Nami-thesis outline: Difference between revisions

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<li>Showcasing website examples that I've been collecting + findings + analysis </li>
<li>Showcasing website examples that I've been collecting + findings + analysis </li>
<li>Contemporary standards of commercial websites (aesthetics, functions) (Desk research + Ask to designers and developers) </li>
<li>Contemporary standards of commercial websites (aesthetics, functions) [Desk research (Material Design (webdesign guideline by Google + CSS frameworks, etc) + Ask to designers and developers] </li>
<li>Websites made by net-artists:<br>  
<li>Websites made by net-artists:<br>  
- In which way/Through which steps have they made their web projects? (design identity, front-end development)?<br>
- In which way/Through which steps have they made their web projects? (design identity, front-end development)?<br>

Revision as of 14:10, 25 November 2021

Introduction : Circular structure of web design market (A starting point(simply) + Main research question + sub questions)

My enjoyment of making hand-crafted web pages has been navigating my career to web design practice. But then I, as someone who wants to work in the commercial industry for a realistic reason, admit that most of my future tasks will be framed by commercial agenda, not being able to play with quirky elements and styles I like.
By observing current mainstream websites, I've come to a realisation that my love about the playful websites will be likely to conflict with the market demand.
It's quite agreeable that most major web pages have certain types of features in common. For example, the shapes of most icons and the locations of the menu bars seem quite similar each other, as well as the user navigation system.
I am not saying that these implicit rules are all absurd, so there needs a total subversion/revolution on the web design context. But still, this repetition of the sameness is worthwhile to be questioned, even for figuring out in which stance I will stand as a web designer in the industry.
In order to do so, I'd like to explore the circular structure of the web design market, missions many designers confront, and how I will be navigating my stance in the reality. This goal will be explored through sub-questions mentioned below:

  • What are pervasive agendas/mechanisms in the web design industry? (e.g. Mobile-first approach, Frameworks, Flat-aesthetic, and so on?)
  • In which sense are these indispensable in the field? (Efficiency?)
  • How do the agenda/mechanisms influence the creativity of designers and developers?
  • What can frameworks made by non-professionals speak to the web design industry?

  • The thesis will be a documentation of my exploration of the research questions .


    1. Uniformity : Does it exist? A few cases and reviews

  • Showcasing website examples that I've been collecting + findings + analysis
  • Contemporary standards of commercial websites (aesthetics, functions) [Desk research (Material Design (webdesign guideline by Google + CSS frameworks, etc) + Ask to designers and developers]
  • Websites made by net-artists:
    - In which way/Through which steps have they made their web projects? (design identity, front-end development)?
    - What were basic/conventional rules that they sticked, while making the works? And why?

  • 2. Potential causes of the uniformity (reading + interviewing)

  • The history of responsive design approach (mobile-first)
  • Co-relation between The Flat design (movement) and the responsive design agenda (Positive and Negative examples)
  • Realistic working conditions in the web design industry (time, wage, ways of working, etc) (through interviewing)
  • Pervasive tools of the web development (through interviewing)
  • The relation between the uniformity agenda and creativities of designers and developers(through interviewing)
  • Any differences in the work process between net artists and the commercial designers? In which ways are they similar and different?

  • 3. Experiments on the "uniformity": What happens if the "uniform" becomes "re/de-form"? and What can I speak through this experiment? My stance as a web designer?

  • The history of frameworks for Css and Javascript, mostly developed by mega tech companies
  • In which way and how often do designers and developers depend on the frameworks?
  • Experiments (Participatory workshops) -> Try both pure coding and extracting codes from the frameworks, aiming for the same design sketch. How do I and participants feel? Compare the two mechanisms?
  • Experiments to make our own frameworks (made by non-professional!) Can we make it? What is the meaning of it? (Participatory workshops)

  • Conclusion

    Recap the research

    References / Bibliography

  • Carpenter, J. R. (Mar 2015), A Handmade Web, Bath Spa University, UK, Slow Media (http://luckysoap.com/statements/handmadeweb.html)
  • Galloway, Alexander R. (2012), The Interface Effect, Cambridge, UK, Polity
  • Johnson, S. (1997), User Experience: Interface Culture, New York, Basic Books
  • Kay, A. and Goldberg, A. (1977), Personal Dynamic Media, MIT, The New Media Reader
  • Lialina, O. (2009), Digital Folklore, Frankfurt, DE, Merz&Solitude
  • Lialina, O. (2020), From Me to My, Berlin, DE, Critical Interface (https://interfacecritique.net/book/olia-lialina-from-my-to-me/)
  • Lurroso, S. (Apr 2020), The User Condition 04: A Mobile First World, Entreprecariat (https://networkcultures.org/entreprecariat/mobile-first-world/)
  • Lurroso, S. (Feb, 2021), The User Condition, the Lectorate Design of KABK (https://theusercondition.computer/)
  • Müller, B. (Sep, 2018a), Why Do All Websites Look the Same?, Modus (https://modus.medium.com/on-the-visual-weariness-of-the-web-8af1c969ce73)
  • Müller, B. (Nov, 2018b), Balancing Creativity and Usability, Medium (https://borism.medium.com/balancing-creativity-and-usability-9bb2cd0fe929)