Design Research Lab
Our team is working on interdisciplinary design research projects in four different areas: embodied interaction design, wearable computing, gender & diversity in ICT and community infrastructuring. From the start, the main goal was to mediate the gap between technological innovations and real needs of people in their everyday living environment. Diverse human needs and requirements are addressed: of the elderly and teenagers, families and singles, people with different abilities and disabilities.
In 2010, the chair "Design Research" at the Berlin University of the Arts was endowed by Telekom Innovation Laboratories. Since then, several cooperative research projects with Deutsche Telekom, as well as with other public and private partners, were pursued.
Main questions are:
The University of the Arts Berlin is becoming part of an international development, in which design is positioned as a major research field.
Within the framework of PhD-projects and interdisciplinary research approaches, several different contributions to the international scientific and design discourse are in development. The question of how design research with its specific methods and ways of exploring through design practice is addressed within the projects. We are focusing on new ways of researching in "mode 2", where interdisciplinary competences come together to solve the wicked problems of everyday life.
"Design Research is a systematic search for and acquisition of knowledge related to general human ecology, considered from a ‘designerly way of thinking (i.e., project-oriented) perspective."
(Findeli, A. (2010). Searching for Design Research Questions: Some Conceptual Clarifications, (pp. 278-292). iUniverse.)
The content of Design Research is concerned with general human ecology. The paradigm of Design Research that we follow is research-through-design. The method of Design Research is a deliberate search for and acquisition of knowledge. The goal of Design Research is the acquisition of theoretical and practical knowledge, as to inform practice and guide further research. The knowledge acquired in Design Research is compatible to knowledge generated in other disciplines. As Nigel Cross states, research is
Being concerned with general human ecology, Design Research is often confronted with the so-called wicked problems . These are characterized by a high level of complexity, combined with a high degree of uncertainty and often involve stakeholders with radically different world views . Furthermore, wicked problems can have numerous possible intervention points, consequences that are difficult to imagine and finally also no “stopping rule” in the form of a single solution.
This implies certain requirements to the discipline of Design Research:
A design practice project is a central part of research-through-design. An initial design question can be reframed into a broader research question. It is also true that a broad research question can be framed into one or more specific design questions. For one of the latter, a possible design answer can be found, which may take one of many forms (i.e., verbal, artifactic, visual, narrative). These possible design answers may, in turn, be helpful in answering the research questions posed in the beginning.
Communicable results play a vital role in this process; they are required to fulfill the definition of Design Research. Furthermore, as such they are important as for their contribution to further research. Peer reviews are vital to ensure the value of the research results to the Design Research community. Communicable results are also necessary to be transferred into other contexts, such as education and industry. The former is important to transfer the gained knowledge to scholars of Design Research, while the latter ensures its practical impact.
According to Fällman the process of a design research project can be seen as a triangular model defined by the activity areas of "design practice", "design studies" and "design exploration", aiming at what is "real", "true" and "possible" respectively. The corners of this model lead to the three external interfaces: industry, academia and society at large.
During an ongoing design research project, the researcher can move and drift through the different areas of activity in loops and trajectories – thereby changing the point of view on the researched matter – that differ in terms of perspective of research outcome and its tradition of research motivation and methods.