and materials for the design of haptic interactions; and 3) a strong focus on experiential and directly experiencable perceptual qualities of haptics.  Ultimately, this thesis offers contributions related to the design of haptic interactions. The main knowledge contribution relates to the massification of haptics, i.e. the intentional realization and appropriation of haptics—with its dimensions and qualities—as a non-visual interaction design material. Methodologically, this work suggests a mixed longitudinal approach to haptics in a form of a well-grounded interplay between personal inquiries and external perspectives. The book also presents design contributions as ways to practically, physically and tangibly access, realize and explore haptic interactions. Globally these contributions help make haptics concrete, graspable, sensible and approachable for designers. The hope is to inspire design researchers, students and practitioners to discover and value haptics as a core component of any interaction design activities.

This study examines the movement of creating the scientifically oriented architecture that influenced architectural scholarship especially in 1960s and 1970s and discusses various theoretical frameworks this movement rests on. Architectural studies of the said period display rationalistic approaches motivated towards the routinisation, institutionalization and socialization in architecture, and thus an attempt to shift the discipline to scientific grounds. These studies not only develop plurality in academic realm of architecture, but also pave the way for a spectrum of more autonomous and novel areas of research and knowledge. The movement in Turkey, however parallel to its international popularity, is coincidentally strong between the years 1956 and 1982 befitting the social agenda of the country. The thesis is limited in scope to the definitions and relationships between five dominant approaches in the movement. These approaches are identified as, Design Methods, Environmental Psychology, Building Technology, Social and Cultural Factors and Vernacular Architecture. General Systems Theory emerges as a key reference in this scope. The study initially emphasises the positions of approaches in Turkey with relation to the international context and thus defines a ground for the discussions in the dissertation. The main discussion of the thesis is with regards to the notions of space and environment within the movement. Architectural studies with these notions extend the focus of design and research in terms social and cultural perspectives. The notions, not only define the plurality in the architectural sciences due to the multiplicity of dimensions they entail, but also constitute a bridge between the architectural studies and the social sciences. Moreover, the conceptions and examination methods for the terms of space and environment changes the traditional role of the scholar as designer into facilitator and researcher. The thesis examines the attempts of teaching, forming and framing the scientific architecture in two different venues, namely inside the studio and outside the studio. Inside the studio, design activity introduces systematic approaches for understanding the design process. Outside the studio, architectural research introduces methodological approaches that extend the boundary of the studio.

This article discusses the understanding of the design process in research projects by taking specific tools from project management into account. Explorative and creative design projects often run the risk of loosing focus on project goals during the process. This article aims to provide a novel approach to the ongoing discussion of the clash between creativity and efficiency during the creation of artifacts. By discussing the self-conducted case study – project „Yu‟ – this article reflects on the design process as well as the relationship between the designer and the user. The model created and presented includes two techniques; the active user dialogue and the goal and user needs definition. Both are inspired by similar approaches in project management, which illustrate the importance of the designer's responsibility for the final design outcome. The article identifies and discusses similar approaches in design theory and is aiming to emphasize the positive possibilities for an elaborate design approach. / YU project at the Mobile Life Centre

This thesis presents results from a qualitative case study on environmentally minded technology designers, and provides an account of how these designers think, differ and behave. Through semi-structured interviews, we interview designers at a large mobile phone manufacturer. The responses of environmentally minded designers are contrasted with traditional designers. The findings lead to a discussion on the differing roles, tradeoffs and standards between these two groups of designers.

The project-based research questions how professionals working in the built environment can engage a broader range of 'others' (students, client, users) in ways of seeing and acting in a meaningful way. It challenges the role of the expert in architecture and urban design and in particular their use of the masterplan, which is often an oversimplified reductive response, laden with generalisations and the ill-considered overlay of inappropriate models. Design methods are designed to enable us to see afresh and respond accordingly. These are demonstrated in three suites of projects that include urban installations such as Five Walks for the Melbourne International Arts Festival, war memorials, lectures, photographs and teaching practice such as Taipei Operations, a student workshop, architectural exhibition, and book. The design research is situated within an expanded field of cross-disciplinary practice that includes art, landscape architecture, urban design, architecture and geography. Tools are developed to enable us to understand the city at many spatial and temporal scales; observations made at a micro scale reveal systems at a macro scale - a bottom-up approach. The application of the methods explored implies that

This research has explored potential ways for understanding the contribution communication design makes within the field of interaction design; specifically projects that have involved the design of web-based interactive systems. As a practice-based design investigation, this research has been conducted through a series of interaction design projects within the context of a Collaborative Research Centre, and have often included working with industry partners. I will refer to these as projects throughout this exegesis. In this exegesis, I will argue that communication design can make a valuable contribution to interaction design projects, and that this contribution can be facilitated by understanding interactive systems in terms of the role that they play in our everyday experience of the world. This exegesis presents the central argument of the research and how the research questions were investigated. It presents the projects through which the research has been conducted, and through discussion, presents the discoveries and knowledge gained through this research. The total submission for this research consists of the exegesis, exhibition, and oral presenation. Throughout each mode of delivery I will share how the research questions were investigated.

This thesis sets out to investigate and understand behaviours and interactions between individuals while using a large touch screen to plan a holiday trip. By using this approach, the tool digital visual planning by Yolean is indirectly examined. The tool is examined by looking at how it is used and the environment it is used in. The research question in this research paper is “How is interaction between individuals affected by using large touch screens with a digital visual planning tool in a meeting?”. Itis answered by using a mixed method approach containing grounded theory and design research methodology applied to an observation study. The results suggest that a group working for the same goal tend to get a leader without appointing them directly. This leader is also usually the person who stands in front of the rest and dictates what goes where. If problems arise, a shift in leadership occurs naturally and fluently. The digital visual planning tool helped the participants to easier express themselves and to motivate decisions. By using their whole body, they could more easily communicate. / Denna uppsats ämnar undersöka beteenden och interaktioner mellan individer i ett mötessammanhang användandes av ett digitalt visualiserings verktyg. Verktyget används på en stor pekskärm och är skapat av Yolean. Verktyget undersöks indirekt genom att utgå från hur verktyget används och miljön runt om verktyget. Forskningsfrågan som besvaras i uppsatsen lyder: ” Hur påverkas interaktion mellan individer genom att använda stora pekskärmar med ett digitalt visuellt planeringsverktyg i ett möte?”. Frågan besvaras genom en observationsstudie som utgår från blandade metodiker från både”grounded theory” (teoribildning genom empiri) samt designforskning. Resultatet tyder på att en grupp som arbetar tillsammans för att uppnå samma mål tenderar att få en ledare utan att specifikt tilldela denne rollen. Uppstår problem tenderar ett skifte av ledarskap ske. Skiftet sker naturligt och då utan verbala tilldelningar. Det visuella planeringsverktyget hjälpte deltagarna att uttrycka sina tankar och funderingar. Deltagarna kunde kommunicera med hela kroppen och att peka på specifika objekt som de ville diskutera. Genom denna frihet kunde de mer noggrant kommunicera sina förslag och tankar till resten av gruppen.

Thesis submitted in fulfilment of the requirements for the degree Doctor of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology, 2012 / The aim of the research is to explore design education and designing as social practice; working with and for others to inform a more sustainable and meaningful future. Ways in which the lived experience of participants in the discipline of design, in the culturally diverse university and community contexts can be harnessed for social benefit, are interrogated. Themes are explored around the value of different world views and forms of knowing in design education to inform design research, in order to extend the knowledge paradigm to include lived experience not only as site of knowledge formation, but also of wisdom acquisition. The thesis presents an amalgamation of professional practice, creative practice and narrative set in qualitative research methods appropriate to the designer and artist who desire to work with lived experience in the academic context. Lived experience informs all we do and each educational event and encounter ought to be appraised and responded to in a contextually sensitive way. An important aspect flowing from this amalgamation is the recognition and analysis of the coexisting relationships of the roles inhering in the educator and the student. In order to immerse oneself in research and teaching, all aspects of the process have to be lived and filtered through the senses. This implies resisting abstractions by grounding research, teaching, design and making in the experience of the moment. The original contribution of this research then, is the synthesis of design, art and narrative writing that accompanied in a parallel line, the academic writing process to culminate in this design folio — a testament to grounding the research project in practice. Pedagogical approaches and lived experience embodied as recontextualised expressions in design teaching, supervision and creative practice, are presented in the folio. The boundaries of qualitative methods were tested with narrative and life writing, autoethnography, poetry, studio observations, extensive journalling, drawing, photography and printmaking processes. The results showed that a phenomenology of the senses in creative work, and locating the designer in her or his biography, is where original and imaginative design resides. Social and cultural aspects are some of the foundation stones of design education and ought to be informants of the creative process until the finish. Furthermore, authentic openness is required in supervision and teaching to facilitate deep listening, interpretation, intuition and “in-seeing” in educational encounters. Finally, being an active creative practitioner in design teaching is as important if not more important than content knowledge in that discipline, since the active practitioner “becomes” the Other through the collective dimension of design work.

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