Design games as a tool, a mindset and a structure Kirsikka Vaajakallio

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Play-qualities = characteristics of design games that create the play spirit to dare take risk and bear uncertainty Design games function both as a tool as well as an attitude in codesign gatherings. play spirit Proceeding within its own proper boundaries of time and space Space is arranged for design games occasionally not se steady basis thus highlighting the temporal nature of co-desig gatherings and evolving game structure. Magic circle as physical and ideal playground The separation from “ordinary” supports explorations and enables visioning non-existing future alternatives. Free from customs of ordinary life. Utilizing event time, set time, and symbolic time enables moving between past , current and future. Works as test bed to play with consequences of alternatives. Encourages for theinterplay between real and imagined. Balance between fixed and free – action governed by rules Rules guides the overall streucture for the interaction and guides turn-taking. Rules may be well defined or looser frames or fixed elements. Fig. 28 The image summarises the chapter and illustrates three core qualities of design games drawn from games, play and performance. 131
materials. As such, design game is a flexible term that resists clear definitions; however, the term encompasses several qualities that allow one to control and manipulate the three aspects of co-design that I have been interested in from the beginning; design collaboration, the creative interplay between current practices and future opportunities, and the roles of design game materials, and which are presented in Table 3 (page 110). The table 3 on page 110 describes design games rooted in co-design practise, focusing on the design part of the term – the practice context – without being overly concerning with the game part. After extending the research into play, games and performance, I am convinced that, whereas design is the practical application context, the game part of the term refers to the desired mindset and attitude, the play spirit, in addition to the physical properties it entails. The play spirit consists of mental images, e.g. being in a magic circle, and physical things, for instance setting, rules or fixed elements, and overlaps somewhat with the design context and the tangible materials in it. Accordingly, I have started to perceive design games as a tool and a mindset for organising co-design gatherings with a special play spirit, one that supports taking risks and bearing uncertainty. The question of how these two perceptions, which include all of the above-mentioned qualities, can be utilised in practice when organising co-design projects and designing design games will be explored in the next chapters. The Play framework has been developed and discussed in light of literature and five short-term co-design cases. In showing the value of codesign gatherings as stages to momentarily engage people to contribute to the design process, they were rather independent from larger contextual structures. In order to develop the Play framework further, I will look into a full-scale design research project, where the collaboration was orchestrated around design games from the beginning. While the cases discussed so far had their design intentions connected to physical objects and surroundings, the next chapters will broaden this view into service design with stronger orientation on immaterial design opportunities. 132
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5mm Design games as a tool, a minds
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Aalto University publication series
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Chapter 3: Diving into games, play
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This thesis has been made possible
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Chapter 1 Setting the stage for co-
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When I started my research, my view
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three terms throughout the disserta
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claring my preconceptions and the w
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Setting the stage for co-design: Th
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The observational part aimed at est
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Creative interplay between current
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My research approach follows the
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The methods developed for sharing k
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Based on our experiences, we propos
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As for sharing experiences during t
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All three gatherings aimed at ident
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the core spirits and values of Desi
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The cases introduced above followed
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Creative interplay between current
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Johnston (1998/2005, p 69) has poin
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Chapter 2 Direct and indirect user
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see user experience as a complex se
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By considering users’ creative in
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material”, I continue from that b
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part of collaborative design) is, s
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the UK, and there are more market-o
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What I find worth of further studie
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According to Wright and McCarthy (2
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in its aims of eliciting inspiratio
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Contextual approaches in performing
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Above I pointed out some of the ben
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Sensitising in empathic design ofte
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example through the performance. Ma
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are intertwined: since the stage is
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ative was a story about an archaeol
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sign partners are not professional
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as inspiration and empathic underst
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happen in the magic circle that is
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action in the Character Game, a spe
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presented earlier, we may analyse t
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words, everyone had mixed roles as
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simultaneously. The emphasis given
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During the design games, the discus
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The notion that people are easily c
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Fig. 58 Participants started to go
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and one from YIT, referred as Playe
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5.3.8 Insights through role-play On
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Player 4: “I have my mobile phone
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As has been mentioned previously, r
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Like Hannu and Nina, who began joki
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Planning Game, mainly utilised desi
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dependent from the overall applicat
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ous people and what information is
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epresentations such as co-construct
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Whereas metaphors are useful in gui
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framework, this theoretical backgro
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6.1.1 Design games as a tool As Kei
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ery design researcher designs an ap
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printouts given to the participants
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The purpose of role-immersion, for
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6.2.1 Reflection on research aims I
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1 2 3 The Project Planning Game str
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the design purposes, but, since I w
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As has been discussed in relation t
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Fulton Suri, J. (2003). Empathic de
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Sanders, E.B.-N. (2002). From User-
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Design games as a tool, a mindset and a structure Kirsikka Vaajakallio

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