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

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RESEARCHERS / RESEARCH GROUP FOCUS CONTEXT PLAYERS EXAMPLES BASE / INSPIRATION VIEW ON DESIGN MATERIALITY DESIGN GAMES AS A RE- SEARCH TOOL DESIGN GAMES FOR BUILD- ING DESIGN COMPETENCE DESIGN GAMES TO EMPOWER USERS DESIGN GAMES FOR ENGAGING MULTIPLE STAKEHOLDERS Habraken & Gross Iversen & Buur (and their students) Ehn & Sjögren Buur & Söndergaard; Brandt and Messeter; Johansson Studying design processes and designers’ concepts Emphasis on the social interaction in PD Empowering users in PD Engaging multiple stakeholders in co-design Architecture / design research (interaction) design education Workplace design / computer supported work Roots in interaction design (nowadays wide design domains) Design researchers Design students (with company partners) Users Stakeholders and users Concept Design Games: Silent game “Design is a game” -course: Students create their own design games Organizational Games: Layout Kit Game Carpentrypoly Specification Game Organizational Kit Desktop Publishing Game Exploratory design games: Video card game User game Landscape game Technology game Scenario game Austrian philosopher Wittgenstein’s (1953) language-game. Design as a social activity happening within certain time limits and guided by negotiation and a set of rules. Tangible, predesigned, context-specific or abstract game pieces to make the activities, knowledge and roles of the participating people explicit and to make it possible for participants to exchange perspectives, conceptualise design and negotiate between various viewpoints, for example by creating and acting out scenarios. Table 2 The table sums up the contexts, main aims and characters of various design games to point out their diverse purposes and application areas while presenting some commonalities related to the inspiration, views on design and materiality common to the different games. 99
about qualities, but instead focus on the overall context and purpose which they are applied for. There is no intention to offer a replacement for Brandt’s model but to point out more general purposes and application areas of design games. The need for this type of mapping occurred when I was teaching master students in industrial design. It should be noticed, though, that there are several design games or alike that are not included in my classification. These include simulation games utilised in organizational development, which I will soon touch upon shortly. To sum up, based on the existing literature and my own experiments so far, design games in co-design have three main qualities in common: 1) they create a common design language, 2) they promote a creative and explorative attitude, and 3) they facilitate the players in envisioning and enacting what could be. The first emphasizes a common design language (Ehn & Sjögren 1991); the second has similarities with generative tools (Sanders & Dandavate 1999); and the third builds on the game metaphor as liberating within its own universe, protected from “ordinary laws” (Brandt 2010). Creating a common design language Firstly, design games provide a common language for researchers, designers, users and other stakeholders through ambiguous and fragmented game material that A) helps participants to be explicit in their choices and understanding, and B) gives space for personal insights, comments and ideas, hence supporting shared understanding of the topic. Immersing players into users’ practices, for instance through a video card game, may enhance empathic understanding of potential users (Mark Larsen 2010, pp 227–237). As Johansson (2005) has stated, design games bring into discussion new categories and fresh standpoints besides passing knowledge. Promoting creative and explorative attitude Secondly, design games are generative, sensitive, visual and playful tools aiming at sensitising the imagination and facilitating exploration in co-design settings. Tangible game material promote explorative and creative attitude. The material and rules invite both verbal and non-verbal reactions and support various means of expressing one’s thoughts, dreams and knowledge, for example acting out scenarios or having tangible props evoke different insights. Therefore, design games encourage moving between intuitive and rational thinking, being spontaneous and using imagination, but in the end to consider alternatives to the consequences they may have. In addition, board game look and rules are qualities that everyone can relate to the games they play for fun, thus feeling comfortable with that setting; relaxed and informal atmosphere tend to increase creativity (Johansson 2005, p 81; Brandt 2010, p 132). 100
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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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The difficulties in encouraging par
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Some of the personal discoveries ma
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whereas in the first time the metho
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out-of-box thinking in co-design. I
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services. The Extreme Design case s
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3 Experiences that the participants
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As was illustrated, the development
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4.4 The fun of playing Fig. 43 Desi
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Fig. 45 A sequence of the game: Nin
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which the turn to introduce a scena
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a radio play by taking the characte
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4.5 Between a process overview and
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This chapter discards the chronolog
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the places of the cards, and throug
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5.2 Leaving visual traces: material
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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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