Y3S1 Creative Process Journal

A Foreword from the Designer The Creative Process Journal (CPJ) for this semester in this final year is meant to serve as both a reflection in process and documentation of thoughts and progress in both dissertation projects, because of the high connectivity in the nature of both parts that would not make sense without the presence of each other. This is why this version of the CPJ is meant to include for processes and feedbacks for both the dissertation module as well as the studio module.`



WEEK 0 – HOLIDAY ASSIGNMENT These were the points mentioned that I felt applied to what I submitted for the holiday assignment: Definitions • No definition of terms in some presentations. • Key definitions can be more expansive. Some are either missing key definitions to terms used in your research or have very limited depth, i.e. one or two references only. E.g. how do we define creativity? what are the different views on creativity or the teaching of creativity? This is one of the more critical first steps into the research; we need to be able to build an understanding of the terms used so that we can engage in the same arena of discourse. Target Audience • The target audience does not resonate with the aim of the project - why are you looking at this particular audience - what are their needs/wants? etc. • Identification of target audience in general lacks two things: - Lack of specificity: some do not have it clearly outlined, some target audiences covers too broad a range e.g. “the public” and some attempt to be specific but includes too many specific groups that it appears to cover a board range.

WEEK 0 – HOLIDAY ASSIGNMENT Scope • Specificity of directions can be made clearer. I am aware that what was required for the compendium was to have a slightly more open view so as to discuss key issues that you have found. But now that we have established what these key issues, how would we go about them. We also need to acknowledge that some of these key issues will be challenging to tackle simultaneously. The brief required us to discuss any new insights that may surface from studying the key issues, sometimes, an insight can be that some of these problems identified are too nebulous and interconnected. And the only way begin is to find a more focused point of entry. Thus it will help for us to now consider a specific direction that we can go into. Format • Some slides that are image-heavy can do with a description, header or even caption to provide some much needed context. This is not inherently a criticism because in essence, good presentations work with visual content, i.e. the presenter takes on the role of talking us through the visuals, making it a more engaging presentation. I am assuming that the slides were created with the need to pair it with a verbal presentation thus this comment should not be seen as a criticism. But in such cases, a lengthy description is not required but a caption for images will be helpful too. • While a visual overview the topic is commendable, it would be better if it’s accompanied by a written explanation to show a clear establishment of the issue or in its context.

Objectives and Significance • With regards to objectives and significance of the research, there seems to be some slight confusion between the two. The objective should discuss what the research attempts to do, e.g. to investigate a topic, to provide a solution to a problem, to develop a framework, etc. The significance elaborates why the research is worth doing. • Objective -> what will you do to achieve a desired state (note that this desired state does not necessarily mean that you have to create a solution, if the objective is to investigate a topic, how you go about investigating it is the objective and the desired state could be are the findings. • Significance -> what is the worthiness of this desired state Common Issues • The need to define terms • Asking large philosophical questions (future of human interactions, post-truth society…) Pointers • Why is your research needed and what evidence is there to support this? • When & where was other relevant research carried out? • How was the research carried out and what are the implications of this to your methodology? • What aspects remain unexplored and require further research?



WEEK 0 – HOLIDAY ASSIGNMENT Reflections As per the pre-mentioned problems which the comments was based on, I think that overall despite not listing them out within the presentation proposal, I knew at the back of my head the concepts and the theories; what I was with-holding on was whether the slides needed that depth of clarification and whether the content was something that I would be able to deliver instead. Perhaps, as a research proposal slide in the future, I should consolidate definitions and premises of the design project in detailed forms to make sure that the groundwork is established before things can progress further. The exploration process of deciding what was on the slides as a comparison to what was needed to be presented was, however, carefully considered; for that at least I was confident that the content I was prepared to deliver was concise. Moving on, there is further need to establish categories within the vast amounts of research that I have done, be it visually or diagrammatically, to provide clarity within my research to the viewer.

WEEK 1 – DISSERTATION CLASS The lecturers outlined the following in the first dissertation class:   The graduation project should be:  • if in Pseudo-Science: in small, minuscule amounts  • written in clear, straightforward, simple writing  • design with a discerning lens  • always have a clear research interest

WEEK 1 – DISSERTATION CLASS Lecture – Dr. Harah The research process is always looking at things over and over again till an argument is corroborated. It is informed by living in the past, affecting the present and speculating about the future. History provides for a narrative for uncovering new truths. Theories and frameworks should always be used as a basis for arguments. A paradigm is where your philosophical perspective forms your understanding of the world, influencing your role as a designer.   >> Philosophical Perspective > Influences Designer > forms Perspective of the World There is need in considering   • who we are designing for   • the stakeholders involved   • the discussions involved

WEEK 1 – DISSERTATION CLASS Lecture – Dr. Harah There are two kinds of research proposed by Karl Popper. Verification by deductive reasoning and Falsification by inductive reasoning. Speculative designing often involves inductive research, which relies on empirical research and observations made; the mere audacity to claim hypotheses and overturn concepts. E.g. All swans are white. I go to the lake to verify all swans are white. (Deductive: general theory informing specific conclusions) I’m at a lake. But what is a swan? Maybe that is a swan. (Inductive: observations informing general assumptions) Karl Popper, Philosopher

Inductive Reasoning What is design research? > To look at things systematically but consider the holistic impact > Consists of - Epistemic research: study of knowledge; why and how they exist (Why is this happening?, How we can help them?) - Ontological research: e.g. if global warming is in place, which areas are affected? What solutions are there to ensure global sustainability? (Who, What, Where)

WEEK 1 – DISSERTATION CLASS Lecture – Dr. Harah Exercise: Defining Research Focus What is your research focus? > In the age of the Anthropocene, before we are truly able to live in the age of curbing environmental detriments, we must first garner enough attention that humans’ contributions in the Anthropocene are an issue to the planet. > The idea of using critical design as a tool not only opens up conversations but also proposes provocations about situations in which we could not fully predict, and also brings light to such problems.

WEEK 1 – STUDIO CLASS Progress and Reflections The first studio lesson began with identifying the right type of research that we are interested in. These questions exist as problem-solution driven types of projects, which aim to drive future possibilities. They have focused/directed project objectives and are studied based off what people have done to challenge the ‘movement’ to prevent reinventing the wheel. The type of project we should be doing should also aim to be moulded by research and not by the desired outcome, which is eventually our graduation show. Lastly, it is also not to solve complexities and affect change but instead look at smaller problems and addressing them via commentaries. As of now, the project parameters that I have set for myself are within the boundaries of what was briefed and set by the lecturers, which is comforting because the project had interesting parameters to which I felt had the potential for expansion. There is a need to present the information in a broken down structure format for clarity. These categories are: • Definitions - what was done in the compendium vs moving on to what you have explored • Research - Objective, Strategy, Target Audience, Significance of project, Research Methods • Case Studies • Moving on + What’s Next

WEEK 2 – DISSERTATION CLASS The breakdown of the Research Proposal Outline (RPO) was briefed as such:    • Title and Subtitle: An iteration of the topic statement, containing subject, context and objective  • Introduction - background of topic  • Research Objectives - the craft and practice which the knowledge resides in; what the paper hopes to accomplish, what specific audience would benefit from the research  • Summary of Readings - readings need to be relevant, new & current, updated; when you reach repeats and patterns in reading, stop reading and start writing  • Proposed Research Methodologies - what methods will be conducted in the study to help illuminate its relationship to the objective of the paper  • References - MLA Referencing of >10 references

WEEK 2 – DISSERTATION CLASS There is a need to realise the the topic statement is meant for dissertation and design statement is meant for the graduation project. However, they are interlinked. Objective of study: Main subject matter (what) Controlling Idea: focuses on the topic by providing the direction and approach to the research endeavour (why and how) Context: the circumstances that form the setting for the event/ phenomenon, target audience, geographic and time specificity (where) >> Dissertation > (uses) Theory > (through) frameworks/ frames of thinking > (interviewing) Practitioners/ practice based interviews Studio > Application of theory

WEEK 2 – DISSERTATION CLASS Lecture – Dr. Harah Dr Harah begun with questioning us what are out philosophies that influence the way we design, and reiterated the need of frameworks as foundation in research and the visualisation of studies in contextualising studies. The literature review within the dissertation can be done in the methods as follows:    • Chronological  • Historical  • Thematic  • Methodological  • Theoretical, And are used in • Providing Linkages • Showing Trends • Identifying research gaps • Providing overview of a concept/theory/literature base >> Research Frameworks begin with a narrative which helps to build context and how we express things. It allows researchers to gain ownership of the design problem. Us (designer) > (contructs) the design world through a framing activity > (deriving) solutions

Steps in doing so: 1. Identifying Problem 2. Setting boundaries of the context 3. Identifying stakeholders, actors, players 4. Key Terms 5. Drawing relationships within context In fulfilling the above: 1. The Anthropocene represents an epoch of human activity seeing most dominance and detriments on both climate and environment on Earth. The papers hopes to encourage Critical Thinking through Critical Design that addresses the Anthropocene to avoid ‘easy solutions’ and what theorists have called the ‘derangement of scale’ within the techno-corporate sphere. As designers we must take on the role of reflective practitioners in order to have reflective conversations with the situation before elevating the implications to a whole new issue. (Qs. Is Critical Design meant to be a reflective process for the designer then instead of designing for a context?) 2. Speculating future dwellings within Singapore 3. Millennials, future dwellers of 2050

WEEK 2 – DISSERTATION CLASS Lecture – Dr. Harah 4/5.

WEEK 2 – STUDIO CLASS In preparation for the visual survey check-in on Thursday, I have decided to look at case studies of what has been done in: A. Case studies that have revealed the current conversations within the critical design field on anthropocene (places, people, things) B. Floating Cities/Settlements/Underwater Cities (Context: Singapore) >> Discussion Outcomes: In relation to content and context of the pinups, some students were clear in using the system of pinups to explain the design context. There is also either clear or unclear images that are aligned with the design statement. It is recommended that visual research follow this system of categories: 1. Research Focus 2. Direction (what is interesting about it) 3. Sourcing for the materials (sorting, filtering) 4. Cataloging (sequencing, headlining, annotating, recording)

WEEK 2 – STUDIO CLASS The feedback from the lecturers were as such: Stanley: There is clear direction of what to do and work on. There is also good practice exhibited within certain students and their different ways of doing things. Students also used research frameworks to help define the way we look and inquire into things. Rodrigo: There is a need for emphasis on the design narrative and the inter-connectedness of imagery to help address the design brief. Joselyn: There is a need for succinct clarity of resources to help support the brief and a commitment to area of research interest. Mimi: Certain students exhibited a nice flow of visual research from its background to context. The reflection of their literary readings and research in establishing the research visual was clear. Yasser: Certain students had inadequate body of images and that is problematic. There is a need for more in-depth visual research and not define research outcomes that early.

WEEK 2 – STUDIO CLASS Progress and Reflections After the visual survey, the problem was there is a need to start talking about the issues within the design project by finding many smaller contexts to focus on how to establish conversations. There is also a need on being focused on addressing your research visually and by designing small experiments/physical forms and not forcing your research into your outcomes. Try to design something! I feel that I agree that it’s okay to be confused for now but not to not do anything about; there are always new opportunities to find new ways about your design problems. Visual Research Pin-up

WEEK 2 – STUDIO CLASS While looking for cases studies that had the same breadth of measure as the brief which tackles on post- anthropocenic situations, the patterns with the types of case studies broadened themselves out into three main categories, that being innovations in/about: 1. Places 2. People 3. Things These exemplified the nature of the case studies that are happening within the conversations of critical design within the field, highlighting what is key to consider when structuring narratives for the post- anthropocene.

Places THE CONTINUOUS MONUMENT – SUPERSTUDIO P LUG-IN CITY – ARCHIGRAM GREAT MOSQUE OF DJENNÉ, MALI, AFRICA People UNITED MICRO KINGDOMS – DUNNE AND RABY FORAGERS 2009 – DUNNE AND RABY IS THIS YOUR FUTURE? – DUNNE AND RABY Things MOVING PARTS – BERNHARD HOPFENGÄRTNER ANDREA – MATTHIEU LEHANNEU THE ISLAND – MATTHIEU LEHANNEU

WEEK 2 – STUDIO CLASS Relaying back to the context of the project being based locally in Singapore, there is a need to highlight what was covered in the recent National Day Rally 2019. PM Lee spoke of Singaporeans feeling the impacts of climate change with the likelihood that the condition will worsen over the next few decades.* The efforts that the Singapore government has undertaken only stopgap measures, lasting for short periods of time to curb with the rising sea levels momentarily whilst causing huge economic impacts. --- “...we have built MRT stations with elevated entrances. When you enter an MRT station, you need to climb up a few steps before you go down the escalator. This is flood protection for our MRT system. If we need to raise our steps to be built higher, we will do that one day. “We also require new developments to be built on higher platforms, instead of building three metres above mean sea level like before, they must now be at least four metres above mean sea level. For critical infrastructure like Changi Airport Terminal 5 and Tuas Port, we are raising the platforms even higher, at least five metres above mean sea level.” ...”When sea levels rise, one pump house will not be enough,” said PM Lee. With that, one Pump House will not be enough.“ PM Lee proposed building a second pump house on the opposite end of the Barrage.

Rising Annual Sea Levels in Singapore Huge Economic Impacts on Singapore to curb with rising sea levels

WEEK 3 – DISSERTATION CLASS The class proceeded with a presentation of literature reviews from select students. The general feedback was as such: Joseph Topic Statement An exploration of appropriated fashion logos, and its significance in Gen Zers consumer identity Comments  • There is evidence of work done for research, which is commendable. But at the moment it is not streamlined to make a definite point.  • Layout of the slides also help communicate readers. Serves almost like an annotated bibliography.   • Why fashion logos? It is a significant issue?   • What are the impact to this? You mentioned that it impacts Gen Zer’s identity? How so?   • Are there examples of these forms of ‘copying’?  • Authentic narrative – potentially interesting but what does it mean? What defines authenticity? Philosophically, authenticity is a deep rooted and much discussed issue. Differentiation/flocking ratio are a counter-point to the authenticity? Unclear at the moment.   • How are the examples given with regards to Youtube channels related to fashion and their logos?

 • Presentation focuses on fashion counterfeits/copying but it does not immediately relate to the topic of logos in fashion. They are quite different in their manifestation.   • There is potential here to discuss it impact on consumers but before we jump into that train of thought, it is important to consider why this happens (culturally, socially, economically, etc.) This comment for the focus on counterfeit designs and not logos.  • It always helps when discussing phenomena or observations, to include examples through visuals. Even though this is for a dissertation. The use of visuals to make a point is still important. Helps to build context. Suggestions  • Justin Zhuang’s MA thesis on copying culture and piracy in design  • If you identify a particular brand that is perpetuating this way of operating, the dissertation could be a study of that brand and it’s impact on other brands and/or consumers. Keith Topic Statement An argument to propose the implementation of an open urban development model/framework to develop Singapore as a creative city Or  • A study to uncover the impacts of existing creative economy policies on the development of creatives in Singapore Comments  • Confident presenter; appears relaxed and knows the subject matter well.  • Was able to provide summaries of readings. 

WEEK 3 – DISSERTATION CLASS  • Both topics have potential. One thing to note for each: 1. Need to define the ‘open’ part of the argument clearly. This is your controlling idea, you want to argue that a more ground-up and open discussion of what defines creativity is more sustainable and realistic than what we are doing now. Not enough clarity in statement.  2. This presents an interesting case against the backdrop of the DERC reoprt and future vision of design for Singapore. It will help if you identified the actual policies that you are trying to address. Too lengthy and can be streamlined.    • Each statement is a different type of paper: the first is an argument and the second is a study/investigation. Both are valid.  • Research is fairly convincing. Was able to demonstrate knowledge in the frameworks presented.   • I understand that you had two topic statements presented so it may be hard to sieve through which readers will benefit which topic. Most of your resources seem to point towards the second topic statement. Suggestions  • Will help to limit the dissertation to the study of a set of policies and its impact. Or to define a methodology to use for the ‘open’ discussion or if you want to compare Helsinki and Singapore, you can.    • Glad you found Luger. He does write extensively on the issue of creativity in Singapore. You can get his papers from Academia.edu. I believe you can sign up for an account. He is quite open to share his papers (there are some academics who only share if you request personally).

Agnes Topic Statement A study on how graphic designers can be responsible in practicing green design Comments  • The chart to break down your thoughts is appreciated, helps clarify and communicate your thoughts.  • There is a general direction of the dissertation but it still lacks a focus as to how you want  designers to practice ‘green’ design. Is there a particular methodology or ethos that we should adopt?  • There are ways of thinking regarding this like Circular Economy, Blue Economy, Natural Capitalism, but why is this not adopted? What is the resistance here?  • Is it a lack in the education of how to do this? In the context of Singapore, why do you think we are not doing this right now? Lack of knowledge? Lack of access to new ways of operating?   • It seems like the definition of graphic design is print and paper?  • How designers operate are subjected to the forces of the industry, it is good to hear that you acknowledged that but how can we go around it?  • Tackling greenwashing and championing a change in they way we operate are different directions.  • Target audience for paper needs to be restructured. Consider who the paper is written for.  Suggestions  • You can critique certain issues in the lack of education, even in LASALLE, with regards to these issues. If that’s what you are interested in. 

WEEK 3 – DISSERTATION CLASS Hui Ming Topic Statement  • The study of social justice in empowering the underprivileged.  Comments  • Needs definition for a lot of these terms used in the presentation.  • Need a clear focus on how to empower. And who are the underprivileged here.   • Why create awareness for the underprivileged? Awareness for them? Or awareness about them?   • What is the problem with mass housing in Singapore at the moment?   • How do we empower citizens? Through what means can that be done? Is there a methodology or framework that you can draw from? Why should we do that?   • Participatory forms of empowerment? Your example of Yenn’s work seem to suggest that.   • The discussion of mental health appears to be going in a tangent.   • The topic of minimalism is potentially problematic. The bias in that thread of thought is usually from a position of privilege. That there is an abundance that we ‘can’ give up. We need to be aware of the social position and bias that we may have. Many of the underprivileged ‘hoard’ for different reasons  • “Many of us don’t understand them enough to help them” - that is true and is a point of departure for the project.   • Be aware of a number of generalizations in the presentation.

Suggestions  • We can start by understanding what the prevalent issues are with the underprivileged at the moment because we can have a controlling idea (angle) for the dissertation.   • May consider material culture studies with the underprivileged..

WEEK 3 – DISSERTATION CLASS Lecture – Dr. Harah There are ways to analyse design, that is by building the research framework and framing the research question. Design research exists in its Qualitative and Quantitative forms: Qualitative – The (Why?) Questions Research Methods: ⁃ Content Analysis ⁃ Grounded Theory (one theory and tests in different contexts) ⁃ Phenomenological ⁃ Ethnographic (observing living cultures) ⁃ Case-Studies ⁃ In-depth Interviews ⁃ Focus Groups ⁃ Participant Observations ⁃ Participatory Research ⁃ Action Research (improves on existing research methods, e.g. imagine improving teaching environments) Quantitative – Exists as numerical data Research Methods: ⁃ Causal (Comparing sets of data, e.g. in reports etc) ⁃ Experimental (measuring the phenomenon) ⁃ Descriptive (measuring the status of existing phenomenon) ⁃ Reactivity (situational, questions researcher)

Types: Content Analysis Analysis of Interactions Visual Analysis Questionnaires Mixed Research: Mapping as gathering of all information to data Data can be anything: culture, social networks, analysis of audio recordings >> Processes: > before entering the field, it is important to define clearly your research question and select a desired and apt site for the carrying out of such research. Each field requires different tactics; you also need to be sure of the situation and know when to activate prompts and leave. > Steps 1. Clarify research context. - Introduction to the research objective 2. What is the design issue/problem? - Research Statement - Does the research involve the design process/users/ designers? 3. What are the concepts involved? 4. Define all terminologies

WEEK 3 – DISSERTATION CLASS Lecture – Dr. Harah Chosen research method: Qualitative Research Framework (Inductive Reasoning) - in-depth interviews - participant observations - focus group *remember that this is the dissertation research model and not what you want to do in the studio. The dissertation part should be at the reasoning as to why such research methods are considered, writing to persuade the reader that your study works. >> Food-for-thought: At this point, there is a need to reconsider the inquiry to the thesis statement. Because there exists no concrete framework to which Critical Design can be established on, there is a need to critique existing frameworks out there that falls under the strain of Critical Design to see what is to be learnt from them, then considering whether there is a need for new frameworks and to justify why this is needed at all.

WEEK 3 – DISSERTATION CLASS Progress and Reflections After the presentation class, I felt that the presenters had done sufficient work in their areas of research but lacked clear and succinct fields of argument that strengthens their key thesis statement. There were many suggestions made about shifting a point of perception to look at the many inquiries that have been made and provoke different trains of thought for unique insights that otherwise would’ve gone unnoticed. Such practice is important and the sustaining of a heart of resolution and dedication to the topic of research interest that you have chosen is important, otherwise the next year of work would really turn into a dry season of unharvest. That said, these are learning points in which I can apply to my own areas of thesis research and pose good stance of questions in which I can apply to my project. --- After reviewing the steps Dr. Harah had gone through, there exists a question: In the EXF framework, Ethnographic literally refers to mapping out future visions. What is Ethnographic about the EXF model despite it not being data? (Because essentially you are gathering their future visions, and your research is not situated in their actual area and observing their practice over long periods of time to contextualise what information is needed). Is this framework still relevant then?

WEEK 3 – STUDIO CLASS After the check-in for the collateral in which we designed for, the following feedback were mentioned:  • iterations as improvements at the back of your head as improvements  • it is okay to struggle, addressing the struggles step by step  • interviews should happen when you understand enough of the subject matter and pry at the gaps  • despite the struggle exists good practices within students: - categorisation of knowledge found - identifying problems in categories and sorting information - embodied research: visual translation of research; not just reading about it - attempting analysis - questioning definitions: Why do people not understand your topic? What can you do to make sense? - appropriate mediums: videos, tools

WEEK 3 – STUDIO CLASS C onten t Sketching/Planning

WEEK 3 – STUDIO CLASS Website

WEEK 3 – STUDIO CLASS Feedback

WEEK 3 – STUDIO CLASS Progress and Reflections ON BUILDING THE WEBSITE: Due to the familiarity with the nature of using portfolio/ webhosting websites, I was able to navigate the use of Cargo 2 quite efficiently. However, the new interface as compared to Cargo 1 was of a learning curve that I had to battle at the start. It came with practice, and later on when I am familiar with the use of the web interface alot of it was then based on intuition. However, there are some forms of coding in CSS and HTML that I wanted to achieve but wasn’t familiar with; I ended up looking on sites like W3Schools for tutorials on how to make certain functions within the site work. As for the general art direction of the website, it was brought over from the key visual that I had done for the proposal slides. I felt that the KV was still apt in its use here for it literally had a skull and was reminiscent of anthropology. The aesthetic of the KV was decided based on a collateral that I had found, and was later appropriated with a similar visual treatment in the actual KV. This selection of reference image wasn’t spontaneous, it was through many visuals that I’d seen whilst during the internship that I knew exactly what kind of font and visual treatment would go into the KV, just that the image made perfect sense for such.

‘PIN-UP’ FEEDBACK: Specific to my design brief, the following feedback were mentioned:  • Specify Target Audience I feel that all the while my design brief’s target audience has been unclear, but for now the thesis’ design brief targets local-millennial graphic designers, whilst my design project targets millennial Singaporeans who are active about change and care enough about the environments they live in (context: anthropocene).  • Visual representations of research instead of copy (images, diagrams, schemas) This is definitely something I would work towards.  • Comparisons of frameworks, draw out patterns, similarities, pros and cons (dissertation) Mentioned several times by Stan, I didn’t manage to do this because of the fear of doing wrong interpretations of what was needed. Now that I’ve seen Eunice’s mode of comparison, I have something to work off and am now more confident in how to carry out the comparison.  • Clarify that it is different from the topic of dystopia on climate change I’ve read on Critical Design as a practice and the topic of dystopia on Climate Change is a challenging one. I will list the following resource as exemplifying such: ... continued on next page

WEEK 3 – STUDIO CLASS Progress and Reflections Negative opinions on critical design, however, are not limited to a complete disapproval of the practice as such. Also the supporters of critical design reproach the attitude of certain designers for being inappropriate, considering the global environmental issues, such as food and water scarcity, limited access to education and health care and even life threatening conditions in many places of the world. Such accusations appear valid when the supposedly dystopian fictions, depicted in the projects, resemble too much the actual reality somewhere else in the world. This is the case, for example, in the project ‘Republic of Salivation’ by M. Burton and M. Nitta, where the designers “contemplate what could happen if our society were confronted with food shortages and famine” and offer a dystopian and rather cynical vision of a food distribution system for those circumstances. Similar reasoning is either uninformed, considering that millions of people worldwide face food scarcity on daily basis; or, even worse, elitist, since this ‘fiction’ implies that those undernourished people are not part of “our society”. – Jakobsone, Critical Design as Approach to next Thinking    • how to make the design more humanistic? (PD methods of research models? Why use PD? Is it to make it more inclusive?) Yes! Consolidated and optimised models that will be studied in the thesis will be implemented in this design section to allow for more inclusion with surveying the target groups.

WEEK 4 – DISSERTATION CLASS This week’s class involved Design Critic Justin Zhuang in providing some tools for design research. Justin Zhuang runs agency In Plain words and is trained in Journalism with an MA in critical research and critical thinking. His works are mostly within the Singapore deign scene context, and are interested in things that are designed/not designer, forgotten ideas of what design is/ beyond product but more of the process and consequences. In his project Reclaimed Land, the narrative of having not enough space in Singapore is key. Zhuang reframed the idea of reclaimed lands by seeking examples on the street and is curious about the everyday and spotting trends/anything interesting; he literally walked the city as a form of ethnographic research. By doing so he understood typologies of street hawkers and was able to analyse the study in these few areas: • History • People profile • What they need in today’s context • Similarities within the different types of street hawkers • The key state agencies involved • Drafting a larger context <for e.g. street hawking and skateboarding and the illegal use of space as defined by the state>

WEEK 4 – DISSERTATION CLASS In the same sense, there is need to understand typologies of operating as a designer (specific to your thesis topic). Finding an appropriate frame for the progression of your research is important as it helps guide the process. The steps Zhuang has recommended are as follow: • Collecting Case Studies • Classifying/Categorising them • Mapping Context (larger forces) • Studying them as a typology • Reviewing existing works/literature All in all, what is it that you’re going to bring to the table that is different?

Interviewing as a tool 1. Who to speak to? - off relevant case studies? - an expert in the subject? - gather different perspectives? (Note: send out invites early!) 2. Planning for your interview - Why interview him? - What new information do you hope to learn? - Has they covered these info in a report/study they’ve done before? - Plan the interview according to time and respect the time - Take not of what is said and not said 3. Interviewing - Start with more general questions then into more specific ones - Be strategic and ask challenging questions later - Ask for examples - Offer your own opinion and listen for clarification - Ask for other Recommendations Mapping Research • How do your case studies relate to one another? • Who are the key individuals and organisations around your topic? • In what ways does your research add to key texts about the topic? • How does your topic relate to the field of design? Is there a past/ future trend it can speak to?

WEEK 4 – DISSERTATION CLASS Progress and Reflections Through this I realised that perhaps stepping outside of my comfort zone and taking up face-to-face interviews might be a challenge that I want to take up. There is definitely more authenticity and genuine exchange of research. I learnt that we need to justify why the interviewees are relevant to our research by relating to the writings that they’ve written and the kind of roles that they hold. I’ve also learnt the importance of respecting the conditions of the interview. Following such would be justifying the results of the findings by either credibility of the interviewees or testing it with the target audience. There is also a need to be extremely clear with my definitions; this will be a factor that comes into play when writing my RPO and dissertation. Stanley also reinforced the point about actually starting to do things! Especially for me when I have somehow subconsciously put comparing the frameworks behind me for some weeks now. Stanley also suggested two things: For dissertation: a framework about critiquing the chosen methods that I should look at for now: Theory + Scenarios of Applications of frameworks / People Critiquing on the frameworks (they are good/bad because…?) + Their successes and failures For Studio: Stanley has also mentioned that I need to simplify the information that I have on hand but not dumbing things down, perhaps starting with defining key definitions to key terms.

WEEK 4 – STUDIO CLASS Research Track Workshop The first section of the workshop will touch on skills & ways of thinking and making, for techne literally means way of thinking, making and studying people’s way of thinking. Téchnê: standard Greek word for both a practical skill and for a systematic knowledge or experience which underlies it, translatable to ‘craft’, ‘skill’, ‘technique’, ‘method’ or ‘art’. Techne exists as Poesis (to make, create or bring forth: e.g. how we know certain things by intuition is because we’ve played with them before), and Khresis (to manipulate, move or form materials or tools: e.g. the use of interface). 1. Method: on investigating a method of making/craft 2. Materials: exploring materials 3. Tools: Developing your own tools in helping your making

WEEK 4 – STUDIO CLASS Research TrackWorkshop The work process includes five steps. They are Techne involving a starting point, which is where the practice lies: of named procedures and cycles of repeating it again and again. The stability of the activity means possibilities to abstract theories of practice from it.