1 VISION CONCEPTS WITHIN THE LANDSCAPE OF DESIGN RESEARCH by Ricardo Mejia Sarmiento, Gert Pasman, and Pieter Jan Stappers Erik Jan Hultink (also a Ph.D. promotor)
Welcome message from author
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
1
VISION CONCEPTS WITHIN THELANDSCAPE OF DESIGN RESEARCH
by
Ricardo Mejia Sarmiento, Gert Pasman, and Pieter Jan Stappers
Erik Jan Hultink (also a Ph.D. promotor)
2
My Ph.D.
The purpose of my Ph.D. is to explore the way to design Vision Concepts with SMEs and also to identify howthis technique benefits this kind of organizations.
3
My Ph.D.
State of progress
4
My Ph.D.
Before this study:
(i) Concept Cars as a Futures-studies Technique
& (ii) Design of Concepts Products to explore the future: nature, context and design technique
5
VISION CONCEPTS WITHIN THE LANDSCAPE OF DESIGN RESEARCH
Landscape of Design research (context)
Speculative Design (situation)
Vision Concepts? (opportunity)
The study (methods)
The comparison (results)
Our claims (discussion)
Takeaway (message)
Q&A
6
LANDSCAPE OF DESIGN RESEARCH
“the designer is the expert whocreates things to probe or provokeresponse” (Sanders, 2006).
7
LANDSCAPE OF DESIGN RESEARCH
New forms of design and making activities, which differ with regards to their time-frames.These forms “can be used in the early phase of the design process for making sense of the future
[...] exploring, expressing and testing hypotheses about future ways of living”.(Sanders & Stappers, 2014)
8
LANDSCAPE OF DESIGN RESEARCH
9
LANDSCAPE OF DESIGN RESEARCH
10
LANDSCAPE OF DESIGN RESEARCH
11
SPECULATIVE DESIGN
Speculative designers “use fictitious objects at the core of[their enquiries]” (Auger, 2012) as a way to trigger discussions (Mollon & Gentes, 2014)
with a broad audience.
12
LANDSCAPE OF DESIGN RESEARCH
Design Fiction is a technique to develop "micro futures-studies [focus] on the everyday life, its short-term evolutions, and thestandard objects or services that might fill these possible futures”(Girardin, 2015).
13
LANDSCAPE OF DESIGN RESEARCH
Critical Design “uses speculative design proposals to challengenarrow assumptions, preconceptions, and givens about the role products play in everyday life” (Dunne & Raby, 2013).
14
LANDSCAPE OF DESIGN RESEARCH
Even though Vision Concepts, such as long-term conceptcars/products, have been part of the industry since 1938, previouswork has failed to identify and understand them from the designresearch perspective.
?
15
VISION CONCEPTS
More than beautiful show cars, long-term Concept Cars (aka Vision Concepts) areused to study, map, and envision -an image of- the future.
This vision moves from the future back to the present and supports companies in makingdecisions and mapping innovation.
Concept Cars
focus on (1) innovation and communication,
following (2) a design-led process
and ending in (3) an open, striking and experienceable outcome.
16
INNOVATION
Concept Cars increase the innovation capabilities:
- Companies foresee the future exploring a plausibleand preferable future.
- Companies experiment with technologies and exploredesign languages.
COMMUNICATION
- Companies share a concrete image of the future that iseasy to understand for a broad audience.
- Stimulates conversations that generate ideas aboutthe company’s future at different levels.
- Different people, inside and outside the company,align their agendas.
Concept Cars focus on innovation & communication
17
A hands-on technique that involves:
- [Research] Designers investigate and analyze contextfactors.
- [Visual synthesis] Designers make sketches andillustrations to produce ideas about the concept and the
context.
- [Prototyping] Designers make prototypes at differentscales and resolutions, sharing the idea with others.
- [Storytelling] Designers create a narrative tocommunicate the artifact through videos and other
materials.
Concept Cars follow a design-led process
18
CONCEPT CARSAS OUTCOMES
Concept Cars are “tangible and materialized futures” thatare easy to understand for the majority of people.
The artifacts are embodied by:
- Full-size prototypes that enable people to experiencethe car as real as possible.
- Supporting materials (texts, visuals, and videos) thatpresent the interaction between users and the car in a
-future- contexts.
19
CONCEPT CARSAS OUTCOMES
These -physical and narrative- manifestations of a fake-futuristic- vehicle, are designed to attract and evoke
emotions in diverse people.
20
CONCEPT CARSLIMITATIONS
It is a resource intensive technique
(team, money, and time).
It presents a singular outcome,
hiding the opportunities offered by
other futures.
21
This paper aims to identify and clarifythese characteristics to positionVision Concepts as a relevant future-oriented design technique as well asto reflect on its potential value for contexts other than productdevelopment in large corporations.
22
MULTIPLE-CASE ANAYSIS
A multiple-case analysis tocompare 2 prototypicalexamples of 3 differenttypes of Speculative designtechniques.
23
VISION CONCEPT
Mercedes-Benz F 015Luxury in Motion by
Daimler AG, 2015
24
VISION CONCEPT
Bio-digesterkitchen islandby Philips, 2011
25
DESIGN FICTION
Helios: Pilot, Quick StartGuide by Near Future
Laboratory, 2015
26
DESIGN FICTION
Song of the Machine, a Lab Project by Superflux,
2011
27
CRITICAL DESIGN
Digicars, part of theUnited Micro Kingdoms by
Dunne & Raby, 2013
28
CRITICAL DESIGN
Respiratory Dog,from the seriesLife Support, by
Revital Cohen, 2008
29
RESULTS - PURPOSE
30
RESULTS - OUTCOMES
31
RESULTS - PROCESS
32
CLAIMS
These making activities use fictional time-frames as a mechanism to:
- unlock the imagination,
- gain a fresh perspective on reality,
- and to escape from the constraints imposed by the market.
33
CLAIMS
Design Fiction should be moved from the speculative future tothe near future in response to its interest in mundane short-termspeculations. It is mid-way between engaging and provoking,producing videos and other types of visualizations that bothattract and challenge design research communities.
34
CLAIMS
Critical Design can cover a wider variety of times, ranging fromalternative presents to speculative futures. It is clearly in theprovoking area, making unpleasant proposals presented as rough prototypes and other type of visualizations to trigger reactions.
35
CLAIMS
Vision Concepts would be positioned on the outside layer ofspeculative future, while concentrating on a particular domain.
36
CLAIMS
The design intent of Vision Concepts is to engage the public at large in commercialshows through refined visualizations that convey positive images that benefit the
business.
37
Similarities
We found that the three techniques are all future-oriented and design-led.
Differences
Because of its business context, Vision Concepts aremainly oriented on generating strategic value for acompany. As a consequence, its perspective on thefuture tends to be on the safe side, resulting inoutcomes that are mostly in line with the brand andmainly presented and discussed within the limitedscope of the domain in which the company operates.
CLAIMS - VISION CONCEPTS, DESIGN FICTIONS & CRITICAL DESIGN
38
TAKEAWAY
In Speculative Design, designers make prototypes and othervisualizations as means (of communication).
The end goal, then, is to engage and (or) provoke a discussion about a well-boundeddomain.
To do this, designers explore the future to develop a set of neat ideas: a concept.
The concept is deployed in a narrative for a certain audience and shared throughdifferent manifestations, combining prototypes and other type of visualizations.
The chosen audience depends on the domain and the purpose, and is divided intothree: the media, the specialized public, and the general public.
39
My Ph.D.
After this study:
(i) DIVE 1.0, a design-led futures technique for SMEs
41
Related Documents
