DOCSLIB.ORG

Spatial Expressions in Design Idea Capture Languages

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Spatial Expressions in Design Idea Capture Languages Open University Computing Department Research Report 95/16 Spatial Expressions in Design Idea Capture Languages Martin Stacey Computing Department, The Open University, Milton Keynes, UK. [email protected] Paper for the AID'96 Workshop on Visual Representation, Reasoning and Interaction in Design Convened by J.C.B. Damski and N.H. Narayanan. Abstract. Intelligent support systems for conceptual design in engineering have so far failed to support spatial thinking in conceptual design. But multimedia interface technology including techniques for recognising speech and drawn gestures offers solutions to the HCI problems involved in computer support for spatial conceptual design. Effective computer support could be made possible by the use of a design idea capture language for expressing and changing shapes and qualitative spatial and functional relationships, fluently in a machine-understandable way. The design idea capture language would serve to constrain the expression of design ideas sufficiently to enable the successful use of AI techniques for generating coherent spatial representations from sets of spatial expressions in the language. This paper discusses the design meanings required for spatial conceptual design with reference to linguistic studies of spatial expressions in natural language, which show that geometric approaches are insufficient for representing spatial relationships important in design. 1. Introduction So far spatial aspects of conceptual design have been neglected in the development of intelligent support systems for conceptual design in engineering. This paper takes the view that the goal of research on intelligent design support systems for engineering should be developing systems that provide workspaces in which designers express their ideas as they create them, so that creating computer representations of designs to support AI reasoning is coextensive with designing. Creating useful intelligent workspaces for conceptual design involves enabling designers to use visual representations and design operations that match human designers' early conceptions of their designs, which are fluid, qualitative and cut across conceptual categories, and are often essentially spatial. This paper argues that including spatial thinking in conceptual design within the scope of intelligent support systems involves solving significant human computer interaction problems as well as artificial intelligence problems, but multimedia interface technology provides the means to solve these problems. The key challenge is finding a good compromise between the human designers' need to express fluid and conceptually messy design ideas easily and fluently, and the machine's need for input that is unambiguous and well-structured enough to enable it to construct coherent internal representations of the design. This conflict can be tackled with design idea capture languages, in which designers can express qualitative spatial design ideas in linguistic or quasi-linguistic spatial expressions with a precise syntax and semantics that the machine can interpret in terms of its model of the design. Building an intelligent support system for spatial conceptual design is partly a human computer interaction problem, defining a spatial design language that is easy and natural for designers to use, and partly an AI problem, constructing mechanisms for interpreting expressions in that language to construct and modify coherent spatial representations of designs. 1.1. Spatial Thinking in Conceptual Design 2 M.K. Stacey Conceptual design is the stage at the beginning of the design process when the major decisions are made about what the product is: how it works, how big it is, what its major components are, and so on. The space of possible designs is explored at an abstract level, before a small subset of that space is selected for further exploration at more concrete and detailed levels. The output of conceptual design is a skeletal qualitative description of the product that is refined in the course of detail design. The concepts designers reason about at the conceptual design stage are characterised by informality, provisionality, incompleteness, approximate and qualitative relationships, and rapid switches between conceptual categories; this makes representing them and reasoning about them a hard challenge for artificial intelligence. Whether spatial design activities are essential to the conceptual design of a product depends on the nature of the design problem. Some design domains are clearly spatial, notably architecture and clothing design. Software development and most electronic engineering is non-spatial. Mechatronics - multi-technology engineering - is harder to characterise. It involves both spatial and non-spatial design processes. Rzevski et al (1995) argue that for large classes of engineering products, including many mechatronic systems, the critical decisions are about technologies and physical principles, and about the choice of types of components and how they are connected; and that these decisions precede thinking about spatial layout. However for another large class of products, involving complex or innovative mechanical systems, spatial thinking is central to the conceptual design process. Moreover many engineers think spatially even when spatial representations are not essential to the task. Spatial thinking in conceptual design in engineering involves the rapid creation and modification of qualitative spatial relationships between objects, and between objects and non-object concepts such as movement paths and magnetic fields. The creation and modification of spatial relationships is combined with the creation and modification of functional relationships; some important relationships are both spatial and functional, so making a clear separation between layout and behaviour is not always straightforward. Many such relationships in mechanical engineering concern movement and physical causality. Changing spatial relationships is often coextensive with adding or removing components such as gears or universal joints. Spatial conceptual design also often includes rapid qualitative changes in the shapes of individual objects. 1.2. Requirements for Tools for Creating Spatial Conceptual Designs Two objectives of research on computer support for conceptual design are to create tools that (1) only restrict the design process in planned and intended ways, and that (2) provide a seamless integration of conceptual design and detail design, by enabling the construction and progressive refinement of coherent internal product models. These objectives conflict. Any computer design tool embodies an inevitable tradeoff in its choices of primitive operations and design elements, between allowing designers freedom to express whatever human-understandable ideas they wish, and enabling the machine to interpret designs by restricting designers to machine-understandable actions. Paintboxes and three dimensional modelling systems for computer aided manufacture constitute opposite choices to meet different needs. Any design tool provides a limited range of primitive operations and design elements. The closeness of the mapping between the designers' conceptual structures and actions and the tool's primitive elements and actions, and simple combinations of them, has a profound influence on the usability of the tool (Green, 1989, 1991; Green and Petre, 1996). Different tools make different designs easy or difficult to create, and this can have a powerful biasing effect on the design process (Stacey, 1995). For instance, pencils are effective tools because primitive operations incur very low cost, but they make it very hard to create precise angles and projections of three dimensional shapes, as well as perform duplication, mirroring or rotation. Three dimensional modelling tools make it easy to create designs comprising regular geometric shapes, but not with subtleties of shading or the appearance of roughness and provisionality, for which inaccurate or seemingly inaccurate pencil lines are ideal. Design tools can also influence design by favouring mental representations that match the tools, especially in complex design fields like engineering, in which designers can have many different mental representations of the design, none encompassing every aspect of it. Stacey et al (1996b) argue that design tools should be designed to both exploit and mitigate these biasing effects, by supporting visual representations and operations that Spatial Expressions in Design Idea Capture Languages 3 encourage the use of effective mental representations, and by enabling designers to escape the biasing effects of any one formalism; the FACADE system is designed with this in mind. In order to be worth having, a tool for creating conceptual designs must be easy and natural to use, both as an external memory and communication tool for rough ideas, and as a workspace for designers who create by sketching and reacting to their own sketches (see for instance, Schön and Wiggins, 1992). (If this is an unattainable goal, the alternative objective of design tool development is a tool that enables the efficient encoding of a design worked out on paper or in the head of the designer.) Thus an effective tool for creating conceptual designs in engineering must provide easy ways to create design elements and relations between them that correspond to engineers' mental representations of designs; the operations for manipulating the design elements must correspond to the transformations
Load more

Recommended publications
  • The Architecture Analysis and Design Language: an Overview Outline
    Institut Supérieur de l’Aéronautique et de l’Espace The Architecture Analysis and Design Language: an overview Outline 1. AADL a quick overview 2. AADL key modeling constructs 1. AADL components 2. Properties 3. Component connection 3. AADL: tool support AADL Tutorial -- MODELS'15 2 Introduction > ADL, Architecture Description Language: » Goal : modeling software and hardware architectures to master complexity … to perform analysis » Concepts : components, connections, deployments. » Many ADLs : formal/non formal, application domain, … > ADL for real-time critical embedded systems: AADL (Architecture Analysis and Design Language). AADL Tutorial -- MODELS'15 3 AADL: Architecture Analysis & Design Language > International standard promoted by SAE, AS-2C committee, released as AS5506 family of standards > Version 1.0 (2004), version 2 (2009), 2.1 (2012) » Based on feedback from the aerospace industry > Annex document to address specific needs » Behavior, data, error modeling, code generation, … > AADL objectives are “to model a system” » With analysis in mind » To ease transition from well-defined requirements to the final system : code production > Require semantics => any AADL entity has a semantics (natural language or formal methods). AADL Tutorial -- MODELS'15 4 AADL components > AADL model : hierarchy/tree of components » Textual, graphical representations, XMI serialization > AADL component models a software or a hardware entity » May be organized in packages : reusable » Has a type/interface, one or several implementations » May
    [Show full text]
  • A Pattern Approach to Interaction Design
    A Pattern Approach to Interaction Design Jan O. Borchers Department of Computer Science Darmstadt University of Technology Alexanderstr. 6, 64283 Darmstadt, Germany [email protected] ABSTRACT perts need to work together very closely with team members To create successful interactive systems, user interface de- from other disciplines. Most notably, they need to coop- signers need to cooperate with developers and application erate with application domain experts to identify the con- domain experts in an interdisciplinary team. These groups, cepts, tasks, and terminology of the product environment, however, usually miss a common terminology to exchange and with the development team to make sure the internal ideas, opinions, and values. system design supports the interaction techniques required. This paper presents an approach that uses pattern languages However, these disciplines lack a common language: It is to capture this knowledge in software development, HCI, difficult for the user interface designer to explain his guide- and the application domain. A formal, domain-independent lines and concerns to the other groups. It is often even definition of design patterns allows for computer support more problematic to extract application domain concepts without sacrificing readability, and pattern use is integrated from the user representative in a usable form. And it is into the usability engineering life cycle. hard for HCI people, and for application domain experts even more so, to understand the architectural and techno- As an example, experience from building an award-winning logical constraints and rules that guide the systems engineer interactive music exhibit was turned into a pattern language, in her design process.
    [Show full text]
  • Pattern Languages in HCI: a Critical Review
    HUMAN–COMPUTER INTERACTION, 2006, Volume 21, pp. 49–102 Copyright © 2006, Lawrence Erlbaum Associates, Inc. Pattern Languages in HCI: A Critical Review Andy Dearden Sheffield Hallam University Janet Finlay Leeds Metropolitan University ABSTRACT This article presents a critical review of patterns and pattern languages in hu- man–computer interaction (HCI). In recent years, patterns and pattern languages have received considerable attention in HCI for their potential as a means for de- veloping and communicating information and knowledge to support good de- sign. This review examines the background to patterns and pattern languages in HCI, and seeks to locate pattern languages in relation to other approaches to in- teraction design. The review explores four key issues: What is a pattern? What is a pattern language? How are patterns and pattern languages used? and How are values reflected in the pattern-based approach to design? Following on from the review, a future research agenda is proposed for patterns and pattern languages in HCI. Andy Dearden is an interaction designer with an interest in knowledge sharing and communication in software development. He is a senior lecturer in the Com- munication and Computing Research Centre at Sheffield Hallam University. Janet Finlay is a usability researcher with an interest in design communication and systems evaluation. She is Professor of Interactive Systems in Innovation North at Leeds Metropolitan University. 50 DEARDEN AND FINLAY CONTENTS 1. INTRODUCTION 2. THE SCOPE OF THIS REVIEW 2.1. General Software Design Patterns 2.2. Interface Software Design Patterns 2.3. Interaction Design Patterns 3. A SHORT HISTORY OF PATTERNS 3.1.
    [Show full text]
  • Prudent Design Principles for Information Flow Control
    Prudent Design Principles for Information Flow Control Iulia Bastys Frank Piessens Andrei Sabelfeld Chalmers University of Technology Katholieke Universiteit Leuven Chalmers University of Technology Gothenburg, Sweden Heverlee, Belgium Gothenburg, Sweden [email protected] [email protected] [email protected] ABSTRACT Motivation. Recent years have seen a proliferation of research Recent years have seen a proliferation of research on information on information flow control [16, 17, 19, 39, 49, 55, 67, 70, 72, 73], flow control. While the progress has been tremendous, it has also leading to applications in a wide range of areas including hard- given birth to a bewildering breed of concepts, policies, conditions, ware [8], operating system microkernels [59] and virtualization and enforcement mechanisms. Thus, when designing information platforms [32], programming languages [36, 37], mobile operating flow controls for a new application domain, the designer iscon- systems [44], web browsers [12, 43], web applications [13, 45], and fronted with two basic questions: (i) What is the right security distributed systems [50]. A recent special issue of Journal of Com- characterization for a new application domain? and (ii) What is the puter Security on verified information flow60 [ ] reflects an active right enforcement mechanism for a new application domain? state of the art. This paper puts forward six informal principles for designing While the progress has been tremendous, it has also given birth information flow security definitions and enforcement mechanisms: to a bewildering breed of concepts, policies, conditions, and en- attacker-driven security, trust-aware enforcement, separation of policy forcement mechanisms. These are often unconnected and ad-hoc, annotations and code, language-independence, justified abstraction, making it difficult to build on when developing new approaches.
    [Show full text]
  • Design Discourse: a Way Forward for Theistic Evolutionism?
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto NZSTh 2018; 60(3): 435–451 Erkki Vesa Rope Kojonen* Design Discourse: A Way Forward for Theistic Evolutionism? https://doi.org/10.1515/nzsth-2018-0025 Summary: It is usually supposed that biological design arguments (where biologi- cal complex order is seen as evidence of a Creator) are made obsolete by Darwi- nian evolutionary theory. However, philosopher Alvin Plantinga and others have defended the continued possibility of a rational “design discourse”, in which biological order is taken as a sign of God’s purposeful action. In this article, I consider two objections to design discourse: (1) a theological objection to biologi- cal design based on the problem of natural evil, and (2) the evolutionary objec- tion, according to which evolutionary theory removes the justification for any biological design perception. Whereas Plantinga’s own response utilizes the arguments of the Intelligent Design movement, I argue in favor of utilizing “de- sign discourse” as part of a theistic evolutionist view. Keywords: theistic evolutionism, teleology, design argument, problem of natural evil, Alvin Plantinga Zusammenfassung: Es wird gemeinhin angenommen, dass biologische Design Argumente (welche die komplexe biologische Ordnung als Beweis für einen Schöpfer erachten) durch Darwins Evolutionstheorie obsolet werden. Der Philo- soph Alvin Plantinga und andere haben jedoch die Möglichkeit eines fortgeführ- ten rationalen „Design Diskurses“ verteidigt, der die biologische Ordnung als ein Zeichen Gottes zielgerichteter Handlung begreift. In diesem Artikel betrachte ich zwei Einwände gegen den Design Diskurs: (1) einen theologischen Einwand zum biologischen Design basierend auf dem Problem der natürlichen Übel und (2) den evolutionären Einwand, nach dem die Evolutionstheorie die Berechtigung jeder biologischen Design Vorstellung aufhebt.
    [Show full text]
  • Technical Communication As Design: a Design Pedagogy Study
    Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2020 Technical communication as design: A design pedagogy study Philip Brandon Gallagher Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Recommended Citation Gallagher, Philip Brandon, "Technical communication as design: A design pedagogy study" (2020). Graduate Theses and Dissertations. 17885. https://lib.dr.iastate.edu/etd/17885 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Technical communication as design: A design pedagogy study by Philip Brandon Gallagher A dissertation submitted to the graduate faculty in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Rhetoric and Professional Communication Program of Study Committee: Charlie Kostelnick, Major Professor Barbara Blakely Stacy Tye-Williams Margaret LaWare Carol Faber The student author, whose presentation of the scholarship herein was approved by the program of study committee, is solely responsible for the content of this dissertation. The Graduate College will ensure this dissertation is globally accessible and will not permit alterations after a degree is conferred. Iowa State University Ames, Iowa 2020 Copyright © Philip Brandon Gallagher, 2020. All rights reserved. ii DEDICATION To my most compassionate, loving, supportive, and unflappable family, I want you to know that I could not have accomplished this feat without each and every one of you.
    [Show full text]
  • Architecture Description Language) COMS W4115 Alan Khara Ask2206 February 11, 2014
    1 of 13 General Purpose ADL (Architecture Description Language) COMS W4115 Alan Khara Ask2206 February 11, 2014 1.0 Introduction In the design of system architecture1, a blueprint of the system typically comes second, after requirements are gathered in the process of architecture development. This is followed by design verification and, later, implementation. Initially, the domain of Architecture Description Languages (ADLs) was confined to the design phase and was highly motivated by Object Oriented paradigm [1] [2] [3]. ADLs were mainly graphical in nature, with numerous Line and Box representations that were later standardized by Object Management Group (OMG) in Unified Model Language2 (UML) [4][5]. Being quickly adopted by industry, UML was infested with ambiguous features: a given relationship between components of a system could be ambiguous and yield two different interpretations of the same drawing [2]. Research during the last decade has worked to solve this problem on two different fronts. One line of research seeks to extend UML in order to make it less ambiguous [6] [7] [8] [9]. Another kind of research is finding new ADLs (graphical and text based) that have more rigorous and well defined semantics [10] [11] [12][13]. Both of these trends are important with respect to defining the problem scope of the proposed project. Because they are mainly driven by industry, efforts to extend UML are inherently domain- specific [14]. The primary motivation behind the development of UML is to overcome ambiguity and reduced the communication gap that exists among various stakeholders. This is tackled by either introducing constraints or adding new vocabulary.
    [Show full text]
  • Fashion As Practice, Fashion As Process: Using Principles of Language As a Framework for Understanding the Design Process | Catálo…
    30/9/2019 Fashion as practice, fashion as process: using principles of language as a framework for understanding the design process | Catálo… Fashion as practice, fashion as process: using principles of language as a framework for understanding the design process Kurennaya, Anya Abstract: Cuadernos del Centro de Estudios de How do creative impulses and lived Diseño y Comunicación Nº 64 realities interact and inform one ISSN: 1668-0227 another throughout the design process? This project examines the Los procesos mechanics of the creative process by emergentes en la observing the work of three graduate enseñanza y la fashion design students as a first step práctica del diseño toward understanding the nature of the Año XVIII, Septiembre 2017, Buenos design process and the symbiosis Aires, Argentina | 326 páginas between object and process, using descargar PDF ver índice de la publicación ideas borrowed from modern linguistic theory as the starting point for Ver todos los libros de la publicación investigation. Referencing Cholachatpino’s et al. (2002) compartir en Facebook categorization of the microsubjective order of the fashion process as “a Esta obra está bajo una Licencia Creative dynamic process and not a linear Commons Atribución-NoComercial- CompartirIgual 4.0 Internacional continuum”, along with Ingold and Hallam’s (2009) notion of cultural improvisation and related theories from the field of linguistic anthropology, this paper argues that the fashion design process is open to the kind of improvisation inherent in any ongoing lived experience, the final product representing a culmination of the ideas, desires, decisions, obstacles, and other circumstances shaping its production. Ideas are not translated into their material form in a fluid and uncomplicated manner; in fact, there are many intervening forms of disruption, diversion, reformulation, and rearticulation, not unlike our everyday use of language in conversation.
    [Show full text]
  • The Visual Language of Brutalist Web Design El Lenguaje Visual Del Diseño Web Brutalista
    The visual language of brutalist web design El lenguaje visual del diseño web brutalista Fernando Suárez-Carballo obtained a PhD from the Pontifical University of Salamanca in 2005 and is a perma- nent lecturer in Art Direction in the Faculty of Communication Studies at this university, where he has taught a range of subjects related to visual communication since the year 2000. He is a member of the research group Business Innovation and Creativity and the author of several articles and chapters of books on graphic design, the field that is his main line of research. His management responsibilities have included coordinating the degree course Advertising and Public Relations and his appointment as Associate Dean for students at the Faculty of Communication. He currently heads the Office for the Transfer of Research Results (Oficina de Transferencia de Resultados de Investigación, OTRI). Pontifical University of Salamanca, Spain [email protected] ORCID: 0000-0001-7498-6595 Received: 15/11/2018 - Accepted: 19/03/2019 Recibido: 15/11/2018 - Aceptado: 19/03/2019 Abstract: Resumen: Many authors agree on the current relevance of brutalist web Un gran número de autores coincide en señalar el protagonismo design, a trend inspired by the popular architectural style which, actual del diseño web brutalista, una corriente inspirada en el pop- ISSN: 1696-019X / e-ISSN: 2386-3978 in turn, is distinguished by the rawness of its materials, the ular estilo arquitectónico que, a su vez, se distingue por la desnudez geometric shapes or the absence of decoration. This study uses de sus materiales, las formas geométricas o la ausencia de orna- Content Analysis to discover whether it is possible to interpret mento.
    [Show full text]
  • Obscurity by Design
    07 - Hartzog Article.docx (Do Not Delete) 6/17/2013 1:55 PM OBSCURITY BY DESIGN Woodrow Hartzog* and Frederic Stutzman** Abstract: Design-based solutions to confront technological privacy threats are becoming popular with regulators. However, these promising solutions have left the full potential of design untapped. With respect to online communication technologies, design-based solutions for privacy remain incomplete because they have yet to successfully address the trickiest aspect of the Internet—social interaction. This Article posits that privacy-protection strategies such as “Privacy by Design” face unique challenges with regard to social software and social technology due to their interactional nature. This Article proposes that design-based solutions for social technologies benefit from increased attention to user interaction, with a focus on the principles of “obscurity” rather than the expansive and vague concept of “privacy.” The main thesis of this Article is that obscurity is the optimal protection for most online social interactions and, as such, is a natural locus for design-based privacy solutions for social technologies. To that end, this Article develops a model of “obscurity by design” as a means to address the privacy problems inherent in social technologies and the Internet. INTRODUCTION ................................................................................ 386 I. PRIVACY BY DESIGN MUST BE CLARIFIED TO APPLY TO THE USER INTERFACE OF SOCIAL MEDIA ................... 389 A. Privacy by Design Challenges Organizations to Rethink Established Approaches to Privacy ...................................... 390 B. Obscurity Can Improve Privacy by Design ......................... 392 II. BETTER LIVING THROUGH OBSCURITY ............................. 395 A. The Concept of Obscurity .................................................... 395 B. The Four Principles of Online Obscurity ............................. 397 1. Search Visibility ......................................................
    [Show full text]
  • Formal Models for User Interface Design Artefacts
    Innovations Syst Softw Eng (2008) 4:125–141 DOI 10.1007/s11334-008-0049-0 ORIGINAL PAPER Formal models for user interface design artefacts Judy Bowen · Steve Reeves Received: 1 October 2007 / Accepted: 28 February 2008 / Published online: 16 April 2008 © Springer-Verlag London Limited 2008 Abstract There are many different ways of building soft- Keywords Formal methods · User-centred design · ware applications and of tackling the problems of under- Refinement · User interfaces standing the system to be built, designing that system and finally implementing the design. One approach is to use for- mal methods, which we can generalise as meaning we follow a process which uses some formal language to specify the 1 Introduction behaviour of the intended system, techniques such as theo- rem proving or model-checking to ensure the specification Software development is an increasingly complex task, with is valid (i.e., meets the requirements and has been shown, many different, and often conflicting, requirements which perhaps by proof or other means of inspection, to have the must be satisfied (such as the requirement to produce the properties the client requires of it) and a refinement process software as quickly as possible and as cheaply as possible to transform the specification into an implementation. Con- but with high end-user expectations). We want the software versely, the approach we take may be less structured and that we build to be both correct and robust, that is we want rely on informal techniques. The design stage may involve to be sure that it not only does the right thing, but that it does jotting down ideas on paper, brainstorming with users etc.
    [Show full text]
  • Style-Branding, Aesthetic Design Dna
    INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION 10 & 11 SEPTEMBER 2009, UNIVERSITY OF BRIGHTON, UK STYLE-BRANDING, AESTHETIC DESIGN DNA Bob EVES1 and Jon HEWITT2 1Bournemouth University 2Motorola Limited ABSTRACT This paper is a continuation from papers presented at previous PDE, EPDE and SEED conferences. The paper outlines research being developed by the Creative Design Research Group and taught on design courses, in the School of Design, Engineering and Computing at Bournemouth University. The main aim of the paper is to discuss the potential to retain aesthetic style brand DNA in a new design concept and the formulation of a proposed model. The paper illustrates how this can support the education and development of product and engineering design students in creative aesthetic design education. Keywords: Design, creative, methods, aesthetics, semiotics, colour, form, style, brand. 1 INTRODUCTION A model is proposed for style-branding aesthetic DNA, to inspire new design concepts for designers and design students. A key drive is for a generic model that can be applied to any design industry or brand. Previous research involved specifically colour semiotics and aesthetics. This work is a study of the semiotics and aesthetics of brand DNA, to enhance designer creativity through the compilation of a model for style-branding. Correlations between aesthetic media, semiotics and brand DNA refer to application in the design industry. A model is proposed as a basis to illustrate commercial and educational potential. The work contributes to creative design methods and practice, knowledge and understanding of semiotics and aesthetics in design education. 2 COMMERCIAL CONTEXT AND BRAND SIGNATURE In a commercial industry where creativity and aesthetics are paramount, design research provides the opportunity to promote and inspire interesting and competitive design ideas.
    [Show full text]