Workshop with Designmuseum Danmark
This Tuesday, the day had finally arrived for my final workshop, with participants from Designmuseum Danmark. The workshop was designed to complete my three stage research process, but as it turned out, we got so engaged in the discussion that we ended up scheduling yet another workshop in a month’s time in order to be able to continue the debate. I am really happy with this outcome, not only because it means that will get a richer/fuller material for my continued research (and will still be able to complete my research this side of summer), but also because it reflects that the discussion was valuable for the participants too.
The purpose of the workshop was to uncover the museum professionals’ view on the possibilites for and problems in framing fashion outside the museum with mobile media, as their perspectives will inform my continued research into the museological matters of concern related to this issue. (The intentions behind and design of my three stage research design is described in further detail in an earlier vlog post and in this short paper for the upcoming Nordes13 doctoral consortium: Researching museum matters through design).
I had therefore invited a group of people who all have a stake in the museum’s strategies for mediation of fashion: Kirsten Toftegaard, chief curator of fashion and textiles; Nikolina Olsen Rule, head of communications; Laura Liv Weikop, PhD student researching the multisensory museum, and Marie Riegels Melchior, fashion researcher and curator. Apart from drawing on their professional insights, I asked that they would also speak from their personal experience and preferences, partly because the personal perspective relates more closely to the user experience and objectives, and partly because I believe that the two can never be separated anyway, that as professionals we will always have a personal bias. Thankfully, if unsurprising given their passionate professionalism, the participants engaged wholeheartedly in the discussions, and I am really grateful for the thoughts, ideas and insights that they shared in the workshop. However, I have yet to transcribe the recordings and start my analysis, so I will not be sharing the outcome in this post.
In the workshop, I also shared some of my insights obtained in the first stage of the research process, involving prospective users via interviews, cultural probes and a workshop. In order to operationalise the user perspectives for this second workshop, I had generated personas from the four participants in Workshop I, distilling their (obviously more complex) viewpoints into key objectives and interests. Their views, ideas and reservations were further represented in probe materials and quotes, which triggered some interesting questions and reflections from the professionals.
As for the concept sketches, devised to evoke a meaty debate, they took on a different form from what I had initially envisioned.
Having explored and considered a vast range of options for and implications of alternative forms of mediation, I found it hard to narrow down the ideas I wanted to discuss to a few completed concepts, as had been my plan. Furthermore, I was aiming to strike a balance between the need for open-endedness – heeding both the ethos of critical design and a general rule of thumb for participatory design processes stating that the rough sketch is a better starting point for criticism and co-creation than the polished prototype – and the allure and rhetorical strength of aesthetics (see Lenskjold 2009‘s descriptions of Dunne & Raby’s use of ‘visually stunning representations’ of noir designs); that is, a balance between retaining and relinquishing control over the discussion I wanted to stage. And finally, following an inspiring meeting a few months back with Isabel Froes, interaction designer and design researcher at ITU, who had also co-supervised my master thesis, I kept thinking about how the workshop design itself was also a crucial aspect of the process.
In the end, I came up with a solution which I believe served my purpose really well. Rather than designing two or three final concepts, I broke down the multiple solutions into concept elements, each represented by an image and printed onto card, which could be combined and interchanged in order to form a variety of scenarios.
As I started to work deeper into this concept, elaborating on potential scenarios and designing the cards, it suddenly struck me that what I making was maybe some sort of design game, an approach explored by Eva Brandt, amongst others. Getting very close to the workshop, I only read a single article on design games by Brandt (2006), confirming the kinship but not having the time to really let these new perspectives inform my design, but I will definitely look further into this field, to see if that may be a relevant way to contextualise and explain my concept.
An example scenario could be fashion item/icon (subject for mediation) + shop (purchase as trigger situation) + QR code (as placed on sales tag) >> content of QR code? (question).
The scenario as a whole can then be used as a starting point for debate (e.g. discussing the possibility and relevance of leveraging a fashion purchase situation for museum mediation). But also the individual elements can be scrutinised or substitued, sparking new questions related to the same issue (e.g. does it matter which item or brand would the subject; what other trigger situations could be envisaged; what are the pros and cons of and alternatives for the QR code etc).
For the workshop, I had collated a series af scenarios, each exploring different situations or paradigms, but was also able to change and elaborate on them to follow the flow of the conversation. As mentioned above, this format worked well for this workshop, and I look forward to taking the discussion further in the next workshop.