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.
| Identifer | oai:union.ndltd.org:ADTP/267391 |
| Creators | Raimondo, Nicholas. |
| Source Sets | Australiasian Digital Theses Program |
| Language | English |
| Detected Language | English |
| Rights | copyright under review |
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