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  • Derek Jones posted an article
    DRS2018 Keynote Debates announced see more

    Anyone who has attended a DRS conference will know that the Keynote Debates have always provoked debate an acted as catalysts and prompt for wider discussion in the design research community. The DRS2018 conference debate themes look set to continue this with some superb speakers, moderators and topics.

    Here's the full line up:

     

    Design Research & Industry Impacts

    (Tuesday 26 June 2018)

    Moderator: Prof. Alex Milton

    Participants: Lorna Ross, Paul A Rogers, and Mariana Amatullo

    'Design Research & Industry Impacts' explores the changing nature of design research and practice within academia and industry.

    Design is moving beyond merely being an instrumentalised tool for industry, and becoming an altruistic agent for, and of, change as well as a force for social innovation.

    More information...

     

    Social and Public

    (Wednesday 27 June 2018)

    Moderator: Dr. Simon O'Rafferty

    Participants:

    'Social and Public' will explore the changing contexts of design research and practice through the intersections between design for policy and social design.

    The debate will critically examine intersections between existing and emerging trends around design for policy, social design alongside other emerging perspectives such as systemic design, transition design and public service design. By exploring these intersections the debate will open a discussion in the relationships between the research, practice and education domains.

    More information...

     

    Whose Design?

    (Thursday 28 June 2018)

    Moderator: Dr. Andrea Botero

    Participants: Sadie Red Wing and Arturo Escobar

    'Whose Design?' poses questions around the sharing of counterpoints to the traditional design gazes.

    In asking “Whose Design?” we seek to explore diverse understandings and counterpoints to dominant design gazes, both from the perspective of design as a noun (what is it that particular designs do in the world?) and as a verb (how should we go about designing our way out of the current mess?).

    More information...

     

  • Isabel Prochner posted an article
    Discussion with Alpay Er, a DRS Fellow see more

    This Much I Know (About Design Research) is an interview series that profiles interesting DRS members – and, in this case, a DRS Fellow. In this edition, we spoke with Alpay Er about his research on industrial design in developing economies and his thoughts on design society memberships. Er works at Özyeğin University in İstanbul and is chair of the Department of Industrial Design.

     

     

    How did you start out in industrial design?

    I received my first degree from the Middle Eastern Technical University in Ankara, Turkey in ’88. I went on to work in a department of furniture manufacturing at another university in Ankara, and as a research and teaching assistant.

    Then graduate school?

    Yes, I studied at Manchester Polytechnic (now Manchester Metropolitan University) in the UK. My PhD research explored the development of industrial design industries in newly industrialised countries. My design experiences in Turkey really inspired me!

    What was your experience during those early years in Turkey?

    There was a mismatch between our industrial design education imported directly from industrialised market economies, and our own economic realities in Turkey. We were trained to work in a fully competitive market – that simply wasn’t the situation in Turkey.

    Do you still explore these issues in your research?

    Absolutely I study development economics to understand relationships between design industries and regional/local contexts. Social and economic factors are so important in the formation of design industries!

    You’ve held some impressive academic positions – can you tell me about them?

    I’ve worked at several universities in Turkey: Hacettepe University, Istanbul Technical University (ITU) and now Özyeğin University, where I’m chair of the Department of Industrial Design. I’m also a longtime ICSID/World Design Organization (WDO) board member; I have served on the WDO board three times since 2011.

    And, of course, you’re a DRS Fellow!

    Yes! I got involved with the DRS back in the 1990s; my PhD supervisor John Langrish was a leading figure in the Society. The DRS invited me to become a fellow in 2006.

    What do these society memberships mean to you?

    The DRS network makes you feel that you are not alone as a design researcher. And, being a DRS Fellow is an honour. It shows recognition of my work and provides a sense of authority to my ideas. Memberships are also useful in Turkey. They provide a link to a broader community and build local awareness toward design research.

    Looking to the future, what new researchers and research specialisations are you most excited by?

    I’ve noticed some fabulous young researchers in the field of design history with an increasing interest in the role of design in social and economic development in emerging contexts. Some of these folks are studying and working at the University of Brighton. I’m inspired by their work on design/design for development, topics I’ve been passionate about for many years.

    Any parting words to share with our members?

    “Work for money, design for love” – I saw this quote at a carpet design storefront at the Grand Bazaar in İstanbul. That’s how I feel about design research, and it's served me well over the years.

     

    Interested in getting involved in this interview series? Tell us about your work or nominate another researcher. Contact Isabel at editor@designresearchsociety.org.

  • Isabel Prochner posted an article
    Reimagining the future of design research see more

    Design Research Talking Points: A Response to Philip Cash

    In his 2018 Design Studies article, “Developing theory-driven design research”, and in an accompanying DRS blog interview, Philip Cash describes a problem that can be reinterpreted as a puzzle: Design research is a growing, vibrant field, yet it often provides little in the way of usable theory for investigators (within the field and practice of design or elsewhere) to cite and build upon. On the one hand, design can offer unique and successful approaches to addressing the complex, pressing challenges facing the world, yet design research appears not to be producing a body of theory that is subsequently built upon, contested and confirmed like other fields. As Cash states, “We struggle to build new theory and this is holding us back. We’re ready for a new way of doing things and to develop more theory-driven design research!”

    Questions about the future of design research and the way it can (and should) seek to develop knowledge are long-standing in the field, and Cash’s article therefore represents a welcome addition to this ongoing discourse. We could claim that design research is a relatively young, emerging discipline within design, making it reasonable to speculate that it is still defining itself in terms of academic identity and clear articulation of its research landscape. However, it can also be argued that design research is in fact more mature than other research trajectories, which have nonetheless adopted clear standards and methods for rigorously producing knowledge; with Synthetic Biology, Computational Medicine, and Human-Computer Interaction representing just a handful of useful comparative examples.

    It is also evident that design research practice is not atheoretical. Design researchers can, and of course do use highly rigorous, theory-informed methods in their research, including those drawn from the sciences. To support this, and as Cash duly notes, publications in top design research journals often rely on the theoretical products of other fields, and the reverse is also evidenced within science and medicine (for example, the works of Mina Bissell and Donald Ingber). It is also clear that design situations can be theoretically defined and experimentally reproduced, permitting empirical scientific investigation (for example, in the work of Gabi Goldschmidt). Nonetheless, the question remains as to whether this should be the only way design researchers produce and advance knowledge?

    There is an extensive literature spanning at least the last 60 years that problematises the construct of objective science as a sole benchmark for understanding the world. Such constructionist approaches have been extensively applied to great effect in monolithic models of research, as well as a very large contribution to design research, drawing on post-structuralist thinkers including Derrida, Foucault and Deleuze. In fact, science itself is currently undergoing a profound moment of self-examination; questioning the validity and reproducibility of it’s prevailing universal, technocratic models (for example, see Monya Baker’s 2016 article). It is also worth taking note that medicine and healthcare are increasingly re-incorporating design research into their portfolios in a desperate attempt to help redress the disparities that a purely scientifically-led empirical model currently provides (for example, see Mark L Tykocinski’s 2018 commentary).

    An overriding theme of Cash’s article is the presence of a potentially-existential threat to design research through lack of relevance and impact in other fields. The literature Cash reviewed showed few examples of theory being drawn from design research, but the impact of design research is not only through citations of theory. The interdisciplinary and collaborative work involving design researchers can have impact on the world through the production of tools, systems and services, and via changes in policy and practice – all without the need for theory to describe and experimentally isolate its contributions. These forms of impact may be challenging to measure, especially in comparison with more traditional research metrics, but that does not make them necessarily less valuable as contributions of design research to humanity. We might be encouraged to see design researchers publishing in other fields as a route to impact, rather than positioning this as a force fragmenting the ‘territory’ of design research.

    The alternative perspectives offered here are not intended to dismiss Cash’s call for greater rigour, clarity and commensurability in design research. We see the diverse and elastic nature of this approach as a strength, not a weakness of the discipline, but this type of adaptability must be visible for research findings to be successfully shared. We see significant benefits for design researchers more consistently and rigorously stating the framings and connections that underpin their work, helping to reveal navigable pathways within the field. The role given to theory in science allows it to articulate experimentally-testable expressions and to define a landscape of domains, fields and specialisms. Design research would benefit greatly from the second of these functions, but need not require the former to do so. The distinctive and expanding ability of design to engage with complexity and human need is secondary to the need to predict its ability to do so.

     

    Authors

    Roger Whitham, Lecturer in Interaction, ImaginationLancaster, Lancaster University, UK.

    Peter Lloyd Jones, PhD, Assoc Dean of Emergent Design & Creative Technology in Medicine, Jefferson University, Philadelphia, U.S. & Visiting scientist at ImaginationLancaster, Lancaster University, UK.

     

    Write your comments below or contact Isabel (editor@designresearchsociety.org) if you have thoughts on design research. We hope to continue this discussion through short articles, interviews and debates.

  • Isabel Prochner posted an article
    JDT is dedicated to academic study of design thinking, creativity and cognition see more

    There is a growing list of great new design research journals, with She Ji and Sciences du Design (est. 2015) as prime examples. The most recent addition is the Journal of Design Thinking (JDT), dedicated to academic study of design thinking, creativity and cognition, as well as the broader topic of industrial design. Dr. Yassaman Khodadadeh, Editor-in-Chief of JDT, kindly spoke with us about her vision for this new journal. Khodadadeh is an Associate Professor of Design at the University of Tehran – and was, in fact, the first person to hold this faculty position in Iran!


    Top Left: University of Tehran during a workshop with TU Delft | Top Right: Dr. Yassaman Khodadadeh

     

    What are your hopes for JDT?

    The goal is to provide a valuable publication space for researchers worldwide and provide a possibility for exchange of ideas.

    How does JDT compare to other journals, locally and globally?

    The JDT is the first International specialized design research journal based in Iran. However, it aims to contribute to high quality design research at international and national levels.

    With these impressive goals in mind, Khodadadeh and the JDT editorial board have announced the call for papers for their first issue:

    In preparation for the first issue of the Journal of Design Thinking, we invite submissions on design thinking, design practice, the relationships between design theory and practice, reflective practice and conceptualization challenges. Please submit a paper title, abstract (max. 300 words) and author bio by February 20, 2019. Submissions must be sent by email to Alma Zanjanian, JDT Executive Director, at jdt@ut.ac.ir.

    We will evaluate abstracts through blind review and invite authors of accepted abstracts to submit a manuscript at a later date.

  • Isabel Prochner posted an article
    Discussing rigour, relevance and impact in design research see more

    The Impact of Design Research in Other Research Fields

    "Design research is increasingly weak in comparison with other fields; without action to increase scientific, theoretical, and methodological rigour there is a real possibility of the field being superseded and becoming obsolete through lack of impact.”

    This is an excerpt from “Developing Theory-Driven Design Research,” an article by Philip Cash that appeared in Design Studies (May 2018). We spoke with him about this article and his views on design research, with the goal of initiating a larger discussion about the rigour, relevance and impact in design research. Cash is Associate Professor in Management Engineering at the Technical University of Denmark. Along with his co-authors, he is the recipient of the Design Studies Best Paper Award in 2017 for a previous article.

     

    Let’s start with what might be the hardest question – how do you define design research?

    Here’s my attempt: design research is the scientific study of the phenomenon of design and the activity of designing.

    What’s your paper about?

    I express concern about the strength of design research. We struggle to build new theory and this is holding us back. We’re ready for a new way of doing things and to develop more theory-driven design research!

    How did you come to this conclusion?

    I reviewed articles in six design research journals, looking at the theory and methods used and how theory develops over time.

    What’s evidence of a strong body of research?

    There would be a literature stream on methods, detailed review papers about major theories and constructs, meta-analysis, consistent use of terminology, and standards of good practice.

    And design research doesn't have this?

    Not really! Although there’s lots of great work in design research, I haven’t seen structured reviews, consistent reuse of theories or clear standards. We also need to have a serious discussion on research ethics. For example, exploring systematic bias and problems like over focusing on positive results.

    Are these issues unique to design research?

    Every field goes through a process of research development. We could learn a lot by looking at what other fields have done or are doing. As an example, education could be a comparable field because of their theory-practice relationship. They’re also at a similar phase of research development. 

    What would you recommend to move forward?

    Individual researchers need to be explicit about the theory and constructs they’re using. My second point might seem obvious, but we also need to write expecting to be read! Clear presentation of research and results is really important.

    What role can organisations, institutions and publishers have?

    Their leadership can make a huge difference. They should initiate discussions on research expectations and establish best practices, including theoretical and methodological standards.  They could also aggregate data and develop theory databases.

    What’s next for you?

    I’m starting a deeper dive into theory development and methodology in design research through a massive review of literature. I’m also looking forward to having discussions on rigour in design research.

     

    Write your comments below or contact Isabel (editor@designresearchsociety.org) if you have thoughts on this interview. The DRS Online would like to prepare follow-up articles on this important topic.

  • Isabel Prochner posted an article
    Discussing Akama's socially and culturally-engaged design research and thoughts on DRS conferences see more

    This Much I Know (About Design Research): Yoko Akama

    This Much I Know (About Design Research) is an interview series that profiles interesting DRS members. This month we spoke with Yoko Akama about her socially and culturally-engaged design research and thoughts on the DRS conferences. Akama is an associate professor of communication design at RMIT University in Melbourne, Australia.

      

     

    What’s your research about?

    One of my major research projects centres on Indigenous self-determination and governance in Australia. It’s a participatory design project with members of the Wiradjuri nation. We are designing various mechanisms to celebrate Wiradjuri sovereignty and cultural renewal.

    What have you found?

    This project has really affected me at a personal level and as a design researcher. It’s sensitised me further to power structures, bias and limitations in design knowledge and research. This includes colonialism and whiteness within the field.

    Can you give an example?

    Well, think about the blind peer review process. Within many worldviews, who you are and what you say brings credibility and accountability. So, this anonymity and objectivity preferred in design research becomes problematic when it's used to judge other forms of knowledge.

    Did you attend DRS2018 in Limerick?

    Yes - and it was really exciting. I noticed a greater acceptance for different design knowledge and voices, which is a sign that design research culture is diversifying. I hope this continues.

    What presentations stood out?

    Some PhD students and early career researchers are doing excellent work. I’m especially interested in feminist design research, 'designs in another name' and work addressing the Global South.

    What are your thoughts on DRS2020 in Brisbane, Australia?

    I think conferences should be shaped by agendas that are pertinent to the places where they're hosted. I’ve noticed a strong settler mind-set in Australia. There are also important conversations taking place on Indigenous treaties. It would be brilliant if these issues were addressed during the conference.

     

    Interested in getting involved in this interview series? Tell us about your work or nominate another researcher. You can contact Isabel at editor@designresearchsociety.org.

  • Isabel Prochner posted an article
    Reviving and reimagining Caribbean craft traditions through computation see more

    This Much I Know (About Design Research)

    This is the second interview in a new series for the DRS online called This Much I Know (About Design Research). Each article in this series profiles an interesting DRS member to highlight their work and reflections on design research. This time we spoke with Vernelle A. A. Noel about her research on craft practices and computation.

    Vernelle is an architect and PhD researcher at Penn State University in the USA. Her work is at the intersections of craft, design, computation and culture. Originally from Trinidad & Tobago, Caribbean culture and design are central in her work. Her current project explores the Trinidad Carnival and wire-bending craft traditions. She uses computation to help revive wire-bending practices and reinterpret them for application in architecture.

     

     

    Reviving and Reimagining Caribbean Craft Traditions

    Why have you focused on Carnival?

    Carnival is an important part of Caribbean history, culture and design. French planters introduced it to Trinidad in the 1780s and newly emancipated slaves reinvented it in the 1830s as a way to celebrate their freedom and creativity. Although it takes place once per year, people spend all year preparing! The festival includes a parade and serious music and costume competitions.

    How is your research related to Carnival?

    My research explores Carnival through a design lens. I’m troubled by the mass-production of costumes, which arrive ready-made from abroad. Design and making traditions risk being lost, so I try to re-engage people in these processes.

    What is it about wire-bending?

    Wire-bending is a beautiful local craft that’s incorporated in Carnival costumes. The details are astonishing! However, it’s a difficult and labour intensive process done mostly by men.

    How are you encouraging people to engage with wire-bending?

    I’ve been exploring how wire-bending can be reinterpreted through computation and digital technology, which I believe will help increase access to the craft, especially for women and children. I also have a background in architecture, so I’m investigating the application of wire-bending in architectural form.

    What are the outcomes of your research so far?

    I've been able to make wire-bending knowledge explicit and hold craft workshops. Youth seem engaged by computational making and the technology facilitates collaboration. Wire-bending is usually a solitary activity, so it’s exciting to consider the possibilities of group making. I’ve also been experimenting with wire-bending and developing prototypes (images above).

    What do you think about the DRS?

    Community is very important to me, so I love that the DRS brings together a strong design research community. 

    What design researchers are especially inspirational in your work?

    I draw on theorists like Nigel Cross and Michael Reddy, but one of my biggest inspirations was my professor Lucienne Blessing. She taught a course on design research, which helped me understand the field.

    How can readers learn more about Caribbean design?

    I enjoy reading Maco, a Caribbean design and lifestyle magazine.

     

    Interested in getting involved in this interview series? Tell us about your exciting work or nominate another researcher. You can contact Isabel at editor@designresearchsociety.org.

  • Derek Jones posted an article
    In memory of Professor Lionel March, 1934-2018 see more

    Lionel March (1934 - 2018)

    It is with great sadness that we announce the death of Professor Lionel March on 20 February 2018.

    Lionel March was an early contributor and key figure in the field of design and computation as well as design methods. He started his academic life as a mathematician before moving on to architecture and his synthesis of the two disciplines marked out his scholarly work, which remains influential today. 

    Lionel was initially Professor of Systems Engineering at the University of Waterloo, Ontario, Canada, before moving to The Open University (UK) as Professor of Design Technology. He was a briefly Rector for the Royal College of Art during a turbulent period in the early 80s, where he attempted to make mathematics a compulsory part of all teaching programmes.  He took up an Emeritus position as a Professor of Design and Computation at UCLA and returned to the UK at Cambridge University, founding the Centre for Land Use and Built Form Studies.

    Lionel was the Founding Editor of the influential academic journal Environment and Planning B and will be remembered by many DRS members for his insightful theoretical and practical contributions to design research.

    Following is a quote from the Cambridge University memorium following his death:

    As a schoolboy, Lionel March’s mathematical work had attracted the admiration of Alan Turing and, when he went up to Magdalene College, Cambridge, it was to read mathematics. However, after one year, he transferred to architecture. During this period he was designer for a number of plays and operas, including two in London, at Sadler’s Wells.

    Some of his early work in serial art was the subject of an Institute of Contemporary Art exhibition in 1962. He was the designer both of the University’s Cambridge plan of 1962 and, working in the studio of Leslie Martin, of the Whitehall plan of 1964. It was while working on the latter that he hit on the court and pavilion theory, developed with Martin, applied in practice by Richard MacCormac and rediscovered in 1999 by the Urban Task Force.

    March was a pioneer in connecting design with  computation, and he founded “Environment and Planning B” which has since become the top academic journal in this field. Among his other interests was the work of Rudolph Schindler (he lived in Schindler’s How House) and classical mathematics – which he used to correct Wittkower’s interpretations fifty years earlier.

     

  • Isabel Prochner posted an article
    We speak to Søren about his Design Research Failures project and vision for design research see more

    This Much I Know (About Design Research)

    This is the first interview in a new series for the DRS online called This Much I Know (About Design Research). Every month or so, we’ll profile an interesting DRS member to highlight their work and reflections on design research. This month, we speak to PhD Researcher Søren Rosenbak about his Design Research Failures project and his vision for the future of design research.

    Søren is a PhD candidate in design as critical practice at the Umeå Institute of Design in Sweden. His research revolves around the question of how pataphysics can infuse and advance a critical design practice. He has a background in visual communication, interaction design and filmmaking. Søren's academic and professional background helped inspire the Design Research Failures project, which he launched at DRS2016.

     

     

    Søren Rosenbak: Fail fast, succeed sooner in design research? 

    What is Design Research Failures?

    It's a project that asks participants: in what way has design research failed in the last 50 years? I first introduced it at DRS2016, with support from a 50th Anniversary bursary. Since then, the project has expanded and taken place at several conferences and other events. It also lives online at https://designresearchfailures.com

    How did you come up with the idea?

    The project was a reaction to the 50th Anniversary of the DRS. Instead of being purely celebratory and focused on successes, this landmark seemed to me like an important moment to ask difficult questions and for the DRS to engage in self-critique. I thought this reflective process could then inform how design research moves forward into the next half-century.

    How do pataphysics and critical practice fit it?

    These ideas are a major influence for me, they help encourage critical thinking which help destabilize and move beyond notions of fixed ‘truth.’

    Why is failing so important to you?

    Failure is celebrated in design practice, but design researchers rarely honour or even articulate their failures. I think this is a missed opportunity that could help advance design research.

    Why do you think the project worked?

    Diversity is a major strength in the project. Different answers coming from different researchers make the results richer and encourage discussion. While the project is inherently open-ended, certain themes have started to emerge. I'm trying to pull these common threads together at the moment! 

    What do you think about the DRS?

    The DRS is inspiring to me. While it’s a major design research organization with a long history, its encouraging to see the DRS actively embrace new ideas and engage in self-critique. Hopefully this will continue and, over time, help respond to some new design research failures.

    How can others connect with your project?

    I'd love to get others involved with the project. Design researchers can use the project for themselves and adapt it to their own needs. Local and situated discussions and workshops would offer a valuable contribution to the larger conversation.

    What piece of advice would you give to design researchers?

    Of course: fail fast, succeed sooner!

     

    Søren would like to thank the many amazing people who have helped make Design Research Failures a reality. Project credits are available online at https://designresearchfailures.com/about/ 

    Interested in getting involved in this interview series? Tell us about your exciting work or nominate another researcher. You can contact Isabel at editor@designresearchsociety.org.

  • Peter Lloyd posted an article
    New DRS Online Editor for increasing engagement with members see more

    I'd like to introduce myself as the new Online Editor for the Design Research Society. My name is Isabel Prochner and I'm a design researcher based in Montreal, Canada. I love the sense of community that develops around design research and at DRS events. Together with the DRS communications team, I’m looking forward to fostering this community year-round. My goal is to engage members from across the world and expand existing networks. I also aim to make the DRS website and social media accounts an even more valuable resource for members.

    In the coming year, you can expect: regular articles on the DRS website and social media platforms that showcase the exciting work being done by members and happening in design research; enhanced Events and Jobs and Opportunities sections on the website, making them an excellent source for design research announcements; and community engagement activities to keep the DRS online platforms buzzing.

    You can e-mail me with questions or ideas at editor@designresearchsociety.org.

  • Isabel Prochner posted an article
    Discussion on building French-language design research see more

    This Much I Know (About Design Research): Stéphane Vial

    This is the third interview in a series for the DRS online called This Much I Know (About Design Research). Each article in this series profiles an interesting DRS member to highlight their work and reflections on design research. This time we spoke with Stéphane Vial about his work with Francophone design research communities. Vial is an associate professor of design at the Université de Nîmes in France, and is the author of many esteemed books and articles. 

     

     

    What inspires your work on building French design knowledge?

    Like many things, design research is anglocentric. It's important to foster dialogues and research communities in other languages. Further, each language offers its own contributions. For example, French design research often draws on French intellectual traditions.

    So how have you contributed to French-language design research? 

    I’m working to help develop Francophone design research through my publications and community engagement. I wrote an introductory book on design theory and history called Le Design (design). I co-founded Sciences du Design (sciences of design), the first design research journal in France, where I am now editor-in-chief. I also moderate a popular French-language design research mailing list at http://www.recherche-design.org.

    What can other design researchers do to help your project?

    Write in other languages! Sciences du Design accepts articles from Francophones, as well as new papers translated to French. It would also be great to see more localised panels at conferences and special issues of journals published in different languages.

    What is your design research speciality?

    I take a philosophical approach to the digital revolution, exploring how we experience design and the effect of the digital on perception. One of my most read books is L’Être et l’Écran (being and screen), which is currently being translated to English and will be part of the MIT Press' Design Thinking, Design Theory series. Together with Pieter Vermaas, I also co-edited Advancements in the Philosophy of Design, which was just released and will be introduced at the DRS2018 conference. 

    How do you view the DRS?

    The DRS is the origin of design research in Europe and represents research excellence. The conferences are also a great opportunity to meet other design researchers. For example, I met my new collaborator Nynke Tromp at DRS2016!

    What design researchers are you following now?

    I'm really inspired by Nynke Tromp's work on social design and Tomás Dorta's exploration of augmented co-design and research through design.

    What's next?

    I'm excited to announce a new book project called Vocabulaire du Design (design vocabulary). It will be a catalogue of design concepts and definitions, published by the Presses Universitaires de France (University Presses of France). 

    Have you got an inspiring quote to end on?

    "La fin ou le but du design est d’améliorer ou au moins de maintenir l’habitabilité du monde dans toutes ses dimensions" (The end or the goal of design is to improve or, at least, maintain the liveability of the world in all its dimensions) - Alain Findeli

     

    Interested in getting involved in this interview series? Tell us about your exciting work or nominate another researcher. You can contact Isabel at editor@designresearchsociety.org.