KEER2022

Avanttítol: KEER2022. DiversitiesDescripció del recurs: 25 juliol 202

Impact de l’expérience immersive sur la prise en compte du kansei en design industriel amont

In an ever-changing context, the industrial design uses representation as a vector for inspiration and as a tool to operate stylistic choices which in turn enable the shaping of the experience induced by the designed product.This doctoral research presents the comparative study of traditional early design activity and immersive early design activity. This enables the evaluation and modeling of Virtual Kansei Design. My work essentially address the application and experimentation of fundamental theories through the design of two successive tools composing and innovative early design process.• The Immersive Moodboards are spatial immersive inspirational environments dedicated to the understanding of a stylistic trend, designed to substitute and enhance traditional moodboards.• The Immersive sketching is a generational environment enabling the design to position, erase, manipulate… a graphical mark in a three dimensional space planned for the creation of the first ideation sketches.This research aim to develop tools and a digital immersive workflow which first of all enables the design to anticipate Kansei (holistic relationship between the designer/user and the product) in order to optimize strategic style related choices and secondly enhances the fidelity between inspiration and generation while increasing the ability of the designer to produce innovating and aesthetic concepts.Dans un contexte industriel en constante évolution, le designer industriel utilise la représentation comme un vecteur lui permettant de s’inspirer et d’opérer des choix stylistiques afin d’imaginer l’expérience induite par les concepts de produits qu’il développe. Ce travail doctoral présente l'étude comparative entre l'activité de design amont traditionnelle et l'activité de design amont immersive, permettant l'évaluation et la modélisation de l'activité de Kansei Design Virtuel. Mes travaux portent essentiellement sur l'application et l'expérimentation de théories fondamentales à travers la conception de deux outils consécutifs du processus de design:• Les Univers de Tendance sont des environnements inspirationnels spatiaux immersifs dédies à la compréhension d'une tendance stylistique et conçu pour substituer et augmenter le rôle des planches de tendances traditionnelles.• Le Dessin Tridimensionnel Immersif est un environnement générationnel permettant au designer de déposer, effacer, manipuler… un tracé dans l'espace et dédié aux premiers croquis d'idéation.Ces recherches ont pour but de développer des outils et un workflow digital immersif permettant d'une part, d'anticiper le Kansei (relation holistique designer/client-produit) afin d'optimiser les choix stylistiques stratégiques et d'autre part, de maximiser la fidélité de retranscription entre espace d'inspiration et espace de génération tout en augmentant la capacité du designer à produire des concepts esthétiques et innovants

Design revolutions: IASDR 2019 Conference Proceedings. Volume 2: Living, Making, Value

In September 2019 Manchester School of Art at Manchester Metropolitan University was honoured to host the bi-annual conference of the International Association of Societies of Design Research (IASDR) under the unifying theme of DESIGN REVOLUTIONS. This was the first time the conference had been held in the UK. Through key research themes across nine conference tracks – Change, Learning, Living, Making, People, Technology, Thinking, Value and Voices – the conference opened up compelling, meaningful and radical dialogue of the role of design in addressing societal and organisational challenges. This Volume 2 includes papers from Living, Making and Value tracks of the conference

Experts on e-learning: insights gained from listening to the student voice!

The Student Experience of e-Learning Laboratory (SEEL) project at the University of Greenwich was designed to explore and then implement a number of approaches to investigate learners’ experiences of using technology to support their learning. In this paper members of the SEEL team present initial findings from a University-wide survey of nearly a 1000 students. A selection of 90 ‘cameos’, drawn from the survey data, offer further insights into personal perceptions of e-learning and illustrate the diversity of students experiences. The cameos provide a more coherent picture of individual student experience based on the totality of each person’s responses to the questionnaire. Finally, extracts from follow-up case studies, based on interviews with a small number of students, allow us to ‘hear’ the student voice more clearly. Issues arising from an analysis of the data include student preferences for communication and social networking tools, views on the ‘smartness’ of their tutors’ uses of technology and perceptions of the value of e-learning. A primary finding and the focus of this paper, is that students effectively arrive at their own individualised selection, configuration and use of technologies and software that meets their perceived needs. This ‘personalisation’ does not imply that such configurations are the most efficient, nor does it automatically suggest that effective learning is occurring. SEEL reminds us that learners are individuals, who approach learning both with and without technology in their own distinctive ways. Hearing, understanding and responding to the student voice is fundamental in maximising learning effectiveness. Institutions should consider actively developing the capacity of academic staff to advise students on the usefulness of particular online tools and resources in support of learning and consider the potential benefits of building on what students already use in their everyday lives. Given the widespread perception that students tend to be ‘digital natives’ and academic staff ‘digital immigrants’ (Prensky, 2001), this could represent a considerable cultural challenge

How companies embed non-quantifiable product qualities through their product development process

Many consumer products have reached a high level of technical product quality. Rapid adoption of new technologies and access to a global market means that markets are getting saturated. This means that technical differentiation is often not enough to sell a product and products compete more and more on intangible product qualities - these are meant to delight, bring pleasure, be easy to use and to create an experience. These qualities are often difficult to measure in the product using scientific descriptions and numerical measures. This research studies these Non-Quantifiable Product Qualities and the thesis presents research into how companies embed these Non-Quantifiable Product Qualities into their products in an attempt to satisfy their customers. The aim of this research was to gain insight into how large manufacturing companies embed product qualities that are difficult to quantify, by studying their product development process. This was done in two stages, firstly an exploratory study into five case organisations, secondly an in-depth study into three of the original five companies. Fifty interviews with designers, engineers and marketers formed the main source of data, supplemented with observations and document analysis. In the exploratory stage nine initial themes emerged out of data analysis, which then informed the data collection in the descriptive stage. The final output is seven confirmed themes, with 43 major findings and three conceptual models, that describe how companies embed Non-Quantifiable Product Qualities through their product development process. The research has found that the researched companies have some common strategies for embedding Non-Quantifiable Product Qualities. One example is that they will typically seek to translate an emotional response in the customer into measurable product qualities that will evoke such response. It is also common to seek out customer reaction to products during development to ensure successful embedding of Non-Quantifiable Product Qualities.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Design revolutions: IASDR 2019 Conference Proceedings. Volume 3: People

In September 2019 Manchester School of Art at Manchester Metropolitan University was honoured to host the bi-annual conference of the International Association of Societies of Design Research (IASDR) under the unifying theme of DESIGN REVOLUTIONS. This was the first time the conference had been held in the UK. Through key research themes across nine conference tracks – Change, Learning, Living, Making, People, Technology, Thinking, Value and Voices – the conference opened up compelling, meaningful and radical dialogue of the role of design in addressing societal and organisational challenges. This Volume 3 includes papers from People track of the conference