123,540 research outputs found
Is crowdsourcing killing the traditional design industry?
No full textIncreasingly, producers call on the crowd to both create and critique design writes Angelina Russo in Anthill. If you’re under thirty and you wear t-shirts, then you’ve probably heard of Threadless.com. In 2000, Jake Nickell and Jacob DeHart launched a website where people could submit designs for t-shirts and the public would vote on the ones they liked best. The winner would receive free t-shirts with their design and the t-shirt would go into production so that anyone could buy them. What sounds like a simple process of audience participation turned into a multimillion-dollar enterprise with a network of over 76,000 Facebook fans, thousands of designs and a seemingly endless market for expansion. This stunningly simple idea has successfully transformed into an innovative business. Threadless.com represents the heart of crowdsourcing design; audiences engage in the creation and critique of new products and services. So what happens when you’re concerned about products with design faults? Well, you could complain about it or, if you’re like the team managed by Maxim Schram in the Netherlands, you could redesign the product yourself. In 2007, Schram founded redesignme.com, an organisation to help companies innovate through co-creation. Built on the understanding that end-users have huge creative potential, redesignme.com provides a service that supports organisations that don’t have the tools or expertise to harvest the creativity of their customers. This is how it works. Companies upload a product that is already on the market and needs an upgrade, or products that have not yet been launched. Users post comments on the design and develop new versions, which they then upload. Each new design is rewarded with a virtual amount of money - RDM - which can be used to buy real products from Redesignme. Welcome to the fledgling world of crowdsourced design. Read the full article > Is crowdsourcing killing the traditional design industry? Image: laralakatz / Flick
The Anthill - A Fragmented View of the Designed Beyond
No full textThe Anthill is a liminal virtual space where Uroboros pilgrims can find themselves ”in-between” the Uroboros Festival. The Anthill is a Discord server and a Mozilla Hubs virtual environment. Initially, the Anthill will be only a scaffolding with prompts waiting for Uroborians to enter and fill it with their own pictures, objects, gifs or conversations of what, how and where they design. When Uroboros ends, the ants might have a chance to look at one fragmented, incomplete, and glitchy Anthill of their own.<br/
The Anthill - A Fragmented View of the Designed Beyond
No full textThe Anthill is a liminal virtual space where Uroboros pilgrims can find themselves ”in-between” the Uroboros Festival. The Anthill is a Discord server and a Mozilla Hubs virtual environment. Initially, the Anthill will be only a scaffolding with prompts waiting for Uroborians to enter and fill it with their own pictures, objects, gifs or conversations of what, how and where they design. When Uroboros ends, the ants might have a chance to look at one fragmented, incomplete, and glitchy Anthill of their own.<br/
Unmasking biases in design education
No full textThis paper presents two master graduation design projects that address unconscious biases (UB) in the context of design education related to two topics: gender and skin colour. In addition to their sensitivity to exclusion and injustice, two design students brought in their analytical, design research and creativity skills to find solutions for design education. The projects revealed UB regarding the two topics of both teachers and students. The databases with examples from the real world and a poster campaign helped them to unlock these biases, and to understand that implications of prejudice are critical. The developed model, method, and guidelines provided them with lenses to discover biases, and also to have opportunities to find solutions by design. Evaluation of training material showed the need to have a language to talk about these sensitive topics in a nuanced way. Finally, these cases show the possibility of involving students in the development of curricula that strive to unmask biases.Green Open Access added to TU Delft Institutional Repository ‘You share, we take care!’ – Taverne project https://www.openaccess.nl/en/you-share-we-take-care Otherwise as indicated in the copyright section: the publisher is the copyright holder of this work and the author uses the Dutch legislation to make this work public.Design Aesthetic
A Gaussian Model of Expert Opinions for Supporting Design Decisions
No full textDecision making in design is of great importance, resulting in success or failure of a system. This paper describes a robust decision support tool for engineering design process, which can be used throughout the design process. The tool is graphical and designed to communicate efficiently with different fields of expertise. It takes into account the Gaussian form of expert lack of certainty and generates the concept or model uncertainty which is necessary for a robust design.Design EngineeringIndustrial Design Engineerin
Happy moments: A well-being driven design of a Car2Go
No full textUser well‐being is increasingly addressed in design and design research. Previous work has proposed a design for well-¬‐being framework that includes three main ingredients: pleasure, personal significance, and virtue. While useful for analysing the well-¬‐being impact of existing designs, it is difficult to use the framework as a resource in well-¬‐being focussed design projects. This paper presents a design case study in which two key challenges have been addressed. The first is to understand how to identify relevant pleasures, personal significances and virtues in the context of design practice. The second is to understand how design concepts can be developed that integrates these three ingredients in a meaningful way. The design case was to develop a car interior for a car sharing service. The first challenge was addressed with two user studies where it was found that especially conflicts or tensions between ingredients stimulated design creativity. The second challenge was addressed by including the factor of time in the design concept (creating a concept in which experiences unfold over time). The design case is presented and the techniques that were used to address the well-¬‐being-¬‐specific design challenges are discussed and reflected on. Design Aesthetic
Using proximity in sustainable product design
No full textThis research examines proximity as a new interesting strategy to include in the design of more sustainable products. Drawing from the construal level theory, we posit that the environmental sustainability of a product embedding a form of proximity to an environmental solution in its design will be perceived as more concrete and will trigger higher prosocial product experience. To test this assumption, we used spatial proximity by manipulating the location from where the recycled plastic of a bottle of dishwashing soap was reclaimed. Based on the responses of 130 individuals recruited from a panel of consumers, we found that product environmental sustainability is perceived as more concrete and prosocial product experience is higher when proximity is embedded in product design than when far distance or no distance are embedded in the product design. This paper contributes by investigating how product design itself can help to enhance the acceptance of more sustainable products and by applying the Construal Level Theory to the field of product design.Marketing and Consumer Researc
Germination, Growth and Yield Responses of Eggplant and Okra Grown on Anthill and Termite Mound Soils
No full textDetermining the physicochemical properties of anthill and termite mound soils and their combinations with ordinary top soil and the assessment of their effects on the germination, growth and yield performance of eggplant and okra under screenhouse conditions, were the goals of this study. The six soil treatments used are as follows: (I) pure anthill soil (AHS), (II) pure termite mound soil (TMS), (III) top soil (control) (TS), (IV) anthill +top soil (AHS + TS), (V) termite mound +top soil (TMS + TS), and (VI) anthill + termite mound soils (AHS + TMS). The physicochemical properties of these treatments were analyzed. A standard seed-germination experiment arranged in a completely randomized block design (30 seeds per treatment per tested crop) was carried out in a screenhouse. For the growth experiment, a pot experiment arranged on top of tables using a completely randomized design (CRD) was carried out in the screenhouse and the growth and yield were determined at seven (eggplant) and eight (okra) weeks. The results show that all treatments are acidic with pH, ranging from 3.3 to 4.5. The treatment containing anthill and anthill soils had higher EC (µS/CM), organic carbon (%), nitrogen (%), and phosphorus (%) compared to the control (top soil). Treatment had a significant (p < 0.05) effect on the germination indices of eggplant and okra. Enhanced seed germination was obtained with eggplant and okra seeds sown in ordinary top soil amended with anthill soil compared to the control. The growth and yield of eggplant and okra were significantly (p < 0.05) affected by treatment. Generally, eggplant and okra grown using anthill soils (alone or mixed) had taller plants, bigger stem girth and leaf area, and a higher number of leaves per plant compared to those grown on top soil. Eggplant and okra grown on anthill and termite mound soils and their combinations with ordinary top soils had heavier fresh whole plant and root biomass compared to the control. It can be concluded that these results indicate that anthill and termite mound soils can serve as cheap alternative sources of nutrients for the cultivation of common vegetables by smallholder farmers in southern Sierra Leone
Retail design: A new discipline
No full textThis paper has the aim to address Retail Design as a new research and education discipline that because of its multidisciplinarity asks for a holistic approach. Although retailing as commerce is timeless, Retail Design is one of the most challenging new fields of design, embracing both design disciplines of architecture, industrial design and communication design as well as social science disciplines such as environmental psychology, sociology, cultural anthropology and marketing/management. The term ‘retail design’ encompasses all aspects of the design of the physical store as well as, in a technological sense, a virtual store: ranging from store frontage, fascia and signage, through to the internal elements of equipment, merchandising, display, lighting, in-store communications, point of sale and finishes. Retail design also involves an understanding not only of what will work aesthetically within the space, but how it will perform functionally and commercially, how it can be built to budget and meet the many regulations governing the use of a public space. Retail design is the touch-point for responsibly developing and extending communications between brand and customer. In the world of retail, consumer experience has become the primary issue; the consumer’s journey through the shopping mall, the individual retail outlet or department store and internet store. It is the retail designer’s task to relate to and develop this experience through visual, spatial and communicative expression. Communication is the platform underlying and surrounding the spatial concept. A core issue for any business active in the retail sector must always be an empathic understanding of the culture of shoppingIndustrial DesignIndustrial Design Engineerin
Building Design-led Ambidexterity in Big Companies
No full textOrganisational ambidexterity is considered a crucial capability for long term firm survival and development. However, adopting and successfully implementing it presents multiple challenges. Furthermore, despite being increasingly popular in the last two decades, the role design can play in achieving it is notably missing from the discussion. This paper analyses the attempts to accelerate the innovation pace of two large international companies in the consumer electronics and healthcare and airline industries. Both attempt to combine design and agile elements in fast-paced environments, while working in multidisciplinary teams early in the NPD process. However, one is guided by designers, the other by people with a background in operational functions. As such, they provide a good foundation to study design’s role and its implications in achieving ambidexterity in two large international companies. The collected insights helped us to define a new form of ambidexterity and devise a model for building ambidextrous organisations through design.OLD Management and Organisatio
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