Guiding Business Transformation Through Design
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Choosing a Mixed Methods Design
04-Creswell (Designing)-45025.qxd 5/16/2006 8:35 PM Page 58 CHAPTER 4 CHOOSING A MIXED METHODS DESIGN esearch designs are procedures for collecting, analyzing, interpreting, and reporting data in research studies. They represent different mod- R els for doing research, and these models have distinct names and procedures associated with them. Rigorous research designs are important because they guide the methods decisions that researchers must make dur- ing their studies and set the logic by which they make interpretations at the end of studies. Once a researcher has selected a mixed methods approach for a study, the next step is to decide on the specific design that best addresses the research problem. What designs are available, and how do researchers decide which one is appropriate for their studies? Mixed methods researchers need to be acquainted with the major types of mixed methods designs and the common variants among these designs. Important considerations when choosing designs are knowing the intent, the procedures, and the strengths and challenges associated with each design. Researchers also need to be familiar with the timing, weighting, and mixing decisions that are made in each of the different mixed methods designs. This chapter will address • The classifications of designs in the literature • The four major types of mixed methods designs, including their intent, key procedures, common variants, and inherent strengths and challenges 58 04-Creswell (Designing)-45025.qxd 5/16/2006 8:35 PM Page 59 Choosing a Mixed Methods Design–●–59 • Factors such as timing, weighting, and mixing, which influence the choice of an appropriate design CLASSIFICATIONS OF MIXED METHODS DESIGNS Researchers benefit from being familiar with the numerous classifications of mixed methods designs found in the literature. -
Introducing New Design Disciplines Into a Traditional Industrial Design Program
NordDesign 2016 August 10 – 12, 2016 Trondheim, Norway Introducing New Design Disciplines Into a Traditional Industrial Design Program Bryan Howell, Camilla Gwendolyn Stark, Tyler James Christiansen, Ryan Hunter Hofstrand, Janae Lois Pettit, Samantha Nieves Van Slooten, Kathryn Joyce Willett Brigham Young University [email protected], [email protected], [email protected], [email protected], [email protected], [email protected], [email protected] Abstract The disciplines of design and design research are rapidly transforming. Sanders and Stappers (2013) illustrate how traditional design disciplines focused on product are being replaced with emerging disciplines focusing on “people in the context of their lives.” As an industry veteran and experienced design educator, I am well versed in the traditional method of effectively making consumer-oriented objects, but in the rapidly evolving world of contemporary design this expertise seemingly becomes less relevant each year. This paper reviews the quiet reframing of our sponsored third year industrial design studio course to explore aspects of emerging design disciplines, sharing five student projects that demonstrate the natural evolution in mindset from product-oriented to context-oriented problem definitions. Finally, it discusses how these emerging disciplines align with the values of the millennial generation and the importance educators include training in new disciplines to remain relevant in the contemporary design world. Keywords: Design -
Provocation Ii
FRIDAY, 25 SEPTEMBER 2020 ● 3.00 PM – 6.30 PM (CEST) THE DIGITAL MULTILOGUE ON FASHION EDUCATION PROVOCATIONS PROVOCATION I PROFESSOR DILYS WILLIAMS [∆] DIRECTOR OF CENTRE FOR SUSTAINABLE FASHION Professor Dilys Williams FRSA is the founder and Director of Centre for Sustainable Fashion, a University of the Arts London Research Centre, based at the London College of Fashion. Dilys’ work explores fashion’s relational ecological, social, economic and cultural elements to contribute to sustainability in and through its artistic, busi- ness and educational practices. Trained at Manchester Metropolitan University and holding a UAL professorship in Fashion Design for Sustainability, Dilys publishes widely on fashion and sustainability in peer-reviewed aca- demic journals and published books. Dilys’ work draws on extensive experience in lead womenswear designer roles for international collections, including at Katharine Hamnett, Liberty and Whistles. This industry expe- rience is complemented by a longstanding internationally recognized teaching and research portfolio centered on the development of sustainability centered design practices, based on principles of holism, participation and transformation design. She is a member of the UNFCCC Global Climate Action in Fashion and sits on advisory committees for Positive Luxury and the Global Fashion Agenda. Her place on the Evening Standard London’s Progress 1000 list in 2015, 2016 and 2017 evidences the public and academic influence of her work alongside regular appearances on broadcast television, radio and magazines including recent appearances on BBC World, Sky News, Radio 4, WWD,The Gentlewoman, Vog ue and Elle magazine. PROVOCATION II ASSISTANT PROFESSOR KIMBERLY JENKINS [∆] RYERSON UNIVERSITY AND FOUNDER OF THE FASHION AND RACE DATABASE Kimberly Jenkins, M.A. -
Design, Communication & Collaboration in Immersive Virtual
International Journal of Design Computing: Vol 4/2002: Special Issue on Designing Virtual Worlds Design, Communication & Collaboration in Immersive Virtual Environments MARC AUREL SCHNABEL & THOMAS KVAN Department of Architecture The University of Hong Kong, Hong Kong, China [email protected], [email protected] Please use IE 5.5+ and Quicktime. http://www.arch.usyd.edu.au/kcdc/journal/vol4/schnabel/index.html 19/07/2005 International Journal of Design Computing: Vol 4/2002: Special Issue on Designing Virtual Worlds Abstract | Introduction | Experiments | Tasks | Results | Discussion | Conclusion | Acknowledgements | References Abstract Virtual Environments (VE) are increasingly offered as environments for design. Using VE to visualize ideas from the initial steps of design, the architect is challenged to deal with perception of space, solid and void, without translations to and from a two dimensional media. From this new ability, we might expect new forms of design expression. The goal of our study was to identify how designers use and communicate early design ideas by using immersive three-dimensional VEs. We set-up a series of experiments including navigation- and perception-tasks, designing in immersive VE, transcription of design, remote communication between design partners and controlled observations. We explored initial intentions of three-dimensional (3D) immersive design schemes, textual descriptions and collaborations within immersive VE. This article describes the outcome of creation, interpretation and communication of architectural design, by using a 3D maze together with text-based communication in a series of collaborative design experiments. We conducted the first successful attempt of a Joint Design Studio, which uses immersive VE as tool of design and communication between remote partners. -
The Application of Virtual Reality in Art Design
International Conference on Education Technology, Management and Humanities Science (ETMHS 2015) The Application of Virtual Reality in Art Design: A New Approach 1, a CHEN Dalei 1 School of Art, Henan Institute of Education, Zhengzhou 450046,China a [email protected] Keywords: Virtual Reality; Art Design; 3D Modeling Abstract. As virtual reality technology matures and popular, it is gradually applied in art design. Virtual reality is constructed by high-tech means of the artificial environment. How best to achieve the user in the virtual world of realistic experience, has become a new research hotspot. In view of the present virtual reality technology and virtual aesthetics can improve the effect of the simulation are faced with the problem, in this paper, the study of virtual reality in art and design. Put forward the integration of technology and art technique can improve the virtual reality visual properties and the degree of match user requirements, improve the effect of the simulation. Introduction In recent years, along with the development of network and multimedia technology, virtual reality technology matures and popularization, the virtual reality technology is gradually applied in art design [1]. Virtual reality, art design is accompanied by virtual reality technology and the popularization of computer application technology and related form of audio-visual design new topic, it used the computer virtual reality technology and integrate images, sound, animation, video and other multimedia means, through the creation and performance of virtual objects with virtual space, information is a new way to display and form, make the information more intuitive, efficient delivery. As people gradually understand and attention to this kind of art and design, its application and development are also more and more widely and rapidly [2-3]. -
(2) Patent Application Publication (10) Pub. No.: US 2016/0370971 A1 HACKETT Et Al
US 20160370971A1 (19) United States (2) Patent Application Publication (10) Pub. No.: US 2016/0370971 A1 HACKETT et al. (43) Pub. Date: Dec. 22, 2016 (54) DRESS FORM FOR THREE-DIMENSIONAL G06T 19/00 (2006.01) DRAWING INSIDE VIRTUAL REALITY G{}6F 3/0484 (2006.01) ENVIRONMENT G06T 15/1() (2006.01) G06T 13/20 (2006.01) (71) Applicant: GOOGLE INC., Mountain View, CA (52) U.S. CI. (US) CPC ........... G06F 3/04815 (2013.01); G06T 15/10 e (2013.01); G06T 13/20 (2013.01); G06T (72) Inventors: Patrick Ryan HACKETT, San 19/006 (2013.01); G06F 3/04842 (2013.01); Francisco, CA (US); Clayton G06F 3/04845 (2013.01); G06F 3/0482 Woodward BAVOR, JR., Atherton, CA (2013.01) (US); Andrey DORONICHEV, San Francisco, CA (US) (57) ABSTRACT (21) Appl. No.: 14/859,167 Systems and methods are described for producing a repre (22) Filed: Sep. 18, 2015 sentation of a display of a three-dimensional virtual reality environment and defining a dress form object within the Related U.S. Application Data virtual reality environment. The virtual reality environment (60) Provisional application No. 62/052,338, filed on Sep. is configured to receive interactive commands from at least 18, 2014. 5- -- ~5 one input device coupled to a computing device and asso s ciated with a user. Fabric movement simulations are gener Publication Classification ated by animating the dress form object according to con figured animation data and displayed in the virtual reality (51) Int. Cl. environment. The display being may be generated in G{}6F 3/0481 (2006.01) response to receiving a movement pattern indicating move G{}6F 3/0482 (2006.01) ment of the dress form object. -
In Human-Computer Interaction Published, Sold and Distributed By: Now Publishers Inc
Full text available at: http://dx.doi.org/10.1561/1100000067 Communicating Personal Genomic Information to Non-experts: A New Frontier for Human-Computer Interaction Orit Shaer Wellesley College, Wellesley, MA, USA [email protected] Oded Nov New York University, USA [email protected] Lauren Westendorf Wellesley College, Wellesley, MA, USA [email protected] Madeleine Ball Open Humans Foundation, Boston, MA, USA [email protected] Boston — Delft Full text available at: http://dx.doi.org/10.1561/1100000067 Foundations and Trends R in Human-Computer Interaction Published, sold and distributed by: now Publishers Inc. PO Box 1024 Hanover, MA 02339 United States Tel. +1-781-985-4510 www.nowpublishers.com [email protected] Outside North America: now Publishers Inc. PO Box 179 2600 AD Delft The Netherlands Tel. +31-6-51115274 The preferred citation for this publication is O. Shaer, O. Nov, L. Wstendorf, and M. Ball. Communicating Personal Genomic Information to Non-experts: A New Frontier for Human-Computer Interaction. Foundations and Trends R in Human-Computer Interaction, vol. 11, no. 1, pp. 1–62, 2017. R This Foundations and Trends issue was typeset in LATEX using a class file designed by Neal Parikh. Printed on acid-free paper. ISBN: 978-1-68083-254-9 c 2017 O. Shaer, O. Nov, L. Wstendorf, and M. Ball All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, photocopying, recording or otherwise, without prior written permission of the publishers. Photocopying. In the USA: This journal is registered at the Copyright Clearance Cen- ter, Inc., 222 Rosewood Drive, Danvers, MA 01923. -
Sparse Tangibles
Demos and Posters TEI 2016, February 14-17, 2016, Eindhoven, the Netherlands Sparse Tangibles: Collaborative Exploration of Gene Networks using Active Tangibles and Interactive Tabletops Ahmed Sabbir Arif1, Roozbeh Manshaei1, Sean Delong1, Brien East1, Matthew Kyan3, Ali Mazalek1,2 Synaesthetic Media Laboratory Electrical Engineering & Computer Science3 Ryerson University1 Georgia Institute of York University Toronto, Ontario Technology2 Toronto, Ontario Canada Atlanta, GA, USA Canada {asariF, roozbeh.manshaei, sean.delong, beast, mazalek}@ryerson.ca, [email protected] ABSTRACT fail to work with big data sets or fail to provide the support We present Sparse Tangibles, a tabletop and active tangible- for custom query construction. Most of these solutions are based framework to support cross-platForm, collaborative also system-dependent (that is, do not work with all gene network exploration using a Web interFace. It uses operating systems), require the installation of proprietary smartwatches as active tangibles to allow query construction soFtware, or demand high processing power. Furthermore, on- and oFF-the-table. We expand their interaction vocabulary almost all present solutions are desktop-based, which using inertial sensors and a custom case. We also introduce hinders collaborative exploration and generally limits the a new metric for measuring the “conFidence level” of protein users to smaller screens. and genetic interactions. Three expert biologists evaluated the system and Found it fun, useFul, easy to use, and ideal for We Formed an interdisciplinary team oF six to address these collaborative explorations. issues. Apart From two HCI researchers and an engineer, the group consists oF three expert biomedical/signal processing Author Keywords engineers, whom we identiFy as potential users oF the Systems biology; biomedical engineering; sparse network; system. -
Immersive Experience Impact on Students' Understanding of Design
Paper ID #10069 Immersive Experience Impact on Students’ Understanding of Design Ms. Antonette T. Cummings P.E., Purdue University Antonette Cummings is a Ph.D. student in Engineering Education at Purdue University. She holds an M.S. in Mechanical Engineering from the University of Texas at Austin. Dr. Carla B. Zoltowski, Purdue University, West Lafayette Carla B. Zoltowski, Ph.D., is Co-Director of the EPICS Program at Purdue University. She received her B.S. and M.S. in electrical engineering and Ph.D. in engineering education, all from Purdue University. She has served as a lecturer in Purdue’s School of Electrical and Computer Engineering. Dr. Zoltowski’s academic and research interests include human-centered design learning and assessment, service-learning, ethical reasoning development and assessment, leadership, and assistive technology. Ms. Ming-Chien Hsu, Purdue University, West Lafayette Ming-Chien Hsu is a doctoral candidate of Engineering Education at Purdue University. She was an elec- trical engineer working on semiconductor devices before stepping into the realm of education research. Her current research explores and characterizes learning experiences in engineering such as design and interdisciplinary learning. Dr. Monica E Cardella, Purdue University, West Lafayette Monica Cardella is an Associate Professor of Engineering Education at Purdue University. She teaches design to first-year engineering students at Purdue as well as an upper-level design course for seniors and graduate students. Her research focuses on the development of engineering thinking skills (operational- ized as design thinking, mathematical thinking, and the interplay between the two) in children as young as 4 years old as well as older ”children” (i.e. -
Designing Reality-Based Interfaces for Experiential Bio-Design
Pers Ubiquit Comput DOI 10.1007/s00779-013-0752-1 ORIGINAL ARTICLE Designing reality-based interfaces for experiential bio-design Orit Shaer • Consuelo Valdes • Sirui Liu • Kara Lu • Kimberly Chang • Wendy Xu • Traci L. Haddock • Swapnil Bhatia • Douglas Densmore • Robert Kincaid Received: 16 December 2012 / Accepted: 15 February 2013 Ó Springer-Verlag London 2013 Abstract Reality-based interfaces (RBIs) such as table- design process for enhancing college-level science educa- top and tangible user interfaces draw upon ideas from tion through reality-based interaction, (2) reflections on the embodied cognition to offer a more natural, intuitive, and design, implementation, and validation of two case stud- accessible form of interaction that reduces the mental effort ies—RBIs for learning synthetic biology, and (3) discus- required to learn and operate computational systems. sion of opportunities and challenges for advancing learning However, to date, little research has been devoted to of college-level sciences through next-generation investigating the strengths and limitations of applying interfaces. reality-based interaction for promoting learning of complex scientific concepts at the college level. We propose that Keywords Reality-based interaction Multi-touch Á Á RBIs offer unique opportunities for enhancing college- Bioinformatics Collaborative learning level science education. This paper presents three main Synthetic biologyÁ Á contributions: (1) design considerations and participatory O. Shaer (&) C. Valdes S. Liu K. Lu K. Chang W. Xu 1 Introduction Wellesley College,Á 106 CentralÁ St.,Á Wellesley,Á MA, USAÁ e-mail: [email protected] Over the past two decades, human–computer interaction C. Valdes (HCI) research has generated a broad range of interaction e-mail: [email protected] styles that move beyond the desktop into new physical and S. -
Changing Cultures of Design Identifying Roles in a Co-Creative Landscape
Changing Cultures of Design Identifying roles in a co-creative landscape Marie Elvik Hagen Department of Product Design Norwegian University of Science and Technology ABSTRACT The landscape of design is expanding and designers today are moving from expert practice to work with users as partners on increasingly complex issues. This article draws up the lines of the emerging co-creative design practice, and discusses the changing roles of the designer, the user as a partner, and design practice itself. Methods and tools will not be considered, as the roles will be discussed in terms of their relations. The co-design approach breaks down hierarchies and seeks equal participation. Research suggests that the designer needs to be responsive or switch tactics in order to take part in a co-creative environment. A case study exploring co-creative roles complements the theory, and finds that the designer role needs to be flexible even when having equal agency as partners and other stakeholders. Sometimes it is necessary to lead and facilitate as long as it is a collaborative decision. Bringing users in as partners in the process changes the design culture, and this article suggests that Metadesign can be the holistic framework that the design community need in order to understand how the different design practices are connected. KEYWORDS: Co-design, Co-creativity, Roles in the Design Process, Participatory Design, Metadesign, Cultures of participation, Design Agenda 1. INTRODUCTION This article seeks to examine how the role of the designer, the role of the user and the role The landscape of design is changing. -
EXTENDED REALITY for DESIGN Online Option Short Course Extended Reality for Design Online Option 02
SHORT COURSES EXTENDED REALITY FOR DESIGN Online Option Short Course eXtended Reality for Design Online Option 02 General Introduction Over the past 80 years Istituto Marangoni has grown and developed alongside the thriving Italian fashion and design scenario. Through an exciting curriculum aimed to develop practical, creative, business and management skills which are subject spe- cific, and relevant to the international fashion, design or art industries, Istituto Marangoni short courses prepare students in the principles of subjects such as Fashion Design, Accessories and Footwear Design, Fashion Styling, Fashion Business and Com- munication, Visual and Multimedia Design, Interior Design, Product Design, Art Management and Art Curation. 1. Certification Attained Istituto Marangoni Certificate Course Information 2. General info: • Duration: 6 Weeks (3 days per week) • Total Hours: 45 • Course Delivery mode: full online • Lesson Duration: 2h30 3. Short Course Description This is a short introductory course to fast track the working knowledge and practical skills in extended reality (XR) technology. This new wave of mass media offers unlimited freedom to create products and artwork without the limitations of space and re- sources and allows for a more human design process (avoiding code, keyboards and years of training). With a special focus on experimenting with hands-on practical skills that can be used straight away, this course equips partici- pants with the tools to start building ideas in 3D space. Focusing on Virtual Reality and Augmented Reality, each class covers a new topic with take away exercises and homework to practice and present for feedback from the experienced lecturer. Students also discover ways to create 3D models, floorplans and visual concepts in 3D using readily available tools to build virtual worlds, capture real world objects, share their work to new audiences and visualise ideas to create exciting new experiences.