Evaluation of a method and a computer tool for generating concept designs

The authors have developed a method/computer tool to assist (student) engineering designers in generating concept designs. The method is based on the chaining of physical laws and complementary basic schemata (BS). The tool generates chains which serve as an aid in the development of concept designs. In this paper, the authors compare concept designs generated by a control group (which used functional structure and morphological matrix) with those from an experimental group that used computer-generated chains. The experimental group was found to have generated a greater number of different solutions than the control group; the generation of different solutions indicates a high level of variety and a better chance to find potentially innovative solutions. The established difference in the number of different solutions is statistically significant and the results indicate that the BS facilitate greater variety of concept designs

PLM and early stages collaboration in interactive design, a case study in the glass industry

Product design activity is traditionally presented as a succession of four to six stages. In the early stages of design, during the search for concepts, multi-disciplinary teams are working together, sometimes on the fringe of the digital design chain. But it is during these stages, that most of the product development cost is committed. Therefore, collaboration should be emphasized, and PLM software should contribute to it strongly. This paper first defines the boundaries of the early stages of design. Then, we analyze designer collaboration in this stage and describe the knowledge necessary for efficient collaboration. Finally, we propose and test a concept for a tool to assist the early stages of design, to be integrated in a continuum with other existing digital design tools. A case study is presented in Verallia, specialized in the design and manufacturing of glassware

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

Sustainable exhibit design: guidelines for designers of small scale interactive and travelling exhibits

This study was commissioned as part of Lincolnshire County Council’s FLOWS ‘2B’ Information and Symbols Project and UK match funding for this particular FLOWS Project has been provided by East Midlands Development Agency. The aim of FLOWS is to improve the sustainability of development in flood risk areas through development of ‘good practice’, by improved integration of flood risk information into decision-support systems for spatial planning and water management. FLOWS involves over 40 individual projects which are based in four Work Packages. Lincolnshire County Council is jointly leading Work Package 3 (Spatial Planning) and is also leading on Projects in Work Package 2 (Public Perception/Dissemination). This study has been produced as part of Lincolnshire County Council’s ‘FLOWS 2B Information and Symbols Project’ and in the wider context, is focussing on raising public awareness of flooding and flood risk by exploring innovative methods of disseminating information on the subject of flood risk to the public. This project involves the production of interactive exhibits aimed at raising the awareness of flood risk in Lincolnshire and is a partnership between Lincolnshire County Council and the School of Architecture at the University of Lincoln. A study focussing on creating sustainable exhibitions has been undertaken via the University of Lincoln that will directly inform the FLOWS exhibits. As detailed in the project brief, this study on Sustainable Exhibit Design will investigate best practice in sustainable exhibit design and produce a report setting out guidelines for designers of small interactive and travelling exhibits, guidelines which are directly applicable to the proposed FLOWS exhibit. The report will form a contribution to exhibition design knowledge through wider distribution via the University of Lincoln and FLOWS websites and a conference presentation

Recovery From Design

Through research, inquiry, and an evaluation of Recovery By Design, a ‘design therapy’ program that serves people with mental illness, substance use disorders, and developmental disabilities, it is my assertion that the practice of design has therapeutic potential and can aid in the process of recovery. To the novice, the practices of conception, shaping form, and praxis have empowering benefit especially when guided by Conditional and Transformation Design methods together with an emphasis on materiality and vernacular form

An aesthetic for sustainable interactions in product-service systems?

Copyright @ 2012 Greenleaf PublishingEco-efficient Product-Service System (PSS) innovations represent a promising approach to sustainability. However the application of this concept is still very limited because its implementation and diffusion is hindered by several barriers (cultural, corporate and regulative ones). The paper investigates the barriers that affect the attractiveness and acceptation of eco-efficient PSS alternatives, and opens the debate on the aesthetic of eco-efficient PSS, and the way in which aesthetic could enhance some specific inner qualities of this kinds of innovations. Integrating insights from semiotics, the paper outlines some first research hypothesis on how the aesthetic elements of an eco-efficient PSS could facilitate user attraction, acceptation and satisfaction