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Abstract: In this article, the many definitions of research by design are used to build a coherent model
for a research by design process. Three phases are identified, each with their own characteristics and
types of activities: the pre-design, the design and the post-design phase. In combination with several
practical examples of design-led research projects and design studios, these phases are adhered to
practical activities and outcomes. Using all this information, the article concludes with proposing
a renewed definition of research by design.
Keywords: definition; research by design; research through design; design research; design studio
1. Introduction
There are two major arguments why research by design is a suitable yet necessary approach to
plan for the future, especially in projects concerning complex environmental challenges.
Firstly, planning the future can no longer be based on the certainty of programmes and conditions.
Instead, the planner is confronted with changing conditions and shifting programmes. A plan has also
to reflect its own conditions and the effects of the planned interventions. Therefore, the process of
planning has to be transformed into a process of multiple feedback. It needs to become reflexive [1].
Secondly, in the current timeframe many problems are complex. Climate change, migration,
even economics and social processes, can be characterised as problems with no final solution,
which need to be continuously treated and directed to create a better future. These are the so-called
wicked problems [2]. There is no single, accepted formulation of these problems. Also, the answers are
often defined in “more-or-less” terms in which planners and managers at best can find reasonable,
but shifting balances among competing interests and values. The correct formulation of the problem
cannot be known until a solution is accepted [3]. These persistent problems cannot be approached with
regular thinking. They require counterintuitive thinking, and the development of new knowledge.
Design is a very suitable approach for these types of problems [4], because it makes creative jumps
in thinking and solving possible. This way, unprecedented solutions and inventions through design
innovations come into reach. The approach has already led to a large number of new urban plans,
which reflects the uncertainty of urban development [5]. These plans not simply delineate future
developments but integrate a large number of partial solutions into a spatial strategy for a city and its
suburbs, linking these up with various activities and interventions [6].
This article sets out a practical methodology for how design could be used in spatial research.
This is necessary because research by design, as it is often called, lacks clear definitions and sound
methodologies. The term design research has become so broadly used in practice without being fully
understood beyond the conjunction of design with research, and, particularly in academic circles,
it has come to mean widely differing things to different people [7]. Every research that involves design
seems to automatically be part of research by design.
Therefore, this article starts with an exploration of the relationship between research and design,
followed by an elaboration on several existing definitions of research by design, after which a method
is presented, which is a synthesis of selected design approaches and cognitive processes. This method
is based on theoretical observations and not embedded in the practice of design. The case studies in
this article are used as illustrations for this method and not as the empirical resources for constructing
the method. The article ends with an enhanced definition and conclusions.
CONTEXT
Determined Design Research Design Study
Variable Typological Research Study by Design
Determined Variable
OBJECT
Design research is evaluating the study of completed designs. It describes and analyses existing
designs with a known context, often or implicitly in the form of comparative study.
Urban Sci. 2017, 1, 2 3 of 19
practice [34]. Research by design produces verbal and non-verbal forms of output and discourse
proper to disciplinary practice that make it discussable, accessible and useful to peers and others.
Research by design is validated through peer review by panels of experts who collectively cover the
range of disciplinary competencies addressed by the work [23].
Spatial design is no longer just a plan, but at the same time has become a tool for the exploration
of the potentials of the site and a means of communication and negotiation between parties involved.
The traditional order, first research, then defining a programme and finally making a design is, at least
partially, turned on its head. The process of planning has lost its linear character and has transformed
into a process of multiple feedback [6]. Space does not only make intended use possible, but it
is also offering and giving rise to new and unexpected forms of use. Function follows space [35].
Here it identifies two major manifestations of research by design [6]:
(1) It takes place in the search for a suitable site for a given or desired function in which advantages
and disadvantages of different sites are evaluated by means of design.
(2) It occurs when designing is used as a means of exploring the spatial possibilities of and developing
a new programmatic infill for a given site.
Figure 2. Predesign, Research into design, Research to assess and modify, Interactive approach.
Figure 2. Predesign, Research into design, Research to assess and modify, Interactive approach.
Figure 2. Predesign, Research into design, Research to assess and modify, Interactive approach.
When these three phases are further “filled” with a typical focus of the research to be
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Urban Sci. 2017, 1, 2 6 of 19
Urban Sci. 2016, 1, doi:10.3390/urbansci1010002 6 of 20
Figure 3. Question, Answer, Outcome, Knowledge transfer and Wider impact of research by design.
Figure 3. Question, Answer, Outcome, Knowledge transfer and Wider impact of research by design.
Elaborating on this, the first stage of research by design focuses on the basic perceptions and
the investigation
Elaborating on this, (Figure 4). These
the first stageare
of the first two
research byofdesign
six elements
focusesof on
research by design
the basic [23]. The and the
perceptions
basic perceptions are philosophical, ethical and theoretical perceptions, norms and values regarding
investigation (Figure 4). These are the first two of six elements of research by design [23]. The basic
the surrounding world, the role of (landscape) architecture and the object itself (landscape
perceptions are philosophical,
architecture). ethical and
These are a prerequisite theoretical
(paradigm) for perceptions, normsand
the research process and values
may regarding the
be discussed
surrounding
and, inworld, the role possibly
part, advocated, of (landscape) architecture
as basic research. Under and
the the object itself
investigation, the (landscape architecture).
regular elements at
These are the astart
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by design research
project, process criticism,
i.e., analysis, and mayselection
be discussed and, in part,
and problem
advocated,formulation,
possiblyareascounted.
basic research. Under the investigation, the regular elements at the start of the
Programme, proposals and rationalisation belong to the second phase of projection. The
research by design
Urban Sci.programme project, i.e., analysis, criticism, selection and problem formulation, are counted.
2016, 1, doi:10.3390/urbansci1010002
consists of the actual problem, the definition of partial assignments and the goals 7 of 20
within an overall programme (rules and norms). This can take the form of strategic research. Out of
this programme, proposals are to be developed in the form of a concrete, spatial proposal as a
possible response to the programme. This is an experimental and partially independent aspect. The
last element of this phase is the rationalisation, which provides the argumentation, the theoretical
explanation of the proposal and subsequent testing in practice, if applicable. The results of the
rationalisation may be led back to the programme, which then can be adjusted to follow the cycle
again, leading eventually to new proposals and rationalisation.
In the last phase communication takes place. The material is presented in a synthesised form in
a text, a drawing, a model or an example that explains the correlation between the components of
the methodology in a manner that is consistent, reasoned, made probable and cannot be
contradicted.
Each of the three phases is characterised by its own dynamics (Figure 5). Following Basballe
and Halskov [45], in the first stage coupling determines a research trough design project. Coupling
is the initial step that “unites research and design interests” [45]. During coupling, the basic frame
and constraints of the project to serve both levels of interests are established. The second stage of a
research through design project can be characterised by a dynamic of interweaving, when research
Urban Sci. 2017, 1, 2 7 of 19
Programme, proposals and rationalisation belong to the second phase of projection. The programme
consists of the actual problem, the definition of partial assignments and the goals within an overall
programme (rules and norms). This can take the form of strategic research. Out of this programme,
proposals are to be developed in the form of a concrete, spatial proposal as a possible response to the
programme. This is an experimental and partially independent aspect. The last element of this phase
is the rationalisation, which provides the argumentation, the theoretical explanation of the proposal
and subsequent testing in practice, if applicable. The results of the rationalisation may be led back
to the programme, which then can be adjusted to follow the cycle again, leading eventually to new
proposals and rationalisation.
In the last phase communication takes place. The material is presented in a synthesised form in
a text, a drawing, a model or an example that explains the correlation between the components of the
methodology in a manner that is consistent, reasoned, made probable and cannot be contradicted.
Each of the three phases is characterised by its own dynamics (Figure 5). Following Basballe
and Halskov [45], in the first stage coupling determines a research trough design project. Coupling is
the initial step that “unites research and design interests” [45]. During coupling, the basic frame and
constraints of the project to serve both levels of interests are established. The second stage of a research
through design project can be characterised by a dynamic of interweaving, when research and design
interests influence each other and the project, as processes, methods and validation are established.
Decoupling appears at later points of the project when the designer/researcher must focus on one of
the interest sets (design or research). For example, decoupling appears during the production phase
since it focuses on the design process, but is also appears during the final evaluation and inquiry when
the research
Urban Sci. 2016, interests become the focus of the work.
1, doi:10.3390/urbansci1010002 8 of 20
With the background of these five theoretical models, and after combining and integrating these
diverse aspects, an interrelated method for research by design arises (Figure 6). This method divides
the process in the three phases, within each of these phases the typical characteristics are as presented
in their parts above.
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Figure 5. Coupling, Interweaving, Decoupling.
5. Pre-Design Phase
The first stage of a research by design process is characterised by understanding. Research is
carried out prior to the actual designing. This pre-design research aims to bring a basic perception
about the question in play and starts the analysis and investigation of task, context and potential
avenues for research and design. In this phase interactivity already starts with connecting to
end-users, stakeholders and experts. Research and design are coupled, meaning the explorations
on the actual design question are undertaken through analytics, but also in a designerly way.
When research is brought into the pre-design phase it provides insights into potential answers and
future design directions.
One of the first challenges for a researcher/designer will be to verify that the problematic situation
is indeed a wicked problem that requires a design inquiry approach, and not a simple problem that
can more effectively be addressed through scientific or engineering methods of inquiry [30].
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The inquiry carried out in the Floodable Eemsdelta case [46–48] illustrates this. At first it has been
investigated whether the design problem is actually a wicked problem. Given the rising sea level and
the uncertain threats to the landscape, such as the potential of an unprecedented storm surge, it was
concluded the problem is of a complexity that justifies a wicked problem approach. In this phase the
ambition for this area was set to create a resilient landscape able to deal with unexpected flooding.
The second step was to collect information regarding the qualities and (historic) characteristics
of the area, but also about the programmes, policies and expectations. In the Eemsdelta case study
most of this information was mapped. Besides the regular mapping on elevation, topography, water,
land-use and urbanisation, amongst others, maps were produced to give (spatial) insights into the
existing policies, the status of coastal protection, climate data & risk, existing qualities of the landscape
and an historic understanding of the genesis of the landscape.
6. Design Phase
The design phase forms the heart of the research by design process. The interactive approach
is continued and intensified, with exchange with end-users, stakeholders and experts. Also, in this
stage research is continuously brought into the design process and deliberations. Research and design
are closely interwoven. Design is a reflective practice in which critical assessment, comparability
and evaluation takes place through sketching, through the continual weaving between problem
and solution in an iterative movement between inquiry and proposal [49]. Here the designer is
a researcher in a practice context. In Schön’s “reflection-in-action” the designer/researcher is not
dependent on structures such as established research theory requiring verifiable/proven techniques
like representative case studies, but is able to construct a new research theory about a unique case
through the design work. Instead of separating thinking from doing, the designer/researcher integrates
implementation into the nature of inquiry. It is the way this process occurs in the design studio that
can provide research potential. Unlike most research paradigms, it is useful in situations of uncertainty
or uniqueness because it is not constrained by the dichotomies of technical rationality [50].
In the design process the potentials of how the future could be are projected and answers are
sought for the design problem. Based on the programmatic demands, a suite of proposals are developed
and rationalised. The design options are assessed and modified in an iterative and reflective process.
Towards the end of this stage syntheses are being explored and critically reviewed.
Three different design research projects illustrate this phase: the Floodable Eemsdelta in the
Netherlands, the SWELL and KINDLE design studios, carried out in Victoria, Australia and the
design-led research project, also conducted in Victoria, Australia.
people need to move, there will be a loss of economic value, the present coastal protection is sufficient
and that farmers in the area do not want this. The design propositions could then be improved.
The slow process of seawater brings also sediment, hence the ground level rises. The designs could
emphasise the spatial quality of living in a natural, water-rich environment, adding economic value to
the area. Moreover, the area becomes safer, as the potential sudden flooding is already occurring in
a controlled way. The impact and change it can bring in the current landscape is visualised and critically
reviewed. After this divergent phase in the process, the propositions were again redesigned and the
urban environment level was shaped accordingly. The way people could live and build houses in the
landscape (floating and on higher, artificial hills), has further been detailed. Again, these propositions
were critically reflected upon. The main concerns in this step were how people could reach their
houses and how facilities such as sewage and electricity could be arranged.
In the final convergent step only a few proposals remained, as a first step in the synthesis process.
Based on the case study results, some new insights could be concluded. It is possible to slowly
transform the landscape and stay safe, to add new qualities for living (in a further shrinking area)
and the proposals have “multiple solving power”: they bring safety, deal with shrinkage, add spatial
quality, additional housing and an alternative for agriculture in the form of aquaculture.
The research in the Eemsdelta case brought new knowledge on design options to the table.
Instead of progressing identical solutions to protect the land against storm surges, the design
alternatives sparked counterintuitivity and through this insight into how the anticipated flood could
be accommodated and “welcomed” in the hinterland. It lead to new propositions for the landscape,
in which water played an important role and the landscape can be formed by the powers the water
brings. The threat of the storm surges and sea level rise informs the design and building with
nature principles [53] strengthens the resilience of the area. During the design process a continuous
interchange of knowledge and understanding between the research and the design process took place.
The benefit of this was that the design options could pose new questions to research and research
outcomes could be valuated through the spatial impacts and benefits they would bring.
ability to “drift” in a parcours of trial and error opens up the possibility for surprise, discovery and
potentially innovative thought, but at the same time the uncertainty of production in terms of quality
and quantity. The studio aims to welcome, enable and enhance this process by constantly readjusting
its course itself. The exact structure of the studio, as well as the deliverables, are only roughly set out
on beforehand, with enough flexibility to anticipate and accommodate new ideas. Being intrinsically
non-linear, and not necessarily converging towards “solution”, the end-result is more a documentation
of a process than a conclusive report. Its aim is primarily to feed and contribute to the debate rather
than to offer a master plan or blueprint. It is an exploration and testing of ideas by means of design.
Design is both method and outcome. It is the instrument to generate ideas, and to test and communicate
them. Design might precede analysis. It may start as a gut-feeling and can be “post-rationalised”
by research [10].
The process of two design studios, KINDLE and SWELL, part of the Landscape Architecture
programme at RMIT in 2011 and 2102, are used here to illustrate how the design phase of research by
design is made operational. The subject of the Kindle studio was how to create a resilient landscape
for a bushfire-prone area, in this case the Bendigo region in north-western Victoria that is resilient.
The Swell studio asks the same question for an area prone to storm surges, Hobsons Bay, situated
along Port Philip Bay, close to Melbourne.
Another approach in dealing with storm surges is to strategically retreat [57]. Taking the
Another landscape
underlying approach inasdealing with
a point ofstorm surges the
departure, is toconfiguration
strategically retreat
of a [57]. Takingtown
retreated the underlying
appears.
landscape as a point of departure, the configuration of a retreated town appears.
Intrinsically this determines the safe and risky areas, and the urban form (Figure 8). Intrinsically this
determines the safe and risky areas, and the urban form (Figure 8).
In the KINDLE studio, the urban fringe of Bendigo is transformed into a protective fireproof
edge [58]. By replacing houses that eventually burn with concrete pillars, a shield emerges, which holds
back new bushfires. As a result of this, new housing is planned at the lay-side of town, de facto moving
Bendigo slowly eastward.
As a final step in the studios the design propositions have been critically reviewed and appraised.
Criteria used to assess the designs were focused on research quality, such as the documentation of the
research process in visuals and findings, and a reflection of independent questioning by the students
themselves, and also on the design quality through assessing the materialisation, the used tools and
techniques, presentation and contextualisation.
On the basis of the studio process and the improvements of the propositions it can be concluded
that the students showed a vast increase in learning and performance. Besides, there could be novel
findings distinguished about the site and its broader context through unsuspected views and new
knowledge. Moreover, the qualities of the designs, in terms of counterintuitivity, rigour, innovation,
spatial dimensions, applicability in similar cases and how (not if) the objective is met, have been up to
standard and in many cases better than that.
Both design studios started off with an open question, which the students transformed into
a design problem and question. The students explored new information with new research methods,
such as modelling the flooding in a landscape and meanwhile adjusting the design parameters and
mapping uncharted territories, such as the connecting between sea and land and “cross-sectioning” the
area, linking the analyses of each cross section back to one whole. The research into resilience phases
(according to [59]) and combining this with swarm planning principles, led to new spatial typologies
of the landscape, which guide land uses and future developments. Additionally, counterintuitivity
and working with nature in both the KINDLE and SWELL studio, led to new design options for
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Urban Sci. 2016, 1, doi:10.3390/urbansci1010002 13 of 20
developing the urban layout, shielding the town and retreating the city. The research, undertaken
to discover the vulnerabilities and resilience of landscape and urban systems, led in these cases to
unprecedented propositions.
In the KINDLE studio, the urban fringe of Bendigo is transformed into a protective fireproof
edge [58]. By replacing houses that eventually burn with concrete pillars, a shield emerges, which
holds back new bushfires. As a result of this, new housing is planned at the lay-side of town, de
facto moving Bendigo slowly eastward.
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7. Post-Design Phase
In the post-design phase the results are the final syntheses of the work, which need to be coherently
presented. The results show how the future is seen, and what that future will be. The impact for
a wider community, both academic and social, needs to be made manifest and the new knowledge,
developed during the design process, becomes available for a wider audience. This requires a strategic
and conscious communication. The interactive process ends here, as the people and partners involved
in the design process are jointly responsible for the end products, but will split up at the same time.
This does not mean there is no interaction anymore. Only this will take place with new groups and
consists of communication and discussion with the broader “outside world”. In this phase, research
and design are decoupled. On the one hand, the design results are presented in reports, panels,
drawings and schemes, while on the other hand, the research outputs follow the route of academic
publishing and debate.
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Whilst the designs of the design studio have their own merits and are judged accordingly,
the design studio as a whole is taken as an academic product, and reviewed on the basis of its
methodology, research question and findings. Some of the results may be used as illustrations in
publications, such as designs from the KINDLE studio, as an underpinning of a research theory [70].
The outcomes of the design-led project find also their twofold ways. On the one hand, the propositions
are presented to the community as designs: how the future could look like. On the other hand, in several
academic outputs, observations and descriptions of research methodology and findings [63,71,72]
are harvested.
The results of the Floodable Eemsdelta case study also have two types of impact. First, it has, partly,
been taken up in regular policies, such as the regional plan for the province of Groningen, in which
the so-called broad dike concept was introduced [73], and the national Deltaprogram [74]. This will
eventually lead to realisation of (parts of) the design. Secondly the swarm planning methodology
used in the Floodable Eemsdelta design, is subject of a suite of academic publications, conference
presentations, academic lectures and additional workshops (amongst others: [46,48,75,76]).
8. Definition
Discussing the broad spectrum of definitions of research by, through, into, about and for design,
and the concrete experiences in design studios and research projects, a renewed definition of research
by (or through) design can be given:
“Research by design is a method, which uses design to research spatial solutions for a certain area,
accommodating a design process, consisting of a pre-design phase, a design phase and a post-design
phase, herewith providing a philosophical and normative basis for the design process, allowing to
investigate the qualities and problems of a location and test its (spatial) potentials, meanwhile creating
the freedom to move with the proposals in uncharted territory, and producing new insights and
knowledge interesting and useful for a wide audience.”
This definition aims to unify perspectives from research by design theories and scholars, but given
the ambiguous nature of the subject, it is hard to formulate a definition that meets the broad spectrum
of perspectives taken by the many scholars and practitioners around. However, this definition marks
some crucial aspects of a design process:
These key elements of a design process are embedded in the method proposed in this article, in its
abstract brought down to three phases from pre-design, design, to post-design.
9. Conclusions
In this article, a range of definitions and theoretical reflections have been discussed and integrated
into an abstract method for research by design processes. This model consists of three overlapping
phases: pre-design, design and post-design. In each phase research components and design activities
mingle. However, in the pre-phase research and design are coupled, during the design phase they are
interwoven and in the post-design phase they are decoupled.
The core elements of a research by design approach are a continuously interactive setting, in which
participants in the design process are placed in the position to creatively exchange, collaborate and
develop new knowledge together. In each stage research is brought into the design process, in the
beginning with a focus on what is there, analytical. The second stage is characterised by what could be
there, and is of an explorative nature. The final stage is reflective on what will be there.
The method is abstract yet detailed with characteristics, as shown in Figure 7. This combination
of abstract and concrete elements makes it possible for future design research projects to detail and
Urban Sci. 2017, 1, 2 16 of 19
specify a design process fit for the purpose. Because the examples given for the different phases must
be seen as illustrations, the “proof-of-the-pudding” of the method still remains. This could be a new
avenue for future research. The question of how to apply, and which diversity of application of this
method is possible, is an interesting question for future research.
Several conditions for a successful research by design process can be given:
(1) To start with a challenging, even “impossible” and complex design task, whilst at the same time
without formulating criteria for “good” solutions beforehand.
(2) Create an atmosphere where the freedom is felt in the design process to go anywhere with design,
and allow participants to swarm with their thoughts in any direction.
(3) Encourage participants to think counterintuitively.
(4) Appraise innovations and the learning curve of participants, not the solutions per se.
(5) Do not follow the three phases in a sequential order. Allow for jumping back and forth through
the identified stages of the process.
Through research by design new pathways are explored, people come up with innovative ideas
and concepts that they would not encounter in a regular research or design process. The process is
thought-provoking and binding. The results are not final spatial solutions, but merely conceptual
innovations that could help to understand and deal with wicked problems. The proposed method
should be refined, altered and revisited in practice. The different aspects of the method, be it concrete
design tasks or more superficial elements of design processes, and interactivity or the way research
and design are coupled or interwoven during the process, needs to be tested in practice-based design
environments. The abstract three-staged method presented in this article can then be enriched, become
more evidence-based in practical design projects and be more detailed and concretised. At the same
time these practical applications of the method could inform the method in a way it becomes more
universally used. However, it is difficult to predict a “final version” of the method, it seems logical
that it will stay an abstract method, which needs to be adjusted depending the design task and the
context, but at the same time the elaboration of the method will also lead to a more uniform approach,
including more specified steps in the design process.
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