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ÖgeInnovation management in design-intensive family firms from office furniture manufacturing industry: A dynamic capability perspective from an emerging market(Graduate School, 2022-12-02)This study aims to explore four aspects: the strategies of design-intensive family firms to manage innovation, the effect of familiness – unique resources and capabilities of a firm resulting from family involvement – on this process, how these strategies change in the business environment of an emerging market through a dynamic capability perspective, and, finally, how design acts as an innovation driver and contributes to the development of these dynamic innovation capabilities. Notably, it contributes to the growing research on innovation in family firms by studying the effect familiness in a business organization on managing innovation, a design-intensive organization's efforts to discover and manage new product and/or service opportunities and to make improvements to existing processes and systems through a dynamic innovation capability (DIC) perspective. DIC refers to the analysis of firm's processes of using resources to adapt to market change, capacity to sense/shape and seize opportunities, and to orchestrate resource manipulation by reconfiguring/transforming. Research on innovation in family firms shows the unique approaches considering their innovation activities and have controversial findings that are needed to be theoretically and empirically explored. This study therefore proposes an extended and detailed further research to the following: the attributes and structure of the decision-making and evaluation process of family managers, strategic behaviors of the family firms such as internationalization, new product development, mergers and acquisitions, and also innovation decision behaviors and heterogeneity among family firms with qualitative methods. In addition, , there is little research in emerging markets on innovation in family firms, and the applicability of those contributions from a developed to an emerging market with unstable and heterogeneous behavior is widely discussed in the literature, thus the studies in emerging markets have considerable significance. In addition, there is a significant gap in the literature to understand how family firms' capabilities are shaped by constantly changing environment, and how they survive in this competitive market, thus dynamic capability approach is a suitable theoretical perspective that significantly contributes to their adaptation to dynamic business environments. Moreover, design-intensive firms, which rely on creativity and innovative contributions for managing design, are important for gaining competitive advantage in dynamic environments, and therefore it is crucial to study in detail their founding/controlling family members' role and involvement in innovation with the interest in preserving family name and identity across generations. Nevertheless, those unique features and complex behavior of design-intensive family firms can only be apprehended by a qualitative approach, which is generally disused in the literature. The objectives of this study comprise contribution to theory and practice in the fields of family business, innovation, and design, and therefore are aligned with exploratory approach. This qualitative research has two main phases: (1) the first phase, a comprehensive review of literature, four expert interviews, and a pilot study, and (2) the second phase, a multiple-case study. The first phase aims to uncover the themes and theories, embody a base, focus the research purpose and strategy, generate ideas and framework, and determine the practicability of research design. In this phase, first, the literature review builds a theory-based conceptual framework, and then expert interviews bring insights on family business and innovation in the selected context, and finally, a pilot case is investigated in detail for further refinement of the research design. Since the nature of this study requires a multi- and cross-disciplinary approach to review the literature, the basis of this research is established by the overview on (1) family business research and familiness, (2) research perspectives on family business innovation, and (3) dynamic capability perspective. The four experts in this study are sampled through the criteria of either (1) being a member of firms, (2) having experience working in/with firms, (3) having experience, or (4) representing other areas (e.g., supplier) in the selected industry. The expert interviews facilitate understanding of the significance of the research purpose, uncovering of the contextual themes, and the discovery of the unseen and less mentioned themes in the case interviews. The pilot case study with one of the sampled firms leads this study towards a deeper exploration of family involvement (familiness) through a more systematic theoretical perspective (dynamic capability view). The second phase aims to explore the under-researched phenomena of design-intensive family firms from office furniture manufacturing industry in an emerging market, Turkey and their dynamic innovation capabilities through a multiple-case study. The primary data is retrieved from in-depth semi-structured interviews with three sampled firms. The selection criteria were (1) being owned and governed by a family for at least two generations, (2) operating in an emerging market, (3) operating in a specific-industry context for design and innovation, (4) having design/innovation activities and strong financial performance at both national and international level, and (5) availability for open access. Eight interviews were conducted with three firms – four at Case A, two at Case B, and two at Case C, using a guide in line with the research questions of this study, and the interviewees include both family and non-family members of these firms. The interview protocol has four parts including questions (1) aimed at tracking the historical evolution of the company, (2) focusing on the extent of family involvement in the company's decision-making processes, and the contribution of familiness, (3) aimed at identifying the relationship between how dynamic capabilities are created/changed and how innovations are managed, and (4) focusing on the role of design in the creation of dynamic innovation capabilities. The secondary data was collected through document analysis of the sampled cases including firm websites, archival files, projects reports, corporate presentations, and videos. The overall data analysis technique adopted includes a within-case analysis for the first phase, to explore the unique and emergent patterns of each case, and cross-case analysis for the second phase, to compare the common themes. The analysis of DIC and familiness was performed through the coding elements based on prior literature and obtained qualitative data of each case and was facilitated by MAXQDA 2020, a qualitative data analysis software program. In within-case analysis, case narratives are prepared by breaking the text into several parts, according to the initial conceptual framework (three dimensions of familiness and three forms of dynamic innovation capability). These sections include profiles of cases, the narratives of each case, focusing on the company background, analysis of familiness dimensions (involvement, essence, organizational identity), analysis of dynamic innovation capabilities (sensing, seizing, reconfiguring) gained through changes in the business environment in the emerging context, and discussion on the influence and role of familiness in each form of DIC - namely sensing, seizing, and reconfiguring. In cross-case analysis, the discussion is displayed through a systematic approach, which acknowledges the patterns between cases (Case A to C) and categories (familiness and dynamic innovation capabilities), and discusses these in relation to the research questions and prior knowledge in the literature. This study explores the strategies of design-intensive FFs to manage innovation. These strategies and their decision-making processes are analyzed through the development of DICs and how they are affected by familiness. Firstly, the findings from the case study FFs reveal thirteen recurring behaviors. These recurring behaviors are categorized into three types of strategy. The first type are three strategies for sensing opportunities: (1) visiting fairs for design feedback and idea exchange, (2) monitoring trends and international markets, and analyzing changes in industry, (3) managing ideas with support of internal and external stakeholders. In the second type, there are six strategies for seizing opportunities: (1) strengthening production know-how through experience and technological investment, (2) establishing design and R&D center for external support, (3) adopting organic structure for product development, (4) adapting automated system for operation, (5) building corporate brand awareness at international level, (6) creating social responsibility projects that fit with firm identity. In the final type, there are four strategies for reconfiguring assets and structures: (1) adding new service for e-commerce sales, (2) adapting know-how for fully customized product mechanisms, (3) planning for institutional structure, (4) changing business model for innovation. In the second section of the study, the role of design on FFs' DICs is explored and its contribution to this development process. The findings from the case study FFs reveal three roles of design that contribute to these capabilities. These are (1) idea generation through external resources; (2) value addition through high-quality products; (3) vision accumulation through the founder. These findings highlight the interaction between design and innovation practices of FFs and provide insights on how a manufacturing company could achieve innovation. Firstly, for sensing opportunities, the collaborative approach to idea generation through external sources is used. Secondly, for seizing opportunities, the value addition is achieved with high-quality products often through investment in production technologies and process innovations. Finally, for reconfiguring assets and structures, the vision for innovation is adopted through the founder. Consequently, the strategies revealed as recurring behaviors provide insights for manufacturers, family managers, and design professionals; and propose a guideline for newly established manufacturing firms in a design-intensive industry, or for first-generation FFs, from an emerging market. The following are critical for innovation: (1) for sensing opportunities, being open and critical to the external environment and new ideas, (2) for seizing opportunities, having production know-how, controlled operation, organic product development, corporate identity, and social awareness, and (3) for reconfiguring assets, and structures, being adaptive to technology, willing to change, and continuous learners of new ideas.
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ÖgeTracing the contemporary critique in design: Mapping users' critical acts on social media(Graduate School, 2024-07-18)This study examines the critical videos shared by product users on TikTok, aiming to develop a deeper understanding of them and their contribution to design and users. The research emphasises the influence of these 'critical users' in daily life and design dynamics, highlighting their significance in the field of design critique. The study begins by positioning critique as a form of knowledge production that arises from doubt in the routine flow of daily life and aims for change. Design and critique primarily intersect in their shared goal of promoting social change. However, design often reproduces capitalist values rather than pursuing its fundamental goal of shaping society. Critique intervenes here, redirecting design back to its fundamental purpose and instrumentalising design actions to enact its transformative role. The study explores the differences in the operational capabilities of critique and post- critique. Post-critique, characterised by its micro-scale, absence of grand narratives, and multiplicity, allows for rapid global spread and adaptation to different local contexts. Its flexibility enhances operational capability in design practices, increasing the potential to create change and diffuse in daily life. The study provides a framework for critique in design, categorising it into four main areas: 'critique as design,' 'critique with design,' 'critique by design,' and 'critique of design.' This framework helps conceptualise how critique operates in various design contexts. The study highlights the dominance of designers and researchers in design critique but argues that users are also active and important critical actors. With the widespread adoption of social media, 'critical users' have moved their critiques online, increasing their visibility and influence. This transition has enabled user critiques to become collective and significantly impact design. Social media, particularly TikTok, provides an environment for 'critical users' to gain visibility and mobility. These platforms are not only used for entertainment but also serve as tools for political movements, allowing users to communicate and express their critiques. The study emphasises the ease of producing and consuming videos on TikTok, contributing to the rapid spread of critical thoughts. The study outlines the activities of design actors on social media and illustrates how user critiques impact real-world design dynamics. User critiques on social media compel design firms to take action, demonstrating the significant influence of these critiques.
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ÖgeTowards a model for analyzing the cognitive gap in user-product interaction throughout the technological evolution(Graduate School, 2024-05-31)The integration of new technologies into daily life has been radically shifting the nature of the products. Users are surrounded with products, working by technologies and algorithms that they have no information about. This lack of information forms cognitive gap between the user and the product. Exploring efficient ways to integrate technology into daily products with no cognitive gap becomes the main challenge of today's designers. Motivated by this challenge, the study aims to generate a model for analyzing the cognitive gap in user-product interaction in four dimensions: identity, action, intention, and affect. The framework is implemented in the dishwasher product category on a sample set of appliances, representing major milestones in the technological evolution, thereby providing insights into the cognitive gap in technological evolution. As the mechanical structures in the products are being replaced with electronic operating systems one by one, the form of the products changes inevitably, causing irreparable damage to the traditional link between form and function. The weakening link between form and function severely destroys the nature of interaction between user and product, through creating a considerable cognitive gap. As new technologies get integrated in the products, some orthodox interaction elements become obsolete and vanish or gets replaced for thinner, better, smaller versions. This shift induced by developing technologies creates cognitive gap on the distorting, shifting, evolving interaction elements which lost their significant portion of the references regarding functions. The emergence of the cognitive gap is not recent, it has previously studied and defined by many academicians through multiple perspectives like cognitive artifacts, distributed cognition, system image or action flow. So, the study starts by exploring the existing literature through multiple perspectives with the aim of reaching dimensions to analyze and compare the cognitive gap in products. The study aims to develop a cross-genre framework for a model to analyze the cognitive gap at first sight with the aim of providing necessary insights to design products, which can align closely with users' mental models and expectations (less cognitive gap). The study focuses on the cognitive gap at first sight, based on visual input, as pre-use perception of the user is proved to affect the user's perception strongly even after the actual use. Additionally, the surge in online shopping has amplified the impact of visual input in shaping purchasing decisions, increasing the significance of cognitive gap at first sight based on visual input. While the study suggests an evaluation model that can be adapted into various product genres, the field study focuses on a kitchen appliance, the dishwasher. Therefore, the proposed framework is adapted in dishwasher product category, to develop a model for analyzing cognitive gap. The field study investigates the dishwasher samples, which represent significant milestones in technological evolution, to analyze the cognitive gap retrospectively. The dishwasher product category is intentionally selected due to three main reasons: tangibility of kitchen experience, control panel diversity and availability. First, while the kitchen experience primarily revolves with around tangible physical elements, like food, the realm of consumer electronics deals with data. Hence the emergence of cognitive gap, due to miniaturization and dematerialization of the physical elements along with the shift from analog to digital technologies becomes more intriguing to investigate the kitchen industry than the consumer electronics. Second, control panel diversity is aimed to be able to investigate a wide range of cognitive gap. Control panel diversity is reached through the appliance samples, representing milestones of technological evolution. Third, the availability, the dishwasher product category is the only kitchen appliance product category available in the Miele Museum with appliance samples representing the milestones of technological evolution through appliance samples from 30's, 60's, and 70's. The Miele Museum and Miele product portfolio are specifically selected as the main source for appliance samples, as the researcher works at Miele as a design professional and has access to appliance samples and the relevant documentation. The Field Study investigated six appliance samples. Appliance samples M1, M2 and M3 are selected from Miele Museum, while M4, M5 and M6 are selected from current product portfolio. M1 represents the Era 1 which is known with direct tangible feedback, usually forming object symbols and unfamiliar product typology. M2 represents Era 2, which is known with analog, human-focused mechanics, control panels with, and "one control, one function" approach. M3 represents Era 3, which is known with the shift from analogue to digital, smaller but multifunctional elements, and control panels with multiple types of interaction elements. On the other hand, Era 4 is known with high technology acceptance, and loss of identity resulting in rising need for personalization. While M4, M5 and M6 belong to the same era, namely Era 4, they have distinct properties. M4 is full of push buttons in consistent shapes. M5 has a printed back-lit glass touch panel. M6 features the most advanced control panel technology with touch screen. Since the UX discipline deals with all aspects of users' interactions with products, services, and systems, UX evaluation methods naturally become the primary focus for investigating previous studies addressing the cognitive gap. Almost all studies exploring UX evaluation methods start with a literature review to define the impacting dimensions and then develop methods to measure these dimensions. Similarly, the study also starts with an extensive literature review to define the cognitive gap and determine the dimensions of the cognitive gap. Then, Empirical Research is implemented to test and optimized the developed model on dishwasher samples. For the Field Study, mainly the questionnaire method is preferred to collect the data, because of its cost effective, practical and self-reported nature. The dimensions of cognitive gap are defined as identity, action, function, and affect, originally stemming from well accepted UX dimensions such as user value, usability, and affect. Since the cognitive gap is defined as the gap between the user's mental model and the product, the questionnaire set reveals the user's mental model and then compares it with the product itself. For "identity" dimension, the questionnaire set investigates to what extent the appliance can be identified, then compares it with what the appliance sample actually is. For "action" dimension, the questionnaire set investigates to what extent the interaction design element can be manipulated with the planned actions, then compares it with how user is supposed to interact. For "intention" dimension, the questionnaire set investigates to what extent the interaction design element can trigger planned intention, then compares it with what the purpose of this interaction actually is. For "affect" dimension, the questionnaire set investigates to what extent the product can trigger expected or desired emotions, then compares it with how it is supposed to make the user feel. To define the option sets for "identity" dimension, a keyword analysis is conducted on the official Miele webpage. The Miele webpage is chosen as the keyword source, as the logo on the appliance samples offers the main clue for the answer. The keywords collected from the official Miele webpage are grouped, reduced and optimized to reach final option set. To define option sets for "action" and "intention" dimensions, a keyword analysis is conducted on user manuals to collect action keywords. Then the context is analyzed to form a morphologic box, matching action words with interaction elements and intentions (functions). Then, antagonistic actions are grouped and the option set is reduced for optimization, revealing the option set for "action" dimension. The option set for the "intention" dimension is constructed based on the morphological box, generated through the keyword analysis of user manuals. Obsolete functions or one time use functions are ignored. The functions (intentions) with reciprocity or relevance are grouped and the final option set for "intention" dimension is optimized. To generate a rating format and scale for the "affect" dimension, the proposed framework tackles with emotional response. The framework helps to generate a scale to quantify and compare emotional response (affect) to product at first sight (before use). By doing so, it synthesizes the method development processes from Kansei Engineering to ensure adaptability and scale optimization processes from SD Scale methods to ensure the practicality of evaluation and input collection in order to reach more efficient, quantifiable, and adaptable tools. 25 Evaluation adjectives are collected through the Keyword Analysis of appliance buying guides, blogs, and the official Miele website. They are filtered, optimized, and grouped to form adjective antonyms through cluster analysis and binary correlation matrix. Then, the adjective antonyms are crosschecked with existing studies for optimization, then positioned on SD scale to be rated on a 5-point Likert Scale. Through two Pilot studies and follow-up interviews, the adjective pairs are optimized from 15 to seven pairs. The study improves SD Scale methods by replacing the adjective pairs with dimensions, bringing more practicality and more quantifiability. Following the insights from the interviews, the adjective pairs are converted into nouns (Nominalization), increasing the practicality of the rating and quantification process. In its optimized version, the subjects were required to comprehend only one noun to rate instead of 2 adjectives, lightening the language barrier that verbal methods inherently have, and the final scale has seven sub-dimensions, aligning with Miller's Law. In the end, the framework offers analysis of the cognitive gap in multiple dimensions, targeting each dimension separately one by one. The model developed by the proposed framework aims to provide necessary insights for designing products, which can align closely with users' mental models and expectations (less cognitive gap).
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ÖgeProbing metaphors in user narratives: Towards a design research method to inform design process(Graduate School, 2024-07-05)Metaphor has long been a topic of investigation in scholarly design research. Studies across various design contexts have demonstrated the value in deliberately exploring and utilizing metaphors to facilitate different phases of the design process, from problem framing to concept generation. However, the analytical potential of metaphors has often been overshadowed by their widely acknowledged generative use, leaving its significance in the research phase of design process relatively unexplored. This dissertation aims to broaden our understanding of the role metaphors can play in design, delving into the analytical role of metaphors in user-centered design research, particularly focusing on the insights that users' metaphors can offer. The central assumption underlying this dissertation posits that designers can enhance their understanding of users by recognizing and analyzing their metaphors. This idea draws upon the cognitive linguistic approach to metaphor, which acknowledges metaphors in language as manifestations of our concepts that are essentially metaphorical in nature. Building on metaphorical concepts' centrality in the way our mind functions and our experience is structured, and supporting evidence provided from other research fields, exploring metaphors of users is considered highly significant in the context of user-centered design, as they can open a window into the worlds of others. It is hypothesized that the analysis and utilization of metaphors can facilitate designer's understanding of users, enable designers to make enhanced anticipations regarding their experiences and nourish new conceptualizations. Therefore, this dissertation investigates systematic ways (i) to explore user metaphors; and, (ii) to facilitate the generation of novel conceptualizations based on metaphor use. The research process has started with an exploratory preliminary study, which investigates whether metaphors in user narratives attracts designers' attention and facilitate idea generation. Followingly, a comprehensive main study was conducted, aiming to explore how designers can analyze and utilize user metaphors in their idea generation processes. The study design involved a systematic collection of narratives from the chosen user group, people living with type-1 diabetes, followed by a procedure where designers engaged with these narratives. 13 designers, equipped with knowledge in metaphor analysis, worked with metaphors in user narratives to generate design proposals. Then, they explained their process of working with user metaphors and the ideas they had generated based on them in follow-up interviews. Outcomes generated through the empirical study were subject to a qualitative content analysis. Consequently, the process of idea generation through metaphor analysis was depicted, identifying useful metaphor categories, diverse analysis strategies, and varied uses of metaphor. Based on the findings of the study, a design research method is proposed to systematically analyze metaphors in user narratives to inform and inspire user-centered design ideas. Overall, findings reveal the potential in exploring user's metaphors in design research. Supporting the hypotheses, employing metaphor as an analytical lens is observed to empower designers to grasp potential users' perceptions and behaviours, ultimately inspiring the incorporation of metaphors to enhance user experiences in diverse ways. The method developed based on the findings of this dissertation offers design researchers, designers and design students who adopt a user-centered design approach a systematic approach that they can adopt when moving from user data to design ideas. Additionally, the informative materials that were developed within the scope of this dissertation to introduce designers to metaphors and the concepts used to analyze metaphors constitute a resource for designers who want to work with metaphors more consciously.
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ÖgeA framework for the embodiment of empathy in design education: Exploring empathic perspective-taking of design teachers in design conversations(Graduate School, 2024-07-27)The sophisticated and multi-layered phenomenon of empathy has become an essential aspect of design research and design practice. However, the connections of this phenomenon with design education are indirect and ambiguous as well as have not yet been clarified. Thus, the dispersed nature of empathy in design education invites us to explore and address this phenomenon with the context of both conceptual and practical research objectives. This thesis study is prepared in regard to three phases going deeper considering research objectives that are addressed under four different studies. The first phase (scanning horizon) focuses on a systematic identification and analysis of the relevant literature overlapping design education and the concept of empathy. Under this phase, two preliminary studies based on systematic literature review are conducted to map the dimensions of empathy in design education (Chapter 2) and to reveal the impacts on design learning and teaching (Chapter 3). The second phase (deep diving) based on a participant observation study addresses how empathy is embodied in the design studio, so explore the empathic indicators embedded in design conversations (Chapter 4). Lastly, the third phase (mining together) based on a pedagogical probe study centres upon the underlying motives behind empathic perspective-taking of design teachers during design conversations (Chapter 5). In the first study (Chapter 2), a systematic scoping review study is adopted as a technique to map the field of interest. The dataset is analysed via qualitative content analysis method to uncover and map the hidden dimensions of empathy in design education. The analysis reveals three dimensions of empathy, such as educational interventions, aspects and contexts of empathy. Educational interventions are the implementations applied or discussed in the articles with special attention to the learning and teaching activities, connecting with empathy. The aspects of empathy are the materialisation of empathy with specific educational purposes. Finally, the context of empathy represents the distinctive contexts in which learning takes place, induced by empathy. These interwoven dimensions help us to generate an integrative framework of the relevant literature. Based on this integrative framework, particular implications are proposed, such as research-based implications for design education researchers, pedagogical implications for design teachers and institutional implications for decision-makers. This chapter entitled "Mapping three dimensions of empathy in design education: Educational interventions, aspects and contexts" is published in the journal Art, Design & Communication in Higher Education. It is understood that empathy considerably transforms learning processes and teaching activities. Thus, aiming to explore and discuss the impacts of empathy on learning and teaching in the relevant design education literature, the systematic scoping review study is analysed thematically the second study (Chapter 3). Eight themes appear in this study, such as cognitive, affective, interactive, collaborative, operative, perceptive, formative and connective impacts. All these impacts are mostly in relation to design learning; however, the impacts of empathy on teaching activities are relatively limited. Within the context of this study, the research gaps for further studies are also addressed, as well as methodological and pedagogical implications are presented. This chapter entitled "A deep dive into the impacts of empathy on design learning and teaching" is published in the International Journal of Technology and Design Education. The first phase (scanning horizon) helps to scan the relevant literature intensively and unfold the implicit nature of empathy by uncovering the dimensions of empathy in design education and its impacts on design learning and teaching. These studies also illustrate particular research gaps in the relevant literature underlining the less-concentration on in-studio interactions between design teachers and learners as well as the development of empathic ways of teaching. In the following study (Chapter 4), empathy is addressed as an embodied happening in design studio conversations between design teachers and students. In this study, empathy embedded in design studio conversations is highly associated with perspective-taking of design teachers to ensure empathic understanding with design students. In participant observation studies conducted at two universities in Finland and Türkiye how design teachers take the perspective of other agencies and what deliveries are utilised for empathic perspective-taking are traced. The findings of the ethnographic content analysis show that design teachers take the perspectives of both human and non-human agencies during design conversations, such as design students, users, and materials. Moreover, they utilise discursive and performative deliveries, which lead to the identification of design teachers with these agencies. It is understood that design teachers' perspective-taking of design students during design conversations has particular effects on enhancing the learning experiences. Moreover, perspective-taking of design teachers towards users and materials help students to observe and understand the implications of design. This chapter entitled "Eliciting empathy embedded in design conversations: Empathic perspective-taking of design teachers towards design students, users and materials" is published in the International Journal of Art and Design Education. This second phase (deep diving), which is the core study of this thesis, dives deeply into design studio education and teaching activities, starting from the embodiment of the empathy phenomenon. Design conversations are focused, which are the backbone interactions in the design studio. This study exploring the implicit nature of design conversation is an initial step to frame the empathic approaches of design teachers. Aiming to develop an in-depth understanding specific to empathic approaches of design teachers in design conversations, in the last study (Chapter 5), empathic perspective-taking phenomenon in design teaching is addressed. To dig into the motives of design teachers behind empathic perspective-taking in design conversations, a pedagogical probe study based on self-documentation and reflection on design teaching approaches is conducted with the participation of design teachers and supporting teaching staff. A directed approach to qualitative content analysis is used for the data analysis in this study to explore the underlying motives behind perspective-taking. There appear distinctive intentions of design teachers cultivated from personal motivations that have potential impacts on learning processes. This chapter is an in-review process in an international peer-reviewed journal. The third phase (mining together) helps to expand the knowledge around empathic perspective-taking and presents it in all its aspects via a participatory approach. As an empathic approach, allocentric perspective-taking of design teachers in design conversations can serve for the designerly way of thinking and enhancement of learning activities, the motivation and inspiration of design students particularly. In conclusion, both conceptual and practical implications of this thesis are discussed. The conceptualization of design teachers' perspective-taking as an empathic action in design conversations is addressed through the synthesis of the findings. It is understood that design teachers may face multiple traps to fall on the way of taking a perspective in design conversations. Moreover, the development of practical pedagogical tools and exercises at personal, collective and institutional levels are encouraged. Via new pedagogical tools, design teachers and supporting teaching staff can raise their own awareness, ensure their well-being, reflect each other and become empowered in a pedagogical sense. This thesis can be taken as an attempt to bring a new perspective and pedagogical approach to design studio conversations in the quest of empathic design education. Raising awareness of design teachers in this context can make it possible for the development of empathic design teachers and teaching approaches. By this way, more empathic interactions in the design studio education can be established.