绿色设计在工业产品设计中的应用

随着人类生存环境的不断恶化,资源可持续发展的重要性逐渐被人们所认识,引发了绿色设计和人性化设计等设计思潮。从3个方面对绿色设计在工业设计中的应用进行了认识分析,指出绿色设计融入工业设计是工业设计发展的必然趋势,它会使工业设计更加符合人类消费心理的需求,符合社会发展的需求,使工业设计理论更为科学实用。     

The genesis of design: learning about design,learning through design to learning design in play

International Journal of Technology and Design Education - Learning about design and learning through design have emerged in the literature and important works show heuristics and matrices for...     

Reusing design knowledge based on design cases and knowledge map

Design knowledge was reused for innovative design work to support designers with product design knowledge and help designers who lack rich experiences to improve their design capacity and efficiency. First, based on the ontological model of product design knowledge constructed by taxonomy, implicit and explicit knowledge was extracted from some design cases. The design knowledge was expressed using a constructional organization. With the knowledge map, design knowledge was illustrated to help novice designers reconstruct specific design cases, thus, encouraging innovative design. Four groups of designers were invited to participate in an experiment for the design knowledge map system. The experiment results verified the effectiveness of the method.     

User-oriented design for the optimal combination on product design

This paper presents a new approach of user-oriented design for transforming users’ perception into product elements design. An experimental study on mobile phones is conducted to examine how product form and product color affect product image individually and as a whole. The concept of Kansei Engineering is used to extract the experimental samples as a data base for Quantitative Theory Type I and neural networks (NNs). The result of numerical analysis suggests that mobile phone makers need to provide various product colors to attract users, in addition to product forms. This paper demonstrates the advantage of using NNs for determining the optimal combination of product form and product color, particularly if the product into design elements. Based on the analysis of NNs, we can use 72 representative product colors of each mobile phone to develop a product color data base consisting of 16777216 (=256×256×256, True-Color model) colors with the associated product image. The design data base provides useful insights to save any amount of money and time for the new product development. The product designers can input a product image to work out an adequate color on a mobile phone. Furthermore, the design data base can be used, in conjunction with computer-aided design system or virtual reality technology, to build a 3D model for facilitating the design process of mobile phones. Although, the mobile phones are chosen as the object of the experimental study, this approach can be applied to other products with various design elements.     

Motivation for creativity in architectural design and engineering design students: implications for design education

The investigation reported here dealt with the study of motivation for creativity. The goals were to assess motivation for creativity in architectural design and engineering design students based on the Cognitive Orientation theory which defines motivation as a function of a set of belief types, themes, and groupings identified as relevant for the development of creativity. Differences between the two groups of students were expected in some of the scores of the belief types, themes, and groupings. Participants were 112 students (52 from architecture, and 60 from engineering) who were administered the questionnaire of the Cognitive Orientation of Creativity. Significant differences in numerous motivational contents were observed between the groups of students. Major characteristics of the architectural design students were an emphasis on the inner world, inner-directedness, and a development of the self, and of the engineering design students being receptive to the environment, and demanding from oneself despite potential difficulties. The findings provide insights for intervention programs targeted at improving architectural and engineering design education.     

Culture-orientated product design

There is little in-depth research that can assist designers to use culture as a catalyst for designing innovative products within Botswana’s context. The concept of culture and design are intertwined, thus modifications stemming from cultural evolution both reflect and determine developments in design. The paper discusses an experimental design approach conducted at the University of Botswana and participants challenge was to transform and encode socio-cultural factors into product design features. The paper concludes by discussing a model which has shown one way concerning how to consciously specify, analyse and integrate socio-cultural factors in the design process.     

Investigating the use of design methods by capstone design students at Clemson University

The authors describe a preliminary study to understand the attitude of engineering students regarding the use of design methods in projects to identify the factors either affecting or influencing the use of these methods by novice engineers. A senior undergraduate capstone design course at Clemson University, consisting of approximately fifty students and nine graduate design coaches, was chosen as the unit of analysis. Results from a survey of the class suggest that, though these novice engineers were convinced that design methods they were eager to learn were of use in helping them make better products, they tended not to use them. The stated reasons for not using them were the effort required to implement the methods, to understand how and when to use the methods, and the pressure to deliver results in a short duration. Recommendations from this study can be useful in designing effective design education programs and to develop more designer-friendly design methods.     

The neglect of industrial design

This paper aims at helping innovators to rethink their overall approach to industrial design in product innovation. It examines the role of industrial design in product innovation and demonstrates with both normative and empirical evidence that industrial design is still neglected in British manufacturing industry. The research reveals that firms satisfied their industrial design needs through engineering designers in preference to professional industrial designers. It is concluded that to make the most of design and create market-winning products, the synthesising, interfacing and 'integratorial' approach of an industrial designer is of paramount importance; engineering design, while both necessary and crucial, is by itself insufficient to ensure that innovative products satisfy physical form as well as functional requirements of customers/users. The paper warns that the continued inattention to industrial design may place UK firms at a competitive disadvantage in international markets.     

Making explicit in design education: generic elements in the design process

In general, designing is conceived as a complex, personal, creative and open-ended skill. Performing a well-developed skill is mainly an implicit activity. In teaching, however, it is essential to make explicit. Learning a complex skill like designing is a matter of doing and becoming aware how to do it. For teachers and students therefore, it will be helpful to make the design process explicit. In this paper, a conceptual framework is developed to be more explicit about the design process. Based on research of the design process, on differences between novices and expert designers, and on personal experience in design education practice, five generic elements in the design process are distinguished: (1) experimenting or exploring and deciding, (2) guiding theme or qualities, (3) domains, (4) frame of reference or library, (5) laboratory or (visual) language. These elements are generic in the sense that they are main aspects and always present in the complex, personal, creative and open-ended design process.     

Studying the effectiveness of conceptual design in secondary design and technology in England

The purpose of the study reported here was to investigate the effectiveness of a conceptual design unit as part of the Design and Technology curriculum for 14 years old pupils in England. One research question drove this study: What sort of designing do pupils do when they design without having to make what they have designed? Data consisted of the design ideas of a whole class developed during 6 lessons towards the end of an 18 lesson teaching sequence. Findings, which are in line with those of the pilot study, indicate that the pupils’ designing was highly iterative, creative, involved making a wide range of design decisions and revealed understanding of technological concepts.     

Myth in design

Conclusion Like our society, design is riddled with myths. Not all are harmful. Indeed, there is often a symbiotic relationship. Myths are also useful as a learning device in which the unintelligible —randomness, is reduced to the intelligible — a pattern. However, if we are striving, as designers, to gain understanding, to have gnosis, then an awareness of the role of myth in design is essential.Myth in design is important because, in casting ideas into tangible forms, it affects the way we think and behave; it not only reflects our past and present, it can also determine our future.     

Virtual display design and evaluation of clothing: a design process support system

This paper proposes a new computer-aided educational system for clothing visual merchandising and display. It aims to provide an operating environment that supports the various stages of display design in a user-friendly and intuitive manner. First, this paper provides a brief introduction to current software applications in the field of computer-aided clothing display design. Second, it describes the structure of the process-based clothing display design system (PCDDS) as well as the function and workflow of display design. Finally, a user evaluation was conducted using quantitative and qualitative evaluation methods. The quantitative evaluation was conducted using the responses to a questionnaire on system usability from six instructors and application tests on PCDDS. The qualitative evaluation was conducted by interviewing six instructors and through the students’ experience reports. Evaluation results showed that most of the instructors agreed that the five modules (i.e., storyboard module, model database module, display design module, scene screenshot and animation module, and evaluation module) could help students and instructors to complete the entire display design process from the conceptualization to the evaluation of specific design solutions and to improve teaching quality. Results from the students’ report indicated that the employment of PCDDS in training could give them a better understanding of clothing visual merchandising and display.     

A conceptualisation of design context to explain design trade-offs in the automotive industry

The paper explores decision-making rationale when making trade-offs in design. A case study of a mass-market car manufacturer was conducted using interviews, qualitative questionnaires and observation. It revealed that decision-making practices in trade-off situations depend on the way that decision makers perceive the relative importance of design targets and trade-off criteria. These practices are unformalised and embedded in the larger processes of car development and often contradict the technical guidelines for making trade-offs that exist in the company. The paper presents a conceptual framework to explain the rationale of trade-offs in different design contexts. How to apply this framework to understand design trade-offs is described with an illustration of its use in two real life examples.     

Collaborative learning in technological project design

The POWERTECH contest in Taiwan was established in an attempt to promote inventiveness and technology to elementary school pupils. The POWERTECH contest is designed as a collaborative learning system for project design. Project design is comprised of technical processes, which include the construction of an artifact and improvement of its functions. Thus, pupils learn scientific and technical knowledge through a collaborative design project. The purpose of the study was to examine how collaborative learning could be facilitated in technological project design, and whether and how pupils working collaboratively were able to share their design ideas. The study was carried out by analyzing the design portfolio compiled by a team of four elementary school pupils who were engaged in a collaborative design project that focused on making a robot rat for the POWERTECH contest. A portfolio analysis was used in this study to help researchers assess the actual collaboration process among the team members. The study indicated that collaborative learning in a contest facilitated the sharing of knowledge and resources among the team members. Furthermore, reflections essential for problem-solving among the team members were often raised during the design process. These reflections were also conducive to the reduction of mistakes during the contest.     

Exploring the learning problems and resource usage of undergraduate industrial design students in design studio courses

Design is a powerful weapon for modern companies so it is important to have excellent designers in the industry. The purpose of this study is to explore the learning problems and the resources that students use to overcome problems in undergraduate industrial design studio courses. A survey with open-type questions was conducted to collect data. Participants in this study were 189 undergraduate industrial design students from three universities, and two coding schema were formulated for analysing the data. The results demonstrated that the most difficult design tasks included concept generation, design presentation, and design research. The learning resources used to solve the learning problems included four categories: people, object, method, and environment. This information will increase the understanding of the learning process of students and provide a reference for teaching and the setting of learning resources in industrial design education.     

An empirical assessment of metaphor use in the design studio: analysis, reflection and restructuring of architectural design

This investigation was concerned with the use of metaphors in architectural design education. Reasoning by means of metaphors helps to understand a design situation in terms of a remote concept normally not associated with it. By juxtaposing the known with the unknown in an unusual way, metaphors can enhance design problem solving. The goal of this study was to research empirically the use of metaphors in the design studio as perceived by students. By analyzing relations between metaphorical reasoning and design, we explored metaphor factors that have a major contribution to the design process. Results showed that ‘Restructuring design problems’ and ‘Delving into design solutions’ are the main factors of design problem solving. Furthermore, ‘Innovative design based on personal beliefs’ and ‘Analysis and reflection on design problems’ are the two factors associated with metaphor use. The latter was found to be a significant predictor with a contribution to ‘Restructuring of design problems’. Findings have implications for design education, particularly for intervention programs that seek to improve reasoning and reflection skills in the architectural design studio.     

Metaphor and pedagogy in the design practicum

This paper discusses the ways in which the long-established tradition of the design ‘practicum’ continues to structure teaching and learning in undergraduate programmes. It draws on an in-depth empirical study of one degree course in graphic design and accompanying research in a small number of professional graphic design studios; this dual focus enables identification of shared practices and discourses across the two contexts. Examination of its distinctive modes of teaching and learning indicates the effectiveness of practicum pedagogy in promoting design understanding and the professional preparation of students. The study’s insights into the design classroom are illuminated by situated theories of learning, particularly the idea that knowing equates to participation in the specialist knowledge community of graphic design. A key feature of the learning situation is identified as the practicum discourse shared by tutors and learners, which is characterized as metaphor-based rather than analytical and abstract. The strengths and limitations of this practice-oriented discourse are discussed in the light of the recognized difficulties in articulating art and design knowledge, and its consequent problematic status in the academy. The paper’s focus on metaphorical discourse offers a different view of design pedagogy, and suggests a means of researching it that may also be relevant to other practice-oriented domains.     

On-line critiques in collaborative design studio

In this study, the Design Collaboration Model (DCM) was developed to provide a medium for the on-line collaboration of the design courses. The model was based on the situated and reflective practice characteristics of the design process. The segmentation method was used to analyse the design process observed both in the design diaries and the redline files that were composed of the problem domain and the design strategies. In the problem domain, it was observed that high emphasis was given to the design abstractions in the level of details of a space or sub-space. Also, the critics were more interested in the solution space than the problem space. As a design strategy, rejecting a solution was more practiced than proposing alternative solutions. Since the performance score of the students was highly correlated to the number of segments in critiques, it is concluded that quality rather than quantity of critiques determine the success level of proposed design solutions.

Integrating the Kano model into a robust design approach to enhance customer satisfaction with product design

The aesthetic qualities of products are critical factors in achieving higher customer satisfaction. This study presents a robust design approach incorporating the Kano model to obtain the optimal combination of design form elements. This can effectively enhance customer satisfaction and aesthetic product qualities with multiple-criteria characteristics. The Kano model is used to better understand the relationship between performance criteria and customer satisfaction, and to resolve trade-off dilemma in multiple-criteria optimization by identifying the key criteria in customer satisfaction. The robust design approach combines grey relational analysis with the Taguchi method to optimize subjective quality with multiple-criteria characteristics. This simultaneously yields the optimal aesthetic performance and reduces the variations in customer evaluations. Based on Kano model analysis, a weight adjustment process determines the weight of each product criterion for achieving the desired customer satisfaction performance. This process guides the prioritizing of multiple criteria, leading to higher customer satisfaction. A mobile phone design experiment was conducted to verify the benefits of using the proposed integrative approach. Results show that the generated optimal mobile phone design can effectively enhance overall aesthetic performance and customer satisfaction. Although mobile phone designs are the examples of this study, the proposed method may be further used as a universal robust design approach for enhancing customer satisfaction and product quality with multiple-criteria characteristics.