About the nature of Kansei information, from abstract to concrete

Designer’s expertise refers to the scientific fields of emotional design and kansei information. This paper aims to answer to a scientific major issue which is, how to formalize designer’s knowledge, rules, skills into kansei information systems. Kansei can be considered as a psycho-physiologic, perceptive, cognitive and affective process through a particular experience. Kansei oriented methods include various approaches which deal with semantics and emotions, and show the correlation with some design properties. Kansei words may include semantic, sensory, emotional descriptors, and also objects names and product attributes. Kansei levels of information can be seen on an axis going from abstract to concrete dimensions. Sociological value is the most abstract information positioned on this axis. Previous studies demonstrate the values the people aspire to drive their emotional reactions in front of particular semantics. This means that the value dimension should be considered in kansei studies. Through a chain of value-function-product attributes it is possible to enrich design generation and design evaluation processes. This paper describes some knowledge structures and formalisms we established according to this chain, which can be further used for implementing computer aided design tools dedicated to early design. These structures open to new formalisms which enable to integrate design information in a non-hierarchical way. The foreseen algorithmic implementation may be based on the association of ontologies and bag-of-words.AN

Understanding and modeling of aesthetic response to shape and color in car body design

This study explored the phenomenon that a consumer's preference on color of car body may vary depending on shape of the car body. First, the study attempted to establish a theoretical framework that can account for this phenomenon. This framework is based on the (modern-) Darwinism approach to the so-called evolutionary psychology and aesthetics. It assumes that human's aesthetic sense works like an agent that seeks for environmental patterns that potentially afford to benefit the underlying needs of the agent, and this seeking process is evolutionary fitting. Second, by adopting the framework, a pattern called “fundamental aesthetic dimensions” was developed for identifying and modeling consumer’s aesthetic response to car body shape and color. Next, this study developed an effective tool that is capable in capturing and accommodating consumer’s color preference on a given car body shape. This tool was implemented by incorporating classic color theories and advanced digital technologies; it was named “Color-Shape Synthesizer”. Finally, an experiment was conducted to verify some of the theoretical developments. This study concluded (1) the fundamental aesthetics dimensions can be used for describing aesthetics in terms of shape and color; (2) the Color-Shape Synthesizer tool can be well applied in practicing car body designs; and (3) mapping between semantic representations of aesthetic response to the fundamental aesthetics dimensions can likely be a multiple-network structure

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for the 21st Century)" http://www.mdpi.com/journal/arts/special_issues/Machine_Artis

A STEP TOWARD AN INTELLIGENT AND INTEGRATED COMPUTER-AIDED DESIGN OF APPAREL PRODUCTS

An apparel product (or “apparel”) is a human product. The design of an apparel product (or “apparel design”) should share many features of general product design and be conducted with a high degree of systematics and rationality. However, the current practice of apparel design is relatively more experience-based and ad-hoc than it should be. Besides, computer support to apparel design is quite limited in that there are several software systems available for supporting apparel design but they are isolated. Two reasons may explain this above situation: (1) absence of the ontology of apparel and apparel design, and (2) absence of a systematic and rational apparel design process. Furthermore, apparel is a specialized type of product in that all three inherent requirements (i.e., function, comfort related to ergonomics, and pleasure related to aesthetics) are equally important, especially the latter, which creates positive affects in the human wearer. In general, knowledge of how to design an apparel product for pleasure/affects is missing from the current design. The general motivation for the research conducted in this thesis is to locate and articulate this “missing knowledge” in order to advance design technology including computer-aided design for modern apparel products. The specific objectives of the research presented in this thesis are: (1) development of a model for the ontology of apparel or apparel system so that all basic concepts and their relationships related to the apparel system are captured; (2) development of a systematic design process for apparel that captures all the inherent characteristics of design, namely iteration and open-endedness; and (3) development of a computer-aided system for affective design for apparel, whereby human feeling once described can be computed with the result that an apparel product meets the wearer’s “feeling needs” (functional and ergonomic needs are assumed to be satisfied or not the concern of this thesis). There are several challenges to achieving the foregoing objectives. The first of these is the understanding of ontology for apparel and apparel design, given that there are so many types of apparel and ad-hoc apparel design processes in practice. The second challenge is the generalization and aggregation of the various ad-hoc apparel design processes that exist in practice. Third is the challenge presented by imprecise information and knowledge in the aspect of human’s affect. All three above challenges have been tackled and answered in this thesis. The first challenge is tackled with the tool of data modeling especially semantic-oriented data modeling. The second challenge is tackled with the general design theory such as general design phase theory, axiomatic design theory, and FCBPSS knowledge architecture (F: function, C: context, B: behavior, P: principle, SS: state and structure). The third challenge is tacked with the data mining technique and subjective rating technique. Several contributions are made with this thesis. First is the development of a comprehensive ontology model for apparel and apparel design that provides a basis for computer-aided design and manufacturing of apparel in the future. Second is the development of a general apparel design process model that offers a reference model for any specific apparel design process. Third is the provision of new “data mining” technology for acquiring words in human language that express affects. It should be noted that this technology is domain-independent, and thus it is applicable to any other type of product for affective design. The final contribution is the development of a method for searching apparel design parameters which describe an apparel product meeting a wearer’s required feelings described by “feeling words”. The database of words and the algorithm can be readily incorporated into commercial software for computer aided design of apparel products with the new enabler (i.e., design for affect or feeling)

Development of novel design methodology for product mass customization based on human attributes and cognitive behaviours

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.The competition in the global market is accelerating rapidly because of less technological gap, matured manufacturing level, and various changing customer needs. Increasingly customers choose products in terms of experience desires, psychological desires and whether the products can reflect their values, in addition to the main product functions. Moreover, there are a large number of small and medium sized manufacturing companies in the developing countries. OEM (Original Equipment Manufacturer) and simple mass production cannot generate good value for these manufacture companies, and they have been seeking new opportunities to create higher value for their products/services and satisfy different needs of customers. Mass customization is one of the main business forms in the future, which can best meet the needs of individual customer, especially psychological needs. The key to mass customization is to provide enough modules to meet individual needs with a limited cost increase. The problem has been how to identify the real user needs and individual differences. The purpose of this research is to develop a sound design methodology based upon the current product design theories and practices for future product innovation and sustainable growth of small and medium sized manufacturing enterprises. The research focuses on the user-product cognitive behaviours and the relationship between human attributes and product features. Orthogonal experiment, eye tracking technology and artificial neural network have been successfully applied in this research. The research has developed a user needs hierarchy model and added value hierarchy model, and a robust theoretical basis to predict and evaluate (individual) user needs for product design. The research has further made the following contributions: 1) The relationship between human attributes and product features has been established, which can help designers understand the differences of various customer groups; 2) The different effects of various influence factors on people’s cognition and preference choice based on vision have been analysed and discussed; 3) A new method to identify, cluster, and combine common needs and personalized needs in early design stage for mass customization has been developed; 4) The research results can be reused in the future design of the same or similar kind of products

KEER2022

Avanttítol: KEER2022. DiversitiesDescripció del recurs: 25 juliol 202

Implementation of Design Rules for Perception Into a Tool for Three-Dimensional Shape Generation Using a Shape Grammar and a Parametric Model

The user experience of a product is recognized as having an increasing importance in particular in consumer products. Current approaches to designing user experiences are not easily translated to languages that a computer can understand. This paper examines a particular aspect of user experience, namely perception of the aesthetics of a product, to formalize this to rules, which are embedded into a tool to generate design. Investigating the perception of consumers is key to designing for their aesthetic preferences. Previous research has shown that consumers and designers often perceive the same products differently. This paper aims to embed rules on perception into a tool to support designers during design synthesis. Aesthetic design rules connecting perceptions with aesthetic features were integrated into a set grammar and a parametric modeling tool, and applied to the particular case of vases. The generated tool targeted the creation of vases with the perception of beautiful, elegant, and exciting. Results show that it is possible to generate beautiful, elegant, and exciting vases following the three aesthetic design rules, i.e., tall, simple, and curvy. The main contribution of this paper is the method used to incorporate information on perception into the set grammar and the parametric model. The tool is additionally proposed for supporting designers during design synthesis of shapes. The results are valid for vases but the method can be applied to other perceptions and product categories

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