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.
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.
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.
The environment in which patients (need to) reside has a great influence on their wellbeing (Ulrich, 1991). That is why introducing ‘Design for Wellbeing’ is key in the design of palliative environments. People in the last phase of their life become more receptive to environmental stimuli. From our perspective, this triggers design to become even more relevant in such contexts. People’s search for subjective well-being (SWB) has promoted a change in vision in the design of new products, services and environments, with a focus not only on material properties, but also on the personal values that trigger actions that can contribute to people’s SWB. Such considerations contribute also to proposing answers to the question of how design can support people to have a meaningful life and ‘be well’ in the best possible way, according to the circumstances.
The purpose of this paper is firstly, if design for wellbeing can be performed in the context of palliative care, and secondly, how research could be set up in such a precious context. A thorough literature review will be performed to answer these questions. The value of this study lies in aiming to try to enable terminally ill patients and people from their immediate surroundings to cope with these events via design, and to stimulate people to be able to perform activities that they like (most) and which contribute to their SWB.
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.
The “Safety Grand Challenge” is a collaborative research project between the Royal College of Art (RCA) School of Design, and the Lloyd's Register Foundation (LRF). The maritime industry is dominated by “grandfathering” leading to a slow-pace of adopting innovations that can reduce risk and save lives at sea. We describe how impact was achieved through collaboration and design innovations that bridged the risk gap between technologies and human behaviours. Starting from the project brief we designed a collaborative platform that supported a constructive dialogue between academia and partner organisations that aimed to foster innovative design approaches to risk and safety. The project generated an engaged community with diverse expertise that influenced the outcomes which included seven prototypes designed by a group of thirty students from across the RCA. Throughout the course of the project the network extended to other partners beyond the initial ones that included the RCA, LRF and Royal National Lifeboat Institution. The “Safety Grand Challenge” demonstrates how research can be an explorative platform that offers opportunities to analyse and design solutions to real life safety problems in mature industries through the prototypes that reflect the sophistication of the project’s collaborations. Our conclusions support how design research helped identify the value of design for safety in tackling complex issues that intertwine human, environmental and commercial views and can shape new forms of collaborative research between academia and industrial partners.
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.
Living in a modern society is becoming more complex, so in order to keep up with, a person should accomplish various kinds of task at once. Daily life requirements, obligations and the capacity of human memory lead us to collect and control our behaviors, bodies and lives through self-tracking devices. Aim of this paper analysis of emerging digitalized self-tracking trend through content analysis of Wired Magazine. Wired Magazine, both in printed and online, monthly, publish technology related articles how emerging technologies affect culture, the economy and politics. It reaches more than 30 million people each month through wired.com, digital edition. Since the term 'quantified self' emerged for the first time in Wired Magazine, for this reason Wired Magazine is one of the most important sources to be used for content analysis. This present study carries out a content analysis of all the issues until December 2016 through 'self-tracking' and two other related terms: 'quantified self' and 'lifelogging'. The usage period and popularity of these terms and, the relation network with the main topics and the subtopics are examined. As a result, it is possible to define wired magazine as a medium in which industry-academia and users come together and, feed each other reciprocally. Wired Magazine have contributed significantly and continues to contribute to the development of the digitalized self-tracking trend in terms of its content.
This paper will address some design concerns relating to philosopher Étienne Souriau’s work Les différents modes d’existence (2009). This has important bearings upon design because, first, this philosophical attitude thinks of designing not as an act of forming objects with identity and meaning, but rather as a process of delivering things that allow for a multiplicity of creative remodulation of our very existences. Secondly, Souriau unpicks the concept of a being existing as a unified identity and redefines existence as a creative act of nonstop production of a variety of modes of existence. In doing this he not only moves ontological considerations to the fore of philosophical discussions away from epistemological ones, but does so in such a way as to align with attitudes to ethics that relate it to ontology – notably the work of Spinoza. (This places Souriau in a philosophical lineage that leads back, for example, to Nietzsche and Whitehead, and forward (from his era) to Deleuze and Guattari.) In thinking both ontology and ethics together, this paper will introduce a different approach to the ethics of design.
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.
The political rhetoric of today economy has framed innovation as reproduced and reserved by specific people in specific locations. This framing has shaped the discourse of who is deserving and who is not deserving and gradually sets the foundation of social discrimination, inequality, and exploitation as part of the neoliberal economy. Given the claim that entrepreneurs are inventing the future, this paper envisions alternative futures in which performing economy contributes to socio-technical transformation. To that end, this paper focuses on two community- based initiatives in Chicago that their contribution to economy is not recognized due to incompatibility with mainstream narrative. In these counter-hegemonic exemplars, different but potentially related future-making practices occur; they are shifting the emphasize from individual entrepreneur to a collective economic development and moving forward the discussion of entrepreneurship to the kind of society and the kinds of citizens that it is creating. By conducting ethnographic study on these exemplars, patterns have emerged that are informative to design strategies for infrastructuring and socio-material negotiations.
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.
This research is based on the scenario in the context of Hong Kong, in which church has been built in densely populated urban environment restricted in flat space. The research objectives were: 1) firstly to investigate the relationship between theology and spatial design in Hong Kong Protestant church; 2) secondly, to analyse the issue of the lack of design with respect to sacred identity in the church of Hong Kong that leads to an unappealing and non-sacred appearance of Protestant church; 3) and finally, to establish theoretical standpoints on designing sacred space with contemporary quality without surrendering of the sacred identity. The aims of the research were to understand the influence of secularisation to the rationale of church design and to generate an appropriate identity of church with a theoretical standpoint to serve the contemporary community effectively.
In order to meet these objectives, the study comprised of a qualitative site observations of 171 churches, which provided comparative figures for the study of churches incorporated with design elements or no design elements.
In Hong Kong approximately 775 one-flat churches, which are 66% of the total number of Protestant churches, are located in different layers of vertical space within this vertical city. When churches provide social services in the same limited space, the identity of church is surrendered to the need of the social community.
This study endeavours to facilitate church design with the focus on the immanence quality in order to encounter the different spatial limitations in church design.
This paper reports on the development of a mindful interdisciplinary design methodology in the context of the MinD project research into designing for and with people with dementia, which takes the particular focus on supporting the subjective well-being and self-empowerment of people with early to mid stage dementia in social context.
Existing research is for the most part focussed on functional support and safe-keeping from the perspective of the carer. References to decision-making and empowerment are predominantly related to action planning for dementia care or advance care planning. References to care and social interaction show that caregivers tend to take a deficit-oriented perspective, and occupation of people with dementia is often associated with doing ‘something’ with little focus on the meaningfulness of the activity. Furthermore, caregivers and people with dementia tend to differ in their perspectives, e.g. on assistive devices, which might offer support.
The MinD project, has therefore developed an interdisciplinary co-design methodology in which the voices to people with dementia contribute to better understanding and developing mindful design solutions that support people with dementia with regard to their the subjective well-being and self-empowerment a well as meaningful and equitable social engagement.
This paper discussed the design methodological framework and methods developed for the data collection and design development phases of the project, and their rationale. It thus makes a contribution to interdisciplinary methodologies in the area of design for health.
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.
This paper details the evaluation process undertaken to create criteria for the development of an iPad stand for elderly users. Emphasis is on the requirements elicitation stage with end users in the field. 32 elderly participants taking part in the activity group as part of the Ageing-Well program of a City Council in a cosmopolitan area in Australia were part of an evaluation in which three existing iPad stands were trialled. While commercially available stands are abundant, specific problems such as reduced grip, basic technical understanding of the stand, and concerns surrounding stability were encountered within the group. Observation and semi-structured interviews were undertaken with the cohort to determine factors surrounding the suitability and uptake of these stands by elderly users – most of them with some disabilities - with findings suggesting that current tablet stands require fine levels of dexterity, which may not be appropriate for elderly users where such a device is needed. While usability in setting up the stand and use is a strong factor, aesthetics and material qualities are equally important for enjoyable use. In addition, the use of iPads in social activities between two or more older adults has specific demands in terms of visibility of screen, sturdiness and easy movement that is not considered by current tablet stands. The paper ends with proposing design recommendations. Further research is required to develop a suitable solution and refines these
Futures techniques have long been used in large enterprises as designerly means to explore the future and guide innovation. In the automotive industry, for instance, the development of concept cars is a technique which has repeatedly proven its value. However, while big companies have broadly embraced futures techniques, small- and medium-sized enterprises (SMEs) have lagged behind in applying them, largely because they are too resource- intensive and poorly suited to the SMEs’ needs and idiosyncrasies. To address this issue, we developed DIVE: Design, Innovation, Vision, and Exploration, a design-led futures technique for SMEs. Its development began with an inquiry into concept cars in the automotive industry and concept products and services in other industries. We then combined the insights derived from these design practices with elements of the existing techniques of critical design and design fiction into the creation of DIVE’s preliminary first version, which was then applied and evaluated in two iterations with SMEs, resulting in DIVE’s alpha version. After both iterations in context, it seems that DIVE suits the SMEs because of its compact and inexpensive activities which emphasize making and storytelling. Although the results of these activities might be less flashy than concept cars, these simple prototypes and videos help SMEs internalize and share a clear image of a preferable future, commonly known as vision. Developing DIVE thus helped us explore how design can support SMEs in envisioning the future in the context of innovation.
Learning a new competence and attempting to perform it within an organization not only takes time, but it is heavily influenced by the real-world context of day-to-day work culture and individual perceptions. The little-understood world of learning Human- Centered Design (HCD) within an organization is studied over one year in inside of a group of healthcare organizations through a training and mentoring program called the "Innovation Catalyst Program."
Deep insights and personal narratives are gathered by studying learners and their coaches in real-time observations and conversations. A dynamic story unfolds as those who are learning creative approaches for organizational innovation are coached by those with many years of experience on the topic. These same participants provide feedback on the frameworks generated.
The result of this Longitudinal Grounded Theory field study is a new actionable model for understanding experiences and approaches to learning HCD within the context of an organization, a novel approach to assessing development, and ultimately, a way to empower individuals with the mindsets and skillsets of HCD for real-world challenges.
We analyze life in urban district on the outskirts of Tokyo by ANT. This research is used to identify social and technological elements that are regarded as essential in the modern day and to develop methods that will link to a practical approach. Our presentation describes these methods in detail. We believe that it may be possible to identify particularly important elements in design methods that respond to the complications of the modern day in early modern wisdom and customs, which until now have been overlooked. Today, as the foundations of social norms and traditions that have previously been regarded as self-evident are swaying and the risk society is advancing, these new design methods can be used to respond to an array of issues with a high degree of complication, such as the deterioration of the mental environment and environmental problems without any discernible solution. Since the modern era began, design has solved social problems through the development of objects and systems. However, in terms of the problems stated above, it can also be pointed out that design is both unable to suggest basic solutions and, in addition, forms a part of the social structures that cause these problems. Approaches that follow laws of causality tied to modern methodology cannot be applied to complicated problems where the relationship between cause and effect is unclear. The use of new design methods makes it possible to decipher complicated relationships and apply pre-modern systems to modern life.
Light in photography is considered by most practitioners as one of the most important
visual element since through it the human is able to recognize shapes, texture, color depth and even create diverse moods in the images. In food photography, light settings also imply the creation of several forms of shadows which become a secondary visual
element. Thus, the effects of different types of shadows on food photos can generate
different perceptions of the food creating either a positive or negative impression on
This paper aims to explore the usage of cast shadow on food photography in order to open a new discussion in this topic. The main approach was to create and survey food images with several cast shadow composition; evaluate them and determine if the difference of cast shadows has an impact on how food images are perceived.
As a result, the experiment showed that different cast shadows affect not only the mood in which food is perceived but also the taste of the food. These findings can be useful to
explain how cast shadows are also a key visual element in the decision making process
or human behavior when choosing what to eat from a group of food images.
Low-seated chairs for tatami mats that are characteristic of Japanese-style interior appeared after late 1940s. This article focuses on the ambivalence between Western lifestyles and Japanese lifestyles by tracing the comments of designers, critics, magazines, and so forth to clarify a background of them. The introduction of chairs in Japan was actually involved, by definition, in a dichotomy between sitting on the floor and in chairs, which therefore was far from the domestic practicality of lifestyles among the public. Then we have to observe the two points for the introduction of chairs to break through this rigid situation: (1) how did the public establish definition of chairs outside the Westernization? This article grasps the fact that the artisans and early designers accumulated their experience of producing chairs from scratch, through trial and error. (2) How did the relation between sitting on the floor and in chairs break out of the dichotomy, through ambivalence? This article focuses on the fact that the public enjoyed the physical relaxation offered by the mix of sitting on the floor and in chairs. This constituted the domestic practicality of chairs for the Japanese. Therefore, such experiences of making and using chairs can be summarized as the awakening of a universe in the distance between the floor and the seat-height of Western chairs. It was a new frontier for Japanese designers, and low-seated chairs were born in this space. This article concludes that it marked the transition from Westernization to Japanese modern design.
Sketchnoting, if seen as a methodology, exhibits potential for systematic and methodical
research. It provides a framework to communicate visually through simple shapes,
breaking complex forms down into combinations of dots, lines, squares, triangles, and
circles. Situated at the lower end of the visualization spectrum, which ranges from napkin
style sketching to photo-realistic rendering, it has low barriers to putting pen on paper.
In the context of an industrial design graduate course originally introduced as a gateway
to traditional visualization in design, sketchnoting exhibited greater potential to not only
lower the threshold of sketching, but in addition, to foster creative, and in some cases,
even boost design confidence. These anecdotal observations revealed several overarching
opportunities for a larger, cross-disciplinary research, which would begin with exploring
the ability to foster creative confidence through lowering the inhibition threshold to
drawing for designers and non-designers alike. Proceeding to explore the potential of
sketchnoting (due to its dual coding nature) becoming an entry point to employing all
modes of thought processing, deductive, inductive and abductive logic as they pertain to
divergent and convergent thinking. Ideally setting up this framework to be investigated as
a means to improve student engagement and general learning behaviors. The long-term
and underlying goal is to change how people see and solve problems and to diversify
stakeholders involved in the development processes. This paper discusses the underlying
concept as well as the originally observations, closing with the above-mentioned series of
In the past decades, universities’ involvement in socio-economic development, which goes along with their teaching and researching activities, has defined a new role for them in society’s ecosystem. This new role is often referred with the term of “entrepreneurial” university, whose objectives are positive societal, economic and environmental impacts. In order to fulfil such objectives, entrepreneurial universities might engage in cross-sector collaborations with external organisations. Despite the great contributions that cross-sector collaboration can give to the partners involved, the outcome is mostly unfocussed and rarely embedded. This paper explores the outcome embedding in the cross-sector collaboration between entrepreneurial universities and the private sector. To this end, we provide the case of the collaboration between a Dutch airline company and four Dutch entrepreneurial research and teaching institutions. We aim to uncover hindering and enabling factors to the outcome embedding in order to design an interaction platform, design it together. This platform will be a tool to encourage the outcome embedding, moving from being inspired by to the actual implementation of the cross-sector collaboration. In order to fulfill this goal, this study employs a research through design methodology. This approach is a generative process, where cyclic loops of iterations and evaluations with stakeholders tend to the research goal. The solution is a digital platform, co-created with all stakeholders. This study can inspire practitioners and future research on the problem of unsuccessful cross-sector collaborations, between entrepreneurial universities and external organisations, with more emphasis on the value of embedding and translating the outcomes.
Effective university-industry collaboration has become a major focus for governments in recent years. Universities are increasingly expected to play a greater role in the innovation system and evidence their contribution to economic development. At the same time, the growth in research quality assessment exercises makes it imperative that the excellence of research conducted in commercially-driven activities can be appropriately evaluated. This paper explores the challenge of reconciling commercially-focused activity and research quality assessment in design. Semi- structured interviews were conducted with thirteen experts including representatives from the design discipline, other applied academic disciplines, research quality assessment leaders and commercial designers. The interviews identified a number of barriers to demonstrating research excellence in commercially-driven projects. These were classified as barriers resulting from: the nature of industry/academic relationships; the nature of the project; and the nature of the research quality assessment. It is concluded that there is a need to build a simple, easily usable framework for assessing the research potential of commercially-driven design projects from the outset to ensure that the appropriate processes are put in place to communicate research conducted within them.
When design works with industry it tries to sell two things, first, selling design as an agent of transformation, and second, selling design as a skill. Whilst historically design has been successful in the latter, it is the former that is more challenging, making it a necessity for design to work in none design contexts in order to build trust and credibility. Therefore, it is necessary to investigate the ways in which design interacts with industry, and how these interactions enable design to establish longer term relationships.
This investigation set out to answer the question, what design specific characteristics are applied to establish successful longer-term relationships between design and industry? The paper aims to illustrate the intrinsic factors that enable design to get access, and designers to get authority to play a significant role in organisations. Five well-established relationships between design and industry have been used to analyse to find correlations.
The investigation identifies three stages of collaboration between design and industry, namely, involvement, collaboration and partnerships, contrary to Cahill’s (1965) theoretical model, which claimed four stages to long lasting partnerships. Also, the case studies confirm three stages of trust and credibility as factors that help in strengthening a relationship between design and industry. Finally, several intrinsic factors that are unique to design have been identified, which are seen to have helped design in building high levels of trust and credibility.
The term “slow fashion” was coined by Kate Fletcher to counter the growing trend of the “fast fashion” industry. In recent years, the clothing industry has been dominated by fast fashion that has spurred overconsumption whereby people buy more than they need.
This study aims to develop a critical-creative thinking framework based on the understandings and insights of how Millennials view apparel consumption. Lynda Grose and Kate Fletcher’s chapter “Transforming Fashion Product” from their book Fashion & Sustainability: Design for Change (2012) provided useful information regarding the fashion process, helping to reveal new patterns to frame how participants of this study view apparel consumption. This research investigated the way in which consumers viewed material, consumer care, and disposal of their clothing.
In order to understand the Millennial mindset with regard to apparel consumption, responses were collected from over a hundred Millennials through an online survey (Phase One), where they discussed their reasons for placing themselves along a scale from slow to fast fashion. The findings uncovered a new group of consumers, the undecided+exploring, who identified with both slow and fast fashion. Valuable insights extracted from the survey informed the development of a research toolkit for a series of participatory workshops (Phase Two) with the goal to construct a conceptual model of Millennial apparel consumption.
Further understanding of slow fashion, as seen through the Millennial mindset, will inspire and guide designers, manufacturers, and consumers to make more sustainable decision when developing, selling, and buying clothing items.
Smart home is becoming a focus in both literature and product development practices. The current study employed a human-centered design approach to understand users desires and expectations from their living context. Six critical themes were developed via in-deep interview, field observation, and data analysis. They are house as a supportive friend, atmosphere generator, theme songs for every moment, coordinator and reminder, life memory collector, and routine builder for young generations. Those concepts were partially integrated to define the value proposition for the target user group of parents with young children. This guides the design ideation and video prototyping to illustrator the user experiences. Through a focus group discussion, the design concepts were validated with six potential customers. The results also show that the design concept has the potential to motivate children’s behaviors, help to build their routine, and has the flexibility to fulfill different needs toward the changes of the family’s life cycle.
Most academic methodologies are developed from a prescribed methodological process that is limited to a specific area of study. However, the disciplinary landscape in which the knowledge is established is being rapidly reconfigured. Given the vast varieties of practices and knowledge base required from information designers, it is even more crucial for them to look outside of the traditional visual design fields and seek diversities for better research and creation methods.
The two disciplines, software engineering and information design, are often perceived as one provides technical solutions to the other. This essay intends to move beyond the common perception, and identify relevant issues in software engineering design that resonate with the information design process. The issues include the multi-component planning approach; the human-oriented agile method; design concepts such as abstraction, decomposition, component modularity, hierarchical relationship, and extensibility. The perspectives from software engineering design and information design is examined through units of analysis, terminology explanations, and forms of communications. The collective design methods and principles provide a systematic framework to the methodological thinking in information design. The discussion serves the purpose of encouraging more conceptual-based conversations between information design and other disciplines, especially in the fields of science and technology.
Carnegie Mellon University's School of Design partnered with Cognizant Technology Solutions on a design project for a semester-long elective course called UX Design Tools. The intent was broad in its inception: identify emergent opportunities where technology will play a significant role in people's interactions and experiences. What is the future of physical space? How are advancements in IoT, augmented reality, and telematics influencing how we experience environments?
Students were asked to anchor their problem solving in evolving human needs and to understand the role technology plays. Cognizant's human-centered development approach relies primarily on ethnographic inquiry. This evidenced through integrating their anthropologists from acquired firm Idea Couture, and associates from strategic partner ReD Associates. The interdisciplinary majors from upper-level undergraduate to graduate level students learned to use and create multi- method research approaches to identify unique opportunities.
Seven teams created future scenarios with newly developed physical product designs, digital interfaces, and new service strategies utilizing various technologies. Three case studies highlight a trio of observed emotional themes in relation to how people utilize technology to benefit their daily life or work: self-
election, introduction-exchange, and co-dependency.
This poster presentation will showcase three projects that will serve as examples of how industry and academia act as research and development entities; how to approach research as a
fundamental tenet for innovation and design; and show how breadth and depth of interdisciplinary skills and experience is a necessity in an ever expanding climate of technology push.
This paper presents the main process of a graduate course entitled ‘Generative Design Research for Sustainability’ offered in the Department of Industrial Design at Middle East Technical University in the spring semester of 2015/2016 through exemplary design research cases conducted by the graduate students at the doctoral level. These cases focus on the adaptation of the generative tool and the method, namely Experience Chart (EC) Guide tool (Kulaksız, 2016) and Experience Reflection Modelling (ERM) method (Turhan, 2013), in line with the graduate students’ particular research topics. First, the paper provides the course objectives, outcomes and process, then, it explains the EC Guide tool and the ERM method to be adapted and implemented within the context of the course. Then, these generative tool and method, and their adaptations are demonstrated through the exemplary cases (i.e. efficient use of working environment in design studios, lighting practices in kitchen environment, and interactive prototyping practice) selected from the submitted assignments considering their quality, originality and comprehensiveness. The main emphasis of this paper is on the adaptation and implementation of the EC Guide tool and the ERM method through providing the experiences, insights and suggestions of the graduate students who are also the co-authors of the paper. Based on that review, major conclusions and findings are presented through comparing and contrasting these cases for the future development of the course.
It is common to see graphic design copies of foreign models or other Chinese designers. These designers are apathetic toward the work and neglect its ongoing challenges, including the need for constant innovation. In contrast, there are masters who use Chinese culture in creative ways and achieve outstanding reputations all over the world. The reasons design masters choose Chinese culture as a theme for their graphic work and the unique ways in which they symbolise cultural resources and knowledge are explored and explained in this study. This study also illustrates how traditional culture can become a potential innovative strategy by applying a systematic and culture-based methodology. The case studies presented concern the first generation of graphic designers in Hong Kong: Henry Steiner and KAN Tai Keung. The preliminary results of the two case studies show very positive outcomes for cultural interpretation becoming a new innovative stream of graphic design.
Student life at a large institution like University of California, Berkeley, is challenging in many ways. Along with the often extreme academic demands, students must discover and navigate numerous services while simultaneously integrating themselves into formal and informal campus communities. Historically, core student services were delivered in a piecemeal and disjointed way via a dozen or more websites. A large investment in a Student Information Systems (SIS) replacement project has since unified these service experiences through CalCentral, a Berkeley-developed service portal, and created with a significant focus on user experience design.
While significant strides have been made to improve and simplify how services are delivered to students, the design team has been challenged to push their vision of the service ecosystem further, to “humanize the institution.” The vision goes through the SIS project and beyond, by first switching mindsets from service producers to service providers, and second by looking at how deeper relationships can be created digitally between students and the institution. The research, with students and different stakeholder groups, shows that beyond usability and learnability, there are greater opportunities through service design to contribute to students’ senses of agency, inclusion, connectedness and wellbeing. The design team is codifying new design principles and developing prototype experiences that look more closely at tone, behavior and contributing to a positive emotional state of mind. The service delivery through CalCentral is humanized and augmented in affirming ways, to use language that is accessible, and to guide students through complex paths.
This study hypothesized that humans give priority perception to product shapes that possess topological structures. Three experiments confirmed the proposition accordingly. The first experiment selected existing products that grab people’s attention within the prescribed time, with the experimental objects selected according to degree of topological properties and structure complexity. The results showed that visual topological properties in the products had strong visual appeal. The second experiment determined the visual prominence of freely designed and redesigned chairs according to the rating of non-expert users. The results demonstrated that products whose shape adopted topological structures were given priority attention. The third experiment intended to prove the practical value of visual topological features from a direction opposite to that of the second experiment; that is, from topological structures to deconstruction of topological structures. All three experiments showed as well that there are many cognitive limitations in the recognition of topological structures in product shapes. These unexpected problems, such as the contradiction between topological structure and habitual cognition, are discussed. The results of the study and the effects of topological properties on development are also discussed.
The purpose of this research was to utilize co-design thinking to investigate and understand the experiences of veteran students entering into college at The Ohio State University (OSU) after military service, and to assist the university in improving those transition experiences. The research significance is that an increasing number of post 9/11 era veterans are utilizing the educational benefits earned through their service. Many of these service members have spent years inside a military culture, which has inadequately prepared them for a transition to the civilian and academic environments.
It has been found that veteran students often self-segregate due to age differences, and their experiences gained through military service. Additionally, while OSU’s Office of Military and Veteran Services (OMVS) has been doing incredible things to help veteran students transition away from the military and into OSU, many of their practices tend to promote self-segregation rather than integration.
Although it is not true across the entire population of veteran students, the research conducted showed that many sought opportunities for improved social integration programs. Opportunities lie in finding a balance between the culture that veteran students share, and integration into the civilian culture they are now part of. Additionally, veteran students could benefit from additional support in regards to academics and logistics when navigating through OSU.
The study conducted was comprised of preliminary interviews with a director of the OMVS, an initial survey, four co-design sessions with volunteer veteran students, and an evaluative survey to gain deeper insight into the possible new service concepts generated during the co-design sessions. Based on the research results, proposed new services and improvements to existing ones were presented to OSU’s OMVS.
With the enhancement of medical technology and human living standards, the world is showing a trajectory towards an aging society. The elders generally suffer from degeneration, which may cause problems in their daily lives. Aging has since become a major issue of scientific researches.
Elders in Taiwan mostly live alone or with a partner. Because eating out is not a habit, cooking often plays an important role in their lives. Due to the degeneration happening to their bodies, the danger during cooking activities increases. Therefore, it is necessary for them to seek help from assistive devices.
In this research, we will make assistive design models that help elders use woks. The designs are for the task we have chosen from our investigation. We will also evaluate the effect of the aids objectively using the EMG system, and collect the iEMG value for evaluation. The iEMG values were collected from four muscles (FDC, FCR, Biceps and Deltoids). Eight middle-aged participants who will become elders in the near future were invited to participate in the experiment. Four design solutions were chosen from seven working models. The design solutions were all helpful to the task, and the performances of the stove design solutions are significantly better than the original wok. The degrees of hand trembling while performing tasks were also measured, however the differences were not significant.