{"id":1472,"date":"2020-07-31T17:22:00","date_gmt":"2020-07-31T08:22:00","guid":{"rendered":"https:\/\/www.cdfr.design.kyushu-u.ac.jp\/?p=1472"},"modified":"2023-08-23T14:49:47","modified_gmt":"2023-08-23T05:49:47","slug":"the-14th-study-of-design-fundamentals-seminar-research-through-design-theory-and-practice","status":"publish","type":"post","link":"https:\/\/www.cdfr.design.kyushu-u.ac.jp\/en\/1472\/","title":{"rendered":"The 14th Design Fundamentals Seminar \u201cResearch through Design: Theory and Practice\u201d"},"content":{"rendered":"\n

To gain knowledge through design practice is to Research through Design (RtD). As the practical domain of design is expanding from products to services and sustainability, the knowledge that can be gained by actually moving the mind and body is becoming an issue. How has RtD been accepted in Japan, and what should it be?<\/p>\n\n\n\n

Lecturer<\/h2>\n\n\n\n

Daijiro Mizuno<\/strong>, Specially Appointed Professor of Kyoto Design Lab at Kyoto Institute of Technology. <\/p>\n\n\n\n

After earning a master\u2019s and doctoral degree at RCA, he returned to Japan and was involved in various design projects. He authored, co-authored, and translated major publications including \u201cWhat is Critical Design\u201d and \u201cCan Fashion be Updated?\u201d. He also won major awards include \u201cSpeculative, Wearable, Fashionable\u201d (winner, Ars Electronica STARTS Prize, 2017) and \u201cTransition\u201d (winner, IDFA 2019).<\/p>\n\n\n\n

www.daijirom.com<\/a><\/p>\n\n\n\n

Date<\/h2>\n\n\n\n

July 29, 2020, Opens at 15:30, starts at 16:00<\/p>\n\n\n\n

Venue<\/h2>\n\n\n\n

Online<\/p>\n\n\n

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Review<\/h2>\n\n\n\n

\u201cResearch through Design\u201d is, Dr. Mizuno argues, a concept that was established during the 1980s\u2019 by necessity when European colleges of polytechnic were integrated into universities and so they are required to entitle their students Ph.D. Accordingly, 1992 has become a turning point of this change and Christopher Frayling, the president of Royal College of Art at that time, published a groundbreaking paper, \u201cResearch in Art and Design\u201d (1993), which conceptualizes this term.<\/p>\n\n\n\n

Dr. Mizuno states this concept connotes the following: one is a form of knowledge established by actually making something, and that is some sort of an idea that already exists in the mind and body of creators. This is certainly a type of knowledge, without which nothing can be created, and also this type of knowledge ought to be explored by actual practices. Another implication is that, unlike natural and social science, which take the universal validity of laws as a criterion of truth, the knowledge of design is a special or individual solution whose success or failure is judged by the fact that it can actually construct a good design object. These implications are different from the so-called natural and social sciences, and also from the humanities based on interpretation, and show a third kind of knowledge specific to design.<\/p>\n\n\n\n

Referring to Ilipo Koskinen\u2019s article, Dr. Mizuno points out that the place of such research of the third knowledge should be explored not only as \u201ca laboratory\u201d where actual production is conducted, but also \u201ca field\u201d in a society where various surveys and practices take place and \u201ca showroom\u201d where outcomes of production is shown, discussed, and criticized. This constellation must enrich exploration of the knowledge of design.<\/p>\n\n\n\n

In the tradition of art education in the UK, Frayling\u2019s \u201cRtD\u201d comes from a concept of \u201cEducation through Art\u201d formulated by Herbert Read. By this concept, Read argues that everyone must have an ability of creation and should develop it voluntarily through artwork. This conception suggests we transgress hard boundaries of academic disciplines through a free expression of individual sensibilities, and thus the general public would overcome the dominance by experts.<\/p>\n\n\n\n

Thus, the idea of \u201cResearch through Design\u201d is useful to expand the design field. Dr. Mizuno shows examples of artworks such as a \u201cdesign-fiction\u201d, which provokes further discussion by making something in reality from storytelling. Or the other, which is an act of creation by publishing a hoax paper based on the fake project proposals in an academic journal. These attempts nurture that richness of knowledge of design, probably with unexpected approaches for natural science, through the interaction of \u201ca laboratory\u201d such as one\u2019s own room or a drinking party, \u201ca field\u201d such as an academic conference or peer-review systems, and \u201ca showroom\u201d as discussion where research results are criticized.<\/p>\n\n\n\n

No doubt that one becomes better and gains more knowledge by attempting to create something, whether or not the outcome would be an actual object, or a system, or a form of communication. If so, it would be inevitable to confront the friction between some activities of knowledge open to everyday life and the already established system of knowledge specific to the universities to reproduce quality assessment and the entitlement of a Ph.D. Yet, for the time being, we can indulge ourselves to consider actions over this problem as one case study of research through design and that is exactly what \u201cResearch through Design\u201d is meant to be.<\/p>\n\n\n\n

(KOGA Toru)<\/p>\n\n\n\n

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Daijiro MIZUNO<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Toru KOGA<\/figcaption><\/figure>\n<\/div>\n\n\n\n
<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

To gain knowledge through design practice is to Research through Design (RtD). As the practical domain of design is expanding from products to services and sustainability, the knowledge that can be gained by actually moving the mind and body is becoming an issue. How has RtD been accepted in Japan, and what should it be? Lecturer Daijiro Mizuno, Specially Appointed Professor of Kyoto Design Lab at Kyoto Institute of Technology. After earning a master\u2019s and doctoral degree at RCA, he returned to Japan and was involved in various design projects. He authored, co-authored, and translated major publications including \u201cWhat is Critical Design\u201d and \u201cCan Fashion be Updated?\u201d. He also won …<\/p>\n","protected":false},"author":13,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[17,16],"tags":[],"class_list":["post-1472","post","type-post","status-publish","format-standard","hentry","category-review-en","category-seminar-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.cdfr.design.kyushu-u.ac.jp\/en\/wp-json\/wp\/v2\/posts\/1472","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cdfr.design.kyushu-u.ac.jp\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cdfr.design.kyushu-u.ac.jp\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cdfr.design.kyushu-u.ac.jp\/en\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cdfr.design.kyushu-u.ac.jp\/en\/wp-json\/wp\/v2\/comments?post=1472"}],"version-history":[{"count":6,"href":"https:\/\/www.cdfr.design.kyushu-u.ac.jp\/en\/wp-json\/wp\/v2\/posts\/1472\/revisions"}],"predecessor-version":[{"id":1744,"href":"https:\/\/www.cdfr.design.kyushu-u.ac.jp\/en\/wp-json\/wp\/v2\/posts\/1472\/revisions\/1744"}],"wp:attachment":[{"href":"https:\/\/www.cdfr.design.kyushu-u.ac.jp\/en\/wp-json\/wp\/v2\/media?parent=1472"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cdfr.design.kyushu-u.ac.jp\/en\/wp-json\/wp\/v2\/categories?post=1472"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cdfr.design.kyushu-u.ac.jp\/en\/wp-json\/wp\/v2\/tags?post=1472"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}