The purpose of this study was to understand how instructional designers define empathy in the context of instructional design technology and how empathy was manifest in their daily work. Through a series of in-depth interviews with six designers, three definitions of empathy emerged including caring for the learner, referencing personal experience in service of the learner, and taking on somebody else's viewpoint. Additionally, analysis of empathy in participants' daily work resulted in six themes: personal experience, metacognition or self-awareness, project management constraints, multiple stakeholders, practical processes and traditional learner analysis, and navigating learner goals and motivation. Several complexities regarding empathy and learner analysis were revealed, including those pertaining to institutional constraints, managing empathetic relationships with various stakeholders beyond learners, the amount of learner analysis necessary for a good design, the degree to which interaction between designer and learner is necessary, and whether increased content knowledge helps designers effectively empathize with learners. In addition to these complexities of practice, the gap in research regarding learner analysis and empathy in instructional design were recommended as important topics for further research.

The paradigm of design is changing. Designers now need to be equipped with the skills and knowledge that will enable them to participate in the global move towards a sustainable future. The tenets of Sustainable Development and Design: economy and environment are being dealt with extensively in both practice and theory. The social elements, unfortunately, have proven more difficult to define and implement. The challenges arise as social sustainability deals with softer and more complex issues as diverse and unquantifiable as ethics, values, cultural diversity, holistic perspectives, collective and personal responsibility. The competencies needed to address these wicked problems are based in the realm of Social Sustainability and require a shift in how designers are taught as students and will subsequently practice as professionals. This thesis proposes that by introducing various models of collaboration into design education the capacity for responsible design practice can be developed. Arguably, by capitalising on the process of collaboration a culture of individual and collective sharing can be encouraged leading to new knowledge and openness to multi-disciplinarity, holistic perspectives and diverse cultural backgrounds. Across a Delphi Study and four consecutive phases of Action Research, the competencies for social sustainability in design are identified and their emergence evaluated through practical collaborative projects in an educational setting. From the panel of twenty-one design experts the Delphi Study developed a construct for social sustainability in design, as well as an initial Framework of the key competencies. These two tools were then used to underpin the planning, implementation and subsequent analysis of the four Action Research phases. The pragmatic nature of Action Research allowed for continuous iteration and development, where data gathered through each phase informed the proceeding phase so as to fix on an approach that is both realisable and realistic. This thesis does not offer a panacea solution but rather a pathway towards achieving the necessary changes in design practice. The findings clearly show that building capacity for responsible design practice is not a simple or one size fits all approach, as each individual experience is different. The construct, framework of competencies (and their interconnections) along with the guidelines for effective collaboration, provide a starting point that can be built upon, evolve and progress as the debate around sustainability becomes more clearly defined. Over time these generic design skills can be honed and refined to meet previously unmet societal challenges.

Textile materials and textile design are a part of countless products in our surroundings,as well as diverse design fields and industries, each of which has very different materialtraditions and working methods. The aim of this thesis is to add to our understandingof the relationship between textiles and products in the design process, and to explorehow textiles enter and influence product design processes and how products functionin textile design processes. A further aim is to examine the effect of new textiletechnology, such as smart textiles and 3D printed textiles, on this dynamic. This thesis is the result of an interplay between theoretical work, experimentalpractice-based projects, and observation of design practice, and it presents two typesof results: Firstly, descriptions of how the relationship can manifest itself in the designprocess, which give a broad picture of the relationship between textile and productand in so doing add to our understanding of textiles as design materials and highlightsome of the additional complexities and possibilities for the design process that comewith new forms of textiles. Secondly, this thesis presents ways of describing thedynamics between textiles and products in the design process, with the intention ofopening up for reflection on how we design, and can design, with textiles. Here, themain outcome is a theoretical framework which examines the relationship from botha product design and a textile design perspective, and includes methods and questionsthat can be used to explore and define how textiles and products meet in the designprocess.

The overall purpose of this study was to examine the nature of curriculum in college-level interior design programs, explore computer-aided design’s (CAD) place in these curricula, and examine pedagogy used to teach CAD in these programs. Specifically, the objectives of this study were to better understand (a) the nature of college-level interior design programs with regard to curricular conceptions, (b) how interior design programs integrate CAD into the curriculum, and (c) how interior design instructors adopt and integrate CAD into their teaching practices. A qualitative research methodology using case study design was used. Data at two college-level interior design programs were collected using document analysis and interviews with six interior design instructors, three from each institution. Previous studies (Hill & Anning, 2001b) examined and identified how other design fields such as graphic, engineering, architectural, and apparel design practice the design process. However, there is little research found on how interior designers practice design and their profession, or how they use CAD in design. Therefore, this research contributes to the literature on how interior design professionals design using CAD programs and more specifically how they incorporate AutoCAD software in their professional design practice and in their teaching of interior design curriculum. Findings revealed that participants referred to their own professional practice to conceptualize and teach the design process. The phases of the design process described by each instructor were context-specific to a design project and their use of CAD in the design process depended on their preferences, skills, abilities, and the context of their professional practice. Findings also revealed that CAD is an important tool in the field of interior design. Even though CAD may inhibit an interior design students’ creativity, it can save time, document drawings, and assist in better coordination with other professionals in the workforce. To enhance interior design students’ skills, it is recommended that CAD courses be placed at the early courses of an interior design curriculum concurrently with manual drafting courses. This research provides useful information for future interior design instructors and CAD curriculum planning. / Thesis (Master, Education) -- Queen's University, 2013-04-23 14:18:55.35

This thesis presents an ethnographic study of the role of users in user-centered design. It is written from the perspective of science and technology studies, in particular developments in actor-network theory, and draws on the notion of the assemblage from the work of Deleuze and Guattari. The data for this thesis derives from a six-month field study of the routine discourse and practices of user-centered designers working for a multinational microprocessor manufacturer. The central argument of this thesis is that users are assembled along with the new technologies whose design they resource, as well as with new configurations of socio-cultural life that they bring into view. Informing this argument are two interrelated insights. First, user-centered and participatory design processes involve interminglings of human and non-human actors. Second, users are occasioned in such processes as sociotechnical assemblages. Accordingly, this thesis: (1) reviews how the user is variously applied as a practico-theoretical concern within human-computer interaction (HCI) and as an object of analysis within the sociology and history of technology; (2) outlines a methodology for studying users variously enacted within design practice; (3) examines how a non-user is constructed and re-constructed during the development of a diabetes related technology; (4) examines how designers accomplish user-involvement by way of a gendered persona; (5) examines how the making of a technology for people suffering from obesity included multiple users that served to format the designers’ immediate practical concerns, as well as the management of future expectations; (6) examines how users serve as a means for conducting ethnography-in-design. The thesis concludes with a theoretically informed reflection on user assemblages as devices that: do representation; resource designers’ socio-material management of futures; perform modalities of scale associated with technological and product development; and mediate different forms of accountability.

This thesis consists of a workshop that investigates theperformative act of designers in producing gendered productaesthetics. Product designers make many active choicesin the project they are working on, but what about thenot so active choices, the once that just happen becauseit looks right or because it fits the product? By putting thegendered assumptions of fomgiving into the hands of thedesigners, I hope to generating a realisation of the (re)creationof the gender norms of society into products. I wish toput the designers in a position where they formgive wrongin relation to the norms of product aesthetics, so that theform feels unfitting or misplaced. This to expose the suggestionof how the development of products not only isan iterative design process, but also an iterative processof re-installing norms and objectives of society into thedesign. The end product of this project will be a workshopwhere the designers gets to try out how another normativeagreement of product aesthetics would appear.

This thesis is concerned with architectural and design practitioners involved in areas outside of their training: specifically, with the way designers embrace a do-it-yourself or DIY ethic to create experimental, ephemeral, collaborative environments not usually considered “architecture” in the professional sense. This happens because they become directly involved with a variety of methods, construction activities, project types and materials normally associated with amateur building. The thesis does not aim to contribute to more comprehensive solutions for architectural production (say, commercial practice), but rather focuses on a particular production opportunity. It attempts to draw forth qualities of process, practice and conceptualisation that are of relevance to architecture and could be the basis of future exploration in architecture. With this intent, this thesis outlines a conceptual explanation for why these designers sometimes background their training in, and knowledge of, building procurement, in favour of amateur building activities. This design approach raises questions about the way architecture is understood, discussed and practiced. In philosophy and architectural theory, architecture is usually described as a device for ordering and framing the world, an opposition to the unfolding, unpredictable process of the evolving, natural world. Yet there are things that some designer-maker-inhabitants do in practice to thwart their environmental control and influence, thus introducing a degree of unpredictability into projects. This unusual design approach has the potential to inform discussions about architecture and architectural practice beyond this thesis. There is a plethora of technical information about DIY in the popular media, yet little investigation of how professionally-trained designers creatively engage with DIY. The experimental approach to building and space studied in this research is different to self-building or simple DIY because it does not adhere to a set of design plans or set approaches. This approach is also different to outsider architecture or vernacular building because it is initiated by people with design knowledge and training, even if they put aside some of their knowledge. To clarify this latter approach to architecture and space, the research describes a space of blurring between professional and non-professional building, architectural control and spontaneity; a space of germinant practice, based on the precepts and proposals manifest in germinant philosophy. The thesis includes speculations about ways to encourage germinancy in design practice. This practice-led study involved preliminary fieldwork studies through critical analysis of my own, and others, sitespecific installation art practice. These preliminary studies led to two major fieldwork projects in Brisbane: both are homes to artists and architecturally- trained designers working outside of commercial, professional practice.

This thesis examines the relationship between textile craft practice and Kolb's Theory of Experiential Learning. The nature of craft practice has been described as 'Intelligent Making'. The aims were to investigate the term 'Intelligent Making' and construct a framework of the learning experience, on which to base the critical context for future textile practice. A review was made of textile craft practice, investigating models of experiential and reflective learning theories. Experiential Learning Theory and 'Intelligent Making' in textile practice were found to be similar, although the main difference was in relation to reflective observation. The textile making process was examined at under-graduate, post graduate and practitioner levels with self-observation, through a reflective journal, based upon my own hat-making process. Reflexivity was used to explicate the embodied knowledge, made visible through materials and methods of making. This research demonstrates that an extended understanding is based on the fact that reflexivity is the methodological approach embedded within textile practice. The critical capacity of textiles was demonstrated through reflective observation, analysis and evaluation. Shared reflection describes the nature of the process and may enable each maker to restructure their own practice. One advantage of this research is the enhancement of a shared language for textile makers and an evolving reflexive textile vocabulary. This investigation results in a newly proposed visualisation of the making process creating an extended framework to previous models, to advance the future critical context of textile practice. Both volumes of this thesis are combined sequentially into the attached file.

This study presents an alternate viewpoint to the strive to overcome the gap between research and practitioners within paper prototyping in interaction design. Earlier research identifies three aspects of this gap, which is: Practitioners being unaware of interaction design methods and theories Practitioners being aware, but choosing not to apply these methods and theories, due to time, budget and constraints of labour Practitioners and research having different perspective on similar design issues Our study was done by carrying out qualitative interviews with interaction designers based on two digital design bureaus. One of the bureaus has an expressed link to research: the other has not. Our hypothesis is that the gap would manifest as a difference in work practice between the two bureaus. Our study shows that the two bureaus have similarities in work practice and that this work practice is based on scientific methods and theories, but is adapted to fit the client and/or the project. We conclude that the overcoming of the gap might not be necessary. Perhaps the nature of the design process with its complexity makes this hard. We advocate a trust in the practitioner’s ability to consider and adapt methods and theories regarded necessary.

The debate concerning the legitimacy of artistic research that has taken place over the last two decades is notable for the way in which it has drawn attention to rival 'representational' and 'performative' conceptions of thought. In the early stages of the debate, critics such as Durling, Friedman, Elkins and Biggs employed broadly representational arguments in a quasi-legal context of judgment to suggest that processes of artistic research were in some sense unrecognisable when attempts were made to see them through the conceptual lens of 'research'. In contrast to this, advocates of artistic research, such as Haseman, Bolt, Sullivan and Slager proposed that research arising out of artistic practice possessed distinctive qualities - conjoining interests in the experimental, the experiential, and the non-representational, with a set of predominantly transformative aims. Haseman et al have likewise suggested that the concerns of the practitioner-researcher, at least in the context of the arts, are mainly ontological as opposed to epistemological in character - seeking to explore, reframe, or contest existing states of affairs in a broadly performative fashion. Whilst supporters of artistic research often stress the requirement for new ways of thinking to accommodate the specificities of practice-led research, many of the concepts that are employed in an attempt to understand the aims and concerns of artistic research have a long 'process-philosophical' lineage. Process philosophy has been present as a minor current in Western philosophy since as early as 540 BC and through the influence of luminaries such as Dewey and Langer, it has long been associated with education in the arts. Process philosophers typically emphasise both the ontological priority of change and the relational constitution of entities. From the perspective of process philosophy, the world of stable and enduring things arises out of a differential play of interacting forces that admit of multiple and contingent patterns of relation. With this in mind, the contemporary anti-essentialist arguments that are often utilised in the defense of artistic research are positioned in this thesis as examples of process-philosophical thinking, paving the way for an application of the post-structuralist, process-philosophical thought of Gilles Deleuze to the debate concerning the legitimacy of practice-led research. An interesting and long running feature of the legitimacy debate has been the failing of participants on both sides of the discussion to critically engage with their opposition - preferring instead to construct rather idealised, ghostly positions, which ultimately sidestep the specificities of the situation. In an attempt to address the lack of sustained critical confrontation between oppositional voices in the discussion, this thesis attempts a close qualitative engagement with a prominent skeptical position. To this end, the work of Michael Biggs and Daniela Büchler is interrogated from a conceptual, aesthetic and relational perspective, revealing its Wittgensteinian and Kantian roots, and subjecting them to critical scrutiny from the perspective of Deleuzian thought. Biggs and Büchler, have developed a markedly critical voice in the legitimacy debate, importing the early hostility towards practice-led research that arose out of a predominantly North American design community into the context of UK, Dutch and Australian discussion. Biggs and Büchler are much cited within the literature on artistic and practice-led modes of research and they have been influential in the framing of policy. The critique of Biggs and Büchler that is developed in this thesis begins from the observation that their work embodies a broadly conservative emphasis upon representation and recognition, and that it is expressive of what Deleuze describes as the 'dogmatic image of thought'. It is argued here that Biggs and Büchler's resistance to the affective and the performative is pervasive, serving to colour their approach to philosophy, art and aesthetics and to place them at odds with the largely material-experiential, and transdisciplinary interests of many artistic researchers. With this in mind, a series of aesthetico-conceptual strategies are employed in order to problematise Biggs and Büchler's position and to stage an encounter between a process-pragmatism of the left (as typified by the philosophy of Deleuze), and a linguistic-pragmatism of the right (as typified by the philosophy of Wittgenstein). This thesis makes a number of claims to knowledge. Primarily it aims to demonstrate that the justification of artistic research need not be separatist or isolationist in character, but that in demonstrating the overlap between traditional and non-traditional forms of research we need not dispense with artistry or neglect the artefact's performative work. In this sense it aims to show how characteristics sometimes considered specific to practice-led research have a more generalised, if somewhat understated presence in the context of more traditional modes of enquiry. In a similar vein, it aims to demonstrate how a broadly traditional, written thesis might be explored in the spirit of practice-led enquiry - drawing attention to a range of textual, imaginative, conceptual and speculative devices that might enable us to explore the intensities of a problem space, and to investigate the ways in which aesthetic devices might also perform active work in the context of an argument. Ultimately this results in a questioning of the separation of artefact and argument that is characteristic of much discussion of practice-led research. Methodologically the thesis is distinctive in its sustained critical engagement with a single oppositional voice, which is also intended, through a process of extrapolation, to problematise a more generalised positivistic current of thought emanating primarily from the discipline of design. Lastly, the philosophical critique of the Wittgensteinian underpinnings of Biggs and Büchler's position also facilitates a contribution to Deleuze studies - addressing the breadth of Deleuze's concept of relation and critically interrogating the thought of Ludwig Wittgenstein - the philosopher for whom Deleuze seemed to harbour the strongest antipathy, but of whom he was also the most reticent to speak. Whilst it is clear that there has been much interest in the potential application of Deleuze since the inception of the legitimacy debate, and whilst it is clear that the employment of Deleuze as primary theorist in practice-based-research projects is in the ascent, to date there has been little work that is explicitly focused upon the resonance of Deleuzian thought with respect to the productive context, or the legitimacy of the practice-based PhD.