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.
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,
The deterioration of linguistic abilities is a natural phenomenon along with aging. Therefore, various assessment tools have been developed to measure linguistic abilities of seniors and diagnose degenerative diseases such as dementia. Although most of the tools are composed of images, there are not many studies focusing on the visual design, which could significantly affect performance of the subject. In this regard, this research aims to suggest a design guideline for linguistic ability assessment tools concerning the key characteristics of the elderly, focusing on visual contents and interface.
Existing related researches were mostly conducted in English-speaking countries. In order to assess the language processing abilities of Korean-speaking elders more accurately, it is necessary to develop language processing assessment tools that reflect the unique linguistic features and structure of the Korean language. Regarding the existing tools, there is a lack of research on aging, focusing
on ‘verb naming.
In the literature review section, the paper investigated the physical, cognitive and emotional characteristics of the elderly and extracted the key elements to consider when designing for the elderly. Also, design principles were found based on case studies and problem analysis of the existing assessment tools for language processing abilities. Lastly, we created a prototype model using ‘verb naming.’ Using the model, we have conducted an experiment and comparative analysis between different age groups to verify the validity of contents.
In conclusion, we provided a design guideline for visual contents and interface of linguistic assessment tools, focusing on elderly users.
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.
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.
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.
Decisions made by user interface designers play an influential role in how people interact with software, this is especially true when it comes to the creation of tools to support teaching. As technology continues to play a more prominent role in schools, it poses an important question about how the design of learning tools influence what teachers do in classrooms. Data analytics is one opportunity technology offers for teachers to foster collaboration in student groups. Data analytics have the potential to provide teachers with a live view of what students are doing when using technology, which research shows is challenging to implement in classrooms. This paper focuses on the process to design a tool that assists engineering discussion session teacher assistants (TAs) to monitor collaboration within groups. We report on findings from interviews with TAs on what they anticipate they would need in order to support group work, and discuss how their responses influenced the design of this tool.
Two German pioneers of sensory development education, Christof Drexel (1886-1979) and Hugo Kükelhaus (1900-1984) pursued methodical investigations into perceptual principles of cognition and design in order to discover the ways in which aesthetic principles can develop and guide sensory response. Drexel and Kükelhaus traveled parallel investigative paths, both merging formal aesthetic practices with perceptual psychology. It was not until 1950, when these visionary thinkers finally met in person, that they joined forces to present their discoveries which determined that experiences are momentary intersections between internal and external realities, and are intrinsically intertwined in the deepest levels of consciousness, publicly. Both Drexel and Kükelhaus believed in the value of using the senses as pedagogy and that they should be integrated into every level of education. Correspondence between Drexel and Kükelhaus after 1950 illuminates the theoretical paths and applicative forms generated through the interplay of experimental psychology and applied aesthetic practice. This paper provides insights into the artistic and scientific dynamics based on Drexel’s examination of archetypical imagery and the psychic line, and the sensory development applications designed by Kükelhaus.
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.