Investigating user preferences in utilizing a 2D paper or 3D sketch based interface for creating 3D virtual models

Computer modelling of 2D drawings is becoming increasingly popular in modern design as can be witnessed in the shift of modern computer modelling applications from software requiring specialised training to ones targeted for the general consumer market. Despite this, traditional sketching is still prevalent in design, particularly so in the early design stages. Thus, research trends in computer-aided modelling focus on the the development of sketch based interfaces that are as natural as possible. In this report, we present a hybrid sketch based interface which allows the user to make draw sketches using offline as well as online sketching modalities, displaying the 3D models in an immersive setup, thus linking the object interaction possible through immersive modelling to the flexibility allowed by paper-based sketching. The interface was evaluated in a user study which shows that such a hybrid system can be considered as having pragmatic and hedonic value.peer-reviewe

Design Gateway: Pedagogical Discussion of a Second-Year Industrial Design Studio

This presentation was part of the session : Pedagogy: Procedures, Scaffolds, Strategies, Tactics24th National Conference on the Beginning Design StudentMost industrial design programs focus the beginning design curriculum on the learning of core design principles. These core principles are seen as not specific to any one discipline (architecture, industrial design, interior design, etc.), but rather as fundamentals germane to all design fields. These core principles focus on the analysis of built artifact (structures, products, systems) to develop an understanding of geometry, structure and composition through looking and exploring. Students develop skills in representing, communicating and analyzing what they see and experience. These skills are nurtured in early studios. As students move into later studios, more discipline-specific knowledge and skills are integrated into their educational pedagogy. In the beginning years of design education, there is a transition from the learning of general 'core' design fundamentals to specialized principles that is inherent to their specific disciplines. As students move from abstract ideas to 'real-world' projects, they seem to have difficulty transitioning between the abstract concepts they previously learned and reality that requires application to new settings [1]. Students perceive learned concepts as specific to a particular studio project, rather than realize that design education is a continuum of practiced principles [1]. This presents a disconnect between knowledge transfer from one studio project to the next. The curriculum of the second-year industrial design studio at the Georgia Institute of Technology is designed to address this disconnect and help students successfully transition from the core design fundamentals to industrial design knowledge. Throughout the second year education, students engage in the making and communication of form and they do it through design exercises dealing with the fundamentals as well as knowledge base, both simultaneously and repeatedly, According to ----, a design education that offers a component of repetitive experience encourages students to be cognizant of the iterative nature of both the design process as well as design education [2]. This paper discusses the approach, designed by the authors, evident in the sophomore-year industrial design curriculum at Georgia Tech. While emphasis is placed on rigor, exploration and articulation of concepts throughout the studio period, this approach adopts a pedagogy based on a series of modules that scaffold the introduction of new concepts with the reinforcement of previously learned ones. Individual modules follow a path of concept introduction (lecture), analysis, practice, and finally refinement. Upon completion of several modules, students engage in a 'module project' which demonstrates synthesis and realization of the learned concepts. A final semester-end design project provides for aggregation and demonstration of all subject matter learned throughout the semester. This pedagogical approach bridges the gap of disconnect between previous studios and promotes a continuous layering and practice of beginning design fundamentals

Investigating user response to a hybrid sketch based interface for creating 3D virtual models in an immersive environment

This research was done in collaboration with the Fraunhofer Institute for Production Systems and Design Technology Berlin. It was supported by VISIONAIR, a project funded by the European Commission under grant agreement 262044.Computer modelling of 2D drawings is becoming increasingly popular in modern design as can be witnessed in the shift of modern computer modelling applications from software requiring specialised training to ones targeted for the general consumer market. Despite this, traditional sketching is still prevalent in design, particularly so in the early design stages. Thus, research trends in computer-aided modelling focus on the the development of sketch based interfaces that are as natural as possible. In this paper, we present a hybrid sketch based interface which allows the user to make draw sketches using offline as well as online sketching modalities, displaying the 3D models in an immersive setup, thus linking the object interaction possible through immersive modelling to the flexibility allowed by paper-based sketching. The interface was evaluated in a user study which shows that such a hybrid system can be considered as having pragmatic and hedonic value.peer-reviewe

Designing as Construction of Representations: A Dynamic Viewpoint in Cognitive Design Research

This article presents a cognitively oriented viewpoint on design. It focuses on cognitive, dynamic aspects of real design, i.e., the actual cognitive activity implemented by designers during their work on professional design projects. Rather than conceiving de-signing as problem solving - Simon's symbolic information processing (SIP) approach - or as a reflective practice or some other form of situated activity - the situativity (SIT) approach - we consider that, from a cognitive viewpoint, designing is most appropriately characterised as a construction of representations. After a critical discussion of the SIP and SIT approaches to design, we present our view-point. This presentation concerns the evolving nature of representations regarding levels of abstraction and degrees of precision, the function of external representations, and specific qualities of representation in collective design. Designing is described at three levels: the organisation of the activity, its strategies, and its design-representation construction activities (different ways to generate, trans-form, and evaluate representations). Even if we adopt a "generic design" stance, we claim that design can take different forms depending on the nature of the artefact, and we propose some candidates for dimensions that allow a distinction to be made between these forms of design. We discuss the potential specificity of HCI design, and the lack of cognitive design research occupied with the quality of design. We close our discussion of representational structures and activities by an outline of some directions regarding their functional linkages

A 4D printing communication framework for designers and engineers

This thesis was submitted for the award of Doctor of Philosophy and was awarded by Brunel University London“Communication is an essential part of any design process.” (Clarkson and Eckert) [1]. The rapid emergence and growth of 4D printing technology are expected to impact the technology's development significantly. Due to the high level of interest shown by the research and manufacturing sectors, the technology is expected to jump in its development rapidly. Since 4D Printing technology is still in the early stage, it is also required to focus on advancements in the progress of emerging needs for development in various areas such as application, design, materials, etc. This thesis investigates the communication barriers between designers and engineers in communicating the 4D Printing design process, which has revealed there are only ambiguous ways of communicating without standardization, which led to misinterpretation in the communication of the 4D Printing design process. This thesis aims to develop a concept of design representations that can be used to communicate the 4D Printing design process. The study proposed a communication framework for a communication tool to aid the communication barriers between designers and engineers in the 4D Printing design process to optimize the effectiveness of the 4D Printing technology through the design process. The 4D Printing communication framework has been developed from idea generation through a series of iterative stages to bridge the communication gaps. The communication framework aimed to guide how to constructively design representation symbols for effectively communicating in the 4D Printing design process. With the standardization of communication tools, the designer and engineer could fluently refine and connect their approach design ideas and maximize the potential of 4D Printing technology

Representaatioiden tuottaminen ja muuntaminen suunnittelun ideointivaiheessa

The complexity of the current world is contributing to an increased dependency on innovative approaches and competences for solving open-ended problems and adjusting to multi-layered work environments. Creative ideation is valued not only in traditional creative fields such as design, craft and art, but also in all areas of work life. In design ideation the focus is on seeing beyond the obvious and developing personal constraints on the design task. Therefore, it can be seen as increasing the creativity in problem solving in general. Ideation is important as it is the basis for the rest of the design process. However, the research concerning design ideation is still sparse in Finland, as previous research has emphasised the entire design process. Accordingly there is lack of knowledge, concepts and definitions of ideation to support communication in designing and design education. The aim of this study was to understand design ideation and aspects that inspire and guide designers in the idea generation process. The study explored the conceptual and material premises for ideation, ways of creating novel standpoints towards ideation and the nature of the design context. The study used multiple qualitative methods; data were collected from a virtual e-learning database, by interviewing and using a mobile, context-sensitive data-collecting tool. The data-analyses applied qualitative content analysis. The study explored student teachers and professional designers design thinking in the ideation focusing on material resources and materially embodied practices for generating and transforming representations. The findings illustrated that interpreting sources of inspiration requires processes such as the use of analogical thinking and abstraction. In addition, creative ideation is a gradual development of ideas. The designer constrains the design situation through creation of visual-material ideas until a suitable idea(s) emerge. The findings encourage viewing design ideation as a multi-modal process in which representations are important triggers for ideation. The exploratory process of generating and transforming representations is a holistic making-related activity that is best supported by interaction with peers and different types of externalization methods. The study proposes two objectives that design tasks in education should address. Firstly, the ideation phase should include deliberate practices and a variety of techniques for manipulating representations to develop visual ideas. Secondly, the ideation process should embed meaning-making for personal engagement and exploration to pursue ideation towards wider contexts of learning. Keywords: Idea generation, design representations, design practices, creativity, materiality, design learningTutkimus kohdentui tekijöihin jotka inspiroi ja ohjaa suunnittelijoita ideoiden synnyttämisessä. Tutkimus käynnistyi käytännön ongelmista joita ideointia opiskelevat ja opettavat kohtaavat. Erityisesti tutkimus kohdentuu tekstiiliopettajien koulutuksen tarpeisiin, mutta tulokset ovat myös sovellettavissa suunnittelun ja muotoilun alueille sekä ideoinnin prosesseihin yleisesti. Tutkimuksen avulla selkiytettiin ideointiprosessin vaiheita ja käsitteitä. Tuloksena oli, että inspiroivia lähtökohtia ideoinnille ovat mielikuvat, inspiraationlähteet, kantavat ideat ja suunnittelua säätelevät tekijät eli rajoitteet. Kantavan idean luomisella on erityinen merkitys ideointiprosessissa. Kantava idea on suunnittelijan oma näkökulma tehtävään, alkuidea, joka rajaa suunnitteluprosessia jatkossa. Se on motivoiva lähtökohta ja usein sen löytäminen tuo koko prosessille sielun sekä mahdollisuuden uutta luovaan otteeseen. Ideointia vaativa tehtävä on aina joiltain osin avoin ja erilaiset käytänteet auttavat muuntamaan inspiraationlähteitä, rajaamaan idea-avaruutta sekä löytämään motivoivan lähtökohdan niin, että voidaan mielekkäästi jatkaa suunnitteluvaiheeseen. Ideointivaiheen käytänteet voivat olla materiaalin keräämistä, kokeilujen työstämistä ja luonnostelua. Ideointivaihe on siten tutkimuksen mukaan aktiivista työstämistä sopivan inspiraation ja idean löytämiseksi. Tutkimuksessa esitetty materiaalinen lähestyminen ideointiin on kokeilevaa ja moniaistisen runsasta. Ideoinnissa tärkeä rooli on myös prosessin käsittelemisellä yhdessä ryhmän tai kollegojen kesken. Se tukee inspiroivien asioiden ymmärtämistä ja siten edistää syntyvien ideoiden tulkintaa ja muokkausta. Ideointi saa siis tukea siitä yhteisöstä jossa se tapahtuu. Koulutuksen kontekstissa suunnittelutehtävien tulisi tukea tarkoituksenmukaisia suunnittelun käytänteitä. Tehtävien tulisi sisältää erilaisia tekniikoita ideoiden visuaaliseen tuottamiseen ja tehtävien rajaamiseen. Ideoinnin tulisi myös tähdätä merkitykselliseen prosessiin. Merkityksellisyys syntyy kun avointa aihetta lähestytään tutkivasti ja kokemuksellisesti. Tällä pyritään henkilökohtaiseen sitoutumiseen, joka kantaa yksittäistä tuotetta laajempiin oppimisen mahdollisuuksiin. Tutkimuksessa käytettiin monimenetelmäistä tutkimusotetta. Aineisto kerättiin virtuaaliselta oppimisalustalta, haastattelemalla muotoilijoita ja opiskelijoita sekä käyttämällä kontekstisensitiivistä mobiilisovellusta