Interoperability and Standards: The Way for Innovative Design in Networked Working Environments

Organised by: Cranfield UniversityIn today’s networked economy, strategic business partnerships and outsourcing has become the dominant paradigm where companies focus on core competencies and skills, as creative design, manufacturing, or selling. However, achieving seamless interoperability is an ongoing challenge these networks are facing, due to their distributed and heterogeneous nature. Part of the solution relies on adoption of standards for design and product data representation, but for sectors predominantly characterized by SMEs, such as the furniture sector, implementations need to be tailored to reduce costs. This paper recommends a set of best practices for the fast adoption of the ISO funStep standard modules and presents a framework that enables the usage of visualization data as a way to reduce costs in manufacturing and electronic catalogue design.Mori Seiki – The Machine Tool Compan

Gaming techniques and the product development process : commonalities and cross-applications

The use of computer-based tools is now firmly embedded within the product development process, providing a wide range of uses from visualisation to analysis. However, the specialisation required to make effective use of these tools has led to the compartmentalisation of expertise in design teams, resulting in communication problems between individual members. This paper therefore considers how computer gaming techniques and strategies could be used to enhance communication and group design activities throughout the product design process

Recoding Product Design Education: Visual Coding for Human Machine Interfaces

This paper evaluates the impact of visual coding on the Industrial Design and 3D Design disciplines, in particular the role it plays in developing new products and services that would previously require interdisciplinary teams, or significant training beyond the scope of these disciplines into text-based coding and electrical engineering. The professional practice of designers working at the intersection of product design and coding is discussed, and design education evaluated in relation to the opportunities of electronics and visual coding. Quantitative research data is provided to support an argument that visual coding can enable designers to control their designs in new ways throughout the design and prototyping process

Not for designers: on the inadequacies of EU design law and how to fix it

Design rights represent an interesting example of how the EU legislature has successfully regulated an otherwise heterogeneous field of law. Yet this type of protection is not for all. The tools created by EU intervention have been drafted paying much more attention to the industry sector rather than to designers themselves. In particular, modern, digitally based, individual or small-sized, 3D printing, open designers and their needs are largely neglected by such legislation. The use of printing machinery to manufacture physical objects created digitally thanks to computer programs such as Computer-Aided Design (CAD) software has been in place for quite a few years, and it is actually the standard in many industrial fields, from aeronautics to home furniture. The change in recent years that has the potential to be a paradigm-shifting factor is a combination between the popularization of such technologies (price, size, usability, quality) and the diffusion of a culture based on access to and reuse of knowledge. We will call this blend Open Design. It is probably still too early, however, to say whether 3D printing will be used in the future to refer to a major event in human history, or instead will be relegated to a lonely Wikipedia entry similarly to “Betamax” (copyright scholars are familiar with it for other reasons). It is not too early, however, to develop a legal analysis that will hopefully contribute to clarifying the major issues found in current EU design law structure, why many modern open designers will probably find better protection in copyright, and whether they can successfully rely on open licenses to achieve their goals. With regard to the latter point, we will use Creative Commons (CC) licenses to test our hypothesis due to their unique characteristic to be modular, i.e. to have different license elements (clauses) that licensors can choose in order to adapt the license to their own needs

Components Testing in Automotive Industry

Tato bakalářská práce se zaměřuje na testování komponent v automobilovém průmyslu. Nabízí přehled testovacích metod, jejich základní popis a popis testovacích zařízení. V práci jsou také zmíněny CAD systémy, metoda konečných prvků a zrychlené testy, které slouží ke snižování finančních nákladů na testování pomocí omezování počtu testů nebo zkracování testovacích časů. Principy těchto nástrojů jsou zde stručně popsány. Závěr práce shrnuje důvody, které ženou vývoj testovacích metod kupředu.The bachelor’s thesis is aimed at testing of components produced by automotive industry. It yields an overview of testing methods, their basic description and description of used testing devices. In the thesis are also mentioned CAD systems, Finite Element Methods and accelerated tests, which are employed to reduce costs of testing process by eliminating the number of tests or by shortening the test-times. The basic principles of all these tools are briefly described. The conclusion of the thesis summarizes the reasons why developing of the testing is so important.

Break, Make, Retake: Interrogating the Social and Historical Dimensions of Making as a Design Practice

Making and digital fabrication technologies are the focus of bold promises. Among the most tempting are that these activities and processes require little initial skill, knowledge, and expertise. Instead, they enable their acquisition, opening them up to everyone. Makerspaces and fab labs would blur the identities between professional and amateur, designer and engineer, maker and hacker, ushering in a broad-based de-professionalization. Prototyping and digital fabrication would unite design and manufacturing in ways that resemble and revive traditional craftwork. These activities and processes promise the reindustrialization of places where manufacturing has disappeared. These promises deploy historical categories and conditionsexpertise, design, craft production, manufacturing, post- industrial urbanismwhile claiming to transform them. This dissertation demonstrates how these proposals and narratives rely on imaginaries in which countercultural practices become mainstream by presenting a threefold argument. First, making and digital fabrication sustain supportive environments that reconfigure contemporary design practice. Second, making and digital fabrication simultaneously reshape the categories of professional, amateur, work, leisure, and expertise; but not always in the ways its proponents suggest. Third, as making and digital fabrication propagate, they reproduce traditional practices and values, negating much of their countercultural and alternative capacities. The dissertation supports these claims through a multi-sited and multinational ethnographic investigation of the historical and social effects of making and digital fabrication on design practice and the people and places enacting. The study lies at the intersection of science and technology studies, human-computer interaction, and design research. In addressing the argument throughout this scholarship, it explores three central themes: (1) the idea that making and digital fabrication lead to instant materialization of design while re-uniting design with manufacturing; (2) the amount of skill and expertise expected for participation in these practices and how these are encoded in rhetoric and in practice; and (3) the material and social infrastructures that configure making as a design practice. The dissertation demonstrates that that the perceived marginality of making, maker cultures, digital fabrication allows for its bolder promises to thrive invisibly by concealing other social issues, while the societal contributions of this technoculture say something different on the surface

A Model for Using the Internet and the Web Technologies for New Product Development

Recent developments in Internet technology and the World Wide Web have the potential of making the product development process truly integrated, simultaneous, flexible, and responsive. However, little is known about how the Web can be effectively used for new product development. Based on the premise that Internet technology can be an agent of enterprise information integration, information enabled organization, and customer responsiveness, we develop a reference model which lays out the scope and benefits of using the Web for new product development. We also develop an implementation framework that informs product development managers about a variety of Web technologies that can be used for Web-based product development

Virtual Space in a Physical World

These documents have been reviewed by Safe Assignment.A small exposition center for St. Paul, MN. This project explores various design strategies with glass, steel, and suspension. Through the study of video game design techniques architecture can be developed in an entirely different way. Proposed spaces are in need of a stronger method of presentation. Computer generated simulations are that method