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Papers by vibeke riisberg
Proceedings of the 11th European Academy of Design Conference, 2015
Design School Kolding University of Southern Denmark University of Southern Denmark Design School... more Design School Kolding University of Southern Denmark University of Southern Denmark Design School Kolding alb@dskd.dk mnf@sdu.dk hacj@sdu.dk vri@dskd.dk The paper is a contribution to building a research discourse and methodology across disciplines. Taking design aesthetics as our theme, we present and discuss a research framework with roots in the interest in aesthetics within the humanities but aimed at producing research perspectives across design practice, the humanities and the social sciences. The initial research question is a meta-question contesting the relevance of the concept of design aesthetics in design research in terms of the interest in practice methodology within design practice, the interest in understanding the object within the humanities and the interest within the social sciences in investigating patterns and aspects of consumption. The research frame is guided by two aims: (i) to enable specific research interests by looking at possible combinations of empirical material and phenomena (processes, objects, contexts) and speculative settings of employed concepts, and (ii) to investigate the methodological setting of how the research frame may be engaged in an overall framework of aesthetics while the participants simultaneously operate with the particular interests of their disciplines. After a presentation of the concept of design aesthetics, we discuss the methodological and theoretical setting of the framework and its visualization in a model and present two projects which in different ways engage and explore design aesthetics: (i) the role of tactile sensing in textile design in relation to the articulation of aesthetic qualities for both designers and consumers and (ii) a critical-analytical project investigating different levels of aesthetics in design and the role of their specific cultural setting.
11th EAD Conference Proceedings: The Value of Design Research, 2016
Artifact, 2015
Throughout the scales of design there has been an exploding interest in the ornament that seems t... more Throughout the scales of design there has been an exploding interest in the ornament that seems to be fuelled by different kinds of digital technology and media from CAD to digital printing in both 2D and 3D. In architecture and industrial design, it is discussed as a "return of ornament" because the aesthetics of Modernism banned ornamentation as "inappropriate" to materiality, construction, and function. In this article we wish to renegotiate this highly normative notion of appropriateness with special regard to sustainable design where the "right" kind of ornaments can mediate attention to more aesthetic and cultural dimensions and open for stronger individual attachments to consumer goods that might prolong their lifespan. Adolf Loos, who led the fight against ornament in the early 20th century, based his critique on an assumption of relation between ornamentation and durability that makes ornaments appropriate or not. This leads us to suggest an array of parameters that point out different situations and meanings of ornamentation: Product categories, Durability of materials, Styles, Aesthetic experience, Emotional attachment and Historical references. We discuss these parameters in cases from fashion and tableware to architecture and link ornamentation to the aesthetics of durability.
An important element in design education is to prepare students for the reality of the profession... more An important element in design education is to prepare students for the reality of the profession.
Often these students question their ability and power to infl uence industry and
commerce, especially when it comes to proposing innovative and sustainable solutions.
This paper discusses how the notion of design responsibility can be integrated in design
education, describing ways of training and encouraging students to become responsible
and sustainability-oriented designers. Using examples from the curriculum of the Kolding
School of Design in Denmark, we make a case for employing both practice-based and
theory-based learning approaches to promote a critical and refl ective design practice. Furthermore,
we argue for the value of teaching design responsibility to imbue design students
with the knowledge and confi dence that sustainable design thinking and the designer can
make a difference.
Sustainable Development, 2010
An important element in design education is to prepare students for the reality of the profession... more An important element in design education is to prepare students for the reality of the profession. Often these students question their ability and power to influence industry and commerce, especially when it comes to proposing innovative and sustainable solutions. This paper discusses how the notion of design responsibility can be integrated in design education, describing ways of training and encouraging students to become responsible and sustainability-oriented designers. Using examples from the curriculum of the Kolding School of Design in Denmark, we make a case for employing both practice-based and theory-based learning approaches to promote a critical and reflective design practice. Furthermore, we argue for the value of teaching design responsibility to imbue design students with the knowledge and confidence that sustainable design thinking and the designer can make a difference. Copyright © 2010 John Wiley & Sons, Ltd and ERP Environment.
Conference Presentations by vibeke riisberg
What’s Going On? – Global Fashion Conference 2018, 2018
This paper presents an emergent systemic context in a current research project in which the autho... more This paper presents an emergent systemic context in a current research project in which the authors are engaged. The research investigates the design of service-systems that facilitate the evolution of garments through multiple-use lives made possible with the strategic integration of textile decoration, built up in complexity over time, such as digital printing, over-dyeing and embroidery. The projects asks: What if a shirt were designed from the beginning as an integral part of a fashion service system? What if the design of both the product and the system enabled the object's aesthetic to evolve over time? The authors propose a system for iterative surface decoration of garments over time, as an alternative to purchasing additional garments to satisfy desire. Design for partial disassembly is a key aspect of this service-system. The authors argue that a rethinking of the current economic and business systems is required for such a service-system to flourish. Findings from the project so far are pointing to further research questions: What ramifications does an evolving aesthetic have for the role of fashion and textile designers, particularly if multiple designers drive the evolution over a period of time? What are the implications for the relationship between the designer and user in such a service-system? The authors speculate on various business models that would support these design-led approaches, including a sold product-service system, a leased product-service system, lease-to-buy, sold for DIY customization, and informal shared use. The project speculates on factors to make such a system commercially replicable within a post-growth economic system. New language is required in such a systems redesign and the paper makes some propositions in this respect.
Proceedings of the 11th European Academy of Design Conference, 2015
Design School Kolding University of Southern Denmark University of Southern Denmark Design School... more Design School Kolding University of Southern Denmark University of Southern Denmark Design School Kolding alb@dskd.dk mnf@sdu.dk hacj@sdu.dk vri@dskd.dk The paper is a contribution to building a research discourse and methodology across disciplines. Taking design aesthetics as our theme, we present and discuss a research framework with roots in the interest in aesthetics within the humanities but aimed at producing research perspectives across design practice, the humanities and the social sciences. The initial research question is a meta-question contesting the relevance of the concept of design aesthetics in design research in terms of the interest in practice methodology within design practice, the interest in understanding the object within the humanities and the interest within the social sciences in investigating patterns and aspects of consumption. The research frame is guided by two aims: (i) to enable specific research interests by looking at possible combinations of empirical material and phenomena (processes, objects, contexts) and speculative settings of employed concepts, and (ii) to investigate the methodological setting of how the research frame may be engaged in an overall framework of aesthetics while the participants simultaneously operate with the particular interests of their disciplines. After a presentation of the concept of design aesthetics, we discuss the methodological and theoretical setting of the framework and its visualization in a model and present two projects which in different ways engage and explore design aesthetics: (i) the role of tactile sensing in textile design in relation to the articulation of aesthetic qualities for both designers and consumers and (ii) a critical-analytical project investigating different levels of aesthetics in design and the role of their specific cultural setting.
11th EAD Conference Proceedings: The Value of Design Research, 2016
Artifact, 2015
Throughout the scales of design there has been an exploding interest in the ornament that seems t... more Throughout the scales of design there has been an exploding interest in the ornament that seems to be fuelled by different kinds of digital technology and media from CAD to digital printing in both 2D and 3D. In architecture and industrial design, it is discussed as a "return of ornament" because the aesthetics of Modernism banned ornamentation as "inappropriate" to materiality, construction, and function. In this article we wish to renegotiate this highly normative notion of appropriateness with special regard to sustainable design where the "right" kind of ornaments can mediate attention to more aesthetic and cultural dimensions and open for stronger individual attachments to consumer goods that might prolong their lifespan. Adolf Loos, who led the fight against ornament in the early 20th century, based his critique on an assumption of relation between ornamentation and durability that makes ornaments appropriate or not. This leads us to suggest an array of parameters that point out different situations and meanings of ornamentation: Product categories, Durability of materials, Styles, Aesthetic experience, Emotional attachment and Historical references. We discuss these parameters in cases from fashion and tableware to architecture and link ornamentation to the aesthetics of durability.
An important element in design education is to prepare students for the reality of the profession... more An important element in design education is to prepare students for the reality of the profession.
Often these students question their ability and power to infl uence industry and
commerce, especially when it comes to proposing innovative and sustainable solutions.
This paper discusses how the notion of design responsibility can be integrated in design
education, describing ways of training and encouraging students to become responsible
and sustainability-oriented designers. Using examples from the curriculum of the Kolding
School of Design in Denmark, we make a case for employing both practice-based and
theory-based learning approaches to promote a critical and refl ective design practice. Furthermore,
we argue for the value of teaching design responsibility to imbue design students
with the knowledge and confi dence that sustainable design thinking and the designer can
make a difference.
Sustainable Development, 2010
An important element in design education is to prepare students for the reality of the profession... more An important element in design education is to prepare students for the reality of the profession. Often these students question their ability and power to influence industry and commerce, especially when it comes to proposing innovative and sustainable solutions. This paper discusses how the notion of design responsibility can be integrated in design education, describing ways of training and encouraging students to become responsible and sustainability-oriented designers. Using examples from the curriculum of the Kolding School of Design in Denmark, we make a case for employing both practice-based and theory-based learning approaches to promote a critical and reflective design practice. Furthermore, we argue for the value of teaching design responsibility to imbue design students with the knowledge and confidence that sustainable design thinking and the designer can make a difference. Copyright © 2010 John Wiley & Sons, Ltd and ERP Environment.
What’s Going On? – Global Fashion Conference 2018, 2018
This paper presents an emergent systemic context in a current research project in which the autho... more This paper presents an emergent systemic context in a current research project in which the authors are engaged. The research investigates the design of service-systems that facilitate the evolution of garments through multiple-use lives made possible with the strategic integration of textile decoration, built up in complexity over time, such as digital printing, over-dyeing and embroidery. The projects asks: What if a shirt were designed from the beginning as an integral part of a fashion service system? What if the design of both the product and the system enabled the object's aesthetic to evolve over time? The authors propose a system for iterative surface decoration of garments over time, as an alternative to purchasing additional garments to satisfy desire. Design for partial disassembly is a key aspect of this service-system. The authors argue that a rethinking of the current economic and business systems is required for such a service-system to flourish. Findings from the project so far are pointing to further research questions: What ramifications does an evolving aesthetic have for the role of fashion and textile designers, particularly if multiple designers drive the evolution over a period of time? What are the implications for the relationship between the designer and user in such a service-system? The authors speculate on various business models that would support these design-led approaches, including a sold product-service system, a leased product-service system, lease-to-buy, sold for DIY customization, and informal shared use. The project speculates on factors to make such a system commercially replicable within a post-growth economic system. New language is required in such a systems redesign and the paper makes some propositions in this respect.