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Rethinking Design
Thinking: Part II
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Lucy Kimbell
Lucy Kimbell
Introduction
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Lucy Kimbell
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The first highlights how practices are understood as (re)configurings of the world through which the determination of boundaries,
properties, and meanings is differentially enacted (Barad 2007: 148).
A practice is a dynamic, local accomplishment in which multiple and
different kinds of actor are woven together in artful integrations
(Suchman 1994). For Karen Barad (2007: 152), the material and the
discursive are mutually implicated in the dynamics of intra-activity.
This approach avoids established dualisms between subject/object,
nature/culture, and body/mind. Instead, for Barad, the primary ontological unit is phenomena, which she defines as produced through
complex agential intra-actions of multiple, material-discursive practices or apparatuses of bodily production (Barad 2007: 140). In
this way of thinking about what makes up the world (ontology) and
how we can know it (epistemology), Barad and others start from a
position in which it is through practice that the sociomaterial world
is constituted. Practice theory offers a way to see design activity as
distributed across a number of different people and artifacts that
together enact designing and designs.
A second aspect is how structures such as designs are
constituted in practice, as described in numerous studies of technology design and development (e.g. Suchman 1987; Hutchins 1995;
Barley and Kunda 2001) but also media (e.g. Hall [1977] 1992). In
her study of the use of Lotus Notes software, for example, Wanda
Orlikowski (2000) showed how technologies are constituted in different ways by users practices. She found that, as they interact with a
technology in their ongoing practices, people enact structures which
shape the emergent and situated use of that technology. She found
that technology-in-practice can vary considerably in the ways
structures are routinely encoded. When people use a technology,
they draw on the properties comprising the technological artifact,
those provided by its constituent materiality, those inscribed by the
designers, and those added on through previous interactions (410).
The contribution of this study was to show that structure is not
located in organizations, or in technology, but is enacted by users
in practice.
The third aspect of practice theory on which I will draw is the
attention paid to the role of objects in constituting practices, echoing
work by scholars attending to the materiality, matter, and objects in
a range of disciplines. Key contributions include anthropology (e.g.
Appadurai 1986; Gell 1998; Miller 2010), studies of science and
technology (e.g. Latour 2005; Barad 2007), and philosophy (e.g.
Harman 2009). As Reckwitz describes: For practice theory, objects
are necessary components of many practices just as indispensable
as bodily and mental activities. Carrying out a practice very often
means using particular things in a certain way (Reckwitz 2002: 252).
Paying attention to objects, be they objects in the natural world,
instruments, or objects produced within a knowledge practice is for
Karin Knorr Cetina (2001) a way of making a distinction between a
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what design is. So how does it make sense not to explore the
resources offered by practice theory? Design-as-practice mobilizes
a way of thinking about the work of designing that acknowledges
that design practices are habitual, possibly rule-governed, often
routinized, conscious or unconscious, and that they are embodied
and situated.1 What designers know, do, and say is constituted by
and co-constitutes what is possible for designers to do, know, and
say (and what is not possible for them in particular places and at
particular times). An attentiveness to practice orients the researcher
to how knowing, doing, and saying constitute and are constituted in
relation to other elements of a practice. Further, what designers do,
know, and say is contingent and has changed over time, nor are the
doing, knowing, and saying constituted through practice the same
everywhere (Margolin 2002). Design-as-practice cannot conceive of
designing (the verb) without the artifacts that are created and used
by the bodies and minds of people doing designing. This way of
thinking of design sees it as a situated and distributed unfolding in
which a number of people, and their knowing, doing, and saying,
and a number of things, are implicated.
This moves the unit of analysis away from oppositions between
individual skill or knowing (e.g. Schn 1988; Cross 2006), or organizational competence (e.g. Bauer and Egan 2008), to a set of
material and discursive practices which are enacted during design
activity. Design-as-practice avoids the contradictory accounts of
design that see it as a rational problem-solving activity (e.g. Simon
1996) or as something concerned with generating new ideas (e.g.
Boland and Collopy 2004) or creating meanings (e.g. Krippendorff
2006; Verganti 2009). It acknowledges the work done by professional designers in these practices, but also opens up design to
others, such as managers and employees in organizations, and also
customers, end-users and others who, through their practices, also
take part in design.
The second concept is designs-in-practice. Designing is already
understood to be a thoroughly social process (e.g. Schn 1988;
Bucciarelli 1994). Like Orlikowskis (2000) technologies-in-practice,
this term acknowledges the emergent nature of design outcomes
as they are enacted in practice. It takes the plural noun form of
design, which can mean the outputs created during a process of
designing, such as blueprints, models, specifications, and what is
finally assembled in products and services. The term designs-inpractice draws attention to the impossibility of there being a singular
design. But it is not sufficient to study what the designers and others
involved in the designing process think and say and do. Drawing
on practice-oriented consumption theory (e.g. Shove and Pantzar
2005; Warde 2005; Ingram et al. 2007; Shove et al. 2007), the
concept of designs-in-practice foregrounds the incomplete nature
of the process and outcomes of designing (Garud et al. 2008).
When the designers have finished their work, and the engineers and
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Designs-in-practice
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Lucy Kimbell
Figure 1
This photograph, taken by a designer during a site visit to a pharmacy, shows
how the pharmacy assistant organized the test kit when carrying out a smoking
cessation service. Photograph: live|work. Courtesy University of Oxford.
Design-as-practice
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Some days after the visit to the pharmacy, the designers spent
several hours working together in their studio, which was filmed by
a cameraperson and in which I was participant-observer (Figure 2).
On the wall, the designers assembled photographs, print-outs from
the service website, and other materials connected with the service
to create a narrative of the customer journey from the perspective
of the service user, a technique developed in services marketing.
Overlaying this with annotated sticky notes, the two designers who
had visited the pharmacy were joined by a colleague. Together, the
three designers undertook a critique of the service. Their discussion
ranged from considering specific touchpoints, the name they gave
to artifacts connected with the service, such as the poster in the
pharmacy window, to the goals and strategy of the firm offering the
service, the pharmacies involved in delivering it and their resources,
and discussion about how smokers went about giving up smoking.
This was an extensive although unstructured conversation drawing
on tacit knowledge about what constitutes a good service experience
(Bate and Robert 2007), with references to other kinds of consumption and service. Their working was shaped by these designers
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Figure 2
Video stills from participation-observation of the practices of service designers
from the consultancy live|work in their London studio. Video stills by Oxford
Academy of Documentary Film. Courtesy University of Oxford.
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Discussion
In an earlier essay in this journal (Kimbell 2011), I explored interest in the term design thinking at a time when designers ways
of knowing and working were being adopted within management
fields (e.g. Martin 2009). I situated this development in a context of
professional designers becoming a creative class (Florida 2002) of
privileged cultural intermediaries (Nixon and Du Gay 2002) within a
dynamic, mediatized economy in which production, consumption,
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Lucy Kimbell
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Some Implications
For design research and practice, the practice-theoretical approach
means that designers no longer have to make arguments about
why stakeholders or end-users should be at the center of design.
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Lucy Kimbell
Conclusion
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This paper has explored theories of practice to see how they might
support a deeper understanding of design activity and designers
expertise. Practice theories see the locus of the social not at the
level of individuals and their minds, or in organizations and groups
and their norms but as a nexus of minds, bodies, things, institutions,
knowledge and processes, structure and agency. For practice theor
ists, these elements are woven together into routines and structures
that together co-constitute the sociomaterial world. The papers
contribution is to propose a new pair of concepts to describe and
analyze design activity that acknowledge the work done by many actors in constituting designs relationally in practice. I have argued that
this helps us rethink design thinking and avoid some of the problems
that have emerged in previous literature. Using a practice approach
re-conceives of design activity as linking both what designers do,
know, and say, with what end-users and other stakeholders do,
know, and say, acknowledging the materials and objects that are
part of these activities and at the same time attending to the discursive practices that make possible particular ways of doing, knowing,
and saying, but exclude others.
Acknowledgments
1. There are of course similarities with Paul du Gay et al.s description of the Sony Walkman (1997), Stuart Halls ([1977] 1992)
discussion of the production, circulation, distribution, consumption, and reproduction of media, and Appadurais (1986) object
biographies. But here I synthesize these related endeavors into
a formulation that focuses in particular on the relation between
designers work and designed things and the practices in which
they are realized.
2. This research was supported by an award from the Designing
for the 21st Century initiative of the UK Arts and Humanities
Research Council and the Engineering and Physical Sciences
Research Council.
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Notes
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