Strategic Approach to Product Design and Development Process, And
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Linking Design Management Skills and Design Function Organization: an Empirical Study of Spanish and Italian Ceramic Tile Producers
CASTELLÓN (SPAIN) LINKING DESIGN MANAGEMENT SKILLS AND DESIGN FUNCTION ORGANIZATION: AN EMPIRICAL STUDY OF SPANISH AND ITALIAN CERAMIC TILE PRODUCERS Ricardo Chiva (1), Joaquín Alegre (2), David Gobert (3), Rafael Lapiedra (1) (1) Universitat Jaume I, (2) Universitat de València, (3) ITC, Universitat Jaume I, ABSTRACT Design management is an increasingly important concept, research into which is very scarce. This paper deals with the fit between design management skills and design function organization, ranging from solely in-house to solely outsourced and including a mixture of the two. We carried out a survey in the Spanish and Italian ceramic tile industry, to which 177 product development managers responded. Our results revealed that companies have different degrees of design management skills depending on the approach to design function organization. Solely in-house design approach companies are the most skilled firms and solely outsourced ones are the least skilled. Despite the fact that the design function has apparently evolved towards outsourcing, this research supports the idea that, under certain conditions, the in-house design department is the best option in order to attain higher degrees of design management skills. Implications of the findings for both academics and practitioners are examined. P.BA - 79 CASTELLÓN (SPAIN) 1. INTRODUCTION In today’s competitive environment, design is becoming increasingly important. Good design, though, does not emerge by accident but as the result of a managed process (Bruce and Bessant, 2002, p. 38). Apart from the development process leading up to the creation of an artifact or product, the concept of design has traditionally involved a series of organizational activities, practices or skills that are required for this development to be achieved (Gorb and Dumas, 1987). -
Privacy When Form Doesn't Follow Function
Privacy When Form Doesn’t Follow Function Roger Allan Ford University of New Hampshire [email protected] Privacy When Form Doesn’t Follow Function—discussion draft—3.6.19 Privacy When Form Doesn’t Follow Function Scholars and policy makers have long recognized the key role that design plays in protecting privacy, but efforts to explain why design is important and how it affects privacy have been muddled and inconsistent. Tis article argues that this confusion arises because “design” has many different meanings, with different privacy implications, in a way that hasn’t been fully appreciated by scholars. Design exists along at least three dimensions: process versus result, plan versus creation, and form versus function. While the literature on privacy and design has recognized and grappled (sometimes implicitly) with the frst two dimensions, the third has been unappreciated. Yet this is where the most critical privacy problems arise. Design can refer both to how something looks and is experienced by a user—its form—or how it works and what it does under the surface—its function. In the physical world, though, these two conceptions of design are connected, since an object’s form is inherently limited by its function. Tat’s why a padlock is hard and chunky and made of metal: without that form, it could not accomplish its function of keeping things secure. So people have come, over the centuries, to associate form and function and to infer function from form. Software, however, decouples these two conceptions of design, since a computer can show one thing to a user while doing something else entirely. -
Introduction: Design Epistemology
Design Research Society DRS Digital Library DRS Biennial Conference Series DRS2016 - Future Focused Thinking Jun 17th, 12:00 AM Introduction: Design Epistemology Derek Jones The Open University Philip Plowright Lawrence Technological University Leonard Bachman University of Houston Tiiu Poldma Université de Montréal Follow this and additional works at: https://dl.designresearchsociety.org/drs-conference-papers Citation Jones, D., Plowright, P., Bachman, L., and Poldma, T. (2016) Introduction: Design Epistemology, in Lloyd, P. and Bohemia, E. (eds.), Future Focussed Thinking - DRS International Conference 20227, 27 - 30 June, Brighton, United Kingdom. https://doi.org/10.21606/drs.2016.619 This Miscellaneous 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]. Introduction: Design Epistemology Derek Jonesa*, Philip Plowrightb, Leonard Bachmanc and Tiiu Poldmad a The Open University b Lawrence Technological University c University of Houston d Université de Montréal * [email protected] DOI: 10.21606/drs.2016.619 “But the world of design has been badly served by its intellectual leaders, who have failed to develop their subject in its own terms.” (Cross, 1982) This quote from Nigel Cross is an important starting point for this theme: great progress has been made since Archer’s call to provide an intellectual foundation for design as a discipline in itself (Archer, 1979), but there are fundamental theoretical and epistemic issues that have remained largely unchallenged since they were first proposed (Cross, 1999, 2007). -
Creativity and Evolution: a Metadesign Perspective
Elisa Giaccardi and Gerhard Fischer Creativity and Evolution: A Metadesign Perspective Abstract In a world that is not predictable, improvisation, evolution, and innovation are more than a luxury: they are a necessity. The challenge of design is not a matter of getting rid of the emergent, but rather of including it and making it an opportunity for more creative and more adequate solutions to problems. Whereas user-centered and participatory design approaches (whether done for users, by users, or with users) have focused primarily on activities and processes taking place at design time, and have given little emphasis and provided few mechanisms to support systems as living entities that can be evolved by their users, metadesign is an emerging conceptual framework aimed at defining and creating social and technical infrastructures in which new forms of collaborative design can take place. Metadesign extends the traditional notion of design beyond the original development of a system to include co-adaptive processes between users and systems, which enable the users to act as designers and be creative. This paper presents the results of our studies and design activities in the last two decades at the Center for LifeLong Learning & Design of the University of Colorado at Boulder. Keywords Metadesign, design time, use time, multidimensional design space, open systems, adaptable interaction, embodiment, co-creation, co-evolution, social creativity, boundary objects, seeds, mediators, SER process model, critics, reuse, affect. Introduction In a world that is not predictable, improvisation, evolution, and innovation are more than a luxury: they are a necessity. The challenge of design is not a matter of getting rid of the emergent, but rather of including it and making it an opportunity for more creative and more adequate solutions to problems. -
The Principles of Inclusive Design
Proceedings of COBEM 2005 18th International Congress of Mechanical Engineering Copyright © 2005 by ABCM November 6-11, 2005, Ouro Preto, MG THE PRINCIPLES OF INCLUSIVE DESIGN Flavia Bonilha Alvarenga Universidade Estadual de Campinas – DPM/FEM/UNICAMP – C.P.- 6122 – Cep 13083-860 Campinas - SP [email protected] Franco Giuseppe Dedini Universidade Estadual de Campinas – DPM/FEM/UNICAMP – C.P.- 6122 – Cep 13083-860 Campinas - SP [email protected] Abstract. The world population is aging and the number of people with special needs is also increasing. Nowadays, new technology and products have been developed to improve quality of life. In general, the products are designed for a specific target, the able-bodied people, excluding the rest of the population. It is known that many products are not accessible to large sections of the population. Hence, there is an urgent need for developing an inclusive methodology based on better understanding of the principles of inclusive design, which will lead to minimizing the impact of impairments and thereby extend life quality. A discussion about what constitutes good inclusive design is presented. The aim of this paper is to introduce and discuss the principles of inclusive design for implementing an inclusive methodology. Keywords: Inclusive design, Design for all, Inclusive methodology, Inclusion, Accessibility. 1. Introduction The world population is aging and the number of people with special needs is increasing. There is a need to design inclusive products to accommodate this wide range of capabilities and develop a methodology to guide the designers. The design of a product, when initiated, follows a sequence of events, in a chronological order, forming a model, which usually is common to all the designs (Back, 1983). -
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. -
Design Studies 1
Design Studies 1 data and computational technology to create cutting-edge analysis and DESIGN STUDIES mapping approaches for a wide range of fields, such as urban planning, Interdepartmental Undergraduate Program architecture, landscape architecture, design, community development, agriculture, environmental sciences, natural resources, sociology, http://www.design.iastate.edu criminology, anthropology, political science, environmental studies and others. The minor is open to undergraduates in all university majors with The Design Studies programs bring together courses that deal with a minimum overall GPA of 2.0 prior to enrolling. the integrated study of the conceptualization, production, visible form, uses, and history of artifacts, buildings, and environments as well as the Minor - Illustration common qualities and connections among the design, art and planning The undergraduate minor in Illustration (http://catalog.iastate.edu/ fields. collegeofdesign/#minorstext) is ideal for students interested in Core Design Program illustration for books, graphic novels, magazine articles, advertising and concept art for game design and film. This minor provides the ability Four Design Studies courses constitute the Core Design Program: Design to tailor a curriculum that serves these varied career interests, whether Studio 1 (Dsn S 102), Drawing I (Dsn S 131), Design in Context (Dsn S you want to work in the industry or freelance as an independent studio 183) and Design Collaborative (Dsn S 115). Full or partial credit of the practitioner. Core Design program is required for all undergraduate students in the College of Design. Minor - Textile Design Minor—Critical Studies in Design The undergraduate minor in Textile Design (http://catalog.iastate.edu/ collegeofdesign/#minorstext) allows students to focus specifically on The undergraduate minor in Critical Studies in Design (http:// the design and creation of textiles — a practice with applications in catalog.iastate.edu/collegeofdesign/#minorstext) offers students the fine arts, fashion and related fields. -
Design Thinking in Education: Perspectives, Opportunities and Challenges
Open Education Studies, 2019; 1: 281–306 Review Article Stefanie Panke* Design Thinking in Education: Perspectives, Opportunities and Challenges https://doi.org/10.1515/edu-2019-0022 received March 13, 2019; accepted December 23, 2019. (Grots & Creuznacher, 2016, p. 191). As a problem- solving approach that has been tried and tested with Abstract: The article discusses design thinking as a socially ambiguous problem settings, it deals with process and mindset for collaboratively finding solutions everyday-life problems, which are nonetheless difficult for wicked problems in a variety of educational settings. to solve – “wicked problems” (Rauth, Köppen, Jobst, & Through a systematic literature review the article Meinel, 2010). Wicked problems have no right or wrong organizes case studies, reports, theoretical reflections, solution and resist traditional scientific and engineering and other scholarly work to enhance our understanding of approaches, as “the information needed to understand the purposes, contexts, benefits, limitations, affordances, the problem depends upon one’s idea for solving it” (Rittel constraints, effects and outcomes of design thinking in & Webber, 1973, p. 161). Wicked problems have a wide, education. Specifically, the review pursues four questions: unbound problem space and complexity, are open for (1) What are the characteristics of design thinking that interpretation, surrounded by competing or conflicting make it particularly fruitful for education? (2) How is opinions for solutions, and unlikely to ever be completely design thinking applied in different educational settings? solved (Hawryszkiewycz, Pradhan, & Agarwal, 2015). (3) What tools, techniques and methods are characteristic Design thinking aims at transcending the immediate for design thinking? (4) What are the limitations or boundaries of the problem to ensure that the right negative effects of design thinking? The goal of the article questions are being addressed. -
Santa Monica College Fashion Design Program Articulation
TRANSFER GUIDE (2018-2019) Santa Monica College This document is intended as a guide for college counselors and for students transferring into Woodbury University. Fashion Design Program Articulation Santa Monica College Woodbury University Course # Course Title Course # Course Title Fashion Design | ART 10A Design 1 FOUN 102 Design and Composition ART 21A Drawing 3 FOUN 105 Introduction to Figure Drawing ART 20B Drawing 2 FOUN 106 Color Theory and Interaction Fashion Design Studies | Computer Assisted Fashion Illustration and FASHN 18 and 1 FDES 105 Digital Fashion 1 Design and Fashion Trends and Design Apparel Construction and Pattern Analysis FASHN 3 and 6A FDES 125 Technical Studio 1 and Design FASHN 9A Fashion Illustration and Advertising FDES 120 Design and Illustration 1 Pattern Drafting and Design Intermediate FASHN 6B and 10 FDES 126 Technical Studio 2 and Advanced Design and Construction Fabrics for Fashion Design and FASHN 7 FDES 130 Materials Merchandising Apparel Production Manufacturing FASHN 17 FDES 201 Fundamentals of the Fashion Industry Techniques Advanced Fashion Illustration and Color FASHN 9B and 2 FDES 220 Design and Illustration 2 Analysis FASHN 8 History of Fashion Design FDES 260 History of Fashion Design 1 FASHN 13 or 14 Draping 1 or Draping 2 FDES 280 Experimental Draping FASHN 11 Advanced Clothing – Tailoring FDES 226 Advanced Technical Studio FASHN 15 Ethnic Fashion FDES ____ Studio Elective FASHN 16 Pattern Grading FDES ____ Studio Elective Fashion Design courses in this section will be considered for transfer -
The Pedagogy of Form Versus Function for Industrial Design
The Pedagogy of Form versus Function for Industrial Design David Domermuth, Ph.D. Abstract – Industrial Design is a combination of science and art. Determining the balance of the two is a preeminent challenge for teachers. The function is dominated by science/engineering principles while the form is an artistic/aesthetic expression. The teacher has a limited number of courses to present the foundational material while leaving enough courses to practice designing. This paper presents an objective summary of foundational courses, programs of study from various institutions, program evaluations by industrial experts, and a discussion about predetermining student success. A summary of accreditation requirements and how they affect the programs of study is also included. Keywords: Industrial Design, program of study, form versus function, accreditation, right/left brain. INTRODUCTION The concept of art is well accepted as shapes or drawings that are created to please sight or touch. Many times art is described as a pleasing design but the work of scientists and engineers is also referred to as a plan or design, such as the design of an engine or piping system. Scientists and engineers use the word design as noun to name a device or an adjective to describe the effectiveness of a system. The term design is also used to describe a number of professional fields such as Industrial, Interior, and Architectural Design. In this sense the word design blends both meanings of art and function. “Design is often viewed as a more rigorous form of art, or art with a clearly defined purpose” [Wikipedia, 1] “In the late 1910s, the two principles of “form follows function” and “ornament is a crime” were effectively adopted by the designers of the Bauhaus and applied to the production of everyday objects like chairs, bed frames, toothbrushes, tunics, and teapots.” (Wikipedia 2008) This paper concentrates on the university training of Industrial Designers/Product Designers with respect to form and function. -
Design Thinker Profile: Creating and Validating a Scale for Measuring
Antioch University AURA - Antioch University Repository and Archive Student & Alumni Scholarship, including Dissertations & Theses Dissertations & Theses 2017 Design Thinker Profile: Creating and Validating a Scale for Measuring Design Thinking Capabilities Dani Chesson Antioch University - PhD Program in Leadership and Change Follow this and additional works at: http://aura.antioch.edu/etds Part of the Art and Design Commons, Business Administration, Management, and Operations Commons, Industrial and Organizational Psychology Commons, Leadership Studies Commons, Management Sciences and Quantitative Methods Commons, and the Organizational Behavior and Theory Commons Recommended Citation Chesson, Dani, "Design Thinker Profile: Creating and Validating a Scale for Measuring Design Thinking Capabilities" (2017). Dissertations & Theses. 388. http://aura.antioch.edu/etds/388 This Dissertation is brought to you for free and open access by the Student & Alumni Scholarship, including Dissertations & Theses at AURA - Antioch University Repository and Archive. It has been accepted for inclusion in Dissertations & Theses by an authorized administrator of AURA - Antioch University Repository and Archive. For more information, please contact [email protected], [email protected]. THE DESIGN THINKER PROFILE: CREATING AND VALIDATING A SCALE FOR MEASURING DESIGN THINKING CAPABILITIES DANI CHESSON A DISSERTATION Submitted to the Ph.D. in Leadership and Change Program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy October, 2017 This is to certify that the Dissertation entitled: THE DESIGN THINKER PROFILE: CREATING AND VALIDATING A SCALE FOR MEASURING DESIGN THINKING CAPABILITIES prepared by Dani Chesson is approved in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Leadership and Change. -
Product Design and Innovation: a New Curriculum Combining the Humanities and Engineering
Product Design and Innovation: A New Curriculum Combining the Humanities and Engineering Gary A. Gabriele, Larry Kagan, Frances Bronet, David Hess, Ron Eglash, Rensselaer Polytechnic Institute Troy, NY 12180 ABSTRACT Successful competition in the global economy is increasingly dependent on a stream of new products and services that will open up new business possibilities. At the same time it is increasingly evident that new products and services must be regarded not only as commodities in a marketplace, but also as social actors which can constrain or enable the quality of our life. In recognition of these two perspectives, Product Design and Innovation (PDI) is a new undergraduate dual degree program at Rensselaer that seeks to educate students for careers in new product development. PDI is a dual major program satisfying the requirements for the Bachelor of Science programs in engineering and Science, Technology and Society (STS). PDI prepares students to become innovative designers who can integrate contemporary technologies with changing social contexts for a new generation of advanced product designs. This paper will describe the PDI program, its goals, how it was formulated, and review experiences we have had in offering the first three years of this innovative program. We will provide the curriculum templates and discuss how the design studio sequence fits together. BACKGROUND Like it or not, we live in interesting times. The pace of technological change is unprecedented and the impacts of technological innovation are often profound. At the same time, there is a growing recognition that significant challenges await us in the years ahead if the nation is to compete successfully in a highly competitive global economy, while also seeking to share social well-being and restore the natural environment upon which all life and technology depends.