Search

An ever-increasing array of design visualisation tools are available to designers. As such, design education is constantly challenged to keep up with these trends so that students are best equipped for entering industrial practice. This paper reports a study into the use of digital sketching, a relatively new digital visualisation tool. The study aims to identify thematic differences in how students and practitioners perceive digital sketching. These are given in terms of the tool's characteristics, and how these characteristics guide its application in early stages of the design process. Data on perceptions is captured using design diaries and semistructured interviews. Results show key differences in the way that practitioners perceive the intent of visualisation. Practitioners focus on iterating towards a solution during the design process. Students are much more focused on the task of creating visualisations. This reveals an underlying contradiction in the way tools are perceived between creating visualisations to gain expertise or skill, versus creating them to advance the design process. The insights help improve our understanding of how the different characteristics of digital sketching inform its use. We reflect on how we educate students with respect to selecting and using digital sketching. We conclude with implications for education of digital sketching, as well as other emerging digital visualisation tools.

This study investigates how Australian consumers' aesthetic preferences for timber joints in architectural products are influenced by their sociodemographic characteristics and the visual appearance of the joints. Visual appearance in architecture and product design is a vital factor in consumer response and success of a product; however, designed items are often created without aesthetic research rigour to better understand user acceptance. We see this as an opportunity for greater penetration of aesthetics for designed products and, in this instance, contemporary architecture. We provide extensive literature defining aesthetics and outline the theoretical framework for experimental computer-generated visual stimuli. An online survey was conducted with 114 participants, who rated five timber joints on seven visual appearance attributes. The findings reveal that Joint 1 (angular) and Joint 5 (curved) were the most preferred joints. Employment status was the only sociodemographic factor that significantly affected the aesthetic preference. The findings of the study were used to inform design decisions for building a pagoda in a cemetery in Melbourne. The study contributes to the literature on aesthetics and design by providing empirical evidence on consumer preferences for architectural products. The study also suggests an opportunity to bridge aesthetics with sustainability, as timber is a sustainable material that can be designed to resonate with consumers' aesthetic sensibilities while adhering to environmental principles. [ABSTRACT FROM AUTHOR]

There is a long history of humans attempting to understand what drives aesthetic preference. One line of inquiry examines the effects of typicality and novelty on aesthetic responses to designed products. There is currently a wide support towards the 'Most Advanced Yet Acceptable' (MAYA) principle, and studies underpinning this have focused on everyday objects. Despite the differences in the function of everyday objects, what they all have in common is their visibility. This do not tell us whether the aesthetic processing will be the same when applied to less visible objects. A study was undertaken using industrial boilers as stimuli and conducted on 7-point Likert scales with participants from Australia and China. The results are unequivocal: novelty makes a medium contribution, while typicality makes a low contribution. This is inconsistent with the notion that typicality is a major determinant of aesthetic preference, suggesting that the current models of aesthetic preference need elaboration. [ABSTRACT FROM AUTHOR]

The importance of innovation for architectural products in the building industry increases due to global competitive markets and users' increased value given to the visual aesthetics of products. Visual appearance is crucial in architecture and product design and influences users' product choices in many ways. Substantial research on innovation exists concerning users' purchasing, adopting, and recommending it to others, but little research investigates the link between product innovation and aesthetic preference. This gap in knowledge prompted our investigation. Quantitative analysis of a survey of 114 respondents from Australia was conducted in this study to examine whether innovation plays a significant role in perceiving the aesthetic preference of an architectural product more than other visual appearances. Standard multiple regression using SPSS V28 was applied for statistical data analysis. Results uncovered that innovation explained the highest percentage of variance in overall aesthetic preference, and the innovativeness of a product strongly influences the visual appearance and aesthetic preference. The findings of this study offer new insight into the level of innovation for new product development where visual appearance is of high importance. [ABSTRACT FROM AUTHOR]

An ever-increasing array of design visualisation tools are available to designers. As such, design education is constantly challenged to keep up with these trends so that students are best equipped for entering industrial practice. This paper reports a study into the use of digital sketching, a relatively new digital visualisation tool. The study aims to identify thematic differences in how students and practitioners perceive digital sketching. These are given in terms of the tool’s characteristics, and how these characteristics guide its application in early stages of the design process. Data on perceptions is captured using design diaries and semistructured interviews. Results show key differences in the way that practitioners perceive the intent of visualisation. Practitioners focus on iterating towards a solution during the design process. Students are much more focused on the task of creating visualisations. This reveals an underlying contradiction in the way tools are perceived between creating visualisations to gain expertise or skill, versus creating them to advance the design process. The insights help improve our understanding of how the different characteristics of digital sketching inform its use. We reflect on how we educate students with respect to selecting and using digital sketching. We conclude with implications for education of digital sketching, as well as other emerging digital visualisation tools. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Machine Construction & Maintenance is the property of Institute for Sustainable Technologies - National Research Institute 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.)

The purpose of this study was to investigate of how assistive cutlery design effects perception of the user. Studies regarding the usage and development of assistive cutlery have primarily focused on the ergonomics, whereas research into the aesthetics of assistive cutlery has been minimal. A method based on Canter's ''Room Inference Protocol'' from the field of environmental psychology was used to evaluate the aesthetics of the assistive cutlery. A series of images were digitally composited and a survey was deployed online, with an outcome of 562 usable responses. The results demonstrated that the female model with assistive cutlery was perceived to be less attractive, less stylish and less sporty in comparison with the male model that was utilising identical pieces of assistive cutlery. The research contributes to the existing literature in the field, complimenting the study by Torrens and Smith and validating the need for greater aesthetic consideration in addition to an ergonomically acceptable response for assistive cutlery. This in turn highlights the importance of industrial design for the context and adaptations of use, rather than just a design response given to the physical manifestation of a product. [ABSTRACT FROM AUTHOR]

Industrial design is intrinsically linked to manufacturing; however, what is required of industrial design to adapt to new changes brought on by Industry 4.0 in manufacturing is unknown. Current literature gives little insight into how industrial designers need to evolve to the current developments in manufacturing to remain value drivers in an Industry 4.0 paradigm. There is minimal research describing the link between industrial design, Industry 4.0 and the effect this will have on sustainability. We conducted an extensive survey of 190 respondents from 53 countries to establish the present state of industrial design practice globally and to better understand the priority sustainability is given by practicing industrial designers. Qualitative data showed a desire for improved sustainable processes; however, quantitative data contradicted this, showing "sustainability" as one of the lowest ranked areas of importance in design practice for industrial designers. While sustainability—especially in manufacturing—demands more prominent change as industrial design adapts to an Industry 4.0 manufacturing paradigm, it seems that junior industrial designers do not currently see this as a priority. [ABSTRACT FROM AUTHOR]