This book introduces an emerging domain of design research that is of immense interest today, not only to the academic design research. Convivial Toolbox: Generative Research for the Front End of Design Paperback – January 8, Liz Sanders: Liz Sanders is the founder of MakeTools aracer.mobi, a company that explores new spaces in the emerging design landscapes. Liz speaks about and offers learning. Book Details Author: Liz Sanders,Pieter Jan Stappers Pages: Binding: Paperback Brand: Bis Publishers ISBN: Description Generative design research is an approach to bring the people we serve through design directly into the design process in order to ensure.
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new PDF Convivial Toolbox: Generative Research for the Front End of Design Full Online, new PDF Convivial Toolbox: Generative. Convivial Toolbox book. Read 6 reviews from the Convivial Toolbox: Generative Research for the Front End of Design Is there a full pdf version to this book?. [PDF] Convivial Toolbox: Generative Research for the Front End of Design DOWNLOAD NOW: aracer.mobi [PDF] Convivial Toolbox.
James Kalbach. Are We Human? Notes on an Archaeology of Design. Beatriz Colomina. Universal Methods of Design: Bruce Hanington. Succeed in design by knowing your clients and understanding what they really need.
About the Author Liz Sanders: Read more. Product details Paperback: English ISBN Tell the Publisher! I'd like to read this book on Kindle Don't have a Kindle? Share your thoughts with other customers. Write a customer review. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now.
Please try again later. Paperback Verified download. Quite spectacular in terms of its relevance, detail and examples. Feeling pretty darn silly that I just now discovered this gem that's been in print for 3 years. I am glad this book focuses primarily on the generative side of research because there are a bunch of books out there that topically cover research and you don't really get anything from them that you can understand how to use in practice.
It has plenty of case studies so readers can understand the context of how each method and tool was used, from academic novice use all the way to expert industry use. This is an excellent book.
Fantastic collection of very relevant, immediately applicable ideas for your Design Thinking toolbox - I find that it enriches your ethnographic research competencies and opens up interesting possibilities - while offering innovative approaches that one may not have been exposed to; Overall, an excellent resource!
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Great book for design research. Must read. This is an excellent resource for practitioners looking to understand generative research techniques.
Liz's breadth and depth and her inclusion of real-world case studies make this book relevant throughout a design research engagement.
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In other words, people may not practice what they preach, and the views they express may be biased by a basic inclination to please the interviewer. Or they may express views to make themselves look better than they actually are. And worse yet, they might express views to deliberately sabotage the research findings.
There are several dimensions along which to take a position when considering Say techniques. Interviews can be one-on-one, but there are many variations, both regarding the number of interviewers and the number of interviewees. A pair of interviewers can interview a single participant, a single interviewer can facilitate a group of participants, and sometimes participants are given tools with which to interview each other.
Some interviews are no more than interactive questionnaires, with the interviewer guiding the interviewee through a fixed set of questions. A less fixed form can be an interview where the interviewer has a list of focus points ready, or even an open-ended interview with very little demarcations beforehand.
The media dimension also describes how the Say techniques are documented including audio-recording, videorecording, or note-taking, etc. What people make Finally, you can have people make things to express their thoughts and feelings. The Make tools and techniques borrow from design and psychology, and involve participants by having them perform a creative act with respect to the subject under study.
An important part of generative techniques are toolkits for expression. These toolkits are carefully developed by the research team to support the participants in a pre-determined activity such as recalling memories, making interpretations and connections, seeing and explaining feelings, or imagining future experiences. Creating a toolkit that is fit for the study is a key skill and key factor to success.
Equally important as the physical toolkit is the instruction that is given to the participants, and the way the participants are supported by the facilitator.
The external contributions throughout this book also show many different examples of toolkits used in practice. Chapter 6 describes how the toolkits are put to use. The generative techniques discussed in this book rely on the creative process and usually result in the making of an artifact. In creating artifacts by engaging in an act of design, we are forced to take into account competing ideas and to resolve ambiguities to make a good enough single, embodied, solution.
This is a powerful way of reasoning, which forces confronting all ingredients in a problem, choosing even if only temporarily an idea for a solution, and making explicit statements on all its ingredients.
In this making process, important insights arise, which can be made explicit in the presentations that generally follow the creative process. For instance, dimensionality, content, and time. People can also create artifacts or scenarios that unfold over time. Ingredients of Make toolkits There is an infinite set of toolkits, and a great variety of types of ingredients. Figure 3. Elements can be 2D or 3D, words, photos or a variety of other pictorial forms, they can be abstract geometrical forms or representational manikins; each of these types has its own advantages and limitations.
Trigger sets are not generic. They are created for a specific study. The form of triggers suggests certain ways of using them, but the openness leaves great freedom to the participant to use them in expressing his or her intended meanings. The participant can choose whether or not to use all elements of the trigger set in the Make exercise. Words are powerful at expressing abstractions such as Puppets can be used to pro- symbolic meaning or emotional voke storytelling and to set the content.
Words are also good stage for exercises in empathy. Raw collections of scrap materials can be used for constructing objects or for Cartoonlike expressions embellishing rough prototypes.
They can also add an element of fun. Legos and other construction kits are also useful for prototyping concepts. For instance, a photo collection can contain pictures of places, things and people in certain states, moods, activities, or roles. A trigger is rarely characterized by a single meaning. It may suggest different meanings or ways of using it; the participant can decide which to use. For instance, a photograph of a running person can show gender male , role policeman , activity running , mood tense , feeling stress , dress uniform , function authority , and can be picked for any of these reasons by the participant.
Participants should feel free to express themselves in their own style.
Having a trigger set with a variety of aesthetics encourages them to do so. For instance, words in a word set can be presented in randomized order, colors, and fonts. Types of Make toolkits Trigger sets, together with a background and supplies such as scissors, colored markers and glue or tape form a toolkit, which is administered according to specific instructions.
As we said, the ingredients of the toolkit are important but the way you introduce it to people is equally important. Instructions for administering Make toolkits will be covered in Part Three of this book. Toolkits themselves are varied in composition, and participants vary greatly in how they will want to use the toolkits. For example, an emotional collage toolkit consists of both photographs and words. Many people will use both, but an occasional person will only use words; yet others prefer to write words themselves, or make small sketches.
Deciding where to start is often a daunting task. Seasoned teams more comfortable with this question quickly document and bucket thoughts and observations. Placing photos of participants or completed generative tools on the wall provide a starting point for the team. It provides a location for observations and thoughts to be posted and gets the analysis ball rolling. It also arranges content into the beginnings of participant snapshots or eventual personas depending on your deliverable.
As the team gets more comfortable, you can begin transitioning into capturing themes present across participants and tools. Identify themes with different colored cards or put entirely new categories on another wall.