Despite the increased popularity of online tools for remote teamwork and meetings, moderated collaborative activities between multiple users in early conceptual design stages, such as brainstorming sessions, are yet not well supported. In this paper, we introduce All4One, a networked system that enables multiple remote users to participate in a moderated visual sketching session. Each participant can independently draw and share sketches using a tablet, and a moderator uses a set of tangible tools to arrange and manipulate sketches that are displayed in real-time on a whiteboard. We present our prototype in detail and the results from a workshop study simulating a brainstorming session with designers who tested the system in practice. Results show several usage patterns and the potential of All4One for use in early design stages, and the importance of the role of the moderator as the facilitator of the design process. The paper concludes by identifying weaknesses and strengths of the current system and possible directions for future work.
The challenges facing many small nonprofit organizations are increasing at a greater rate than the internal capacities of many within this sector are able to address effectively. This situation has small nonprofits questioning their sustainability and ability to deliver their services in the long term. Often these small nonprofit organizations are working within a business model and communications paradigm that has remained unchanged for decades and one which is proving no longer effective in attracting awareness, engagement, and support. Many of these organizations are facing a critical failure requiring significant business model innovation to achieve both their short-, mid- and long-term goals. Design thinking is an avenue for nonprofits to achieve business model innovation by developing new, unique concepts supporting an organization’s viability and the processes for bringing those concepts to fruition. This case study outlines the design thinking process applied to business model innovation for a small, 22-year old, nonprofit approaching critical business failure.
This paper presents the results of a research based Living Lab experience, where people participate together as users, researchers, stakeholders and collaborators working to effect change to improve social inclusion and social participation for persons with functional difficulties. The Rehabilitation Living Lab in the Mall (RehabMall) transforms an urban shopping mall into an interdisciplinary, multi-sectorial research platform that supports multiple projects investigating what constitutes an accessible and inclusive environment for people with physical, sensory and cognitive disabilities. We present an overview of the RehabMALL Living Lab, the contexts of the project and the project meta-analysis to present the salient issues emerging from the projects that were done. Grounded in a design research approach, and inspired by the Ecological Systems Theory of Bronfenbrenner (1979), the investigations conducted focus on subjective and inter-subjective experiences within understanding obstacles and facilitators that frame how people experience going to the mall, and how the physical, cognitive and virtual environments that support these activities might be better served. Disability is defined within the framework of the “World Health Organization’s International Classification of Functioning (WHO, 2003). The overview of the project is presented with particular attention to the various collaborations and partnerships created alongside the issues that emerge in terms of results, and how people might be better served when public spaces are designed with their input and within a perspective of universal design.
This paper engages with the literature to present different perspectives between forecasting
and foresight in strategic design, while drawing insights derived from futures studies that
can be applied in form of a design-inspired foresight approach for designers and
interdisciplinary innovation teams increasingly called upon to help envisage preferable
futures. Demonstrating this process in applied research, relevant examples are drawn from
a 2016 Financial Services industry futures study to the year 2030. While the financial
services industry exemplifies an ideal case for design-inspired foresight, the aims of this
paper are primarily to establish the peculiarities between traditional forecasting
applications and a design-inspired foresight visioning approach as strategic design
activities for selecting preferable futures. Underlining the contribution of this paper is the
value of design futures thinking as a creative and divergent thought process, which has the
potential to respond to the much broader organizational reforms needed to sustain in
today’s rapidly evolving business environment (Buchanan, 2015; Irmak, 2005; Muratovski,
This paper reviews contemporary communication design practice in Australia through a series of interviews with practitioners, conducted to better understand the place of sustainability in contemporary practice. It is especially concerned with the expectations and experience of designers, and their attitudes towards sustainability in practice, and the contrast between designing ‘greener things’ and establishing more sustainable outcomes for their clients through deeper collaboration. The paper is part of a larger PhD project attempting to establish ways of expanding the understanding of sustainability for communication designers.
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.
Identifying Infants can be harder than it seems. Particularly in remote and limited resources settings, rapid and accurate identification of infants presents an unsolved complex sociotechnical problem. Imagine a long line of caregivers, each carrying several children, waiting outside in heat and humidity for required vaccinations. Caregivers may only know the infant's given names: how can the they be identified for record keeping?
Vaccination cards are notoriously unreliably and easily lost, mistakes abound. Recent technologycentered attempts th
In order to develop a new, infant-centered solution from the ground up, we assembled a diverse team of engineers, clinicians, ethnographers and designers and followed a Human Centered Design (HCD) approach of ethnography, rapid prototyping and testing. We examined all common modalities used in adult biometrics-- ear, iris, retina, face, foot, palm and finger recognition and compared technical feasibility, usability and acceptability for the infant use case. We prototyped many infant-centric devices and arrived at lead candidates using modified contact vs non contact palm and finger scanning. Frequent design-test cycles were critical as the complexity and changing nature of infant physiology, behavior and caregiver dynamics could not be predicted, only tested with subjects. This was compounded by moving targets of evolving infant-centric software, hardware and device design.
In summary, we report here an HCD based approach to infant biometrics. We developed and tested robust, socially acceptable technologies that adapt to the tiny, sensitive yet changing fingers of very young infants.
In this study, based on the perception of older adults, fuzzy positioning of healthcare wearables and impacts of differentiated product positioning on human considerations and design communication strategies are studied. Empirical researches are performed by adopting both quantitative research (248 questionnaires for clustering and regression analysis) and qualitative research (15 cases for in- depth interview). The perceptions of older adults on product positioning are divided into three types: Tech-Aid, Fash-Acc, and Fash-Tech. Results indicate that the influential human considerations for each positioning were different from each other. Through coding and storyline analysis, diverse communication strategies are found for each positioning. The outcomes for each type are as follows. For Tech-Aid, wherein older adults lay emphasis on usefulness, ease of use, and privacy, the designers can adopt a calm communication strategy by giving priority to older adults’ control power, fitting symptoms, user-friendly, and cautious interconnection. For Fash-Acc, wherein older adults focus on personal image, aesthetic appearance, and ease of use, an active communication strategy for modeling a style for elderly fashion that agrees with aesthetic appreciation and simplified operation can be adopted. For Fash-Tech, wherein older adults require to integrate usefulness, ease of use, aesthetic appearance, comfort, privacy, and self-image, a persuasive communication strategy can be used, through which designers can offer older adults more data insights and entertainment, along with data association, and in the meantime, reduce data interferences and pay attention to style modality and appropriate display with context fusion and contact comfort.
This research aims to investigate how Korean digital agencies practice design thinking for their website innovation. Based on a literature review on the design- thinking-driven web development process, multiple case studies of award-winning website projects were undertook. Through analyses of these cases, the following challenges and lessons were disclosed: (1) challenges – building a long-term, playful partnership with clients, leveraging decision-making executives’ design thinking awareness, and coping with limited resources (design thinking practitioners, budgets, and schedules) and (2) lessons – cross-functional collaboration, agile mobile-first development process, powerful visual storytelling, and compelling UX strategies and UI guidelines. Moreover, distinct approaches of design thinking practices were identified according to two website types: a brand promotion website – killer branding content-driven approach, and a service channel website – better UI/UXdriven approach.
Traditional Industrial Design sponsored studios (when a corporation partners with a student design studio) can quickly become design for hire studios which limit student learning outcomes as well as successful outcomes for the Sponsor. In assessing instruction practices in sponsored studios, traditionally success is limited to products moving directly into production. By reframing the studio into an incubator and in-line studio setting students could work in the same fashion as an in-house design studio, with mass diminutive ideation focusing on performance initially rather than aesthetics causing an increased standard for success. Because students would be concentrating on editing down a mass amount of variables with swift precision using raw but effective mockups, time would not be wasted on improving the craft of an initial, potentially ill- developed concept, leading to more risk projects with market disrupting potential rather than just an aesthetic or materials update going into production.
In a multi-disciplinary studio setting students from Industrial Design, Apparel Merchandising and Design, and Kinesiology, partnered with a corporate sponsored studio instructed in the framework premised above. The outcomes were a success with the studio functioning beyond a studio for hire scenario to learning objectives being met as well as aspects of projects moving forward into to development and projects moving directly into production as well as applications for patents. This paper investigates how studio culture can be reframed to create a diverse range of success as well as what specific instruction techniques, making techniques, and studio culture lead to this success.
Increasingly universities are adopting a collaborative approach to ensure research outcomes have industry-relevant impact. This collaboration has known challenges given the complexity of the process which requires successful negotiation across the needs of various stakeholders, disciplinary knowledges and cultural contexts. A co-creation approach in collaborative research can assist in navigating these challenges by empowering all stakeholders including industry, the academy and the community. This paper presents a case study of an industry engaged research project that employed this approach. Partnering with a northern European international airline and universities from Australia and Singapore, the project investigated opportunities for innovation around the ageing population’s user experience with in-flight packaging. Applying case study method, data collected included in-flight observations, expert interviews, co-creation workshops and prototyping. Challenges as well as opportunities are identified around how the co-creation approach supported the industry relevant outcomes of the project. The findings suggest that co-creation supports better outcomes for collaboration across the complexity of industry engaged cross-cultural research projects.
This study suggests that student reflection on academic and industry collaborative projects can enhance student’s understanding on the design process to solve live industry problems. It contributes to the body of design literature to support students learning of explicit and implicit knowledge (Boling et al., 2016; Land et al., 2016; Salama, 2015). A 2017 learning- by-making (LBM) unit in the School of Architecture and Design, at the University of Tasmania, Australia, developed a unit for students to collaborate with Neville Smith Forest Products Pty. Ltd. (NSFP). NSFP is a local Tasmanian timber product manufacturer who currently stockpiles out-of-grade timber that has limited market applications. Undergraduate design students from second and third year Furniture, Interior and Architecture degrees collaborated with NSFP to value-add to their out-of-grade resource in the LBM unit. A series of design challenges, observations of industry practice and access to out-of-grade timber from NSFP exposed students to live industry problems and provided them the opportunity to build professional design skills. Students reflected on the collaborative LBM unit in a reflection journal, which was used to provide evidence of their learning experiences. The collaborative environment between academia and industry allowed students to acquire an understanding of timber product manufacturing that helped them develop empathy towards the industry problem and influence the development of new products. This study presents how student reflections influenced a change in their design process as they progressed through sequential design challenges to address an industry problem by adopting Valkenburg and Dorst (1998) reflective learning framework.
The purpose of Experience Group Sessions is to identify the health and lifestyle challenges that make it difficult for patients and families to manage chronic medical conditions. The Innovation Engine at Carolinas HealthCare System worked with pediatricians to identify and recruit patients with chronic asthma. Experience Group Sessions were a way for families and patients to share their experiences managing asthma and allowed facilitators to gather insights about what does and does not happen in their daily lives. The key themes and quotes collected from the Experience Group Sessions were grouped into three categories of outcomes that define success with health: capability, comfort and calm. The results of the analysis were shared with the workgroup to inform the design and strategy for an integrated practice unit. Integrated practice units are intended to bring together a full range of providers and services to specifically address a certain medical condition, in this case, pediatric asthma at Carolinas HealthCare System. This integrated practice model will be reorganized around patient-centered care and value to improve overall health for children with asthma.
This article concerns the use of critical design practices within the context of commercial semiotics, arguing that incorporating practices from a critical design approach is valuable for client brands, but also an important means with which to incite brands to consider more deeply their role in shaping the future. As an alternative to the oppositional approach frequently taken by critical design practitioners, working through design practices collaboratively alongside client brands creates potential for the radical changes sought by many of the movement’s vanguard. A case study of recent work with a corporate client demonstrates the practical effects of using critical design practice within a commercial setting, proving the complementarity between critical design practice and commercial semiotics – where the confluence of the thinking brought new value to improve product design for example – and points to the value of using current leading edge thinking within the design community.
Designing successful products and services that people like, requires an understanding of the context and the aspirations of those people. Over the past decade, a range of methods has been developed to help designers gain such empathy. These have worked well when designer and target user share a cultural context. However, designers often find it difficult to empathize with the user insights of individuals from a culture beyond their first-hand experience. To help designers step beyond this limitation, those user insights need to be placed in a larger understanding of the cultural context. In this paper, we present Cultura: a toolkit that uses nine cultural aspects based on cultural models, informing designers about user insights in a broader cultural context. The toolkit was evaluated in design sessions with four design teams. The findings indicate that Cultura provides inspiration and motivation for designers to gain empathic insights into users beyond their own cultural boundaries and to make effective designs for people.
Western cultures focus on salient objects and use categorization for purposes of organizing the environment (an analytic view), whereas, East Asians cultures focus more holistically on relationships and similarities among objects when organizing the environment (a holistic view). Previous research has shown that cognitive approaches differ between cultures: European Americans prefer an analytic style, and East Asians tend to use a holistic style. However, little is known about how cultural differences in cognition relate to aesthetic preferences. In this paper, we explored whether cultural differences arise in preferences for products set in matching vs. mismatching contexts. Participants in a laboratory experiment included European Americans and East Asians. Individually, they viewed images of a variety of furniture products (chairs, coffee tables, and floor lamps) and rated their aesthetic appeal. Each product type appeared in three different contexts: matching (target product shown in its usual in-home context); mismatched (target product shown in an unusual in-home context), and neutral (the target product shown on a white background). For both cultural groups, products were judged to be more aesthetically pleasing in the matching than in the mismatched context. However, ratings for products in mismatching contexts were significantly higher among East Asians. Our findings suggest that those with holistic views (East Asians) are more tolerant of mismatches than are those with more analytic views (European Americans). The implications for product and marketing design include greater attention to context presentation.
Developing successful RNPs can bring competitive advantages for companies. However, the success rate of RNPs are relatively low because consumers often feel resistant to adopt
them. One reason for consumers’ resistance is their lack of comprehension of RNPs. To facilitate consumers’ comprehension, this paper conceptually discusses the opportunities related to designing the appearances of RNPs. More specifically, to facilitate consumers’ internal and external learning, this paper explores four underlying mechanisms: 1) product appearance as a visual cue to trigger category-based knowledge transfer, 2) to trigger analogy-based knowledge transfer, 3) product appearance as an information carrier to communicate innovative functionality directly, and 4) product appearance as a way to trigger congruity with innovative functionality of RNPs. The rationales for each underlying
mechanism are conceptually discussed, supported with relevant empirical evidence and examples found in the markets.
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.
The number of migrant workers in South Korea is on the rise, but their inadequate Korean language skills prevent them from being promoted at work, or fairly treated as respected members of the society. In this study, in collaboration with a government-authorized language educational facility for immigrants, the authors investigated (a) challenges in migrant workers’ Korean as a second language learning, and (b) design principles of lessons and learning materials specifically targeted to their needs. Student and teacher interview data confirmed that the workers’ limited time for study, weak motivation, Korean colleagues’ indifferent attitude, and limited teaching resources at educational facilities are major barriers to achieving higher levels of linguistic skills. From the data, the authors identified four design principles: personalized content, community participation, portability of materials, and micro learning modules. Informal lessons via Facebook, factory safety signs, and portable writing drill booklets are designed as on-going experimentations of the principles.