1,721,084 research outputs found
Design (For) Yourself, Experiences with Author Driven Design Practices
Get PDFWithin the Bachelor's programme Industrial Design Engineering we created a 15EC elective research module "Scientific Challenges". One of the possible research subjects of this module is “Author Driven Design project”, which means exploring the Design of objects from your own intrinsic motivation, rather than from an external demand driven assignment. The rationale behind this subject is that demand driven and author driven design practices both have strengths and weaknesses and that the two approaches can benefit from each other. By letting the students, that are regularly trained as a demand driven designer, execute an author driven design project, we serve two purposes. The students learn more about themselves and about different design approaches, and we as researchers learn more about how the two approaches can influence and inform each other
A chair to look to the moon; what we can learn from irrational design history for contemporary design practice
Get PDFThe focus of product design is shifting from primarily offering functionality, towards experience and emotion driven product characteristics. The mantra of the universal design-language, within which, according to the good old modernist movement the shape of a product is directly derived from the (technical) functionality, is not very useful anymore. Consequently the contemporary designer has to look for other ways to fill his or her repertoire. That this experience and emotion driven approach to products is not new, is shown by an example of a Chinese Ming-period reclining chair that is not referred to as a reclining chair but as “a chair to look to the moon”. Also during the history of industrial product design there are numerous examples of designers and designs contradicting the dominant modernist/functionalist approach. So it is interesting to analyze how designers have used this non-rational approach through time. In this way, principles, methods or work-a-rounds for contemporary design problems are derived. This paper focuses on the period from circa 1990 to 2000, because at that time, the emotional orientation of the ‘irrational’ post-modernist designs is more and more connected with the function of products. Therefore interesting combinations of recognizable meanings and, for instance, new materials arise. Many products in this period do not stand out with their functional usability, but with the intelligibility of the idea behind it. The Netherlands are playing an important role in this development with the Droog label. This study tries to visualize how interesting approaches and principles of this merely author-driven design practice can enrich the demand-driven design projects of industrial design engineers in our highly emotion-oriented environment nowadays
Unruly Design Practice: Porcelain Phones and Lampshade Fireplaces
No full textIn this paper the application of the ‘rules of unruly design’ are explored in demand driven design practice. The rules of unruly design are a set of design rules that were derived from design history to form an inspirational tool for the design and styling of meaningful objects in a postmodern context. Traditionally, the design of the new, the strange and the weird and wonderful is largely the domain of the artistically oriented author driven design practice. The rules of unruly design are an attempt to transfer some of their accomplishments to the demand driven practice of industrial design engineers.
The rules were explored in two master students graduation projects. From the results of the projects one can conclude that the set of rules stimulates creativity in the development of concepts of form and use, and acts as a brainstorm tool for the synthesis of new objects and object types
User-centred design for the interface of an Artificial Intelligence buildability tool
No full textOver the next thirty years, the population of the world will increase by more than 2 billion. This growth will focus on urban areas and will translate in an urgent need to build more housing and develop the infrastructure. The architecture, engineering, and construction (AEC) industry will be faced with both opportunities and challenges. They will get to design and build more, but they will have to take into consideration the already stressed resources of the planet. To this, the recent investments in the Build-to-Rent (BTR) sector add up. With house prices only rising, it is becoming harder for young people to afford a house especially in urban areas. Moreover, due to the pandemics, the high levels of unemployment and wage cuts will make it impossible for many people to save to put together a deposit for a house. Thus, it is estimated that in the near future, more houses will be used for rent, highlighting a shift from home ownership. Within this context, Lurtis is developing a buildability estimator, which will enable developers and architects to maximize the potential of a plot and of an investment. This tool reduces the time of pre-design and can create dozens of design solutions based on user preferences and governmental regulations. Users can easily compare which project is more profitable, without the need to build anything, saving resources and time. The objective of this Master Thesis is to design the user experience for the buildability tool, in order to facilitate its adoption. The paper discusses the recent trends in the real-estate industry and explains the concept of buildability. It explores the strongest competitors in the industry focusing on their design strengths and weaknesses. It then analyzes the needs of potential users and provides different design solutions for the tool. The evaluation of these solutions is presented, culminating with details about the technical implementation of the buildability estimator. The paper concludes with a reflection on the entire design process and with future ideas to be tackled
Rules of Unruly Design: Lessons from the history of anti-modernist aesthetics
Get PDFThis book is an attempt to develop rules that can provide guidance for the contemporary product designer in a postmodern society. Somewhere at the end of the 20th century, the focus of product design has shifted from primarily offering functionality, towards experience and emotion driven product characteristics. According to the theory of product phases, the design of mature product types will end in a phase characterized by extended segmentation, individualization or awareness. In these states the affective, emotional, and abstract product values become more important. Within this development, the usability, or utility factor of products becomes less important, in favour of their significance, or the meaning they represent. At the same time, according to French philosopher of culture Baudrillard, the image of the product becomes more important than the product itself. Placed in cultural context, an historical survey has lead to a ‘history of unruly design ideas’ that formed the basis for identifying five common unruly design practices, bringing unity in the diverse field of anti-modernist aesthetics. Then it showed that, despite their unruliness, from a design method perspective most of the researched designs are very alike. This means that everyone can make unruly designs, as long as the process is followed. However, the results will not be automatically interesting
Design History Education in the Netherlands: the Historic, the Cultural, and the Methodical
Get PDFDesign history Education in the Netherlands has been taught from different perspectives during the last decades. Each perspective resulting in a different view on Design History and subsequently also with different outcomes and contributions to design education and design practice. In short, these perspectives can be characterized by the keywords ‘historic’, ‘cultural’, and ‘methodical’
Sustainable technologies, Aesthetics and diffusion; a historical perspective.
Get PDFThis paper reflects on the diffusion of sustainable technologies in comparison with other successful technologies from a design history perspective. Historic case studies of three successful technologies (the automobile, the television, and the personal computer) revealed that there is a strong correlation between the appearance of the technology and the aesthetics of the dominant design movements. During the diffusion period of new technologies the conformity of these technologies to the looks of the prevailing design movements of these diffusion periods increases [1]. In other words; in the same time that these technologies became successful, they looked more and more like ‘normal things’ [2]
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
A practical approach to teaching abstract product design issues
Get PDF‘Buy an identity’ and ‘surprise your senses’ are two of the ideas that were the outcome of a course ‘Design for a specific Theme’ (in the year 2006–07) held for 4th grade students of Industrial Design Engineering at Twente University. The theme in the title of this course was philosophical, based on the theory of globalisation of German philosopher Peter Sloterdijk. In the following year 2007–08, the theme of the course was ‘leisure’, and it proved again that the structure of this course was particularly suitable for the conversion of such abstract themes in tangible product design. This paper describes the structure and the associated teaching methods of the course, gives examples of student results and discusses the points of interest and application possibilities of this type of cours
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