Resources and comments from:
Birger Sevaldson PhD
Institute of Design
Oslo School of Architecture and Design
Marie Davidova published a thesis and some papers on involving the issue inspired by Hensel and others, demonstrating practice experiments involving biotic and abiotic agents in co-designing processes.
The rise of user centric design is truly problematic when looking beyond its obvious immediate benefits. We should be able to have a multi-centric design approach, an approach that is systemic. (ref. www.systemsorienteddesign.net and www.systemic-design.net )
Mayve user centric design is the most anthropocentric design perspective?
Here some sources criticising user centric design:
Norman, D. A. (2005). Human-centred design considered harmful. Interactions, 12(4), 14–19. Retrieved from https://www.researchgate.net/profile/Donald_Norman/publication/200086092_Human-centered_design_considered_harmful/links/0c9605208fca197c2e000000.pdf
Wagenknecht, S. (2017). Beyond non-/use: The affected bystander and her escalation. New Media & Society, 1461444817708775.
I recently published a storybook, Designer and Goldcrest, intended as an accessible introduction to some more-than-human perspectives on design. It’s freely available here: https://www.sorgenfripress.se.
Jönsson, L. (2014). Design events: On explorations of a non-anthropocentric framework in design. The Royal DanishAcademy of Fine Arts, School of Design.
Avila, M. (2012). Devices. On Hospitality, Hostility and Design. HDK – School of Design and Crafts Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden.
“Design has built global brands, disrupted industries, and transformed our lives with technology. It has also contributed to the complex challenges we face today. In The Intergalactic Design Guide, business strategist and designer Cheryl Heller shows how social design can help address our most pressing challenges, from poverty to climate change.
Social design offers a new approach to navigate uncertainty, increase creativity, strengthen relationships, and develop our capacity to collaborate. Innovative leaders like Paul Farmer, Oprah Winfrey, and Marshall Ganz have instinctively practiced social design for decades. Heller has worked with many of these pioneers, observing patterns in their methods and translating them into an approach that can bring new creative energy to any organization. From disrupting the notion of “expert” by seeking meaningful input from many voices to guiding progress through open-ended questions instead of five-year plans, social design changes how humans relate to each other, with powerful positive impacts.
The Intergalactic Design Guide explains eleven common principles, a step-by-step process, and the essential skills for successful social design. Nine in-depth examples—from the CEO of the largest carpet manufacturer in the world to a young entrepreneur with a passion for reducing food waste—illustrate the social design process in action.
Social design is a new kind of creative leadership that generates both traditional and social value, and can change the way we all view our work. Whether you are launching a start-up or managing a global NGO, The Intergalactic Design Guide provides both inspiration and practical steps for designing a more resilient and fulfilling future.”
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Semiotics Links from Umberto Eco´s site.
The International Center for Semiotic Sciences Umberto Eco (University of Urbino) organizes a series of colloquia, seminars and lectures on semiotic theory and practices.
One of them is co-organized by PROJEKT Lab (University of Nimes), the title is: When is Design .
Visit PROJEKT Lab
Visit PROJEKT Lab Resources – Design / French / English
View the Program of “When is Design” at Google Drive
“Higher education for the design professions – designers, architects and engineers – has been combining traditional disciplines of research and design in new ways, into what is now known as design research. As a discipline in its own right, design research is still quite young, and the design professions need a theory of science that takes their specific character into account, thus contributing to their self-image, and locating them in the greater landscape of research. Using philosophically oriented conceptual analysis I develop a system of basic concepts as elements of such a theory of science for the design professions. The concepts of design, research and design research are analysed, clarified and coordinated, in relation to concepts such as knowledge, theory and practice. At the same time I propose a precise, yet intuitive, terminology that may be shared and foster cross-disciplinary understanding and communication among the design professions, and which each of them can expand for purposes of its own.”
Institut for Bygningskunst & Design / Department of Architecture & Design
Det Kongelige Danske Kunstakademi, Designskolen / The Royal Danish Academy of Fine Arts, School of Design