Aligned for Sustainable Design an A-B-C-D Approach to Making Better Products
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Exploring the Design Potential of Wearable Technology and Functional Fashion Design
Wearable Technology and Functional Fashion 1 Exploring the Design Potential of Wearable Technology and Functional Fashion Design By Jensin Wallace BFA, Textile Design, Rhode Island School of Design Submitted to the Graduate School of the University of Cincinnati Masters of Design School of Design, Art, Architecture and Planning 2014 Wearable Technology and Functional Fashion 2 Phyllis Borcherding Abstract Wearable technology is a growing field at the intersection of fashion and technology. Apparel and technology designers are unsure of how best to merge the strengths of their independent fields to create products that can be easily integrated into an individual’s lifestyle. The aim of this research is to create a conceptual framework that combines functional apparel design values with interaction design values in a model that could theoretically be used inter- disciplinary for the future development of wearable technology products. ProJect-based research was conducted to create a wearable technology prototype that explored the potential of a multifunctional and technologically enabled knitted garment. The framework was developed using the findings from this process with an emphasis on user centered design techniques. Wearable Technology and Functional Fashion 3 Table of Contents Introduction…………………………………………………………………………………......................................………4 Methodology……………………………………………………………………………………………………………………….......5 1 Interdisciplinary Boundaries………………………………………………………………………….……………………….7 1.1 Technology in Everyday Life 1.2 Knitwear: -
What Knowledge Is of Most Worth in Engineering Design Education?
Integrated Design: What Knowledge is of Most Worth in Engineering Design Education? Richard Devon Sven Bilén 213 Hammond 213 Hammond Pennsylvania State University Pennsylvania State University PA 16802 PA 16802 [email protected] sbilé[email protected] Alison McKay Alan de Pennington Dep’t. of Mechanical Engineering Dep’t. of Mechanical Engineering University of Leeds University of Leeds Leeds LS2 9JT, UK Leeds LS2 9JT, UK [email protected] [email protected] Patrick Serrafero Javier Sánchez Sierra Ecole Centrale de Lyon Esc. Sup. de Ingenieros de Tecnun 17 Chemin du Petit Bois Universidad de Navarra F-69130 Lyon-Ecully, France 20018 San Sebastián, Spain [email protected] [email protected] Abstract This paper is based on the premise that the design ideas and methods that cut across most fields of engineering, herein called integrated design, have grown rapidly in the last two or three decades and that integrated design now has the status of cumulative knowledge. This is old news for many, but a rather limited approach to teaching design knowledge is still common in the United States and perhaps elsewhere. In many engineering departments in the United States, students are only required to have a motivational and experiential introductory design course that is followed several years later by an experiential and discipline-specific capstone course [1]. Some limitations of the capstone approach, such as too little and too late, have been noted [2]. In some departments, and for some students, another experiential design course may be taken as an elective. A few non-design courses have an experiential design project added following a design across the curriculum approach. -
The American Lawn: Culture, Nature, Design and Sustainability
THE AMERICAN LAWN: CULTURE, NATURE, DESIGN AND SUSTAINABILITY _______________________________________________________________________________ A Thesis Presented to the Graduate School of Clemson University _______________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Landscape Architecture _______________________________________________________________________________ by Maria Decker Ghys May 2013 _______________________________________________________________________________ Accepted by: Dr. Matthew Powers, Committee Chair Dr. Ellen A. Vincent, Committee Co-Chair Professor Dan Ford Professor David Pearson ABSTRACT This was an exploratory study examining the processes and underlying concepts of design nature, and culture necessary to discussing sustainable design solutions for the American lawn. A review of the literature identifies historical perceptions of the lawn and contemporary research that links lawns to sustainability. Research data was collected by conducting personal interviews with green industry professionals and administering a survey instrument to administrators and residents of planned urban development communi- ties. Recommended guidelines for the sustainable American lawn are identified and include native plant usage to increase habitat and biodiversity, permeable paving and ground cover as an alternative to lawn and hierarchical maintenance zones depending on levels of importance or use. These design recommendations form a foundation -
Communication Design: Material Artefact, Immaterial Influence Culture–Practice–Discourse: a Theoretical Framework for A
Volume 15 Paper 04 SMT VOLUME 15 ASTRACT KEY WORDS Communication Design: Material Communication design is a purposeful activity that and culturally produced it can also be conceived as a Communication Design, Artefact, Immaterial Influence involves human subjects and relations, is tied to action, discourse. This paper considers the relationship between Practice, Culture, Discourse, representation and is context-bound. Furthermore, design culture, practice, and discourse and proposes an PAPER 04 Production, Critical ‘effective’ communication design can be understood as emergent theoretical framework for critically reflecting on Culture–practice–discourse: Practice, Theory accomplishing its purpose in having a desired influence on communication design as a discursive practice—a practice a theoretical framework an individual’s belief, values, behaviour, or action, and is that both shapes and is shaped by culture and wider for a critical approach a basic concern of the design practitioner. In this regard, discourses, that is both regulated and has the potential to to communication design design practice knowledge—‘practice’ meaning both transform its operations. professional situations and preparing for such situations AUTHOR Veronika Kelly by increasing expertise—can be conceived as being created in and by a particular culture, at the same time that it also creates culture. As design practice knowledge is socially Culture–practice–discourse: a theoretical framework for a critical approach to communication design Volume 15 Paper 04 INTRODUCTION world’. As ‘culture’, ‘practice’ and ‘discourse’ can be understood differently, taking into consideration 1 – In this paper the terms Communication design1 that is ‘effective’ in achieving the scholarship of Michel Foucault, Donald Schön, ‘communication design’ and its purpose can be conceived as having a desired and Norman Fairclough helps inform examination ‘design’ are used interchangeably. -
Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles
This is a repository copy of Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles.. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/89265/ Version: Accepted Version Article: Shin, MJ, Cassidy, T and Moore, EM (2015) Design Reinvention for Culturally Influenced Textile Products: Focused on Traditional Korean Bojagi Textiles. Fashion Practice, 7 (2). 175 - 198. ISSN 1756-9370 https://doi.org/10.1080/17569370.2015.1045354 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Design Reinvention for Culturally Influenced Textile Products: focused on traditional Korean bojagi textiles Meong Jin Shin, Tom Cassidy and E.M. Moore Dr. Meong Jin Shin is a researcher working with Tom Cassidy who is a professor in the School of Design, University of Leeds and Edel Moore is a lecturer in the same department. -
Graphic Design in the Postmodern Era
Graphic Design in the Postmodern Era By Mr. Keedy This essay was based on lectures presented at FUSE 98, San Francisco, May 28, and The AIGA National Student Design Conference, CalArts, June 14, 1998. It was first published in 1998 in Emigre 47. Any discussion of postmodernism must be preceded by at least a provisional definition of modernism. First there is modernism with a capital "M," which designates a style and ideology and that is not restricted to a specific historical moment or geographical location. Modernist designers from the Bauhaus in Germany, the De Style in Holland, and Constructivism in Russia, share essentially the same Modernist ideology as designers like Paul Rand, Massimo Vignelli, and Eric Spiekermann. Its primary tenet is that the articulation of form should always be derived from the programmatic dictates of the object being designed. In short, form follows function. Modernism was for the most part formed in art schools, where the pedagogical strategies were developed that continue to this day in design schools. It is a formalist, rationalist, visual language that can be applied to a wide range of circumstances. All kinds of claims can and have been made in an effort to keep Modernism eternally relevant and new. The contradiction of being constant, yet always new, has great appeal for graphic designers, whose work is so ephemeral. Then there is the modern, with a small "m." It is often confused with Modernism with a big M, but being a modern designer simply means being dedicated to working in a way that is contemporary and innovative, regardless of what your particular stylistic or ideological bias may be. -
Culturalistic Design: Design Approach to Create Products
CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Except where reference is made to the work of others, the work described in this thesis is my own or was done in collaboration with my advisory committee. This thesis does not include proprietary or classified information. Brandon J. Allen Certificate of Approval: Bret Smith Tin Man Lau, Chair Professor Professor Industrial Design Industrial Design Tsai Lu Liu George T. Flowers Assistant Professor Dean Industrial Design Graduate School CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen A Thesis Submitted to the Graduate Faculty of Auburn University in Partial Fulfillment of the Requirements for the Degree of Master of Industrial Design Auburn, Alabama May 9, 2009 CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Permission is granted to Auburn University to make copies of this thesis at its discretion, upon request of individuals or institutions and at their expense. The author reserves all publication rights. Signature of Author Date of Graduation iii THESIS ABSTRACT CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Master of Industrial Design, May 9, 2009 (B.I.D., Auburn University, 2005) 93 Typed Pages Directed by Tin Man Lau Designers have a unique process for solving problems commonly referred to as design thinking. Design thinking, especially on a cultural level can be used to tackle a wide range of creative and business issues. Design thinking with true cultural infusion is known as “Culturalistic Design”, and can have profound and varying effects on product designs. -
Design for Assembly" As a Working Approach at Atlas Copco Tools
TMT 2012:69 Evaluation of "Design For Assembly" as a working approach at Atlas Copco Tools ALEXANDER ANTURI JENNY TIGER Examensarbete inom MASKINTEKNIK Innovation och Design Högskoleingenjör, 15 hp Södertälje, Sverige 2012 Evaluation of "Design For Assembly" as a working approach at Atlas Copco Tools av Alexander Anturi Jenny Tiger Examensarbete TMT 2012:69 KTH Industriell teknik och management Tillämpad maskinteknik Mariekällgatan 3, 151 81 Södertälje Examensarbete TMT 2012:69 Utvärdering av "Design For Assembly" som ett arbetssätt på Atlas Copco Tools Alexander Anturi Jenny Tiger Godkänt Examinator KTH Handledare KTH 2012-08-20 Namn Jan Linell Uppdragsgivare Företagskontakt/handledare Atlas Copco Tools AB Andris Danebergs Sammanfattning Denna rapport presenterar resultatet av ett examensarbete där en utvärdering av DFA(Design For Assembly)- metoden som ett arbetssätt på Atlas Copco Tools utfördes. DFA är en metod som handlar om att designa en produkt så att dess egenskaper kommer att ha en inverkan på monteringsvänligheten av produkten. Det främsta målet med DFA är att reducera antalet ingående detaljer i en produkt. Atlas Copco Tools är ett företag som har påbörjat sin resa mot ständiga förbättringar och fokuserat sig bland annat på att förbättra produktutvecklingsprocessen. Därav har företaget visat ett stort intresse för DFA-metoden som ett arbetssätt inom konstruktionsavdelningen. Idag använder sig inte Atlas Copco Tools av en specifik metod som stödjer DFA-metodiken vid utveckling av deras produkter. Den stora frågan i detta examensarbete är därför huruvida DFA lönar sig att implementeras på Atlas Copco Tools i deras produktutecklingsprocess och i så fall hur arbetet med DFA ska ske samt vilka tillvägagångssätt ska användas. -
Target Value Design Inspired Practices to Deliver Sustainable Buildings
buildings Article Target Value Design Inspired Practices to Deliver Sustainable Buildings Samia S. Silveira and Thais da C. L. Alves * Department of Civil, Construction and Environmental Engineering, San Diego State University, San Diego, CA 92103, USA; [email protected] * Correspondence: [email protected]; Tel.: +1-619-594-8289 Received: 15 June 2018; Accepted: 16 August 2018; Published: 23 August 2018 Abstract: The design of environmentally-friendly buildings relies on the work of interdisciplinary teams who have to look at problems in a holistic way. Teams need to communicate, collaborate, and make decisions not solely based on first cost considerations. For this purpose, Target Value Design (TVD) related practices are being used to deliver green buildings in Southern California while meeting strict code requirements and addressing the needs of multiple stakeholders in a collaborative fashion. This study did not quantify costs associated with design and construction of sustainable buildings. It used an analytical process that compared and contrasted available literature on TVD and interviews with industry practitioners to investigate the use of TVD-inspired practices in the construction industry in Southern California and identify the current use of TVD-inspired practices in the design of green buildings. The study revealed that, even though practitioners might not be aware of how TVD can be fully implemented in these projects, a number of TVD-inspired practices are currently being used. Examples are provided to illustrate their practical use in the design of sustainable buildings and how practice compares to theory regarding TVD implementation. Keywords: lean construction; Target Value Design; sustainable buildings; collaboration 1. -
Implementing Design for Automatic Assembly a Recommendation on How to Implement and Apply DFAA at Company Y
DEGREE PROJECT IN MECHANICAL ENGINEERING, SECOND CYCLE, 30 CREDITS STOCKHOLM, SWEDEN 2018 Implementing Design For Automatic Assembly A recommendation on how to implement and apply DFAA at Company Y FILIPPA VON YXKULL KTH ROYAL INSTITUTE OF TECHNOLOGY SCHOOL OF INDUSTRIAL ENGINEERING AND MANAGEMENT Implementing Design For Automatic Assembly A recommendation on how to implement and apply DFAA at Company Y Filippa von Yxkull Master of Science Thesis TPRMM: 2018: KTH Production Engineering and Management Industrial Production SE-100 44 STOCKHOLM Abstract The need to work with Design for Automatic Assembly (DFAA) has been widely recognized in the literature. However, the implementation of DFAA is not clearly defined. Therefore, the purpose of this master thesis is to investigate and contribute with knowledge of how DFAA should be implemented into an organization, such as Company Y. Several interviews have been conducted to establish a current state analysis, to receive an understanding of the current problems at Company Y and how to address them. A benchmarking study was conducted, where the three companies Ericsson, Company X and Scania were interviewed. All three companies have successfully implemented DFA and were interviewed with the purpose to obtaining their best practices. The study also included an early implementation of DFAA, where a software based DFA2-method created by Eskilander (2001) was tested on a current product and a new developed design concept at Company Y. Based on this a recommended workflow of the evaluation could be attained. Based on the empirical gatherings several recommendations of how DFAA should be implemented into the organization could be made. -
Examples of Integrated Design
IEA Solar Heating and Cooling Task 23 Presents: Examples of Integrated Design Five Low Energy Buildings Created Through Integrated Design Editor Gerelle van Cruchten, Damen Consultants, Arnhem, The Netherlands Contributions by Susanne Geissler, Austrian Ecology Institute, Vienna, Austria Nils Larsson, Canmet Energy Technology, Ottawa, Canada Christina Henriksen, Esbensen Consulting Engineers, Copenhagen, Denmark Matthias Schuler, Transsolar, Stuttgart, Germany Douglas Balcomb, NREL, Golden CO, USA Charts Günter Löhnert, Solidar, Berlin, Germany Lay out Hans Weggen, Wageningen, The Netherlands Print Advadi, Arnhem, The Netherlands Five low energy buildings created through integrated design integrated through buildings created energy low Five Examples of Integrated Design of Integrated Examples 2 Examples of Integrated Design Five Low Energy Buildings Created Through Integrated Design SHC Task 23: ‘Optimization of Solar Energy Use in Large Buildings’ Austria Canada Denmark Finland Germany Japan Netherlands Norway Spain Sweden Switzerland United States AUGUST 2000 3 Contents 4 Introduction 5 1.1 IEA, Solar Heating and Cooling Programme, Task 23 1.2 Stories of integrated design Lessons learned 6 2. Lessons learned Case Stories 7 Austria 8 3.1 The challenge to design an ‘ecological’ building in co-operation Canada 14 3.2 Integrated design works in a competitive market Denmark 20 3.3 Create a building as an example for ‘our common future’ Germany 26 3.4 An atmospheric office USA 30 3.5 Student performance improved by daylighting Five low energy buildings created through integrated design integrated through buildings created energy low Five Examples of Integrated Design of Integrated Examples 4 1 Introduction 1.1 IEA, Solar Heating and Cooling Programme, Task 23 Within the International Energy Agency (IEA) a comprehensive program of energy co-operation is carried out among the member countries. -
Design for Sustainability: Overvie and Trends
INTERNATIONAL CONFERENCE ON ENGINEERING DESIGN, ICED'09 24 - 27 AUGUST 2009, STANFORD UNIVERSITY, STANFORD, CA, USA Gaurav Ameta Washington State University, Pullman, WA, 99164-2920, USA. ABSTRACT This paper presents recent trends in Design for Sustainability (DfS) with foresight and strategy as the point of view. We first provide a definition of design for sustainability based on the notion of sustainability. Then, we show the scope of various Design for X concepts in relation to the stages of product lifecycle and the triple bottom lines of sustainability; economy, environment and society. A survey of the recent studies for designing sustainable products is presented followed by the detail summary of various metrics that are used in relation to sustainability and designing environmentally friendly products. Keywords: Design for Sustainability, Sustainability, DfX To understand the meaning of Design for Sustainability, we need to understand the meaning of the word sustainability or sustainable. The word “sustainable” was first used with respect to its current usage as sustainable development. Sustainable development is the development that “meets the needs of the present without compromising the ability of future generations to meet their own needs.” [1]. A definition of sustainability according to the US National Research Council is “the level of human consumption and activity, which can continue into the foreseeable future, so that the systems that provides goods and services to the humans, persists indefinitely” [2]. Other authors (e.g., Stavins et al. [3]) have argued that any definition of sustainability should include dynamic efficiency, should consist of total welfare (accounting for intergenerational equity) and should represent consumption of market and non-market goods and services.