Knitwear customisation as repeated redesign

Producing large numbers of garment variants will only be economically viable if it requires very little human effort. But garment customisation cannot always be fully automated. Applying grading rules maintain the same details but sometimes achieves a different overall effect; but the customer expects the same overall effect and is less concerned about details. Choosing between alternative customisations requires a human designer's trained perceptual judgement. Therefore a viable mass customisation support system must support the repeated redesign of a garment by combining automatic design with fast human editing. Evaluating and modifying the suggestions of others is a natural and efficient activity for designers. This paper describes two prototype automatic design systems exploring techniques that could be used for mass customisation of knitted garments – in which the shape and patterns are indivisibly linked. An early pattern placing system that automatically altered both shape and pattern parameters in a variety of alternative ways. A shape design system that generates technically correct and consistent garment shapes from a set of measurements and a verbal description; it works independently of sizes, recalculating the shape for each new set of measurements. Starting from the system's suggestions, designers can very quickly tweak the new design to fulfil their aesthetic intentions

References to past designs

Designing by adaptation is almost invariably a dominantambiguity feature of designing, and references to past designs are ubiquitous in design discourse. Object references serve as indices into designers' stocks of design concepts, in which memories for concrete embodiments and exemplars are tightly bound to solution principles. Thinking and talking by reference to past designs serves as a way to reduce the overwhelming complexity of complex design tasks by enabling designers to use parsimonious mental representations to which details can be added as needed. However object references can be ambiguous, and import more of the past design than is intended or may be desirable

Ambiguity is a double-edged sword: similarity references in communication

Designers often explain new concepts and new ideas by reference to existing designs. This is parsimonious, as it only requires a pointer to the referent and a description of the modifications. Such descriptions can be extremely powerful, expressing the entire context of a design or a process in a few words. However similarity assertions are inherently ambiguous, because they depend not only on the chosen description but also on the intention behind the similarity comparison. In this paper we attempt to analyse the effect that the ambiguity of similarity references has on communication and idea generation in design. The reinterpretation of a similarity assertion can be extremely creative, where ambiguity allows for new interpretations of a problem. At the same time, it can make accurate communication extremely difficult because every assertion can be interpreted differently unless the context is fully shared

Psychological challenges for the analysis of style.

This article remains the copyright of Cambridge University Press. The definitive version of this article can be found at: http://dx.doi.org/10.1017/S089006040606015XAnalyses of styles in design have paid little attention to how people see style, and how designers use perceptions of style to guide designing. While formal and computational methods for analysing styles and generating designs provide impressively parsimonious accounts of what some styles are, they do not address many of the factors that influence how humans understand styles. The subtlety of human style judgements raises challenges for computational approaches to style. This paper differentiates between a range of distinct meanings of 'style', and explores how designers and ordinary people learn and apply perceptual similarity classes and style concepts in different situations to interpret and create designed artefacts. A range of psychological evidence indicates that style perception is dependent on knowledge, and involves the interaction of perceptual recognition of style features and explanatory inference processes that create a coherent understanding of an object as an exemplar of a style. This paper concludes by outlining how formal style analyses can be used in combination with psychological research to develop a fuller understanding of style perception and creative design

A comparative study of distillation and vaporisation

Imperial Users onl

Cartography, Discourse, and Disease: How Maps Shape Scientific Thought about Disease

This research examines public health mapping over two time periods, 1944-1954 and 2000-2004 and explores how mapping disease shaped scientific knowledge about disease. During World War II, the Atlas of Diseases was produced by cartographers and geographers well versed in the subjectivity of maps. Today professionals in a variety of disciplines use digital mapping software to produce maps of disease. This research takes a look at how public health maps and mapping of disease have changed over time and discusses the political implications of public health mapping as an aspect of geographic governance

A Catalog of Felt Intensity Data for 570 Earthquakes in India from 1636 to 2009

Eight thousand three hundred thirty-nine intensity observations have been evaluated for earthquakes that occurred on the Indian subcontinent and surrounding plate boundaries from the seventeenth century to the present. They characterize 570 earthquakes, more than 90% of which occurred in the past two centuries. The electronic supplement to this article lists these data using European Macroseismic Scale (EMS-98) intensities with their geographic coordinates. We summarize these data graphically in the form of a spatially averaged intensity map for the subcontinent, a map that emphasizes the features of many previously published earthquake hazard maps for the Indian plate, but which more faithfully depicts regional amplification and attenuation. We also estimate the probable return time for future damaging shaking in five of India’s largest cities

Risk across design domains

Design processes involve risk: to life and limb if the product is unsafe, to the financial health of the company if the product is late, unsuccessful or simply the wrong product, as well as to the emotions and careers of the designers. Many of the risks are shared universally by all designers, but each different industry and each different project faces its own spectrum of serious and minor risks. Different industries have put their methodological effort into finding ways to mitigate the risks they recognise as important. As part of the Across Design project exploring similarities and differences between design processes in different industries, this paper examines how risks are perceived and handled in different types of design process, and proposes that designers and managers can usefully look to other industries for ways to handle risks that are more central for those other industries