Between the Tag and the Screen - Arkitektur- og designhøgskolen i ...

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Between the Tag and the Screen - Arkitektur- og designhøgskolen i ...

6 B C H A P T E R 4 : C O N N E C T I N G S R - R F I D A N D D E S I G NThe aforementioned perspectives on designing matter for our understandingof materials. They elaborate on how materials are a tool for inspiration aswell as production. They also show how motives are central to this in guidingdesign processes and also as something the design activity must explore.Finding motivesEarlier I asked the question: How may we describe the material-relatedactivities of industrial and interaction design? To answer this question I haveanalysed near-field materials and the conceptual material using activitytheory. I propose the conceptual material presented in this thesis may be seenas working in two directions for design. Partly it could be seen as mediatingthe development of designs in a situated design activity. In addition,conceptual materials may be seen as an object of the activity of designers,who are oriented toward development of their material-oriented repertoires.Furthermore, the concept of a material’s properties related to form-makingcan be connected to both the conception and the development of a form. Inthe process of form-making, materials may be seen as contributing in twodirections: toward the artefact to be designed and toward the designer assubject. Motives are central in both these directions. Firstly, motives areconnected to emotions that may be used in the process of interpretingmaterials in terms of possible experiences. Secondly, materials may aid thedevelopment of new motives that may move the design activity in newdirections. In both perspectives, motives are seen as a link to not onlyconceptual development, but also to conceptual development related topeople’s feelings and sense-making.This is why when making design artefacts for industrial and interactiondesign, interest lies in supporting the development of motives in addition toinstrumental support for reaching goals and the offering of conditions foroperations. The conceptual material seeks to achieve this by taking up thenotion of form-making and introducing motive level support in its structuremade up by the form-making qualities.Based on this study that has highlighted how motives play a role in the use ofmaterials, it is useful to ask whether motives, as used in activity theory, maybe positioned as a central concept in the experience-oriented designing ofindustrial and interaction designers. I propose it may be fruitful in the futureto analyse such designing in light of motive development. In doing so wemay find that at the core of designing is not problem solving, but theopportunistic processes we may address as motive finding. The concept ofmotive finding directs designers’ attention toward developing social motivesthat may lead their design activity in novel and fruitful directions. Here wemight find designers’ conscious and unconscious search for the right motivesto be considered a core design skill. This highlights designers’ ability togenerate new designs, rather than reflect upon them when they are generated.91

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