DOCSLIB.ORG

Evolutionary Design: Philosophy, Theory, and Application Tactics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Evolutionary Design: Philosophy, Theory, and Application Tactics Evolutionary Design: Philosophy, Theory, and Application Tactics V.V. Kryssanov1, H. Tamaki2, S. Kitamura2 1 College of Information Science and Engineering, Ritsumeikan University, Kusatsu, Japan 2 Faculty of Engineering, Kobe University, Kobe, Japan Abstract Although it has contributed to remarkable improvements in some specific areas, attempts to develop a universal design theory are generally characterized by failure. This paper sketches arguments for a new approach to engineering design based on Semiotics – the science about signs. The approach is to combine different design theories over all the product life cycle stages into one coherent and traceable framework. Besides, it is to bring together the designer’s and user’s understandings of the notion of ‘good product’. Building on the insight from natural sciences that complex systems always exhibit a self-organizing meaning- influential hierarchical dynamics, objective laws controlling product development are found through an examination of design as a semiosis process. These laws are then applied to support evolutionary design of products. An experiment validating some of the theoretical findings is outlined, and concluding remarks are given. Keywords: Design, Lifecycle, Semiotics 1 INTRODUCTION Proponents of a different viewpoint claim that theories are Historically, design tasks have been verifying theories, good if they allow for understanding design processes challenging their value in a number of domains varied and products better. Having an obvious analytical flavor, from quite ‘objectivistic’ but highly abstract, such as these theories are expected to incorporate a large amount philosophy and mathematics, to rather situated but of domain-specific knowledge to assist the designer in his pragmatic, such as economics and management, and or her decision-making (e.g. [3, 4]). It is assumed that the further to essentially subjective and loosely structured, quality of a product solely depends on knowledge such as art and sociology. It is then not surprising that in possessed by the designer, and the problem of designing the present era of technocratic civilization, design good products is, in the main, a problem of professional receives significant research attention, having been expertise. A weak point here is that possessing even studied first as a craft and later – as a field of engineering ‘ideal’ knowledge is neither necessary nor sufficient that promises to eventually grow into an ‘independent’ condition for the creation of a commercially successful discipline developed in line with the traditions of classical product, while the history witnesses that individuals with science. In an effort to contribute to the development of little qualification and experience but well developed this discipline, both academic researchers and creative abilities invented many great products. practitioners, although seeing the problem from fairly In the spirit of recent advances in psychology, different perspectives, have been trying to understand ethnomethodology, anthropology, and cognitive sciences, and justify if and how one or another theory can be useful some put forward suggestions, highlighting a need for for solving design tasks. observationally and analytically studying gifted people, Adherents of mathematical approaches habitually assess who seem to be able to design, devise, and develop the usefulness of a theory from the standpoint of its without any systematic guidance from the outside (see logical consistency and tractability: only those theories are reference [5]). It is believed that research of this kind considered good, which allow for the generation of true would ultimately lead one to discovering a set of thinking theorems. When it comes to product design, such techniques and methodologies that can be taught to theorems can be reduced to statements of the following designers to make them designing better products (e.g. form: ‘a design is right if π,’ where π is a formally [6]). An obvious danger, however, is that apart from the determinable quality or property (see, for example, usual difficulties with the application of any cognitive reference [1] and, to some extent, reference [2]). The role model, many factors affecting designing will necessarily of the theories is seen to build an apparatus (terminology, be missed in the resultant techniques because of the axiomatic basis, inference methods, etc.) for the design complexity and instability of the ‘network’ topology of science, while their main target is to achieve better control social and psychological relationships: the process of over the design process. However, there are many product concept creation is not limited by activities at the obstacles preventing the broad introduction of these designer’s side, and it is generally not homogeneous in theories into practice. The most fundamental obstacle is terms of space- as well as time-situated interactions [7]. the ontological contradiction between the notions of The latter could question the applicability and usefulness ‘objectively’ good (i.e. right) design and always of the obtained techniques at all. subjectively good product. This contradiction makes the It is now well recognized that there are multiple development of a ‘general’ design theory hardly feasible perspectives on the building of the design discipline, each unless a universal notion of ‘good’ product is formally of which contains part of the truth, but none of which clarified. contains the entire solution [8]. Leaving alone marginal and unconstructive claims like ‘to design, we should only learn from nature’ or ‘design is art and never be science,’ lower-level signs occur, which are allowed by boundary which nonetheless reflect opinions of some professionals, conditions set at level N+1; signs at level N-1 are then a principal question then arises: whether it is possible to constitutive for level N signs, and signs at level N+1 are bridge all the different viewpoints and attitudes toward constraining for level N. The dynamics of semiosis can design within one scientific framework, and if so – what be described in terms of the interactions among the would be the basis for that? adjacent levels of such a sign system [13]. It is our strong belief that Semiotics – a science about Most naturally for the designer, semiosis is a material signs, sign systems, and signification – is exceptionally process, which necessarily involves a translation or re- well suited to link the mathematical, social, and cognitive representation – re-interpretation – of information from theories together to provide insights about design as a one meaning-making level to another. Signs on level N single discipline and encourage the design community to can be representamina of the objects and phenomena at develop new methods and tools to aid designers and level N-1 for processes and structures at level N+1, which lighten the routine burden but improve the quality and form a system of interpretance. The lowest-level signs ‘goodness’ of products. To justify this supposition, we will (e.g. physical objects, phenomena, behavioral discuss a semiotic approach to the design study and dispositions, emotions, and the like) are perceived or illustrate it with an example in the following sections. This realized through their distinctions and get a paper continues the investigation, which the authors representation at the ‘intermediary’ level of the designer’s started with the Semiotic Theory of Creativity for cognition in respect to the interpretive laws of the highest, engineering design [9] that later gave rise to the experiential and environmentally (culturally, socially, development of a more general Semiotic Theory of technically, economically, etc.) induced level, which Evolutionary Design [10]. accommodates interpretants and assigns a meaning to the representamina. The design process is the process of introducing a sign at level N with a meaning for both level 2 SEMIOTICS AND THE 3-LEVEL PARADIGM N-1 (as an entity materially grounded there) and level N+1 Perhaps the most significant thing missing from the (as an entity having a material relevance at this level). traditional design theories is the failure to appreciate how Generally, the sign is allowed to have many possible products are conceived by people as opposed to simply meanings, depending on contextual constraints from perceived by people. Indeed, a product, as we higher interpretive levels. comprehend it in everyday life, is always more than just People perceive a completed product through its an artifact – a physical entity to which human must adapt, distinctions that need to be interpreted and may acquire a while all the product life-cycle processes have a complex, meaning for a sign system. Although human perception is meaning-influential dynamics with regard to the product, relatively uniform and consistent, it is natural that the its concept, and use-environments. People, through their meaning assigned to a representamen can vary activities and practice, originate an ‘objective’ need for the significantly, depending on the subjective dynamics of creation of the product by subjectively assigning its perception (level N) and interpretation (level N+1) as well intended meaning and, at a later time but also as on relations between the adjacent semiotic levels. subjectively, evaluate the product’s value in an environment, i.e. its actual or emergent meaning, yet With a potentially infinite hierarchy of interpretative levels, having many different views and opinions
Load more

Recommended publications
  • Fashion Designers' Decision-Making Process
    Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2013 Fashion designers' decision-making process: The influence of cultural values and personal experience in the creative design process Ja-Young Hwang Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the Art and Design Commons Recommended Citation Hwang, Ja-Young, "Fashion designers' decision-making process: The influence of cultural values and personal experience in the creative design process" (2013). Graduate Theses and Dissertations. 13638. https://lib.dr.iastate.edu/etd/13638 This Dissertation 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]. Fashion designers’ decision-making process: The influence of cultural values and personal experience in the creative design process by Ja -Young Hwang A dissertation submitted to the graduate faculty in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Apparel, Merchandising, and Design Program of Study Committee: Mary Lynn Damhorst, Co-Major Professor Eulanda Sanders, Co-Major Professor Sara B. Marcketti Cindy Gould Barbara Caldwell Iowa State University Ames, Iowa 2013 Copyright © Ja Young Hwang, 2013. All rights
    [Show full text]
  • Theoretically Comparing Design Thinking to Design Methods for Large- Scale Infrastructure Systems
    The Fifth International Conference on Design Creativity (ICDC2018) Bath, UK, January 31st – February 2nd 2018 THEORETICALLY COMPARING DESIGN THINKING TO DESIGN METHODS FOR LARGE- SCALE INFRASTRUCTURE SYSTEMS M.A. Guerra1 and T. Shealy1 1Civil Engineering, Virginia Tech, Blacksburg, USA Abstract: Design of new and re-design of existing infrastructure systems will require creative ways of thinking in order to meet increasingly high demand for services. Both the theory and practice of design thinking helps to exploit opposing ideas for creativity, and also provides an approach to balance stakeholder needs, technical feasibility, and resource constraints. This study compares the intent and function of five current design strategies for infrastructure with the theory and practice of design thinking. The evidence suggests the function and purpose of the later phases of design thinking, prototyping and testing, are missing from current design strategies for infrastructure. This is a critical oversight in design because designers gain much needed information about the performance of the system amid user behaviour. Those who design infrastructure need to explore new ways to incorporate feedback mechanisms gained from prototyping and testing. The use of physical prototypes for infrastructure may not be feasible due to scale and complexity. Future research should explore the use of prototyping and testing, in particular, how virtual prototypes could substitute the experience of real world installments and how this influences design cognition among designers and stakeholders. Keywords: Design thinking, design of infrastructure systems 1. Introduction Infrastructure systems account for the vast majority of energy use and associated carbon emissions in the United States (US EPA, 2014).
    [Show full text]
  • PDF (Dissertation.Pdf)
    Kind Theory Thesis by Joseph R. Kiniry In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy California Institute of Technology Pasadena, California 2002 (Defended 10 May 2002) ii © 2002 Joseph R. Kiniry All Rights Reserved iii Preface This thesis describes a theory for representing, manipulating, and reasoning about structured pieces of knowledge in open collaborative systems. The theory's design is motivated by both its general model as well as its target user commu- nity. Its model is structured information, with emphasis on classification, relative structure, equivalence, and interpretation. Its user community is meant to be non-mathematicians and non-computer scientists that might use the theory via computational tool support once inte- grated with modern design and development tools. This thesis discusses a new logic called kind theory that meets these challenges. The core of the work is based in logic, type theory, and universal algebras. The theory is shown to be efficiently implementable, and several parts of a full realization have already been constructed and are reviewed. Additionally, several software engineering concepts, tools, and technologies have been con- structed that take advantage of this theoretical framework. These constructs are discussed as well, from the perspectives of general software engineering and applied formal methods. iv Acknowledgements I am grateful to my initial primary adviser, Prof. K. Mani Chandy, for bringing me to Caltech and his willingness to let me explore many unfamiliar research fields of my own choosing. I am also appreciative of my second adviser, Prof. Jason Hickey, for his support, encouragement, feedback, and patience through the later years of my work.
    [Show full text]
  • Theory and Educational Strategy
    40th International Conference on Environmental Systems AIAA 2010-6174 Space Architecture – Theory and Educational Strategy Ondrej DouleI International Space University (ISU), Illkirch-Graffenstaden, 67400, France Czech Technical University, Faculty of Architecture (CTU FA), Prague, 16634, Czech Republic This paper proposes a strategy for Space Architecture education based on joint research performed at the International Space University (ISU) in Strasbourg and at the Faculty of Architecture of the Czech Technical University (CTU FA) in Prague. The proposed strategy arranges a Space Architecture curriculum according to the Universal Architecture theory i.e. connecting space and terrestrial architecture disciplines for the benefit of both. Nomenclature CAD = Computer Aided Design CTU FA = Czech Technical University Faculty of Architecture CRM = Crew Resource Management ECLSS = Environmental Control and Life Support System EDL = Entry Descent Landing HMI = Human Machine Interface ISRU = In Situ Resource Utilization ISU = International Space University LEED = Leadership in Energy and Environmental Design SA = Space Architecture SICSA = Sasakawa International Center for Space Architecture UA = Universal Architecture I. Introduction ecent research on human workforce in the space industry identified a demand for specific soft skills which are R inherent in the architecture profession (see Appendix I.). A worldwide survey on Space Architecture (see Appendix II.) was started in April 2009 and over a period of 3 months data was collected from an
    [Show full text]
  • Philosophy of Design: a Meta- Theoretical Structure for Design Theory
    Philosophy of design: a meta- theoretical structure for design theory Terence Love, Praxis Education, 21 Spiers Rd, Quinns Rocks, Western Australia This paper focuses on the structure and dynamic of theory in design research. Problems with existing theory are explored, and a new meta- theoretical method is suggested for assisting the critical analysis, comparison and formulation of design theories and concepts. This meta- theoretical method contributes to building a simplifying paradigm of design research by providing a means to clarify the existing state of design theory in the field, to assist with the establishment of coherence and compatibility between concepts in disparate theories, to validate theory and concepts, and to uncover ‘hidden’ aspects of design theories. 2000 Elsevier Science Ltd. All rights reserved Keywords: philosophy of design, design theory, epistemology, ontology, design philosophy his paper is a contribution to the study of Philosophy of Design. In it, a critical overview is taken of the structure and dynamic of Tdesign theory. This overview leads to a method to assist with the critical analysis of design theories and their associated concepts. If we consider ‘design theory’ as an artefact to be designed, this paper’s role is in the part of the design process often called ‘problem analysis’. Under- pinning what is presented in this paper is an assumption that the act of designing by human agents is central to the academic study of design. This theoretical standpoint, that what is described as design always implicates humans, together with the understanding that any theories, theorising or theory interpretation has meaning only in a human context, is the basis for the analyses presented below.
    [Show full text]
  • Book Review: the Philosophy of Design by Glenn Parsons
    blogs.lse.ac.uk http://blogs.lse.ac.uk/lsereviewofbooks/2016/04/27/book-review-the-philosophy-of-design-by-glenn-parsons/ Book Review: The Philosophy of Design by Glenn Parsons In The Philosophy of Design, Glenn Parsons provides a well-structured discussion of the philosophy of design, drawing upon his extensive work on beauty, aesthetics and nature. The book shows design as a valid and important area of philosophical inquiry, covering a range of social, epistemological and ethical issues. Mona Sloane finds this an essential read for anyone looking for an engaging and accessible mapping of existing philosophical scholarship on design. The Philosophy of Design. Glenn Parsons. Polity. 2015. In recent years, the term ‘design’ has attracted increasing attention among academics and practitioners alike. While new sub-disciplines such as ‘design anthropology’ and ‘innovation design’ have emerged on the scholarly horizon, paradigms like ‘design thinking’ continue to conquer the business world. However, despite this growing presence of ‘design’ as both a mode of practice and scholarly focus, there has been little philosophical investigation and commentary on the phenomenon. The single-authored book, The Philosophy of Design, by Glenn Parsons, Associate Professor in Philosophy at Ryerson University, Toronto, sets out to change that. It provides a well-structured discussion of the term ‘design’ from a philosophical standpoint, rooted in Parsons’s extensive work on beauty, aesthetics and nature. It aims to demonstrate the significance of design as a relevant area of philosophical inquiry and therefore to map out the philosophical issues and questions that arise from contemporary design practice. The book consists of seven chapters, starting with a brief introduction and ending with an epilogue (including a quite helpful page on suggested further reading).
    [Show full text]
  • Theory and Design in the First Digital
    Theory and design in the first digital age Rivka Oxman, Faculty of Architecture and Town Planning Technion, Haifa 32000, Israel Digital design and its growing impact on design and production practices have resulted in the need for a re-examination of current design theories and methodologies in order to explain and guide future research and development. The present research postulates the requirements for a conceptual framework and theoretical basis of digital design; reviews the recent theoretical and historical background; and defines a generic schema of design characteristics through which the paradigmatic classes of digital design are formulated. The implication of this research for the formulation of ‘digital design thinking’ is presented and discussed. Ó 2005 Elsevier Ltd. All rights reserved. Keywords: digital design, design theory, design methodology, design thinking he evolution of digital design as a unique field of design endeavor, motivated by its own body of theoretical sources, promulgated by Ta culture of discourse, supported by new technologies, and pro- ducing unique classes of designs is a phenomenon that has been rapidly crystallizing in the past decade. Among the significances of digital design for the design theoretical community is the way that this form of highly mediated design is beginning to evolve unique design methodologies, unique forms of design interaction and unique formal content. Due to the large body of diverse publication that has accompanied these devel- opments the problem of encompassing the intellectual domain of digital design culture is, in itself, a difficult mandate. Beyond this problem of diversity, there are other, more theoretical, challenges to our interpreta- tion and understanding of digital design.
    [Show full text]
  • A Science-Based Approach to Product Design Theory Part II: Formulation of Design Requirements and Products Y
    Robotics and Computer Integrated Manufacturing 15 (1999) 341}352 A science-based approach to product design theory Part II: formulation of design requirements and products Y. Zeng, P. Gu* Department of Mechanical and Manufacturing Engineering, The University of Calgary, 2500 University Drive, Calgary, Canada, AB T2N 2N4 Abstract The Design Process begins with design requirements and ends with product descriptions. The design requirements include both structural and performance aspects. The product descriptions deal with the structural aspect of the design requirements while the product performances describe the performance aspect of design requirements. In this part of the paper, a set theory-based representation scheme is proposed to represent design objects in the design process, including design requirements, product descriptions, and product performances. This representation scheme can represent the design objects that evolve in dynamic design processes. The entire mathematical scheme is de"ned based on structural and behavioral properties. Within one uniform scheme, the design objects are represented at di!erent levels of complexity and abstraction. Several examples are included to explain the scheme and its mathematical formulations. The proposed scheme can be used for science-based studies of product design. ( 1999 Elsevier Science Ltd. All rights reserved. Keywords: Design requirement; Design description; Product performance; Complexity; Abstraction; Set theory 1. Introduction motivations for this kind of research are many. One of the most important comes from the development of Design is a basic human activity. During a long period, computer-aided design systems. Better design support design had been considered as an &art' which was taught systems can only come after better design theories are through a &master}student' model.
    [Show full text]
  • Theory Construction in Design Research. Criteria, Approaches, and Methods
    Design Research Society DRS Digital Library DRS Biennial Conference Series DRS2002 - Common Ground Sep 5th, 12:00 AM Theory construction in design research. Criteria, approaches, and methods. K. Friedman Norwegian School of Management, Oslo, Norway Follow this and additional works at: https://dl.designresearchsociety.org/drs-conference-papers Citation Friedman, K. (2002) Theory construction in design research. Criteria, approaches, and methods., in Durling, D. and Shackleton, J. (eds.), Common Ground - DRS International Conference 2002, 5-7 September, London, United Kingdom. https://dl.designresearchsociety.org/drs-conference-papers/ drs2002/researchpapers/28 This Research Paper is brought to you for free and open access by the Conference Proceedings at DRS Digital Library. It has been accepted for inclusion in DRS Biennial Conference Series by an authorized administrator of DRS Digital Library. For more information, please contact [email protected]. Theory construction in design research. Criteria, approaches, and methods. K. Friedman Norwegian School of Management, Oslo, Norway Abstract Design involves creating something new or transforming a less desirable situation to a preferred situation. To do this, designers must know how things work and why. Understanding how things work and why requires explanation, and it sometimes requires prediction. To explain and predict, we must construct and test theories. Theories are propositions or sets of propositions that allow us to analyze or explain subjects. Some theories are complex and sophisticated. Others are simple. Theory can be described in many ways. In its most basic form, a theory is a model. It is an illustration describing how something works by showing its elements in their dynamic relationship to one another.
    [Show full text]
  • Fashion Design in the 21St Century A
    TECHNOLOGY AND CREATIVITY: FASHION DESIGN IN THE 21 ST CENTURY A Dissertation Presented to the Faculty of the Graduate School at the University of Missouri In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by MARY RUPPERT-STROESCU Dr. Jana Hawley, Dissertation Supervisor May 2009 © Copyright by Mary Ruppert-Stroescu 2009 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled TECHNOLOGY AND CREATIVITY: FASHION DESIGN IN THE 21 ST CENTURY Presented by Mary Ruppert-Stroescu, a candidate for the degree of doctor of philosophy and hereby certify that, in their opinion, it is worthy of acceptance. _______________________________ Dr. Kitty Dickerson _______________________________ Dr. Jana Hawley _______________________________ Dr. Laurel Wilson _______________________________ Dr. Julie Caplow I dedicate this dissertation to my sons, Matei and Ioan Stroescu, who are continuous sources of inspiration and joy. ii ACKNOWLEDGEMENTS First and foremost, I would like to thank my dissertation supervisor, Dr. Jana Hawley, for inspiring and challenging me without fail. I will remain eternally grateful as well to Dr. Laurel Wilson & Dr. Kitty Dickerson, for their patience, insight, and guidance. I must also recognize Dr. Jean Hamilton, whose courses I will never forget because her ability to communicate a passion for research sparked my path to this dissertation. Dr. Julie Caplow built upon the appreciation for qualitative research that began with Dr. Hamilton, and I thank her for her support. Without Peter Carman I would not have had a platform for connecting with the French industry interviewees. I thank my family for their support, and all those who took time from their professional obligations to discuss technology and creativity with me.
    [Show full text]
  • Industrial Design (IND D) 1
    Industrial Design (IND D) 1 IND D 260: Engineering: From Thought to Thing INDUSTRIAL DESIGN (IND D) (Cross-listed with ENGR). (3-0) Cr. 3. Any experimental courses offered by IND D can be found at: What is making, building, constructing, engineering and technology and registrar.iastate.edu/faculty-staff/courses/explistings/ (http:// their roles in society? Investigation of making techniques, engineering www.registrar.iastate.edu/faculty-staff/courses/explistings/) methods and technological advancements through case studies of everyday objects. Explore questions about the impact of materials Courses primarily for undergraduates: choices and technology in society. Application of construction methods to industrial design. IND D 201: Industrial Design Studio I (0-12) Cr. 6. F. IND D 270: STEM Literacy: How Things Work Prereq: Admission to the industrial design program, enrollment in IND D 231. (3-0) Cr. 3. Product scale form development and visual communication. Dismantling mysteries surrounding science and technology. Identifying key concepts from applied science, engineering and technology to obtain IND D 202: Industrial Design Studio II better understanding on how things work. Review and explanation of the (0-12) Cr. 6. S. principles behind the technologies which define our modern way of life. Prereq: IND D 201 A survey of broad range of technology could include: cell phones, GPS, Through a progressive series of structured exercises and projects, IND radio, television, computers, ultrasound, microwave ovens, automobile, D 202 covers basic modeling principles and three dimensional form bioengineering and other industrial and consumer technologies. Common development required for industrial design activity. These activities everyday technology examples illustrating scientific knowledge and include explorative studies in: assembly, disassembly, process efficiency, applications.
    [Show full text]
  • Industrial Design Digital Technology
    Available online at www.sciencedirect.com ScienceDirect Procedia Technology 20 ( 2015 ) 32 – 38 The International Design Technology Conference, DesTech2015, 29th of June – 1st of July 2015, Geelong, Australia Industrial design digital technology Loy, J.1*, Canning, S.1, Little, C1. 1Griffith University, Southport, Gold Coast, Australia Abstract This paper is a reflective opinion piece suggesting that the Industrial Design discipline has an opportunity to react proactivelyto disruptive practices made possible by innovations in digital technology, by developing a field of practice in ‘ Industrial Design Digital Technology’ that challenges the boundaries of the current Industrial Design discipline and potentially stimulates new directions for the profession and for graduates. This would also provide an opportunity for new research collaborations that are in l i ne wi th the demand f or more i nterdi sci pl i nary work i n hi gher educati on, creati ng genui nel y transdi sci pl i nary practi ce that wi ll attract funding and attract students. © 2015 The Authors. Published by Elsevier B.V. © 2015 The Authors. Published by Elsevier Ltd. This is an open access article under the CC BY-NC-ND license Peer-review(http://creativecommons.org/licenses/by-nc-nd/4.0/ under responsibility of School of Engineering,). Faculty of Science Engineering & Built Environment, Deakin University.Peer-review under responsibility of School of Engineering, Faculty of Science Engineering & Built Environment, Deakin University Keywords: Digital technologies; additive manufacturing; scanning; transdisciplinary; design education 1. Introduction It is difficult to predict where technological innovation will take designers, how it will impact users’ lives and the way businesses will operate.
    [Show full text]