Diversity and unity: Proceedings of IASDR2011, the 4th World Conference on Design Research, 31 October - 4 November, Delft, the Netherlands. Edited by N.F.M. Roozenburg, L.L. Chen & P.J. Stappers. /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// MAKING SENSE OF CONSTELLATIONS OF OBJECTS A CASE STUDY OF COMPUTER-AIDED WRITING PRACTICES IN THEATRICAL STAGING Annie Gentes, Professor Co-Design Lab & Media Studies, Telecom ParisTech annie.gentes@telecom-paristech.fr Mathias Béjean, PhD, Research fellow Centre de Gestion Scientifique, Mines ParisTech Mines ParisTech Chair for “ Theories and Methods for innovative design” ABSTRACT This paper aims to understand how various media are needed to anticipate a future object and how the design process therefore relies on making sense of a constellation of objects. To do so, we explore the case of a show created in 2002 by French artist Michel Jaffrennou. Based on a longitudinal study, we analyses how various writing tools shape documents in specific ways. Revealing that each document contributes to unveil certain aspects of the object-to- be, our study also uses a semiotic analysis to analyze how each document imposes a “definition” of what a show “is”, which could prove insufficient to the practice of staging. By suggesting how a “constellation of objects” may avoid this pitfall, for it builds a heterogeneous point of view that conveys the richness of the expected show, our study contributes to a wider discussion on the links between objects and anticipation in projects of design. Keywords: heterogeneity – objects – semiotics - project of design INTRODUCTION One way to tackle the issue of “ diversity and unity” in design processes is to consider the concept of “ heterogeneity.” In social sciences, this concept has recently received a renewed interest in so far as developed societies gather ever more heterogeneous actors and objects within the same “ places” , be it on a real or virtual basis. In this paper, we would like to contribute to this discussion by developing a comprehensive understanding of how designers can make sense of heterogeneous obj ects in their design work. Recent research in both organization and design studies has already contributed to deepening our understanding of heterogeneity at work. Influenced by Star’s and Griesemer’s (1989) seminal article on scientific work, many organization scientists have explored how het erogeneous actors may use “ boundary objects” to collaborate with each other at work (e.g. Carlile, 2002). Boundary objects are those mediating objects that are sufficiently consistent to carry specific knowledge, but, at the same time, sufficiently generic to cross boundaries between different and intersecting social worlds. Approaches inspired by this framing thus consider the concept of heterogeneity in terms of “ actors” who have different interests, knowledge or practices, but who can nonetheless cooperate at work, especially by resorting to boundary objects. However, while pointing to the role of objects, medias and artefacts in collaborative processes, sociological research works tend to overlook the variety of such objects that is often required at work, especially in the context of design projects (Ewenstein & Whyte, 2009). In line with other design studies we would like to draw attention to the rich constellation of objects that is often needed to make sense of design work (Béjean, 2008; Gentès, 2008).