Buscar
El número de resultados a mostrar por página
Resultados de la búsqueda
-
- Type:
- Article
- Descripción/Resumen:
- The more society gets complicated and developed, the more demand for various products. As a result, we are living in a flood of various products. However, considering how people consume and use products in their daily life, it is not difficult to find people transforming, changing the original purpose or adding value to existing products instead of buying new ones. This phenomenon has been defined as everyday design. In a sense that everyday design provides a better understanding of actual uses in real context, it deserves to be studied. Therefore, this paper attempts to figure out an underlying mechanism of everyday design. For this, a conceptual framework was developed, whose focus was on what triggers everyday design, what goals are set, and how a product is transformed. The conceptual framework was validated with a photographic inventory of users’ everyday design in our daily life. The conceptual framework could provide a better understanding of everyday design in a systematic way. If it is considered in the product development process, it could contribute to an increase of use satisfaction as well as sustainable design. The limitations and a further study are discussed at the end of the paper.
- Creador/Autor:
- Kim, Chajoong ; Cho, Kwangmin , and Kim, Soyoung
- Peticionario:
- Lora Alberto
- Fecha modificada:
- 11/21/2017
- Fecha modificada:
- 12/06/2017
- Fecha de creacion:
- 2017-10-31
- Licencia:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Descripción/Resumen:
- Over the last two decades, for-profit and non-for-profit organizations have increasingly adopted open collaboration, such as open innovation and crowdsourcing, as a strategy for innovation. Information and communication technology (ICT) has played a major role in forming open collaboration communities, but organizational design also needs to be considered to encourage the active participation and collaboration of actors. Nonetheless, organizational design aspect has seldom been addressed in developing open collaboration platforms. In this research, an organizational design framework for open collaboration was developed through a nature-inspired design approach. This framework suggests that the self-organization mechanism of social insects provides inspirations for the design of the platform, especially in terms of setting simple rules to induce behaviors of the actors and facilitating interactions among them. Since the open collaboration strategy depends on external actors who are not in employment relationship, an organization cannot force their contribution. Accordingly, the organization’s capability to induce the spontaneous participation of actors is essential, and it implies the potential role of designers in platform design based on a thorough understanding of actors. We thus claim that designers can bring a new perspective to organizational design. Open collaboration platforms serve as an exemplar in which designers contribute to the design of an organizational environment that fosters collaboration.
- Creador/Autor:
- Kim, Sojung and Baek, Joon Sang
- Peticionario:
- Lora Alberto
- Fecha modificada:
- 11/21/2017
- Fecha modificada:
- 12/01/2017
- Fecha de creacion:
- 2017-10-31
- Licencia:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Descripción/Resumen:
- Today, while profit maximization is still the bedrock of the capitalist model, people have embraced the idea of social contribution as a useful strategy in businesses. In this recent movement, Creating Shared Value (CSV) strives for a win-win solution that creates both social and business value. While in its early stage, CSV is showing promise and potential; society is witnessing a paradigm shift from practices of corporate social responsibilities (CSR) to CSV which is more sustainable and effective approach. Since Porter and Kramer originally introduced the concept in 2011, CSV’s application has expanded to many areas of business management, but it has not been discussed comprehensively in design research as of yet. The title of this paper, “Designerly Way of Creating Shared Value” (DCSV) is inspired by Nigel Cross’s famous book, Designerly Way of Knowing (2006). ‘Designerly’ is an adjective describing ‘how’ designers think and behave that is different from professionals in scientific disciplines. The aim of this paper is to propose a new matrix illustrating the link between creating shared value and design, and to systemically describe the existing examples of DCSV (Cross, 2016). The paper will begin with an introduction to the concept of CSV followed by a brief literature review on CSV in design research. The second part will focus on demonstrating the new DCSV matrix by illustrating the four examples that exemplify it.
- Creador/Autor:
- Kim, Kyulee
- Peticionario:
- Lora Alberto
- Fecha modificada:
- 11/21/2017
- Fecha modificada:
- 12/06/2017
- Fecha de creacion:
- 2017-10-31
- Licencia:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Descripción/Resumen:
- There is a growing need for sustainable fashion since the 2010s. As artists and designers explore the potential use of innovative materials developed by synthetic biology and DIY bio-hacking (Myers, 2010), recent practice-led research in fashion design aims at building the better relationship between ecological sustainability and biotechnology to cope with the limited resources available on the earth (Fletcher, 2008). Based on this issue on the material sustainability, this practice-led research analyzes the current production processes of the fashion industry to propose possible solutions by incorporating emerging biotechnology and fashion design in the context of sustainable design. As the methodology, the authors adopt two processes to make bio-garment. First, the experiment of DIY bio has been conducted for culturing ecological bio-material SCOBY (symbiotic colony of bacteria and yeast) that produces bacterial cellulose. The material has similar properties to leather. Second, designing the garment through 3D modeling has been tackled because we aim to make the bio-materials grow onto a 3D printed mold as ‘zero waste method’ (Rissanen; Mcquillan, 2016) , which can eliminate textile waste at the design stage. By the application of biological materials in the process of dressmaking, this practice led research has been analyzing the production line of the fashion industry and trying to propose sustainable solutions. Also the research aims to combine emerging biotechnology and sustainable fashion in order to establish the design process as an alternative design process to the polluting industry.
- Creador/Autor:
- Mizuno, Daijiro and Kawasaki, Kazuya
- Peticionario:
- Lora Alberto
- Fecha modificada:
- 11/21/2017
- Fecha modificada:
- 11/21/2017
- Fecha de creacion:
- 2017-10-31
- Licencia:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Descripción/Resumen:
- Product use innovation is a means to facilitate the design-driven innovation approach. We explore how the mode-of-use concept may apply to state-of-the-art product interactions to enhance user experience and provide opportunities for design-driven innovation within the interactive product space. To achieve this we apply taxonomy of interactions to classify interaction styles as along the two dimensions explanatory or exploratory and discrete or composite. Adopting the research-through- design approach two interactive mood lamps were developed and expressed as high-fidelity prototypes. These were then used as stimuli to evaluate the influence of interaction style on product experience. Results indicated the touch-free magic interaction style, an interaction providing explorative and composite modes of interaction, was initially considered more innovative in terms of use. However, participants also expressed negative emotions related to dissatisfaction and embarrassment towards the touch-free magic interaction due to an inability to intuitively understand the use functions. Implications for the application of use innovation within the interactive product context are finally discussed.
- Creador/Autor:
- Jeong, Geehyuck and Self, James
- Peticionario:
- Lora Alberto
- Fecha modificada:
- 11/21/2017
- Fecha modificada:
- 12/06/2017
- Fecha de creacion:
- 2017-10-31
- Licencia:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Descripción/Resumen:
- In this study, the authors propose two information layout strategies (informative layout and decisive layout) that influence the user acceptance rate on recommended information. The informative layout is the degree of descriptions in the recommendation process. The decisive layout is the degree of choices in recommendations. Thus, the objective of the paper is to discover how users’ acceptance of a recommendation changes when the recommendation is displayed in different degrees of informative and decisive layouts. To this end, we have conducted the following tasks: 1) Sophisticated software was created with Javascript to conduct experiments with users online; 2) Experiment subjects (N=247) with various education and demographic levels were recruited; 3) User acceptance rate depending on the information layout strategy was collected; 4) The relationships between information layout strategy and user acceptance of the recommended information were computationally analyzed. The results of the study indicate that the information layout strategy proposed in this research significantly influences user acceptance of the recommended information. Also, this research identified effective combinations of informative and decisive layouts to maximize the user acceptance.
- Creador/Autor:
- Lee, Jong Myoung and Hyun, Kyung Hoon
- Peticionario:
- Lora Alberto
- Fecha modificada:
- 11/21/2017
- Fecha modificada:
- 11/21/2017
- Fecha de creacion:
- 2017-10-31
- Licencia:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Descripción/Resumen:
- In recent years, architecture culture study is a popular direction in traditional vernacular dwelling research of China. Architectural culture, as the metaphysical part of a building, not only influences the formation of the building in design period, but also dominates the usepattern of the building after construction. However most of studies started with material form of dwelling from architectonic prospective ignored that architecture is a phenomenon of culture. The study of vernacular dwelling from cultural and other related academic fields is very necessary. Bei-nong is a transportation space in traditional vernacular dwelling of Jiangnan area in China. This paper tried to use the methods of urban history research to investigate this space. First of all, the particular time and region of bei-nong appearance has been observed and defined from historical and cultural background. Then, appearance reasons have been analyzed based on the social context and mainstream philosophy during the scope of time and region. In the end, the physical and social functions and the architecture construction of bei-nong have been summarized and ratiocinated from the former conclusions according to inductive reasoning theory. A real and comprehensive bei-nong is showed in the result of research, not only the physical form and history of architecture but also a history story about that place and time.
- Creador/Autor:
- Wei, Na; Huang, Ying , and Guo, Weiming
- Peticionario:
- Lora Alberto
- Fecha modificada:
- 11/21/2017
- Fecha modificada:
- 11/21/2017
- Fecha de creacion:
- 2017-10-31
- Licencia:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Descripción/Resumen:
- Case studies are discussed, from Northumbria University’s practice-led Centre for Design Research (CfDR) that demonstrate how visualising concepts and designs through digital animation can enable effective communication of ideas and interactions, which in turn enables creative leaps in thinking, understanding and decision-making. Animation is a tool that can unlock the comprehension into what is and what could be. This paper reflects on a number of collaborative projects between the CfDR and several scientific communities, demonstrating and focusing in particular on the process of visualisation, designing digital animations to communicate complex processes, ideas and interactions. An approach and understanding has been developed about how to effectively communicate potentially complex, scientific and technical concepts for the benefit of the client and the end user, in particular the lay audience whose knowledge of the subject may be limited or non-existing. Findings indicate that the process of constructing simple digital animated stories becomes a learning process for both designer and client. Critical discussions during collaborative meetings develop shared understandings: helping clients to think more creatively about communication (appreciating the benefits of manipulating a truth to position to waylay contextual confusion), and making implicit knowledge belonging to the client explicit to the designer. It is important to state that this negotiation is more effective when the designer is a layperson with respect to the complex implicit knowledge of the client. During these collaborative conditions the untangling of complex ideas have achieve the a-ha moments in the animations’ audiences.
- Creador/Autor:
- Hilton, Kevin H. ; Parkinson, David A., and Hewitt, Ian Balmain
- Peticionario:
- Lora Alberto
- Fecha modificada:
- 11/21/2017
- Fecha modificada:
- 01/09/2018
- Fecha de creacion:
- 2017-10-31
- Licencia:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Descripción/Resumen:
- How can students at a federally-designated Hispanic-serving institution understand and express culture and diversity through art and design? In order to address this inquiry and to exemplify a method that introduces students to critical thinking in the context of design, I am presenting a case study based on the primary results of a project implemented at an introductory graphic design class, which is part of a multidisciplinary arts program. In this project, students learn basics of design research and auto ethnography in a studio setting, in order to explore heritage and culture, their context of living, family history, and personal connections with their past, present, and future. Results from this discovery stage inform brainstorming, sketching, design, and production of a book that contains multiple visual explorations on “Heritage.” Some of the most memorable and productive conversations and interactions between students took place not only during the development of the project, but at the final project presentation, which exposed their capacity to develop greater tolerance and a more empathic view of the other, to be open to reanalyze their context and personal interactions, to better evaluate the design abilities of their peers as they respond to their own individual approach to the topic, and to develop a better and safer sense of place in the classroom.
- Creador/Autor:
- Hernández, Maria Gabriela
- Peticionario:
- Lora Alberto
- Fecha modificada:
- 11/21/2017
- Fecha modificada:
- 01/12/2018
- Fecha de creacion:
- 2017-10-31
- Licencia:
- Attribution-NonCommercial 4.0 International
-
- Type:
- Article
- Descripción/Resumen:
- Design education opportunities for non-designers are abundant and growing, many offered as rapid sprints through executive education style workshops or online courses. While these quick immersions may serve to infuse design thinking into the work processes of other disciplines, there is a risk of oversimplification. How can courses impart an appropriate sense of design without minimizing its complexity? What are the essential components of design, and optimal timing and formats needed for meaningful delivery? On the other hand, how can we educate those who seek a robust design complement to their existing professions, and those seeking a full transition of their careers into design practice? This study looks at the inception and early iterations of a one-year degree program providing an in-depth education to non-designers seeking a complementary education to other credentials or a full conversion to design through modular degree options. The first years of the program suggest several findings. For example, interdisciplinary cohorts introduce a mix of rational and intuitive approaches. Students need mentorship into design processes and practices, such as subjectivity in assessments and feedback through critique. Educators are challenged to acknowledge the past education and professional backgrounds of students, capitalizing on their unique strengths rather than homogenizing all students into a singular version of design. Students need tools to assess their professional identity during their transition to design. This work in progress will examine the spectrum of design education opportunities for non-designers, including key factors differentiating a degree program from the proliferation of short course exposures.
- Creador/Autor:
- Hanington, Bruce
- Peticionario:
- Lora Alberto
- Fecha modificada:
- 11/21/2017
- Fecha modificada:
- 01/11/2018
- Fecha de creacion:
- 2017-10-31
- Licencia:
- Attribution-NonCommercial 4.0 International