The Design Process Identify the Problem at the Beginning of Each Activity, Students Are Asked to Identify the Problem That Their Designs Will Address
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Barry Boehm Software Engineering Paper
1226 IEEE TRANSACTIONS ON COMPUTERS, VOL. C-25, NO. 12, DECEMBER 1976 Software Engineering BARRY W. BOEHM Abstract-This paper provides a definition of the term "software but also the associated documentation required to-develop, engineering" and a survey of the current state of the art and likely operate, and maintain the programs. By defining software future trends in the field. The survey covers the technology avail- able in the various phases of the software life cycle-requirements in this broader sense, we wish to emphasize the necessity engineering, design, coding, test, and maintenance-and in the of considering the generation oftimely documentation as overall area of software management and integrated technology- an integral portion of the software development process. management approaches. It is oriented primarily toward discussing We can then combine this with a definition of "engineer- the domain of applicability of techniques (where and when they ing" to produce the following definition. work), rather than how they work in detail. To cover the latter, an extensive set of 104 references is provided. Software Engineering: The practical application of scientific knowledge in the design and construction of Index Terms-Computer software, data systems, information computer programs and the associated documentation systems, research and development, software development, soft- required to develop, operate, and maintain them. ware engineering, software management. Three main points should be made about this definition. The first concerns the necessity of considering a broad I. INTRODUCTION enough interpretation of the word "design" to cover the r HE annual cost of software in the U.S. is extremely important activity of software requirements approximately 20 billion dollars. -
Ergonomics, Design Universal and Fashion
Work 41 (2012) 4733-4738 4733 DOI: 10.3233/WOR-2012-0761-4733 IOS Press Ergonomics, design universal and fashion Martins, S. B. Dr.ª and Martins, L. B.Dr.b a State University of Londrina, Department of Design, Rodovia Celso Garcia Cid Km. 380 Campus Universitário,86051-970, Londrina, PR, Brazil. [email protected] b Federal University of Pernambuco, Department of Design, Av. Prof. Moraes Rego, 1235, Cidade Universitária, 50670-901, Recife- PE, Brazil. [email protected] Abstract. People who lie beyond the "standard" model of users often come up against barriers when using fashion products, especially clothing, the design of which ought to give special attention to comfort, security and well-being. The principles of universal design seek to extend the design process for products manufactured in bulk so as to include people who, because of their personal characteristics or physical conditions, are at an extreme end of some dimension of performance, whether this is to do with sight, hearing, reach or manipulation. Ergonomics, a discipline anchored on scientific data, regards human beings as the central focus of its operations and, consequently, offers various forms of support to applying universal design in product development. In this context, this paper sets out a reflection on applying the seven principles of universal design to fashion products and clothing with a view to targeting such principles as recommendations that will guide the early stages of developing these products, and establish strategies for market expansion, thereby increasing the volume of production and reducing prices. Keywords: Ergonomics in fashion, universal design, people with disabilities 1. -
Roundabout Planning, Design, and Operations Manual
Roundabout Planning, Design, and Operations Manual December 2015 Alabama Department of Transportation ROUNDABOUT PLANNING, DESIGN, AND OPERATIONS MANUAL December 2015 Prepared by: The University Transportation Center for of Alabama Steven L. Jones, Ph.D. Abdulai Abdul Majeed Steering Committee Tim Barnett, P.E., ALDOT Office of Safety Operations Stuart Manson, P.E., ALDOT Office of Safety Operations Sonya Baker, ALDOT Office of Safety Operations Stacey Glass, P.E., ALDOT Maintenance Stan Biddick, ALDOT Design Bryan Fair, ALDOT Planning Steve Walker, P.E., ALDOT R.O.W. Vince Calametti, P.E., ALDOT 9th Division James Brown, P.E., ALDOT 2nd Division James Foster, P.E., Mobile County Clint Andrews, Federal Highway Administration Blair Perry, P.E., Gresham Smith & Partners Howard McCulloch, P.E., NE Roundabouts DISCLAIMER This manual provides guidelines and recommended practices for planning and designing roundabouts in the State of Alabama. This manual cannot address or anticipate all possible field conditions that will affect a roundabout design. It remains the ultimate responsibility of the design engineer to ensure that a design is appropriate for prevailing traffic and field conditions. TABLE OF CONTENTS 1. Introduction 1.1. Purpose ...................................................................................................... 1-5 1.2. Scope and Organization ............................................................................... 1-7 1.3. Limitations ................................................................................................... -
Fashion Institute of Technology
Toy Design BFA Degree Program School of Art and Design Applications accepted for fall only. NYSED: 89109 HEGIS 1099 The major in Toy Design prepares students for careers as children's product designers working with a variety of companies in the toy industry, from small specialty firms to major global corporations. Curriculum below is for the entering class of Fall 2017. Semester 5 Credits MAJOR AREA TY 326 - Toy Design I and Product Rendering 3 TY 327 - Drafting and Technical Drawing 3 TY 352 - The Toy Industry: Methods and Materials 3 RELATED AREA FA 301 - Anatomy for Toy Designers 1.5 LIBERAL ARTS SS 232 - Developmental Psychology 3 Semester 6 MAJOR AREA TY 313 - Soft Toy and Doll Design 3 TY 332 - Model Making and 3D Prototyping 3.5 TY 342 - Computer Graphics in Toy Design 2 RELATED AREA MK 301 - Marketing for the Toy Industry 3 LIBERAL ARTS HE 301 - Motor Learning: A Developmental Approach 3 HA 345 - History of Industrial Design choice - see Liberal Arts/Art History 3 Semester 7 MAJOR AREA A: TY 491 - Summer Internship: Toy Design** 4 B: TY 411 - Toy Design II and Product Update 2 TY 421 - Advanced Hard Toy: Design Engineering 5 TY 463 - Storybook Design and Licensed Product 3 TY 442 - Advanced Computer Graphics in Toy Design 2 LIBERAL ARTS MA 041 - Geometry and Probability Skills 1 MA 241 - Topics in Probability and Geometry 3 Semester 8 MAJOR AREA TY 414 - Games*** 1.5 TY 461 - Business Practices for the Toy Industry 2 TY 467 - Professional Portfolio 4.5 RELATED AREA PK 403 - Packaging for the Toy Designer 2 LIBERAL ARTS choice - see Liberal Arts/Art History* 3 choice - see Liberal Arts Electives 3 TOTAL CREDIT REQUIREMENTS MAJOR AREA 41.5 RELATED AREA 6.5 LIBERAL ARTS 19 Total Credits: 67 Fashion Institute of Technology 1 *Fall 2017 Requirements: See below Liberal Arts, Art History, and General Education: 19 credits • Art History Requirements: 6 credits. -
Principles of Design
Principles of Design Balance Proportion/Scale Emphasis Rhythm Introduction The principles of design are essential to the development and production of clothing used by individuals and families around the world. Each principle has a specific role in creating an aesthetically pleasing garment or ensemble. The principles of design consist of: balance, proportion (also referred to as scale), emphasis, and rhythm. When a garment or ensemble uses the elements and principles of design to create a visual unity, harmony is achieved. Garments often integrate more than one principle, while drawing from the elements of design to create a cohesive look. The following discussion will present background information on each of the principles of design and applications to clothing design and construction. Balance According to Wolfe (2011) balance implies that there is an equilibrium or uniformity among the parts of a design (p. 205). To achieve balance, a garment or ensemble should have equal visual weight throughout the design. The use of structural features, added embellishments, or decorations to a garment contribute to the appearance of a garment or ensemble being balanced or not. A clothing designer can utilize surface designs on fabric to construct a garment creating visual balance. Further, color, line, and texture can impact the balance of a design. For example, cool and light colors have less visual weight than dark, warm colors. If an individual is wearing a small amount of a dark, warm color it can be balanced out with a larger amount of cool, light colors. Balance used in clothing design can be categorized into two groups: Formal and Informal Balance. -
New Product Development Methods: a Study of Open Design
New Product Development Methods: a study of open design by Ariadne G. Smith S.B. Mechanical Engineering Massachusetts Institute of Technology, 2010 SUBMITTED TO THE DEPARTMENT OF ENGINEERING SYSTEMS DEVISION AND THE DEPARTMENT OF MECHANICAL ENGINEERING IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREES OF MASTER OF SCIENCE IN TECHNOLOGY AND POLICY AND MASTER OF SCIENCE IN MECHANICAL ENGINEERING A; SW AT THE <iA.Hu§TTmrrE4 MASSACHUSETTS INSTITUTE OF TECHNOLOGY H 2 INSTI' SEPTEMBER 2012 @ 2012 Massachusetts Institute of Technology. All rights reserved. Signature of Author: Department of Engineering Systems Division Department of Mechanical Engineering Certified by: LI David R. Wallace Professor of Mechanical Engineering and Engineering Systems Thesis Supervisor Certified by: Joel P. Clark P sor of Materials Systems and Engineering Systems Acting Director, Te iology and Policy Program Certified by: David E. Hardt Ralph E. and Eloise F. Cross Professor of Mechanical Engineering Chairman, Committee on Graduate Students New Product Development Methods: a study of open design by Ariadne G. Smith Submitted to the Departments of Engineering Systems Division and Mechanical Engineering on August 10, 2012 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Technology and Policy and Master of Science in Mechanical Engineering ABSTRACT This thesis explores the application of open design to the process of developing physical products. Open design is a type of decentralized innovation that is derived from applying principles of open source software and crowdsourcing to product development. Crowdsourcing has gained popularity in the last decade, ranging from translation services, to marketing concepts, and new product funding. -
Chapter 3 Software Design
CHAPTER 3 SOFTWARE DESIGN Guy Tremblay Département d’informatique Université du Québec à Montréal C.P. 8888, Succ. Centre-Ville Montréal, Québec, Canada, H3C 3P8 [email protected] Table of Contents references” with a reasonably limited number of entries. Satisfying this requirement meant, sadly, that not all 1. Introduction..................................................................1 interesting references could be included in the recom- 2. Definition of Software Design .....................................1 mended references list, thus the list of further readings. 3. Breakdown of Topics for Software Design..................2 2. DEFINITION OF SOFTWARE DESIGN 4. Breakdown Rationale...................................................7 According to the IEEE definition [IEE90], design is both 5. Matrix of Topics vs. Reference Material .....................8 “the process of defining the architecture, components, 6. Recommended References for Software Design........10 interfaces, and other characteristics of a system or component” and “the result of [that] process”. Viewed as a Appendix A – List of Further Readings.............................13 process, software design is the activity, within the software development life cycle, where software requirements are Appendix B – References Used to Write and Justify the analyzed in order to produce a description of the internal Knowledge Area Description ....................................16 structure and organization of the system that will serve as the basis for its construction. More precisely, a software design (the result) must describe the architecture of the 1. INTRODUCTION system, that is, how the system is decomposed and This chapter presents a description of the Software Design organized into components and must describe the interfaces knowledge area for the Guide to the SWEBOK (Stone Man between these components. It must also describe these version). -
Graphic Designer III
City of Portland Job Code: 30000373 CLASS SPECIFICATION Graphic Designer III FLSA Status: Covered Union Representation: Professional and Technical Employees (PTE) GENERAL PURPOSE Under general direction, performs advanced, specialized work in the graphic design and production of printed publications, visual displays, and on-screen presentations; coordinates large, multiple and/or complex graphic design projects including developing time lines, schedules and budgets; provides lead direction to other graphic design staff; and other related duties as assigned. DISTINGUISHING CHARACTERISTICS Graphic Designers III perform the more difficult and creatively challenging graphic design assignments. Incumbents analyze bureau needs and plans, schedule and supervise design projects from conceptualization to completion and provide lead work direction and training of other graphic design staff. Graphic Designer III is distinguished from relevant supervisor classes in that incumbents in the latter classes are responsible for assigning, supervising and evaluating professional and technical staff. ESSENTIAL DUTIES AND RESPONSIBILITIES Any one position in this class may not perform all the duties listed below, nor do the listed examples of duties include all similar and related duties that may be assigned to this class. 1. Performs highly skilled graphic design functions and tasks; produces graphic images, including drawings, elevations, isometrics, charts, graphs and digital photographs, for use in paper publishing, Power Point presentations or web-based applications; designs and prepares freehand graphic sketches, perspectives and cartoons to communicate ideas and concepts pictorially. 2. Plans, organizes, assigns and monitors the work of a graphic design work group; develops and implements standards, policies and procedures; monitors the work group budget; prioritizes, plans and schedules projects and processes; checks work and manages work flow. -
Development Company Austin TX
Architectural Theory All photographs by J. Wunderlich unless noted otherwise J. Wunderlich PhD B.S. Architectural Engineering (U. Texas) Plus 2 years of Urban Design (U. California, San Diego) Agenda Architectural vocabulary Some personal designs Architectural Vocabulary Form Symbolism Scale Tastes Behavior Anthropomorphism Context Color Proportion Texture Balance Rhythm Form Recently in the U.S. and many developing countries we accept geometric shapes with sharp edges In the past, Euclidian (columns, domes) were more accepted Louis Sullivan, and later Frank Lloyd Wright and various Modern Architects would say, “Form follows function.” However Frank Lloyd Wright said: “ Form follows function - that has been misunderstood. Form and function should be one, joined in a spiritual union.” We will discuss later Frank Lloyd Wright’s inspirations from Japan, and the development of his “Organic Architecture” Scale Architecture may relate to the scale of humans If not, architecture may be ○ Monumental, impressive ○ Intimidating, frightening Columns on building can give illusion of scale Surroundings and adjacent buildings can scale-up or scale-down a building Behavior Bodies create space Activities ○ Ergonomics Group interactions Beliefs Movement through spaces Flow - interior to exterior ○ Bank of widows and French doors invite outside in Context Architecture can be an expression of a time Can relate to other buildings Can relate to land Be “Organic” ! Photograph by other Photograph by other Photograph by other Photograph -
Industrialdesign
National Endowment for the Arts I N D U S T R I A L D E S I G N A Competitive Edge for U.S. Manufacturing Success in the Global Economy I N D U S T R I A L D E S I G N A Competitive Edge for U.S. Manufacturing Success in the Global Economy April 2017 National Endowment for the Arts 400 7th Street SW Washington, DC 20506 Telephone: 202-682-5400 arts.gov Produced by Office of Programs and Partnerships, Design Program Jason Schupbach, Director of Design Programs, National Endowment for the Arts Content by Heidi Sheppard, Advisor for Technology Collaborations, National Institute for Standards and Technology, Manufacturing Extension Partnership; Courtney Spearman, Design Specialist, Office of Programs and Partnerships, NEA; and Katryna Carter, Design Consultant, Office of Programs and Partnerships, NEA Other Staff Contributors: Don Ball, Assistant Director - Publications, Office of Public Affairs, NEA; Bonnie Nichols, Operations Research Analyst, Office of Research and Analysis, NEA. Designed by Katryna Carter For their valuable assistance with this report, the NEA Design Program would like to thank the following people: Daniel Martinage, Industrial Designers Society of America; Susan Page Estes and Paul Hatch, DesignHouse; all those who were interviewed; and Laska Hurley, Office of Programs and Partnerships. 202-682-5496 Voice/TTY (a device for individuals who are deaf or hearing-impaired) Individuals who do not use conventional print materials may contact the Arts Endowment’s Office for Accessibility at 202-682-5532 to obtain this publication in an alternate format. This publication is available free of charge in PDF format at arts.gov. -
Tools for the Paraxial Optical Design of Light Field Imaging Systems Lois Mignard-Debise
Tools for the paraxial optical design of light field imaging systems Lois Mignard-Debise To cite this version: Lois Mignard-Debise. Tools for the paraxial optical design of light field imaging systems. Other [cs.OH]. Université de Bordeaux, 2018. English. NNT : 2018BORD0009. tel-01764949 HAL Id: tel-01764949 https://tel.archives-ouvertes.fr/tel-01764949 Submitted on 12 Apr 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THÈSE PRÉSENTÉE À L’UNIVERSITÉ DE BORDEAUX ÉCOLE DOCTORALE DE MATHÉMATIQUES ET D’INFORMATIQUE par Loïs Mignard--Debise POUR OBTENIR LE GRADE DE DOCTEUR SPÉCIALITÉ : INFORMATIQUE Outils de Conception en Optique Paraxiale pour les Systèmes d’Imagerie Plénoptique Date de soutenance : 5 Février 2018 Devant la commission d’examen composée de : Hendrik LENSCH Professeur, Université de Tübingen . Rapporteur Céline LOSCOS . Professeur, Université de Reims . Présidente Ivo IHRKE . Professeur, Inria . Encadrant Patrick REUTER . Maître de conférences, Université de Bordeaux Encadrant Xavier GRANIER Professeur, Institut d’Optique Graduate School Directeur 2018 Acknowledgments I would like to express my very great appreciation to my research supervisor, Ivo Ihrke, for his great quality as a mentor. He asked unexpected but pertinent questions during fruitful discussions, encouraged and guided me to be more autonomous in my work and participated in the solving of the hardships faced during experimenting in the laboratory. -
From Master-Design to Meta-Design
Creative Commons Attribution-ShareAlike 3.0 Unported License. Presented at our third ds21 conference at the ICA, London, November 17th 2005 http://attainable-utopias.org/tiki/ICA-Conference2005 Please cite Metadesigners Open Network http://metadesigners.org/ From Master-Design to Meta-Design Dr. Ulrike Sturm - Professor at the Lucerne University of Applied Sciences and Arts I feel there is a need for a new Renaissance in thinking. The old Renaissance brought logic, analysis and judgement – often exercised through argument. The new Renaissance will be powered by design instead of judgement and by creativity instead of logical progression. (Edward de Bono in his weekly message on his homepage, 22nd May 2006) Western thinking is based on the idea of progress. One of its tenets is that mankind is able to shape his future by technical means. At the beginning of the 21st century, however, the belief that rationality will bring about a better living for all has given way to scepticism. Economic activity and technical invention do no longer keep the promise of infinite progress towards betterment. Severe problems on the level of living conditions and ecological threats, however, urge us not to give up the idea of a possible influence on future development. For that reason, one has to look for other means how complex and super-complex systems can be managed, how they can be steered even if an overall control has proven impossible. The Design Synergy 21 project, a part of the British Designing for the 21st Century Initiative, ascribes a leading part to design for future development and regards it as essential, if not existential tool for dealing with complex phenomena.