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A sustained programme of research at the Royal College of Art (RCA) since 1994, led by Coleman, Myerson and Bichard, has played a leading role in the emergence of Inclusive Design within design, industry and education, defining its theoretical principles and developing relevant real-world practice tools and business case studies. This research had made an impact in four key areas: it has influenced the public discourse and the ethics and methods of the design profession; contributed to national policymaking for older and disabled people; enabled economic prosperity through development of new products and services; and supported advances in design education.
Vehicle and mobility design research carried out at the Royal College of Art (RCA) since 1993 has resulted in industrial innovation in vehicles and transport, both nationally and internationally, enhancing industry's ability to provide commercial, societal and environmental benefits between 2008 and 2013. The areas in which we are claiming impact include accessible, user-centred transport (Impact 1); future visions of public service vehicles and systems (Impact 2); and innovation in vehicle design for changing technologies (Impact 3). These impacts are produced through design and consultancy. Corroboration of impact takes the form of public records of achievements, and authentication by manufacturers.
The i~design research programme, which has been running in the University of Cambridge Department of Engineering (DoEng) since 2000, sought to understand population diversity in order to better inform design decisions for mainstream everyday products and services. Impact from this programme, since 2008, includes: skills embedded in companies through direct training of over 280 designers and design managers from industry; direct involvement in the improved design of more than 10 new products and services that have gone into production; educational resources for teaching Design and Technology trialled in nine secondary schools; over 800 wearable impairment simulators sold; and extensive web-based guidance, methods and tools for inclusive design accessed in over 170 countries.
Design thinking has benefited the economic performance of business and particularly the creative industries, changed awareness of design in everyday life, and informed public policy. Users and consumers have benefited from wider understanding of the genesis of products and services and effects on their quality of life. Design thinking research has been instrumental in forming a new business sector that provides design thinking expertise as consultancy. It has changed the processes of designers and design practices, and fed into UK design education policy. Design thinking has crossed discipline boundaries; for example framing new methods and processes in software engineering.
Developed through a sustained partnership with the V&A that began in 1996, researchers at the University of Brighton (UoB) have transformed the curatorial and museological approach to the collecting, display and interpretation of 20th- and 21st- century design in one of world's largest public museums. They have changed the way the museum proactively responds to the needs of higher education (HE); reshaped conceptions of the museum as a physical and digital learning space; and reconfigured the museum as a place for active professional, creative and cultural dialogue about the roles of contemporary design, design history and design policy.
Research at Kingston University led by Hilary Dalke has established the beneficial effects of colour design for application in long-term health care environments for people with neural disabilities. This work has led to the development of spatial design principles for improving the experience of service users, patients and staff.
Through her consultancy work with architectural firms, individual NHS hospitals, mental health units, independent charities and healthcare furniture and equipment suppliers such as Hill-Rom, Dalke has influenced their understanding of the issues involved, leading to improved design in hospitals, care homes and day centres, with consequent benefits for patients, staff and visitors in four institutions.
Since its formation in 2005, the Interaction Research Studio (IRS or `the Studio') has developed distinctive practice-based research into new interactional possibilities afforded by digital technologies. Over the course of eight externally-funded projects the Studio has worked on during this time, it has made methodological and conceptual contributions in the course of producing exemplary research products.
CHAPMAN's research into emotionally durable design has radically shifted the values and practices of global businesses, helping them to cut waste and to enhance product, material and brand value. Through publications, exhibitions, master-classes and films, this research has transformed understanding of sustainable design in professional (Puma, Sony), policy (House of Lords, UN) and cultural (Design Museum, New Scientist) settings, propelling the field beyond its focus on energy and materials, towards deeper engagements that link psychosocial phenomena with ideas about consumption and waste. Furthermore, it has contributed to public debate and policy with the effect that the term `emotional durability' has now entered the international design lexicon, providing valuable shorthand for complex phenomena influencing product longevity.
Design research at the Royal College of Art (RCA) has pioneered projects and studies developing a design-led, systems-based approach to improve patient safety in hospital and mobile healthcare. It has led a multidisciplinary culture in which designers, clinicians, psychologists and business specialists collaborate in development projects. This new approach to Design for Patient Safety has had a profound impact on understanding public service provision, on practice and policy, and has realised commercial benefit.
In late 2010 Professor Sanderson decided to form the Flux ceramics spin-out company at Staffordshire University in order to exploit a significant market gap he had discovered via his KTP research project for Aynsley China Ltd., Stoke-on-Trent. Flux has been able to exploit the market gap discovered in a way that Aynsley China was unwilling to pursue. Flux has produced cutting edge ceramic tableware design that has been successful in terms of both sales and recognition as a valuable contribution to contemporary tableware design. Flux won the Home and Gardens Design Award in 2012.