Field Study 2 is designed to introduce students to field research techniques tailored for designers. The course provides an in-depth exploration of the principles and practices of design ethnography, equipping students with the skills needed to gather, analyze, and synthesize qualitative data in real-world contexts. Emphasizing a hands-on approach, the course encourages active participation in field research activities, fostering a deeper understanding of user needs, behaviors, and cultural contexts as they relate to design.
Learning Outcomes:
By the end of this course, students will be able to:
Understand and apply fundamental principles of design ethnography in various contexts.
Design and execute field studies using appropriate qualitative research methods such as interviews, observations, and participatory techniques.
Analyze and interpret ethnographic data to derive actionable insights for design innovation.
Develop empathy-driven design solutions based on the lived experiences and cultural nuances of users.
Critically evaluate the ethical considerations and challenges associated with conducting field research.
Reference Books:
Blomberg, J., Burrell, M., & Guest, G. (2009). An Ethnography Primer. Morgan & Claypool Publishers.
Salvador, T., Bell, G., & Anderson, K. (1999). Design Ethnography. Xerox PARC.
Pink, S. (2013). Doing Visual Ethnography: Images, Media, and Representation in Research. Sage Publications.
Norman, D. A. (2013). The Design of Everyday Things: Revised and Expanded Edition. Basic Books.
Recommended Websites:
Interaction Design Foundation - Field Study & Ethnography
Design Research Techniques - A comprehensive collection of design research methods.
Nielsen Norman Group - Articles and insights on ethnographic research methods.
- Teacher: Dhriti Dhaundiyal
This course comprises a documentation of a subject pertaining to design, craft, culture, and related themes. The course aims to present any design research topic within a comprehensive framework, elucidating its pivotal role as a reflective lens on society and culture. The investigation is expected to encompass the cultural, social, economic, and material dimensions inherent in the chosen topic. The course additionally emphasizes the structuring of research endeavors and their articulation in a cohesive manner. The ultimate deliverable is envisaged in the form of a tangible report, booklet, brochure, or equivalent format.
- Teacher: Dhriti Dhaundiyal
Product design is an iterative process. Models are a critical part of that process. It is imperative that a
single tangible representation of the product that has to be mass produced is made so that one can
touch, feel, test and evaluate the way the final product will actually look, work and interact with its
environment. The goal of this course is to study, understand and explore techniques of this tangible
representation, also known as prototyping. Modeling concepts, types of prototypes, prototyping
cycles will be covered. The students will be introduced to soft prototypes, 3D quick models,
paper and quick mock up models, principle models etc. Interactive prototyping methods and
introduction to rapid prototyping should also be explored. Students should gain the skills to evaluate
a design and decide how best it can be simulated in real life using available materials and resources.
- Teacher: Dhriti Dhaundiyal
The history of design is more than a chronology from the Arts & Crafts movement to postmodern design. It needs to be studied through analysis of services, interactions, policies, institutions and socio-technical systems, as well as physical objects and spaces – alongside more conventional historical methods to generate new perspectives on large historical questions. A complete history of design includes fashion and textile history, architecture, science and technology, the material culture of politics and the everyday, making/craft, practice-based history and global history through material culture. The focus is on the acts of production and consumption. Some eras of design history are excusive but most are derivative of other social and artistic movements that were ongoing at the time. In countries like India, design has been an offshoot of the indigenous culture and cultural traditions. After this module, students should be able to identify and differentiate different design eras with their artefacts and iconic figures. They should be aware of the design tradition in India and its uniqueness.
HISTORY-of-GRAPHIC-DESIGN.JPG- Teacher: Dhriti Dhaundiyal