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Ilpo Koskinen - Design Research Through Practice: From the Lab, Field, and Showroom

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Ilpo Koskinen Design Research Through Practice: From the Lab, Field, and Showroom

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Businesses and the HCI and Interaction Design communities have embraced design and design research. Design research as a field blends methodologies from several disciplines - sociology, engineering, software, philosophy, industrial design, HCI/interaction design -- so designers can learn from past successes and failure and dont have to reinvent the wheel for each new design (whether its a digital product, a building, an airplane or furniture). They take into account form, function, and, ultimately, users.

Many books exist in the research and academic realm for this field, but none create a usable bridge to design practice. Although business people are embracing design, they are not going to become designers. Design researchers need tools to apply their research in the real world.

Design Research through Practice takes advanced design practice as its starting point, but enriches it to build a design process than can respond to both academic and practical problems. The aims of the book are to study three design research traditions that cover methodological directions in current leading research community. Taking you from the Lab, Field and to the Showroom, Ilpo Koskinen and his group of researchers show you successful traditions in design research that have been integrated into processes and products. Bridging the gap from design research to design practice, this is a must have for any designer.

. Gathers design research experts from traditional lab science, social science, art, industrial design, UX and HCI to lend tested practices and how they can be used in a variety of design projects

. Provides a multidisciplinary story of the whole design process, with proven and teachable techniques that can solve both academic and practical problems

. Presents key examples illustrating how research is applied and vignettes summarizing the key how-to details of specific projects

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Ilpo Koskinen - Design Research Through Practice: From the Lab, Field, and Showroom
Design Research Through Practice: From the Lab, Field, and Showroom
Ilpo Koskinen
Design Research Through Practice: From the Lab, Field, and Showroom

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Front-matter
Design Research Through Practice
From the Lab, Field, and Showroom
DESIGN RESEARCH THROUGH PRACTICE
From the Lab, Field, and Showroom
ILPO KOSKINEN
JOHN ZIMMERMAN
THOMAS BINDER
JOHAN REDSTRM
STEPHAN WENSVEEN
Design Research Through Practice From the Lab Field and Showroom - image 1 AMSTERDAM BOSTON HEIDELBERG LONDON NEW YORK OXFORD PARIS SAN DIEGO SAN FRANCISCO SINGAPORE SYDNEY TOKYO Morgan Kaufmann is an imprint of Elsevier Copyright Acquiring Editor - photo 2
Morgan Kaufmann is an imprint of Elsevier
Copyright
Acquiring Editor: Rachel Roumeliotis
Development Editor: David Bevans
Project Manager: Danielle S. Miller
Designer: Kristen Davis
Morgan Kaufmann is an imprint of Elsevier
225 Wyman Street, Waltham, MA 02451, USA
2012 Elsevier Inc. All rights reserved
No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publishers permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions.
This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein).
Notices
Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods or professional practices may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information or methods described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.
To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of product liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein.
Library of Congress Cataloging-in-Publication Data
Application submitted
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
ISBN: 978-0-12-385502-2
Printed in China
11 12 13 14 15 10 9 8 7 6 5 4 3 2 1
For information on all MK publications visit our website at wwwmkpcom - photo 3
For information on all MK publications visit our website at www.mkp.com
Foreword
Jane Fulton Suri
Managing Partner; Creative Director IDEO
Twenty-five years ago I was lucky to find a visionary designer willing to take a leap of faith in hiring mea human scientist and researcher. That designer was the legendary Bill Moggridge, who shortly afterwards merged his company with two others to form the global design and innovation consultancy IDEO. My charge was to strengthen IDEOs human-centred approach, and to integrate research with the practice of design. Back then there were few models for me to emulate. If Id had access to a book like this one, certainly I would have felt more confident in my early endeavours. Design researchers will find this volume an invaluable guide as they navigate the options and challenges of their practice.
But constructive design research was in its infancy then, and my activities in that moment felt more like improvisation than evolving method. For me, thats one of most exciting aspects of this book: it puts the everyday activities of designers, researchers, and design researchers in historical context and reveals their varied influences. Readers overhear a rich and discursive conversation among five erudite authors. Ilpo Koskinen, John Zimmerman, Thomas Binder, Johan Redstrom, and Stephan Wensveen weave together perspectives from culture, art and design, cognitive psychology, and education as they discuss the blending of design and research. Its inspiring to see, through the selected work that they share, just how far that integration has come, to see the development of distinct traditions and intentof lab, field, and showroomand to imagine how far these will go within another generation.
Reflecting back on my early days as a new graduate of social science, I recall being frustrated that research and design were considered separate pursuits, developing in different academic spheres. Design was largely future-oriented; research focused on the past and the present. I found myself wondering, Wouldnt it be better if we connected research and design? Thats precisely why I joined a design consultancy: I imagined myriad opportunities to link what Id learned about peopleabout their behaviour, needs, desires, habits, and perceptionswith the design of places and things.
I did find opportunities, but linking design and research wasnt as straightforward as Id hoped. My training in academic research, which emphasised the rigorous analysis of observed conditions, undoubtedly provided me with a strong foundation. But that wasnt enough to be interesting or applicable to the work of designers. I needed to find some common ground.
What I did share with designers was an interest in the future, and in developing new and better products and services for people. Back then IDEO worked intensively with both emerging companies in Silicon Valley and with established manufacturers, bringing new technology to life: new input devices for computers (such as the mouse); electric charging systems for cars (anticipating the drive towards alternative fuels); digital cameras (heralding ubiquity of shared personal imagery). We sought ways to explore future possibilities, and that meant creating prototypestangible things we could look at, touch, share, and experience ourselves and show others. Just as the authors herein assert, we were not dealing with research that tried to describe or explain things, as constructive research imagines new things and builds them. This was our common ground: a desire to examine and evaluate what wed envisaged. This was crucial to learning what we needed to know to develop successful, world-changing designs.
Whether in the studio, the lab, or the field we used physical, mechanical, and interactive modelswhich usually represented new technology products that someday would actually get madeto help answer questions such as: How will this feel to use? Is it a good size, speed? How will it fit into daily life and support social behaviour? By constructing prototypes, scenarios, role-playing, and body-storming we explored how to refine the design of those new things we were bringing into the world. Such design research applied whether we were developing a smart phone, reinventing a bank branch, conceiving a premium service for an airline, or creating new systems and processes for a fast-food company. It embodied the approach reflected in the current discourse about design thinking and business in beta which encourages companies to learn by doingto commit resources to experimentation and prototyping as an on-going process rather than trying to pre-determine the details of a future offering through analysis.
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