Workshops

Workshops on 1st July, 2012

Morning Session - Time: 9.30-12.30 (3hrs.)
Workshop 1 Data Mining: Getting the most from Ethnographic Research
Workshop 2 Exploring Design-led Problem Identification and Collaborative Innovation using Sandpit Methods
Workshop 3 Researching Design Teaching and Learning Cancelled
Workshop 4 Defining Goals through Collaboration Using Design Thinking: Building Consensus in a Project Team Cancelled
Workshop 5 Healthcare Design and Innovation: Methods and tools Cancelled
Workshop 16 Another Way besides Brainstorming to get New Design Ideas — Social Design Automata
Afternoon Session - Time: 14.00-17.00 (3hrs.)
Workshop 6 Opportunities for Change: How life-cycle Thinking can Shift Design towards more Sustainable Practice and Product Outcomes
Workshop 7 Sight, Sound + Movement Accessibility Simulations
Workshop 8 Learning from the Eye: Developing a Visual Epistemology
Workshop 9 Humans and Technology Relationship
Workshop 10 A Question of Space Cancelled
Workshop 17 Another Way besides Brainstorming to get New Design Ideas — Mass Workshop Events Combining Plural Diverse Creativity Models
Full day Session - Time: 9.30-17.00 (6hrs.)
Workshop 11 Drawing for Visual Communication
Workshop 12 Trimming, Miniaturization & Ideality via Convolution technique of TRIZ design system Cancelled
Workshop 13 101 Ways to 'Cook' an EGG Cancelled

Mini Workshops on 3rd July, 2012

Mini Workshops
Workshop 14 Providing Useful and Critical Review to a Paper Cancelled
Workshop 15 Sustainable Colour Design by TOA Paint
Workshop 18 Design as Culture Work — The Culture of Design, Designs, Designers, Design Clients, Design Society Academics

Workshop 1

Data Mining: Getting the most from Ethnographic Research

Organized by Adisorn Supawatanakul and Anne Schorr
Affiliation Conifer Research
Date 1st July 2012
Time 9.30-12.30 (3hrs.)
Fee THB 2,000

Data Mining: Getting the most from Ethnographic Research : DRS Workshop by Adisorn Supawatanakul and Anne Schorr


Adisorn Supawatanakul is an industrial designer and design researcher who leads teams of clients to broaden their understanding of their customers and discover innovative opportunities. A director at Conifer Research, Adisorn has developed a data management process that enables research teams and clients to perform a more tailored analysis and arrive at richer results. A graduate of IIT Institute of Design, Adisorn received his masters degree in human-centered product design as well as a Bachelors of Architecture from King Mongkut's Institute of Technology Ladkrabang. His clients have included Steelcase, Comcast, Samsung, Monitor, AkzoNobel, Coinstar, McDonalds, Regional Transit Authorities.


A partner at Conifer, Anne Schorr brings to our clients an enduring passion for research as rigorous as it is engaging and revelatory. She has built her career in the creative application of methods from the academic social sciences to business challenges, decision processes, and time- frames. Anne is committed to continuous innovation in research approach – which she believes is the key to gaining true competitive advantage from research. As customer sophistication increases and more companies use basic ethnography to understand customers, Anne is working to help Conifer’s clients stay ahead of the curve.


Anne is equally ardent about helping client teams internalize and engage with research process and output.


Abstract

An ethnographic approach to design research can provide a holistic understanding of users, their routines, motivations, behaviors and beliefs, but despite its potential, ethnographic data is often underutilized, serving only narrow purposes. Without a rigorous data-retrieval system, use of the research is often limited to the team that conducted it. Learning to extend the utility of research data beyond the scope of the initial project can become a great organizational asset – one that grows over time. This workshop aims to provide a hands-on experience mining stories and insights from already gathered data. Small teams of 4-5 participants will be assigned topics to investigate, will read through transcripts, discuss recurrent themes, and then share their learnings and emerging opportunities with the larger group. The workshop consists of a short introductory presentation and demonstration of proprietary user database software, followed by the hands-on breakout activity. The 3-hour workshop concludes with discussion of the potential benefits of this approach within the client organization.


www.coniferresearch.com

 

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Workshop 2

Exploring Design-led Problem Identification and Collaborative Innovation using Sandpit Methods

Organized by Louise Valentine, Sarah Cox and Georgina Follett
Affiliation University of Dundee, UK
Date 1st July 2012
Time 9.30-12.30 (3hrs.)
Fee THB 500

Dr Louise Valentine is a designer and researcher at the University of Dundee who is currently seconded to the team who are working to bring the V&A Design Museum to Dundee. She is Co-Investigator on the recently awarded £6.5M Knowledge Exchange Hub–Design in Action funded by the Arts and Humanities Research Council (UK) and also led the major Arts and Humanities Research Council project 'Past, Present and Future Craft Practice' with Professor Georgina Follett. She is director of the Craft Festival Scotland 2010 initiative, collaborating with contemporary practitioners, and major public and private bodies including the Victoria and Albert Museum, London, Creative Scotland and Dundee Contemporary Arts. She is also an Executive Member of the European Academy of Design and a Fellow of the Royal Society of the Arts.


Louise delivers workshops, seminars and lectures on the theory and practice of design thinking, knowledge management, research methods, teamwork and visualisation within the graduate programme at Duncan of Jordanstone College. Before focusing on research, she was Course Director for the multi-disciplinary and multi-cultural Master of Design programme at Duncan of Jordanstone College. She taught on Design Studies (for BSc Interactive Media and Product Design) and Design History, Theory and Practice programmes, as both module and programme leader.


She gained her undergraduate degree in Industrial Design (Textiles) from Heriot-Watt University, Galashiels Campus, a postgraduate degree in Printed Textile Design from Duncan of Jordanstone College and a doctorate (2003) entitled 'The Activity of Rhetoric within the Process of a Designer's Thinking', University of Dundee. Prior to returning to Higher Education Louise worked with the Scottish Qualifications Authority holding the remit to develop a knowledge management programme for a new advisory board.


Professor Georgina Follett is a Deputy Principal of the University of Dundee, seconded by the Scottish Government to bring into being the V&A at Dundee project. She is Principal-Investigator on the recently awarded £6.5M Knowledge Exchange Hub–Design in Action funded by the Arts and Humanities Research Council, one of four in the UK and the only one dedicated to Design. It is a project building knowledge exchange strategies into both the public and private sectors to deliver sustainability and growth.


Georgina is a contemporary visual craft practitioner of 40 years, specialising in plique-de-jour enamelling. Born in London, she is a graduate of the Royal College of Art. Her practitioner portfolio specialises in plique-de-jour enamelled jewellery in precious metals: a system of using enamel within jewellery to give a stained glass effect. She is the only practitioner of this way of working in the UK and one of a handful in Europe. Her work is held in many private collections as well as the permanent collection of the Victoria and Albert Museum, the Roy Strong collection, in the Victoria and Albert, and the National Museums of Scotland.


Georgina has had experience of working with jewellery manufacturing companies and has worked collaboratively on a number of projects and consultancies with industry, including the establishing of Dundee by Design and IDEAS (Industry Design, Education Action Scotland). Chair of the ‘New Craft – Future Voices’ conference and exhibition, 2007, she has also supervised and examined a number of PhDs in the visual disciplines.


Georgina Follett is a panel member and reviewer for the Arts and Humanities Research Council U.K. (Art, Design and Media). She has been actively involved in numerous advisory committees throughout her academic life and is an indexed member of the Crafts Council. She has been Joint Chair of the SHEFC’s (Scottish Higher Education Funding Council) Learning and Teaching Committee, Chair of the Higher Education Quality Working Group (SHEFC) and Chair of the Quality Assessment Committee (SHEFC) and a member of QAA (Quality Assurance Agency) Scotland Board, The Robert’s Committee on the RAE. Georgina has also held the Chair of the National Association of 3D Design Education and has been a previous Vice President of the Chartered Society of Designers. She is a Fellow of the Royal Society of Arts and Manufacturers, The Chartered Society of Designers and a Founding Fellow of the Institute of Contemporary Scotland.  In 2006 she was a founding member of the Institute for Capitialising on Creativity, Universities of St Andrews, RSAMD, Abertay and Duncan of Jordanstone, University of Dundee.


Georgina Follett was awarded the OBE in the Queen’s Birthday Honours in 2007 for services to Design and Higher Education.


Sarah is a PhD student at the University of St Andrews’ Institute for Capitalising on Creativity. Her PhD research is funded by the UK’s Economic and Social Research Council and is sponsored by Design Dundee Ltd, the organisation responsible for delivering the V&A Museum in Dundee which will act as a showcase of the importance of design in the cultural and economic life of Scotland. Design Dundee Ltd is a partnership between the V&A, the University of Dundee, the University of Abertay Dundee, Dundee City Council and Scottish Enterprise.


Sarah’s research focuses on the role of design as a catalyst for innovation and as an organisational tool to be used to foster innovation in companies. She gained an MSc in Innovation, Creativity and Entrepreneurship in 2010 from Newcastle University (UK) and undertook a Knowledge Transfer Partnership between Newcastle University and ISIS Arts Ltd in 2011 to explore new business models for publicly funded arts organisations.


Abstract

Design in Action (DIA) is a strategic intervention to promote economic growth through design-led innovation in Scotland. Running from 2012 to 2016 DIA will enable practitioners, academics, industry and other strategic partners to engage with design to resolve complex problems using a method of ‘extreme innovation’: the sandpit. Sandpits involve teams made up of individuals from different backgrounds and specialities to undertake an intense problem solving workshop through which design thinking and the design process will be used to explore and communicate new ideas and to find new interpretations of issues and objects. From these radical and disruptive ideas will emerge.

Attendees of DRS 2012 Bangkok will have the opportunity to participate in a mini-sandpit event, providing them with the opportunity to familiarise themselves with this method of problem identification and solution. Furthermore the sandpit workshop will hold break-out sessions to facilitate debates on the efficacy of the sandpit method itself and similar tools in fostering innovations; enable discussions on the use of the language of design in collaborative projects to foster and communicate new ideas; and promote dialogue on emerging definitions of design as an organisational tool for innovation.

 

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Workshop 5

Healthcare Design and Innovation: Methods and Tools

Organized by Hua Dong and Liu Long
Affiliation Brunel University and Tongji University
Date 1st July 2012
Time 9.30-12.30 (3hrs.)
Fee THB 2,500

Abstract

Healthcare design and innovation is becoming a new territory for design research. The complexity of the healthcare system and the multi-stakeholders involved make it challenging to select effective methods and tools. This workshop will introduce real-world design research projects and illustrate how different methods and tools were successfully applied and adapted to solving healthcare-related design problems. The workshop participants will learn new methods and processes and contribute to the identification of future research opportunities in the healthcare field.


This workshop will be organized by Dr Hua Dong (PhD, University of Cambridge), senior lecturer at Brunel University and Dr Liu Long (PhD, Technical University Kaiserslautern, Germany), Associate Professor at the College of Design and Innovation.

 

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Workshop 6

Opportunities for Change: How Life-cycle Thinking can Shift Design towards more Sustainable Practice and Product Outcomes

Organized by Leyla Acaroglu
Affiliation RMIT University, Melbourne
Date 1st July 2012
Time 14.00-17.00 (3hr.)
Fee THB 2,100

Opportunities for Change: How Life-cycle Thinking can Shift Design towards more Sustainable Practice and Product Outcomes : DRS Workshop by Leyla Acaroglu


Leyla Acaroglu is a lecturer at RMIT University in Industrial design, Director of Eco Innovators, a leading life cycle assessment and eco-design consultancy in Melbourne and is also a PhD researcher at RMIT. Her background is in Product Design and Social Science having focused her work on environmental assessment and behavioural change. She has been at the forefront of LCA tool and eco-design resource development and recently won a Melbourne Design Award for the educational animation series The Secret Life of Things. Leyla works to integrate strategic supportability decisions across the design, production and consumption sectors provding sustainability strategy and innovation assessment and advice as well as expert training in life cycle thinking end eco-design. Leyla is also a radio host and commentator on all topics related to environmental sustainability.


Abstract

Life Cycle Assessment (LCA) is a robust internationally accepted method for evaluating the whole of life impacts of products and services. LCA knowledge assists product developers in integrating environmentally beneficial decisions throughout the design process. However, it has traditionally been largely inaccessible to the design community – requiring several years of experience to effectively conduct an LCA. In recent years there has been a shift towards the 'liberation' of LCA through the development of simplified LCA tools. Yet how do designers actually integrate and translate the LCA data to understand how environmental benefits can be achieved in their product development? Life cycle thinking (LCT) is a theoretical approach to design decision making that employs the results and leanings of LCA along with more traditional eco-design strategies and whole systems thinking, LCT allows for the development and evolution of more robust environmental decision making in design, based on scientific investigation as opposed to 'good guesses'.

This interactive workshop will delve into LCA and the application in design decision making through the use of life cycle thinking methodologies in achieving more sustainable outcomes in product design and development. The workshop will provide participants with an introduction to the specifics of LCA and will explore through case studies, how the theoretical learning’s of LCA can be used in design decision making / design thinking to make more informed environmentally preferable decisions.


www.ecoinovators.com.au

www.lifecyclethinking.com.au

www.thesecretlifeofthings.com

 

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Workshop 7

Sight, Sound + Movement Accessibility Simulations

Organized by Andrew Phillip Payne and Lee Ross Dinwiddie
Affiliation Savannah College of Art and Design and Western Kentucky University
Date 1st July 2012
Time 14.00-17.00 (3hr.)
Fee THB 500

Sight, Sound + Movement Accessibility Simulations : DRS Workshop by Andrew Phillip Payne and Lee Ross Dinwiddie


Sight, Sound + Movement Accessibility Simulations : DRS Workshop by Andrew Phillip Payne and Lee Ross Dinwiddie


Abstract

The Sight, Sound + Movement Accessibility Workshop offers participants the opportunity to simulate various abilities and disabilities. The exercises conducted during this workshop are not intended to convey the actual experience of the impairment or “what it’s like to be blind” but rather how the built environment and routine design decisions impact the user’s ability to use, experience and navigate space. Simulations include reduced/loss of vision (blindfolds and long canes), mobility impairments (wheelchairs and crutches) and difficult tasks (delivery carts). Interactions with toilet stalls, sinks and accessories, entry doors, stairs, elevators, ramps, parking and building materials are just a few of the situations participants are exposed to during the simulations.


This workshop is offered as an introduction into the architect’s/designer’s responsibilities to all users, without discrimination. These types of simulations are very common in social and behavioral science education and have become valuable in a very tangible way in the building arts curriculum as well.

 

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Workshop 8

Learning from the Eye: Developing a Visual Epistemology

Organized by Gaia Scagnetti
Affiliation Chulalongkorn University
Date 1st July 2012
Time 14.00-17.00 (3hr.)
Fee THB 2,000

Learning from the Eye: Developing a Visual Epistemology : DRS Workshop by Gaia Scagnetti


Gaia Scagnetti PhD is an expert in visual epistemology for decision-making and strategic planning as well as information visualization and mapping. She held a post-doctoral fellowship at MIT, USA, and her doctorate was awarded by the Politecnico di Milan, Italy. Gaia holds extensive experience as a designer and researcher, including a stint at DensityDesignLab.


Abstract

We designers are like the ancient cartographers; we produce representations of the world, as we know it; we explore our world and we represent it, and we use our representation to explore the world and to understand it. As cartographer used maps for orienting and navigating, our understanding of the world is shaped by our interaction with the representations we built. This happens because visualizations are interfaces between knowledge and experience. They can be studied and used to generate new data, they are tools. Maps for example are visualization used to orient oneself within an unknown space, scatter plot diagrams are devices used to understand the degree of correlation between two variables, instruction manual are visualizations designed to perform a specific process of actions etc. Designing visualizations that work as tools should take in account this final objective of the visualization. Furthermore, it requires a distinctive comprehension on how we generate and justify knowledge through the interrogation of visualizations, in other words a visual epistemology.


What, if anything, can we know through the interaction with visualizations? Which beliefs are justified and which are not? Which is the relation between seeing and knowing?


www.namedgaia.com

 

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Workshop 9

Humans and Technology Relationship

Organized by Sylvia Tzvetanova Yung and Alise Piebalga
Affiliation Nottingham Trent University and University of Wales Newport
Date 1st July 2012
Time 14.00-17.00 (3hr.)
Fee THB 2,000

Humans and Technology Relationship : DRS Workshop by Sylvia Tzvetanova Yung and Alise Piebalga


Dr Sylvia Tzvetanova Yung is an interaction design researcher, founder of www.emotionresearch.com.hk Currently a Senor Lecturer in Interaction Design at the School of Art and Design, Nottingham Trent University, UK. Editor for numerous deign research conferences most recently for DesignEd Asia Conference, part of the Business of Design Week Hong Kong.


Alise Piebalga is a new media artist, working with performance, video, dance and interactivity. Her work has been exhibited widely, including V&A in London and some high profile collaborations for Kinetica, London and Arnolfini, Bristol. Her current PhD studies explore the impact recent developments in Hybrid arts have on our perception of the relationship between humans and technology.

www.alisepiebalga.co.uk


Abstract

This workshop invites paper presentations discussing the relationship between humans and technology and how this relationship informs design.


Recent debates in the fields of artificial consciousness, human enhancement, technology design and art, amongst others, indicate that there is a crisis in the current perception of the relationship between humans and technology. The disputes and deliberations exploring this crisis are pivoting around two opposing views: Posthumanism and Technoantagonism. 


Posthumanism, gaining wide-spread support from philosophers, artists and technology designers argues that humans cannot be seen as separate from their natural and technological environment. That consciousness spreads beyond the confines of the brain, through body’s technological extensions into an ever-changing system.


Technoantagonsim offers a conflictingly diverse vision, believing the relationship between humans and technology to be of antagonistic nature and any radical technological agency behind change as having the ability to distress, dislodge and ultimately destroy an inherent human nature or soul.


Both fractions, however, place strong emphases on the importance active debates have within the field and the impact these have on any practical development of new and emerging technologies which further impacts upon the relationship between humans and their technological environment.


This is a call for papers that consider practical, theoretical and philosophical positions that place the relationship between humans and technology at its pivotal core. These papers could discuss new and emerging technologies and their applications, philosophical positions within the field, technology design theory amongst many other subjects, however they have to contribute and consider the debate that explores and pushes the boundaries of our current understanding of the relationship between humans and technology. 


External Link


Submissions

Please prepare an abstract submission of a maximum of 500 words including title, your names and affiliations and references and send it to Sylvia.tzvetanovayung@ntu.ac.uk before 29 February 2012. All abstracts will be pier reviewed. Further information will follow by e-mail.


Important dates
29 February 2012 Abstracts submission
30 March 2012 Paper submission
15 April 2012 Accepted papers notifications and reviews
30 April 2012 Deadline for the presenters registration
15 May 2012 Final papers submissions
1 July 2012 Workshop will take place
 

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Workshop 11

Drawing for Visual Communication  

Organized by Mario Minichiello
Affiliation The University of Newcastle Australia.
Date 1st July 2012
Time 9.30-12.30 and 14.00-17.00 (6hrs.)
Fee THB 500

Abstract

This workshop seeks to provide an experience of the role of drawing as both a language for visual communication, and as a means of thinking in order to solve creative problems. Examples of drawings application to visual communication may be available through a conference paper. However, examples are now available through Mario Minichiello’s websites, which can be accessed through Google.


In the workshop you will be expected to work on paper using a pen or pencil. You will ‘brain storm’ around a given text and audio sound track.


During the workshop we shall explore the relationship and interplay between the ideas in the text to those in the visually constructed narratives of the drawing. We will also consider the nature and characteristics offered to mass media communication by the non-digital handmade image.


Through creative thinking and practical methods you will further refine your ideas and be invited to discuss them at an end of workshop critique. Participants will be invited to make further refinements to their work and display the outcomes at the end of the conference. People who have taken part in this kind of workshop in industry settings have reported it to be a rewarding and useful experience.


The workshop is developed from the work undertaken with number of war veterans and also forms part of a paper which will be presented at the conference. The days work covers some of the techniques used in 'recovering' information from the memories of ex-soldiers which may have been subject to war trauma, are enacted in the workshop.


The outcomes of this research forms the subject of the subject of the paper discussion and of the workshop, the outcomes can be partly viewed at :

http://www.peoples-stories.com/story.php?i=7S7CDKV7XT&n=4&s=search&t=all&il=


The war work of Prof mario minichiello who will be conducting the workshop can be seen at :

http://www.vortex.uwe.ac.uk/warg5.htm

http://www.eichgallery.org/artconflict/artfirst.html


www.worldprintmakers.com/english/minichiello.htm

blogs.test.bcu.ac.uk/lunarlecture

2011.ontheimage.com/plenary-speakers/index.html

flickr.com/photos/33853312@N07

 

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Workshop 15

Sustainable Colour Design by TOA Paint

Organized by Assoc. Prof. Piyanan Prasarnrachakit,
Colour Design Consultant (TOA Paint (Thailand) co.,ltd.)
Date 3rd July 2012
Time 9.00-10.30 (1.5hrs.)
Fee THB 500

Associate Professor Piyanan Prasarnrachakit A graduate of Chulalongkorn University (B. Ed Honours, Art) and Syracus University NY, Florida State University USA (M.S Interior Design), Mrs. Piyanan is a leading authority on colour in architecture and design. Awarded by the Royal College of Arts, London, Mrs. Piyanan is a respected lecturer in the Faculty of Architecture at Chulalongkorn University. Recent projects include: Bangkok Railway Station; Golden Mountain Temple, Bangkok; and Amphawa Floating Market, Samut-Songkram


This workshop aims to reveal esoteric knowledge about advanced use of colour, tone and shade to enhance spaces and moods. A sustainable color process is the one that is infinitely repeatable and exhibits positive influence on people, planet and profit. In this workshop,participants will be introduced to different sustainable aspects of colour perception, colour combinations, colour interaction, colour analyses, colour phenomena, and associations and feelings towards colours. The TOA Paint Workshop will give the participants the opportunity to start working with sustainable colour design approach, and inspire the participants to work even harder to experience the world of colours.


www.whatcolorisgreen.net

 

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Workshop 16

Another Way besides Brainstorming to get New Design Ideas — Social Design Automata

Organized by Richard Tabor Greene, Master of Design, De Tao Masters Academy, Beijing-Shanghai, Professor of Design Creativity and Innovation, Grad School of System Design and Management, Keio University, Hiyoshi, Japan
Date 1st July 2012
Time 9.30-12.30 (3hrs.)
Fee THB 2,500

Abstract

This workshop explores a replacement for brainstorms, as a way for groups to generate new designs and inventions. It builds on the same web powers and model pluralization that results in Invent Events, where many workshop teams, each using a different model of creativity,


The web is expanding who designs and what they design. What generates new computer systems is a dialog between the five types of computation system we now know: machine computers, societies, biology, brains, and minds (extensions beyond brains for thinking). This is generating new machine computers, new biologic systems, and new social ways of arranging people for thought or design work. We explore here one of those new ways of doing design work. Similar forces are plurifying what creativity is. Instead of seeking one right-y model, better than all others, people are using large diverse repertoires of models, from which they select combinations that compensate for each others' flaws. Real impact beyond what any single right-y model achieves result.


In this workshop Social Design Automata are explained and experienced. Participants are arranged in groups of six, in which each person has a different mental operator they are assigned to apply. Every two minutes they apply their assigned mental operation to partial products handed them by adjacent roles. Every two minutes each group of six produces, thereby, one final design. In 40 to 60 minutes, 20 final designs per group of six result. This is exploration of a possibility space with dozens of actual designs, forcing people and their ideas to strongly interact. Where brainstorms tend to elaborate only the first one or two ideas to be popular with loud factions, Social Design Automata elaborate 20 or more ideas to the same level of detail. Where brainstorms force people to see and hear ideas of others, Social Design Automata force people to actually use and apply ideas by others. Participants will experience, in an initial way, the power of these differences.


Social design automata are not the be all and end all for design work by any means. However, they get us beyond the two greatest weaknesses of brainstorms and that is worth doing. Not only this, but Social Design Automata apply design protocols that come from somewhere. In this workshop they come from a model of 60 models of creativity. Anyone who masters those 60 models, can, by combining them in twos, or threes, come up with tens of thousands of protocols for good Social Design

This workshop recently taught at Beijing and SIVA University in China.



 

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Workshop 17

Another Way besides Brainstorming to get New Design Ideas — Mass Workshop Events Combining Plural Diverse Creativity Model

Organized by Richard Tabor Greene, Master of Design, De Tao Masters Academy, Beijing-Shanghai, Professor of Design Creativity and Innovation, Grad School of System Design and Management, Keio University, Hiyoshi, Japan
Date 1st July 2012
Time 14.00-17.00 (3hrs.)
Fee THB 2,500

Abstract

New forms of more participatory design are emerging from the crowd sourcing, global coordination, cellular device apps of our ubiquitous web era. Who designs is expanding with fast, cheap, easy ways for hundreds to do design work that elite professsionals formerly did; what gets designed is expanding as teams of designers can globally in real time collaborate on immense projects and systems, far beyond past generations' of designer capabilities.


The abstract “generator” of these new web forms of doing design and these new web-inspired social forms of getting masses when together doing design is called General Empiric Computation GEC. This is the dialog between the four kinds of computer system we all know: machine computers, societies as computers, biologic info systems like protein and DNA, and brains.


GEC, a dialog among computer types:
machine, societies, biology, brains, mind extensions.


Some add a fifth, those extensions of minds beyond brains (files, libraries, indexes, cognitive friends, furniture, apparel, architecture). These five forms of computation inspire each other. We notice a kind of computation in bee colonies and make new ant algorithms in our machine computers, which in turn help us spot new computation types inside brains, causing further invention of new computations in machine or social organizations of people.


Just as the web plurifies who designs and what gets designed, it also plurifies our models of how we create. The era of single right-y models of creativity, that all bow down to, though none of them produces much creative impact, is being replaced by large diverse repertoires of models. We select models of repertoires that compensate for each others' flaws, thereby getting, powerful impact beyond what any single model produces. If we throw off the thrall is seeking single right-y models, real model impact grows. We can combine plurification of who designs what and plurification of models of creating to generate mass workshop ways of creating---Invent Events.


This workshop explores ONE of two ways that machine computations inspired New Social Ways of Working, in this case mass workshop events where dozens of “in parallel” workshop teams build partial products that combine to make powerful overall event results. The design by 200 people in 3 days of: new cars, new job systems, new books, new technology venture businesses, new fashion businesses, new TV programs, has been done by firms such as Siemens, Nintendo, Bandu, and NASA. This workshop achieves creative mass workshop events, Invent Events, by constituting such events with dozens of workshop teams, each team using a different model of creativity as the basis of its design work during the workshop. Such events can design one product in dozens of diverse ways, fusing results, and can design dozens of products with combinations of a few models of creativity.


Participants in this workshop study 60 models of creativity, organized in ten groups of six models each, and form subgroups around the set of six models they like most. Each subgroup turns its set of six models into a design procedure, for a workshop team, to apply in a mass workshop event. Subgroups then apply the design procedure they invented, in trial fashion, and report to the whole group what they learned about: plural models of creating, turning models into design procedures, mass workshop doing of design work.


This workshop recently taught at Beijing and SIVA University in China


 

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Workshop 18

Design as Culture Work — The Culture of Design, Designs, Designers, Design Clients, Design Society Academics

Organized by Richard Tabor Greene, Master of Design, De Tao Masters Academy, Beijing-Shanghai, Professor of Design Creativity and Innovation, Grad School of System Design and Management, Keio University, Hiyoshi, Japan
Date 13rd July 2012
Time 9.00-10.30 (1.5hrs.)
Fee THB 1,500

Abstract

Design is at least un-designing because all things in this world come to us as already designed, often eras ago in ways hurtful to us now. Spotting the past era that a design comes to us from and how assumptions of that era cause the design to harm us or under-serve us now, is a good part of the culture work of designing. It turns us all into anthropologists and archaeologists of the present---digging beneath present forms for assumptions, that when updated, result in radically redesigns. Similarly, design as a profession is a culture, along with engineering as a different culture, and management as a still different culture. That Steve Jobs recently built the world's single most valuable corporation, not with engineering, not with management, but with design excellence, shows a POWER to design that design education, design firms, design professionals, if anything under sell, under explain, under use. Concrete steps to building and installing in generations of designers this more powerful culture of design-designers-designing is certain one goal of this workshop. Two things are needed—not just spotting and mapping all the interactions between design and cultures, but also, using the best most powerful tools for understanding and handling cultures found in such interactions. This workshop introduces ten such tools.


This workshop exposes participants to ten new tools for modeling and handling cultures and then divides the group into subgroups around particular tools they wish to discuss or use as a departure for their own topics, with final reports from the subgroups on what ideas they identified or invented for handling cultures involved in design from their discussions. Students will be presented with: 128 dimensions of any culture, 10 types of cultures involved in design, 10 steps in how cultures of tool use evolve, 9 powers of cultures, 64 social processes where culture dimensions may appear, 64 traits of high performance cultures, operations on cultures, traits of cultures, design as operations on cultures. As part of the workshop students will get the world's most comprehensive single book on creativity models Are You Creative? 60 Models, 2000 pages in PDF form.


This workshop recently taught at Beijing and SIVA University in China


 

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Welcome to DRS 2012