Construction of scale models in industrial design: the irruption of additive manufacturing. Rubrics proposal for an objective evaluation

Comunicació presentada a EDULEARN2019, 11th International Conference on Education and New Learning Technologies (July 1-3, 2019, Palma, Mallorca, Spain).Recent studies corroborate the progressive implementation of Additive Manufacturing technologies (commonly known as 3D printing) in education, demonstrating several advantages. In the field of industrial design, the development of models during the design phase of product design helps designers in training to visualize their proposals. Today, 3D printing and traditional model-making techniques coexist in classrooms. With both techniques it is possible to achieve good results, but when it comes to evaluating them it is not so simple, since both ways of working are different and apparently the same evaluation criteria cannot be used in both cases, which could lead to comparative grievances. This work presents a series of rubrics that can help to evaluate the student's models in an objective way and under equal conditions, independently of the technique used: traditional o 3D printing. In order to do this, we started from a rubric made to evaluate traditional models, which was tested during a couple of academic years in other subject. This rubric was adapted to create a new rubric, which allowed to evaluate models made by 3D printing, looking for equivalent criteria with the previous rubric to guarantee a fair evaluation of both ways of working. The rubrics were tested experimentally in the subject ‘Prototypes: experimental workshop’, taught during the 4th year of the Bachelor's Degree in Industrial Design and Product Development Engineering at the Universitat Jaume I (Spain). Two groups of users assessed each work using these rubrics. The results showed, on the one hand, that both groups found it easy to evaluate the works using these rubrics, and on the other hand, that these rubrics allow for a fairly objective evaluation of the works, since the score obtained by both groups of users was very similar

Representation of industrial products in the early stages of design: Drawing and artistic expression in industrial design

Comunicació presentada a ICERI 2018 11th annual International Conference of Education, Research and Innovation (Seville, Spain. 12-14 November, 2018)Hand drawing is a basic tool for industrial designers, as it allows them to represent and communicate concepts in an agile way during the initial design phase. Although we can find subjects related to drawing in the first years of all university degrees in industrial design, the way to implement the necessary activities is not always the most appropriate, and it may happen that, despite having practiced sketching, at the end of the course the students do not have the necessary skills to communicate their ideas effectively or adequately represent the reality that surrounds them. This paper proposes twelve groups of activities designed to help industrial design students acquire skills related to hand drawing. The activities were implemented during the second course of the Degree in Industrial Design and Product Development Engineering at Universitat Jaume I, improving those implemented during the last course. The paper analyzes and discusses the positive results of the innovations introduced, which improved the mean grade of the course by 4.48% with respect to the grade obtained the previous year

Validez de la metáfora gráfica en el contexto actual de la comunicación

La eficacia de los recursos metafóricos siguen siendo válidos en diversos campos de la comunicación. La operatividad de su uso exige que se tenga en cuenta el contexto del discurso, el entorno sociocultural y la experiencia del usuario. Es necesario plantear soluciones de diseño teniendo en cuenta la implementación combinada en mayor o menor grado de tres paradigmas: el tecnológico (la interfaz está condicionada a expresarse en base al software que opera el sistema), el metafórico (es necesario hacer invisible al software) y el idiomático (proponer un nuevo lenguaje no metafórico de rápido aprendizaje para expresar conceptos o funcionalidades complejas)The effectiveness of metaphorical resources continues to be valid in several different fields of communication. For their use to be efficient, it is necessary to take into account the context of the discourse, the socio-cultural setting and the user’s experience. Design solutions have to be developed bearing in mind the combined implementation, albeit to a greater or lesser extent, of three paradigms: technological (the interface is conditioned to express itself on the basis of the software the system is running), metaphorical (the software must be made invisible) and idiomatic (proposing a new non-metaphorical easy-to-learn language that can be used to express complex concepts or capabilities)

Packaging design: learning through fictional cases or real cases? Comparative study of student performance over 8 academic years

Comunicació presentada a EDULEARN2019, 11th International Conference on Education and New Learning Technologies (July 1-3, 2019, Palma, Mallorca, Spain).In the practical subjects of the Degrees in Industrial Design students usually apply theoretical knowledge to solve complex cases, but in many occasions these cases are only fictional. However, it is also possible to provide students with cases that respond to real needs, and on many occasions it is the companies that propose them through contests. Numerous experiences endorse the Competition-Based Learning (CBL) as a working methodology that improves the motivation of the students. But it is worth asking to what extent this motivation achieves a significant improvement in student performance. This paper hypothesizes that the performance of industrial design students is higher when they work to solve real cases than when they have to solve fictional cases. To demonstrate it, the average grades obtained during 8 academic years in a subject related to packaging are compared. Between 2011 and 2014, students were presented with a fictional case in which it was necessary to solve a specific need for a new type of packaging. Between 2015 and 2018 a similar exercise was planned, but based on real cases proposed by companies in the sector. In both cases, the exercise was planned during the central weeks of the semester, the students were given a similar period of time to develop them (around 4 weeks), and they were evaluated according to similar criteria. The results of this study show that the orientation of the exercises towards real cases through participation in contests seems to have a slight positive influence on student performance (+3.25%), so it is possible to demonstrate that the incorporation of CBL as a teaching methodology is generally positive for design students, given that it improves both their motivation and the quality of their proposals and has a positive impact on their performance

The effectiveness of graphic representation techniques used by industrial designers for the conceptual presentation of new products

[EN] Graphic techniques are very important means for designers. They can improve the conceptual presentation of new products before a client or a company, stimulating the communication of their potential, defending their benefits and making clear their commercial viability. To choose the most suitable graphic languages is essential so that the client can understand the proposal, allowing this way to establish a dialogue with the designer itself in order to improve the solution. Today the multiplication of graphic media has made it possible for the designers to have a wide range of ways to conduct and present their ideas, but it may happen that the graphic techniques chosen may not always be the most appropriate. This work aims to demonstrate the importance of graphic expression used as a tool for presenting ideas about new products, and evaluate the effectiveness of several graphic techniques in improving the client's understanding of the product, taking into account the conceptual clarity, the representation of the mode of use, the relationship with the user and the contextualization of the product in its habitat or use environment.Felip Miralles, F. (2017). The effectiveness of graphic representation techniques used by industrial designers for the conceptual presentation of new products. Multidisciplinary Journal for Education, Social and Technological Sciences. 4(2):97-113. doi:10.4995/muse.2017.7686SWORD9711342Bishop, I., & Lange, E. (2005). Presentation Style and Technology. En I. Bishop & E. Lange (Eds.), Visualization in landscape and enviromental planning: technology and applications (pp. 68-77). New York: Taylor&Francis.Brath, R., Peters, M., & Senior, R. (s. f.). Visualization for Communication: The Importance of Aesthetic Sizzle. Ninth International Conference on Information Visualisation (IV’05). doi:10.1109/iv.2005.145Crilly, N., Blackwell, A. F., & Clarkson, P. J. (2006). Graphic elicitation: using research diagrams as interview stimuli. Qualitative Research, 6(3), 341-366. doi:10.1177/1468794106065007Chulvi, V., Mulet, E., Felip, F., & García-García, C. (2016). The effect of information and communication technologies on creativity in collaborative design. Research in Engineering Design, 28(1), 7-23. doi:10.1007/s00163-016-0227-2García-García, C., Chulvi, V., Galán Serrano, J., Felip, F., Royo González, M. (2015) The use of social networks for invigorate the communication during the conceptual design phase in virtual projects. In Proceedings of 19th International Congress on Project Management and Engineering, Granada, Spain (pp. 277-290). AEIPROGarcía-García, C., Chulvi, V., Mulet Escrig, E., Felip, F. (2016) Comparative study of digital sketching tools for conceptual design of new products. In Proceedings of 20th International Congress on Project Management and Engineering, Cartagena, Spain (pp. 1028-1040). AEIPRO. http://www.aeipro.com/files/congresos/2016cartagena/03030.4603.pdfGonzález Alastrué, J. A., & Jover, L. (2004). Los gráficos en la comunicación y el razonamiento científicos: ¿instrumento u ornamento? Medicina Clínica, 122(Supl.1), 3-10. doi:10.1157/13057541Herbert, D. M. (1988). Study Drawings in Architectural Design: Their Properties as a Graphic Medium. Journal of Architectural Education, 41(2), 26-38. doi:10.1080/10464883.1988.1075847

Enhancing Freehand Sketching in Industrial Design: Description and Implementation of a Drawing Methodology for More Effective Representations

Freehand sketching is an important part of the design process that allows one to communicate in a quick and gestural way the first ideas about new concepts and is a medium for graphic thinking. It is important for architects and designers because it is a mechanism of representation, conceptualization, and abstraction for the communication between the creators and their audience. All academic courses related to industrial design include subjects aimed at acquiring skills in the use of manual tools of graphic representation, recognizing their importance in the integral training of the designer. However, sometimes the methodologies implemented in some subjects fail to develop adequately the skills of the students, who finish their studies with shortcomings in the field of graphic representation. This paper describes exercises that are part of a methodology designed to help students of industrial design acquire the skills to make an agile and effective use of freehand sketching. Through different uses of the elements of formal expression, the exercises address topics such as shape analysis, composition, light, color, and descriptive illustration. The methodology is applied experimentally in a subject of the bachelor’s degree in industrial design and product development engineering at Universitat Jaume I, introducing the students to different instruments and techniques of sketching and proposing various enriching ways of direct observation of the objectual reality that surrounds them. The paper concludes by evaluating the positive impact of the implemented methodology

Sketching as a communication tool and a vehicle for exploring new ideas in Higher Education of industrial design. Implementation and analysis of new methodologies

[EN] Freehand drawing is a basic tool to explore shapes and visualize ideas during the first phase of projective process in industrial design. Sketches, expressive and quickly executed, allow designers to highlight the most interesting aspects of the product to be designed and help to define its shape and general features. Due to the immediacy that characterizes the manual drafting industrial designers in training learn to become able to translate any ideas graphically and thus able to communicate with other designers, initiating a dialogue on the product to be designed. In the Bachelor's Degree in Industrial Design and Product Development Engineering at the Jaume I University of Castellón (Spain), the subject 'Artistic Expression II' maintains and strengthens the knowledge gained in other subjects about the different graphic techniques, making drawing a means of expression for represent, synthesize and define the shape of objects. However, it has been found that the subject procedures were not adequate to achieve the learning results proposed, so it was necessary to apply a new approach. This paper describes the implementation of a new methodological strategy on this subject, adapting it to the European Higher Education Area, with the aim that students in Industrial Design acquire the four core competences of this matter. We describe the activities designed to achieve each of the competences and the implemented methodology for each of these activities. Finally, the results are analyzed and the overall positive impact of the measures taken is discussed.The methodologies conducted in this subject are part of the educational improvement project with reference 3049/15, which has received funding from the Educational Support Unit (U.S.E.) of the Jaume I University, through the annual program 'Aids for educational innovation projects at the Jaume I University in the 2015/16 course'.Navarro, JL.; Felip Miralles, F. (2017). Sketching as a communication tool and a vehicle for exploring new ideas in Higher Education of industrial design. Implementation and analysis of new methodologies. Multidisciplinary Journal for Education, Social and Technological Sciences. 4(2):26-46. doi:10.4995/muse.2017.6349SWORD264642Carnevale, V. (2015). «To Design» or «To Draw»: Two Different Verbs, Two Different Abilities, One Result. The International Journal of Designed Objects, 8(1), 17-25. doi:10.18848/2325-1379/cgp/v08i01/38695Dong, H., Cifter, A. S., & Fan, Z. (2013). Methods for Improving Undergraduate Students’ Sketching Skills. International Journal of Mechanical Engineering Education, 41(4), 329-336. doi:10.7227/ijmee.41.4.7Herbert, D. M. (1988). Study Drawings in Architectural Design: Their Properties as a Graphic Medium. Journal of Architectural Education, 41(2), 26-38. doi:10.1080/10464883.1988.10758473Laseau, P. (2001). Graphic Thinking for Architects and Designers. New York: John Wiley & Sons.Travis, S. (2014). Sketching as a Tool for Seeing: A Method for Teaching Drawing to Architecture and Interior Design Students. The International Journal of Design Education, 7(3), 63-74. doi:10.18848/2325-128x/cgp/v07i03/3845

Interactive architectures. Emerging visual practices in the interface city

[EN] We are living the transition from a static to a dynamic architecture driven by the integration of new technologies into the urban environment. In this scenario, citizens abandon their passive roles in order to consolidate their position as active agents of this change by proposing new ways to relate with the city A conceptual analysis of recent interactive urban installations confirmed two facts: firstly, the consolidation of a trend towards the creative use of light as a source of new visual languages to encourage dialogue between citizens and the urban environment; secondly, the provision of public spaces with technological resources to be practiced via interactivity encourages participation, and strengthens the link between citizens and their city, both of which are positive for urban development.[ES] Vivimos la transición de una arquitectura estática a una dinámica propiciada por la integración de las nuevas tecnologías en el entorno urbano. En este escenario los ciudadanos abandonan su rol pasivo para afianzarse como agentes activos de este cambio, proponiendo nuevos modos de relación con la ciudad. A través del análisis conceptual de recientes instalaciones urbanas interactivas es posible constatar dos hechos: por un lado, la consolidación de una tendencia hacia el uso creativo de la luz como germen de nuevos lenguajes visuales para promover el diálogo entre el ciudadano y el entorno urbano; y por otro, que dotar de recursos tecnológicos a espacios públicos con el fin de ser practicados desde la interactividad fomenta la participación y fortalece el vínculo del ciudadano con su ciudad, siendo positivo para el desarrollo urbano.El presente trabajo pertenece al proyecto de investigación ‘Arte y diseño en la nueva sociedad digital’, con código P1-1B2015-30 y financiado por la Universitat Jaume IFelip Miralles, F. (2019). Arquitecturas interactivas. Prácticas visuales emergentes en la ciudad interfaz. EGA. Revista de Expresión Gráfica Arquitectónica. 24(36):222-231. https://doi.org/10.4995/ega.2019.12087SWORD222231243

La Metáfora Interactiva. Arquitectura funcional y cognitiva del interface

La presente investigación se enmarca en un momento en el que el surgimiento de nuevos formatos en Tecnologías de la Comunicación define un escenario inédito en las prácticas sociales, culturales y artísticas. El acceso y gestión de la información quedan hoy definidos por una marcada interconexión, posibilitadora de un flujo dinámico de datos omnidireccional que contribuye a la gestación de una arquitectura social y cultural con trazas de globalidad. El interface electrónico, cuyas bases formales y funcionales quedan establecidas desde la labor interdisciplinar de informáticos, artistas y diseñadores, queda definido como un lenguaje en tanto que establece un diálogo entre el usuario y la máquina, haciendo uso de los recursos que le son propios con el fin de garantizar una eficacia comunicativa, y quedando condicionado desde su práctica individual y social por cambios diacrónicos de operatividad. Desde la colonización de las esferas actuales de la comunicación por parte de la imagen, y la estrecha vinculación de ésta con el lenguaje, es posible establecer un campo de estudio de naturaleza visual dentro del interface electrónico, donde la metáfora gráfica juega un papel esencial como vehículo en la asociación de ideas y directamente implicada en la optimización de las posibilidades de estos interfaces. El propósito de la investigación es establecer un marco desde el que estudiar la viabilidad de la hipótesis inicial, que defiende el uso de la metáfora aplicada al interface electrónico como vehículo necesario para el establecimiento de unos flujos cognitivos más eficaces que revierten en una mejor comprensión de la funcionalidad interactiva practicada en el sistema y posibilitan un diálogo más dinámico con la información. A tal fin se ha estructurado el trabajo en dos partes relacionadas: La primera parte establece un marco eminentemente teórico desde el que se aborda la revisión de los conceptos de lenguaje, imagen e icono, desde los cuales estudiamos la arquitectFelip Miralles, F. (2008). La Metáfora Interactiva. Arquitectura funcional y cognitiva del interface [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/2183Palanci

Immersive experiences during the conceptual phase of the architectural project: virtual reality as a tool for user participation in the co-creation process

La elevada competencia del mercado actual dificulta la contratación de proyectos singulares de viviendas unifamiliares. Por ello, resulta necesario agudizar el ingenio para ofrecer al cliente una visión diferencial respecto a las propuestas de otros competidores. En este contexto, se propone incorporar al propio usuario en el proceso proyectual durante la fase de desarrollo conceptual de la propuesta constructiva, utilizando la Realidad Virtual (RV). Sumergir al usuario en una experiencia sensorial inmersiva le permitiría vivir su propio espacio habitable antes de ser construido, permitiendo a diseñadores y arquitectos centrar la atención en el estudio personaliza-do de la iluminación natural y el diseño de los paramentos que actuaran como nexo entre el espacio interior y exterior de la vivienda. Esta forma de abordar el proyecto puede suponer una ventaja competitiva que contribuiría al posicionamiento del estudio arquitectónico como referente del mercado. Este trabajo analiza diferentes sistemas RV actuales que podrían ser adaptados durante el proceso de trabajo, y discute la ventaja que supone para los estudios de arquitectura esta metodología del proyecto frente a otras más convencionales.The high competitiveness of the current market makes it difficult to contract unique projects for single-family homes. Therefore, it is necessary to sharpen inventiveness in order to offer the customer a different vision compared to the proposals of other competitors. In this context, we propose to incorporate the user in the design process during the conceptual development stage of the construction proposal, using Virtual Reality (VR). Introducing the user to an immersive sensory experience would allow him/her to live his/her own living space before being built, al-lowing designers and architects to focus attention on the personalized study of natural lighting and the design of the walls that act as a connection between the interior and exterior space of the home. This way of approaching the project can provide a competitive advantage that would contribute to the positioning of the architectural studio as a referent in the market. This paper analyses different cur-rent VR systems that could be adapted during the work process, and discusses the advantage that this project methodology has for architectural studios compared to other more conventional ones.Universitat Jaume I P1·1B2015-30Ministerio de Economía y Competitividad TIN2016-75866-C3-1-