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This article introduces a methodological approach to the evaluation of different industrial products according to Norman’s approach and dimensions, focusing on a specific case study. The study also shows different possibilities to guide industrial designers during the design process in order to create products with high emotional value. For those, the case study was done with 330 target specific users, submitting nine prototypes (designed for different targets) to the user experience evaluation and product perception analysis. The evaluated proposals were selected from a total of 45. The results show the visceral, behavioural and reflective levels perceived by those users to whom each product is intended, as well as the target deviation within the design process. In this sense, the emotional response reveals the asymmetric character of perception according to Norman’s dimensions.

Many different product development approaches are taught and used in engineering and management disciplines. These formalized design methods, processes, and environments differ in the types of projects for which they are relevant, the project components they include, and the support they provide users. This paper details a review of sixteen well-established product development approaches, the development of a decision support system to help designers and managers navigate these approaches, and the administration of a survey to gather subjective assessments and feedback from design experts. The included approaches—design thinking, systems thinking, total quality management, agile development, waterfall process, engineering design, spiral model, vee model, axiomatic design, value-driven design, decision-based design, lean manufacturing, six sigma, theory of constraints, scrum, and extreme programming—are categorized based on six criteria: complexity, guidance, phase, hardware or software applicability, values, and users. A decision support system referred to as the Product Development Approach Advisor (PD Advisor) is developed to aid designers in navigating these approaches and selecting an appropriate approach based on specific project needs. Next, a survey is conducted with design experts to gather feedback on the support system and the categorization of approaches and criteria. The survey results are compared to the original classification of approaches by the authors to validate and provide feedback on the PD Advisor. The findings highlight the value and limitations of the PD Advisor for product development practice and education, as well as the opportunities for future work.

Ubisoft’s game designers successfully used autonomous tools to develop an innovative virtual world. The authors discuss the reflective practices underlying this success and how autonomous tools enable more complex system design. [ABSTRACT FROM AUTHOR]

The discipline of design is continually facing challenges related to the complexity and variability of the contexts which give rise to it. Assuming more strategic roles, the designer becomes involved in innovation processes, which act as facilitators for the creation of added value for businesses. The designer develops, therefore, as an anticipator and explorer of new opportunities for progress. In this way, assisted by the tools of Advanced Design, the designer is a key participant in the pre-project stages where the approach to the project is planned and where the meta-concepts that empower specific innovation projects are created. It is, for that reason, vital to understanding the distinctive features of this area of design and the ways in which it can facilitate the professional activity. This article showcases a part of the research carried out by Iñiguez and León (2016) and examines the principal attributes, which characterize Advanced Design, with the aim of serving as a reference framework for the project culture of contemporary strategic designers. [ABSTRACT FROM AUTHOR]

This study was motivated by the lack of design knowledge in the area of systems design for collaborative services. It introduces a framework for developing service design goals and strategies to foster collaboration within a community, starting from an understanding of its collaboration network. Network analysis and an interview are used to understand collaboration, and a co-design workshop is used to generate design strategies to foster these relations. For validation, the framework is applied to a community enterprise in South Korea. This paper discusses: the meaning of a sociotechnical approach to collaborative service design; the challenges of co-creating sustainable solutions when empathy cannot be established with users; and the implication of the framework for service design in a sharing economy. [ABSTRACT FROM AUTHOR]

This paper reports on a study characterizing design processes and the potential of design spaces through measuring the information entropy of empirical data derived from protocol studies. The sequential segments in a protocol analysis can be related to each other by examining their semantic content producing a design session's linkograph, which defines the design space for a design session. From a linkograph, it is possible to compute the probabilities of the connectivity of each segment for its forelinks and its backlinks, together with the probabilities of distance among links. A linkograph's entropy is a measure of the information in the design session. It is claimed that the entropy of the linkograph measures the potential of the design space being generated as the design proceeds chronologically. We present an approach to the automated construction of linkographs by connecting segments using the lexical database WordNet and measure its entropy. A case study of two design sessions with different characteristics was conducted, one considered more productive and creative, the other more pragmatic. Those segments with high entropy and those associated with high rates of change of entropy are analyzed. The creative session has a higher linkograph entropy. This result indicates the potential of using entropy to characterize a design process. [ABSTRACT FROM PUBLISHER]

A multiple case study was conducted to investigate the machineries of designers' user knowledge production at six design consultancies in the Northwestern USA in domains of architecture, industrial design, and interaction design. Karin Knorr Cetina's theory of epistemic cultures was utilised as the theoretical lens. The findings indicate that the user is not a given; instead, the user is a constructed phenomenon in design. The design process is characterised by the deconstruction and reconstruction of the user information and of experiential information, implemented to meet the epistemic needs of designers. User representations are used as the liminal knowledge. Designers manipulated this knowledge in order to narrow down the artefact to be designed. [ABSTRACT FROM AUTHOR]

Industrial film and television production (FTP) includes many elements of creative work on sounds and images that are best addressed as audiovisual design. Two paradigmatic understandings of design, "design-as-problem-solving" and "design-as-meaning-creation", have a bearing on these elements. The issues dealt with during FTP work processes, as well as the problems to be solved and the characteristics of the work processes used, resemble issues, problems, and process characteristics within design work. From the perspective of audiovisual communication, both the design and production aspects of a process are considered to make an important impact on a message. In FTP, these aspects are blurred. This paper discusses the benefits of approaching FTP as creation of audiovisual communication, in which design is an integrated part of that process. The benefits of considering FTP as audiovisual design are proposed from a design research perspective. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Arquitectura (1657-0308) is the property of Universidad Catolica de Columbia, Facultad de Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recent research in the fields of image studies, visual communication, graphic design, and the history of science shows that there are ‘design processes’ – specific decision-making processes – in the practices of designing, painting, or drawing. I assumed that parallels could be drawn between those visual practices and photography. This paper explores how taking pictures within a research context enables the analysis and verbalization of strategies that are employed in photographic design processes. Despite a growing body of knowledge around image creation, little research has been conducted on photographic design processes. Viable contact sheets, sketches, proofs, or notes have not been available yet for proper research. Thus “practice-led iconic research” is adapted as a method for photography – possibilities of photographic practice and its strategies are explored as an instrument of research. The research questions were narrowed down to inquire into the image production of documentary photographs, specifically, of four public squares in Switzerland and Austria: How do photographs have to look in order to be recognized as documentation of a certain place? Is it possible to identify specific photographic strategies for documentary image generation? It was found that there are several strategies that support a documentary impression if they are employed during the creative process of photography, such as top views, critical distance, or frontality. The findings can contribute to the question of how visual meaning might be generated, enhancing an understanding of photography and design in the field of design practice as well as theory. This paper is based on the dissertation “Strategies of an Image Practice” (Aichmaier 2016). [ABSTRACT FROM AUTHOR]

The societal demand for inspiring and engaging science, technology, engineering, and mathematics (STEM) students and preparing our workforce for the emerging creative economy has necessitated developing students' self-efficacy and understanding of engineering design processes from as early as elementary school levels. Hands-on engineering design activities have shown the potential to promote middle school students' self-efficacy and understanding of engineering design processes. However, traditional classrooms often lack hands-on engineering design experiences, leaving students unprepared to solve real-world design problems. In this study, we introduce the framework of a toy design workshop and investigate the influence of the workshop activities on students' understanding of and self-efficacy beliefs in engineering design. Using a mixed method approach, we conducted quantitative analyses to show changes in students' engineering design self-efficacy and qualitative analyses to identify students' understanding of the engineering design processes. Findings show that among the 24 participants, there is a significant increase in students' self-efficacy beliefs after attending the workshop. We also identified major themes such as design goals and prototyping in students' understanding of engineering design processes. This research provides insights into the key elements of middle school students' engineering design learning and the benefits of engaging middle school students in hands-on toy design workshops. [ABSTRACT FROM AUTHOR]

The OnCreate project was initiated by ten universities with expertise in collaborative work in online-based learning environments and explores the specific challenges of implementing university courses in creative disciplines in such an environment. The first research phase comprises a literature search on creativity and its contextual factors in online collaboration in an educational setting. From this research a first set of possible key challenges and contextual key factors has been selected and applied to categorize the results of interviews and surveys on current good practice in creative online collaboration among experienced online teachers from the partner universities. From the key findings we formulate hypotheses to guide future research towards a framework for creative online collaboration. At the same time, the results can serve as inspiration for the educational practice. Notable observations of the good practice research among the partner universities are that they realise innovative collaboration concepts usually on mashed-up environments of state-of-the-art web services rather than on the omnipresent learning management systems (such as Moodle or Blackboard). Also, they show a paradigm shift from teaching to coaching and promotion of an open peer-review culture among the students. [ABSTRACT FROM AUTHOR]

This article reports on fourth-grade students' approaches to solving an introductory engineering design-based problem, namely, Tumbling Towers, which was implemented at the beginning of a three-year, longitudinal study. Set within a civil engineering context, the problem required student groups to design and then build the tallest tower within given constraints. The stability of their towers was tested by removing one pylon at a time, with the goal being to determine the minimum number needed for the tower to remain stable. Students completed a second design iteration in an effort to maximise the number of pylons that could be removed while still maintaining stability. A framework comprising five sets of engineering design processes was developed as a theoretical base and facilitated data analyses. Findings illustrate how fourth-grade students, for whom such problems were new, engaged in design processes in an iterative manner and applied mathematics and science content knowledge in doing so. Four levels of design were identified in the students' design sketches with the highest level being the most frequent in both initial designs and redesigns, with some decline in the latter. Students' application of content knowledge included an awareness of stability and load distribution, together with spatial reasoning involving pylon positioning, removal, and repositioning. Other findings include ways in which group negotiations and students' addition of meaningful contexts assisted in the designing and redesigning phases, and how students spontaneously used gestures to convey their design and construction ideas. [ABSTRACT FROM AUTHOR]

In this paper, we present a framework to expand the design language used to articulate form properties and types of feedback that happen between children’s actions and the intended functionality of maker technologies. Based on field observations in Danish schools we analyze children’s (aged 11–14 years old) interactions with three maker technologies used to work through design processes in school maker settings. Our findings are beneficial on three factors for designers, researchers and teachers involved in work within maker contexts. (1) Reflections on form properties of maker technologies, (2) analysis of relationship between user action and technology function (action-function couplings), and (3) how this relates to feedback when children use these technologies to design digital prototypes. Designers can use the presented framework to improve existing, or prepare them for future designs. Researchers can use the expanded design language to analyze maker technologies in the context of school maker settings. Finally, teachers can make better decisions on how and when to use different maker technologies when school children work through design processes. (Do it yourself/together.) [ABSTRACT FROM AUTHOR]

The design of exact, also referred to as minimal, constraints means applying just enough constraints between the various components of a mechanical assembly, in order to unambiguously define their positions in six degrees of freedom (3 translations, 3 rotations), their desired motions respectively. To ensure a predictable and reliable product performance, a systematic design of the corresponding elementary mechanical interfaces between components is of utmost importance. Over constraints, i. e. part-to-part connections with redundant interfaces which constrain one single degree of freedom, are largely susceptible to variation and therefore result in design solutions which frequently experience production/ assembly issues, reduced performance, excessive and non-predictable wear-rates, etc. Being a basic rule of embodiment design, literature provides various well-know and widely applied approaches for Exact Constraint Design. Examples are the calculation of a mechanisms’ mobility using the Grübler-Kutzbach criterion , the analysis of statically determinate assemblies by means of the screw theory or so called Schlussartenmatrizen , as well as the analysis of engaging surfaces in terms of location schemes or interface ambiguity . However, despite the various existing approaches, workshops with practitioners and academics have shown that the systematic design of optimal constraints appears to be cumbersome for many engineers. Based on an overview of the most relevant approaches for Exact Constraint design, this contribution therefore reviews the challenges experienced by the workshop participants, discusses the necessity of kinematically correct constraints for robustness, and derives an initial prescriptive procedure for a coherent design of constraints throughout the embodiment design phase, which, despite a variety of available approaches, seems to be still missing. [ABSTRACT FROM AUTHOR]

The use of language-based tools is not popular and not common in spatial design processes. But the literature shows the potential of such approaches in different steps of the design process. Thus enhancing the skills of language-based design tools of urban planners and architects can positively influence a design process. The perception and use of such tools was examined in a survey along a standardized questionnaire with 59 urban planning and 42 architecture students at four German universities. Two student groups in urban planning and architecture were asked additionally to apply two specific language-based tools in a design task. The survey results show that students initially evaluated the potential of language as quite low. Introducing students to language-based tools upgraded their assessment. Interestingly, some language-based tools were ranked higher by architecture students than by their urban planning colleagues. Considering that a design process especially in more complex projects asks for different abilities and tools, it seems meaningful to expand the toolbox of professionals also towards language-based approaches. Students also benefit from this because this expansion creates more options for the different ‘design personalities’. Further studies are needed for assessing which language-based tools are specifically qualified to enhance a design. [ABSTRACT FROM PUBLISHER]

Sustainable design is a major trend in diverse disciplines related to the built environment. However, practitioners often find difficult to fully incorporate sustainability criteria during the design process and in its final outcome. Moreover, the adoption of industry-conceived sustainability guidelines tends to be perceived as a restriction or ‘checklist exercise’, which does not positively impact design activity. The aim of this study is to analyze the practitioner experience during sustainable design process, particularly in relation to the impact of sustainability guidelines (known as sustainability rating systems, SRS) in design decisions from real case projects. This study has been conducted by collecting data for real projects located in Melbourne, Australia, during 2010–2013, employing a hybrid methodology that brings together embedded research, retrospective protocols and linkography to assess the impact of SRS in such processes. It proposes a theoretical approach to assess sustainable design process by quantifying the impact of SRS during design decisions. [ABSTRACT FROM PUBLISHER]

Design feedback is an essential pedagogical tool to promote student design progress, yet little research has focused on what instructor feedback looks like, especially across design disciplines. In this paper, we analyzed feedback provided in dance choreography, industrial design, and mechanical engineering to explore variation in feedback type across disciplines as well as how feedback type encouraged students to take convergent or divergent paths in their design processes. Many common feedback types were observed across the three disciplines, regardless of variance in context and expectations, as well as some notable distinctions. With regards to feedback directing convergent and divergent thinking, feedback suggesting convergent pathways was more prominent across all three disciplines. [ABSTRACT FROM AUTHOR]

Uncertainty is a defining quality of the design space and it stands to reason that designers' personal attitudes toward uncertainty may influence design processes and outcomes via cognitive, affective, and/or behavioral channels. Individual attitudes and behavior patterns related to uncertainty may constitute a critical element of designer identity, which represents the synthesis of knowledge, action, and being. This qualitative study examined how graduate students in an instructional design course reflected on their experiences and beliefs regarding uncertainty. Participants were more reflective when discussing a general experience with uncertainty than their current attitudes toward uncertainty in design. Findings support the use of narrated reflection in design education related to uncertainty and identity. Implications for design education interventions and design are discussed. [ABSTRACT FROM AUTHOR]

Purpose – The purpose of this paper is to explore graphic design best practices and approval processes used by librarians. Design/methodology/approach – This paper used an online, qualitative survey to collect data on librarians’ design processes and best practices. The responses were reviewed to determine categories and themes of librarians’ design processes and best practices to gain an understanding of the state of graphic design in libraries. Findings – The majority of the respondents reported that there were no formal guidelines, design committees or approval processes at their libraries. While some librarians were aware of and used graphic design best practices, many respondents were unsure of what constituted a best practice in graphic design. Research limitations/implications – The paper was exploratory and the respondents cannot be said to be representative of all librarians and, therefore, generalizations to all librarians are not possible. Practical implications – Findings may help librarians who assume design duties in their libraries in exploring best practices and discussing design approval processes. Originality/value – This paper is one of the few papers in the library science literature on graphic design as applied specifically to librarians. It increases our understanding of graphic design in libraries. [ABSTRACT FROM AUTHOR]

This article investigates those aspects of computation that concern uncertainty, contingency and indeterminacy. Starting from a critique of current dominant models of computation, and drawing on the philosophical notions of the virtual and the event, uncertainty, contingency and indeterminacy are proposed as virtualities that express the ongoing differentiation of digital matter. On these grounds, the glitch is reframed as an event capable of revealing the potential of the digital in processes of computational making. Ideas concerning the incomputable and non-human intelligence of the algorithm underpin this argument. Finally, it is proposed that intuitive and uncognitive modes of apprehending digital making operate as forms of divination that capture the unprogrammed unfolding of matter. [ABSTRACT FROM AUTHOR]

It is essential that graphic design is visually clear and accessible. However, evidence suggests that a lack of consideration is given to visual accessibility in print-based graphic design. Furthermore, effective client–designer communication is a vital component in this. This paper investigates current graphic design practice, with regard to visual accessibility, specifically focussing on client–designer communication. A survey of 122 graphic designers and clients identified that these two groups may not be communicating with each other effectively with regard to visual accessibility, and that there is a need to develop inclusive design tools to assist them with this. This paper adds a novel contribution to our limited understanding of visual accessibility in the UK's graphic design industry. [ABSTRACT FROM AUTHOR]

This exploratory research examined the degree of adoption and impact of the concepts of Building Information Model (BIM), Integrated Project Delivery (IPD), Integrated Design Process (IDP) and Building Energy Simulation (BES) on the design processes of advanced architectural firms when executing sustainable design. Six offices identified by the press and peers’ recognition for a strong commitment to sustainable design and influence in the design of high performance buildings were selected. In semi-standardized interviews, these firms presented their perceptions of the influence of BIM, BES, and IPD/IDP. The results show that a generalization of sustainable design processes is possible. A design process for sustainability (DEPROSU) model was created by collecting best practices from data gathered from the interviews and the critical literature review. This research provides evidence of commonalities found in the design processes of the selected firms. These commonalities represented in the DEPROSU model can potentially be validated as protocols or standards for sustainable design, providing architectural design practices with concrete patterns for improvement and or validation of their design methods. [ABSTRACT FROM AUTHOR]

Cognitive work analysis (CWA) is a unique analytical framework which provides analysis information to inform system design. However, the literature describing CWA applications indicates that its use in design is not straightforward. An online survey was used to gather information from CWA practitioners about how they have used CWA in design applications and to gather their views and attitudes on aspects of CWA and design. The survey found that there was no typical means of using the outputs of CWA within design processes across survey respondents. Over half of the respondents indicated that there is a need for an additional approach or method to enhance the contribution of CWA to design. It is concluded that the field could benefit from the development of an additional design approach, with associated guidance, to assist in using the outputs of CWA in design processes. [ABSTRACT FROM PUBLISHER]

This paper presents a stage based framework for analyzing transdisciplinary design processes in engineering product design and manufacturing. The framework provides a stage-wise, product lifecycle centric frame of reference for comparing design processes in industries from different industrial sectors involving multi-disciplinary stakeholders. The framework is based on extensive literature analysis in the domain of design theory and methodology, as well as from models in product life cycle management. The paper also reports insights on application of the framework for design processes analysis of 23 industries based on the mapping of their individual design processes to the developed framework. [ABSTRACT FROM AUTHOR]