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Presentation of the paper Vision Concepts within the landscape of design research


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Presentation of the paper Vision Concepts within the landscape of design research

  1. 1. 1 VISION CONCEPTS WITHIN THE LANDSCAPE OF DESIGN RESEARCH by Ricardo Mejia Sarmiento, Gert Pasman, and Pieter Jan Stappers Erik Jan Hultink (also a Ph.D. promotor)
  2. 2. 2 My Ph.D. The purpose of my Ph.D. is to explore the way to design Vision Concepts with SMEs and also to identify how this technique benefits this kind of organizations.
  3. 3. 3 My Ph.D. State of progress
  4. 4. 4 My Ph.D. Before this study: (i) Concept Cars as a Futures-studies Technique & (ii) Design of Concepts Products to explore the future: nature, context and design technique
  5. 5. 5 VISION CONCEPTS WITHIN THE LANDSCAPE OF DESIGN RESEARCH Landscape of Design research (context) Speculative Design (situation) Vision Concepts? (opportunity) The study (methods) The comparison (results) Our claims (discussion) Takeaway (message) Q&A
  6. 6. 6 LANDSCAPE OF DESIGN RESEARCH “the designer is the expert who creates things to probe or provoke response” (Sanders, 2006).
  7. 7. 7 LANDSCAPE OF DESIGN RESEARCH New forms of design and making activities, which differ with regards to their time-frames. These forms “can be used in the early phase of the design process for making sense of the future [...] exploring, expressing and testing hypotheses about future ways of living”. (Sanders & Stappers, 2014)
  11. 11. 11 SPECULATIVE DESIGN Speculative designers “use fictitious objects at the core of [their enquiries]” (Auger, 2012) as a way to trigger discussions (Mollon & Gentes, 2014) with a broad audience.
  12. 12. 12 LANDSCAPE OF DESIGN RESEARCH Design Fiction is a technique to develop "micro futures-studies [focus] on the everyday life, its short-term evolutions, and the standard objects or services that might fill these possible futures” (Girardin, 2015).
  13. 13. 13 LANDSCAPE OF DESIGN RESEARCH Critical Design “uses speculative design proposals to challenge narrow assumptions, preconceptions, and givens about the role products play in everyday life” (Dunne & Raby, 2013).
  14. 14. 14 LANDSCAPE OF DESIGN RESEARCH Even though Vision Concepts, such as long-term concept cars/products, have been part of the industry since 1938, previous work has failed to identify and understand them from the design research perspective. ?
  15. 15. 15 VISION CONCEPTS More than beautiful show cars, long-term Concept Cars (aka Vision Concepts) are used to study, map, and envision -an image of- the future. This vision moves from the future back to the present and supports companies in making decisions and mapping innovation. Concept Cars focus on (1) innovation and communication, following (2) a design-led process and ending in (3) an open, striking and experienceable outcome.
  16. 16. 16 INNOVATION Concept Cars increase the innovation capabilities: - Companies foresee the future exploring a plausible and preferable future. - Companies experiment with technologies and explore design languages. COMMUNICATION - Companies share a concrete image of the future that is easy to understand for a broad audience. - Stimulates conversations that generate ideas about the company’s future at different levels. - Different people, inside and outside the company, align their agendas. Concept Cars focus on innovation & communication
  17. 17. 17 A hands-on technique that involves: - [Research] Designers investigate and analyze context factors. - [Visual synthesis] Designers make sketches and illustrations to produce ideas about the concept and the context. - [Prototyping] Designers make prototypes at different scales and resolutions, sharing the idea with others. - [Storytelling] Designers create a narrative to communicate the artifact through videos and other materials. Concept Cars follow a design-led process
  18. 18. 18 CONCEPT CARS AS OUTCOMES Concept Cars are “tangible and materialized futures” that are easy to understand for the majority of people. The artifacts are embodied by: - Full-size prototypes that enable people to experience the car as real as possible. - Supporting materials (texts, visuals, and videos) that present the interaction between users and the car in a -future- contexts.
  19. 19. 19 CONCEPT CARS AS OUTCOMES These -physical and narrative- manifestations of a fake -futuristic- vehicle, are designed to attract and evoke emotions in diverse people.
  20. 20. 20 CONCEPT CARS LIMITATIONS It is a resource intensive technique (team, money, and time). It presents a singular outcome, hiding the opportunities offered by other futures.
  21. 21. 21 This paper aims to identify and clarify these characteristics to position Vision Concepts as a relevant future- oriented design technique as well as to reflect on its potential value for contexts other than product development in large corporations.
  22. 22. 22 MULTIPLE-CASE ANAYSIS A multiple-case analysis to compare 2 prototypical examples of 3 different types of Speculative design techniques.
  23. 23. 23 VISION CONCEPT Mercedes-Benz F 015 Luxury in Motion by Daimler AG, 2015
  24. 24. 24 VISION CONCEPT Bio-digester kitchen island by Philips, 2011
  25. 25. 25 DESIGN FICTION Helios: Pilot, Quick Start Guide by Near Future Laboratory, 2015
  26. 26. 26 DESIGN FICTION Song of the Machine, a Lab Project by Superflux, 2011
  27. 27. 27 CRITICAL DESIGN Digicars, part of the United Micro Kingdoms by Dunne & Raby, 2013
  28. 28. 28 CRITICAL DESIGN Respiratory Dog, from the series Life Support, by Revital Cohen, 2008
  29. 29. 29 RESULTS - PURPOSE
  30. 30. 30 RESULTS - OUTCOMES
  31. 31. 31 RESULTS - PROCESS
  32. 32. 32 CLAIMS These making activities use fictional time-frames as a mechanism to: - unlock the imagination, - gain a fresh perspective on reality, - and to escape from the constraints imposed by the market.
  33. 33. 33 CLAIMS Design Fiction should be moved from the speculative future to the near future in response to its interest in mundane short-term speculations. It is mid-way between engaging and provoking, producing videos and other types of visualizations that both attract and challenge design research communities.
  34. 34. 34 CLAIMS Critical Design can cover a wider variety of times, ranging from alternative presents to speculative futures. It is clearly in the provoking area, making unpleasant proposals presented as rough prototypes and other type of visualizations to trigger reactions.
  35. 35. 35 CLAIMS Vision Concepts would be positioned on the outside layer of speculative future, while concentrating on a particular domain.
  36. 36. 36 CLAIMS The design intent of Vision Concepts is to engage the public at large in commercial shows through refined visualizations that convey positive images that benefit the business.
  37. 37. 37 Similarities We found that the three techniques are all future- oriented and design-led. Differences Because of its business context, Vision Concepts are mainly oriented on generating strategic value for a company. As a consequence, its perspective on the future tends to be on the safe side, resulting in outcomes that are mostly in line with the brand and mainly presented and discussed within the limited scope of the domain in which the company operates. CLAIMS - VISION CONCEPTS, DESIGN FICTIONS & CRITICAL DESIGN
  38. 38. 38 TAKEAWAY In Speculative Design, designers make prototypes and other visualizations as means (of communication). The end goal, then, is to engage and (or) provoke a discussion about a well-bounded domain. To do this, designers explore the future to develop a set of neat ideas: a concept. The concept is deployed in a narrative for a certain audience and shared through different manifestations, combining prototypes and other type of visualizations. The chosen audience depends on the domain and the purpose, and is divided into three: the media, the specialized public, and the general public.
  39. 39. 39 My Ph.D. After this study: (i) DIVE 1.0, a design-led futures technique for SMEs
  40. 40. 40 THANKS Ricardo Mejia Sarmiento
  41. 41. 41