A critical artefact methodology : using provocative conceptual designs to foster human-centred innovation
A critical artefact methodology : using provocative conceptual designs to foster human-centred innovation
复制标题
关键的人工制品方法：使用挑衅性的概念设计来促进以人为本的创新
DOI：
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发表时间：
2009
期刊：
影响因子：
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通讯作者：
S. Bowen
中科院分区：
文献类型：
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作者：
S. Bowen
这项研究开发了一个基本原理，使用挑衅性的概念设计，以促进以人为本的产品理念的创新-一个“关键的人工制品方法”。这项研究采用了与行动研究（Swann 2002）类似的策略：行动周期（在设计项目中使用关键人工方法）和对该行动的反思（包括对现有理论和实践的背景审查），这产生了行动（产品创意）以及研究（建议的关键人工方法）。在两个项目中，我使用了一系列研讨会，利益相关者参与了我的关键人工制品，以发展我对他们需求的理解。《起居室》（为“明天的老年人”设计家居）提出了如何改进我的方法，然后在《数字纪念品》（为日益数字化的生活方式设计新颖的纪念品）中加以考虑，包括选择富有成效的参与者--与新情况的可能性协调一致的利益相关者，如冯·希佩尔的“主要用户”（1986年）。在参与式设计和共同设计中，我将关键的人工方法定位为利用利益相关者的参与来告知设计活动，而不是共同创造。参考Ehn和Kyng的模型（1991）和Gaver的文化探索（1999）样本，我表明，关键的人工制品不符合“原型”的描述（暗示设计方向或目的地），我的关键人工制品方法取决于向利益相关者提供关键人工制品的进展（引起批判性反思），以表达相关需求（供评估）的更多“原型”人工制品。我认为，批判性设计（邓恩1999）和相关的设计实践有类似的特点和操作批判理论：认为现状（通常由设计确认）在某种程度上“压迫”社会;“启蒙”的因素，这“解放”社会，并促进了阅读的批评（替代建议，如关键人工制品）。在我的关键人工制品的方法，设计师开发他们的理解，通过设计人工制品的“过程”利益相关者的参与与以前的人工制品-我用波兰尼的概念“留置”（1966年），以支持这种方法的共情知识共享。设计师和利益相关者对关键人工制品的共同阅读意味着这种理解可以是未来或潜在的利益相关者需求;它使他们能够通过扩大对可能性的理解来探索替代需求，希望/愿望，实践和产品。这项研究的贡献是一个关键的人工制品的方法支持关键的人工制品的方法;一个比其他关键的设计实践更工具性的使用关键的人工制品;和（在数字纪念品的输出）示范性的调查结果，证明了一个关键的人工制品的方法的应用程序的价值。虽然这篇论文提出了一个“时间点”在我的方法的发展，我打算它提供设计师的见解，在自己的专业实践类似的技术。
This research develops a rationale for using provocative conceptual designs to foster the innovation of human-centred product ideas -a `critical artefact methodology'. This research employed similar tactics to Action Research (Swann 2002): cycles of action (using critical artefact methods in design projects) and reflection on that action (including a contextual review of existing theories and practices), which produced action (product ideas) as well as research (a proposed critical artefact methodology). In two projects, I used sets of workshops where stakeholders' engaged with my critical artefacts to develop my understanding of their needs. Living Rooms (designing the home for `tomorrow's older people) suggested how my methods might be improved then taken account of in Digital Mementos (designing novel mementos for increasingly digital lifestyles), including selecting productive participants - stakeholders in-tune with the possibilities of novel situations, such as von Hippel's "lead users" (1986). Within participatory design and co-design I position critical artefact methods as using stakeholder participation to inform design activity rather than as co-creation. In reference to Ehn and Kyng's mock-ups (1991) and Gaver's cultural probes (1999) exemplars, I show that critical artefacts do not fit the description of `prototypes' (suggestive of design direction or destination) and that my critical artefact methodology depends upon a progression from presenting stakeholders with critical artefacts (that provoke critical reflection) towards more `prototypical' artefacts expressing relevant needs (for evaluation). I suggest that critical design (Dunne 1999) and related design practices have similar characteristics and operation to Critical Theory: a view that the status quo (generally affirmed by design) somehow `oppresses' society; that `enlightenment' of the factors underlying this `emancipates' society and is facilitated by a reading of critiques (alternative proposals such as critical artefacts). In my critical artefact methodology the designer develops their understanding by designing artefacts to `process' stakeholders' engagement with previous artefacts -I use Polanyi's notion of "indwelling" (1966) to support this method of empathic knowledge sharing. Designer's and stakeholders' co-reading of critical artefacts means that this understanding can be of future or latent stakeholders needs; it enables them to explore alternative needs, wants/desires, practices and products by broadening their understanding of what is possible. The contributions of this research are a critical artefact methodology supported by critical artefact methods; a more instrumental use of critical artefacts than other critical design practices; and (in Digital Mementos' outputs) exemplar findings demonstrating the value of a critical artefact methodology's application. Whilst this thesis presents a `point in time' in my methodology's development, I intend that it provide designers with insights into similar techniques within their own professional practice.
影响因子：
5.4
作者：
VONHIPPEL, E
通讯作者：
VONHIPPEL, E