Participatory design:

ts origins are generally traced back to work done with trade unions in several Scandinavian coun- tries in the 1960s and 1970s [2]. Participatory design attempts to involve those who will become the “users” throughout the design development process to the extent that this is possible. A key characteristic of the participatory design zone is the use of physical artifacts as thinking tools throughout the process, common among the methods emanating from the research-led Scandinavian tradition.

Generative design

Generative design empowers everyday people to generate and promote alternatives to the current situation. The name “generative tools” refers to the creation of a shared design language that designers/researchers and the stakeholders use to communicate visually and directly with each other. The design language is generative in the sense that with it, people can express an infinite number of ideas through a limited set of stimulus items. Thus, the generative tools approach is a way to fill the fuzzy front end with the ideas, dreams, and insights of the people who will be served through design

Critical design:

ritical design evaluates the status quo and relies on design experts to make things that provoke our understanding of the current values people hold. Critical design “makes us think”

Both critical design and generative design aim to generate and promote alternatives to the cur- rent situation. But they operate from opposing mind-sets.

From above, my design is not participatory, but critical.

![[Sanders - Evolving Map of Design Practice and Design Research.pdf]] ![[DesignResearchin2006_Sanders_06-2jpw59x.pdf]]

![[Sanders (2008) Evolving map of design research-1.pdf]] ![[Sanders Book 1.pdf]]