CST in Product Development By: Ryan Bliss
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PRUEBA DE ACCESO Y ADMISIÓN a LA UNIVERSIDAD LENGUA EXTRANJERA ANDALUCÍA, CEUTA, MELILLA Y CENTROS En MARRUECOS (INGLÉS) CURSO 2019-2020
PRUEBA DE ACCESO Y ADMISIÓN A LA UNIVERSIDAD LENGUA EXTRANJERA ANDALUCÍA, CEUTA, MELILLA y CENTROS en MARRUECOS (INGLÉS) CURSO 2019-2020 Instrucciones: a) Duración: 1 hora y 30 minutos. b) Este examen consta de varios bloques. Debe responder a las preguntas que se indican en cada uno. c) La puntuación está indicada en cada uno de los apartados. d) No se permite el uso de diccionario. El examen consta de 3 Bloques (A, B y C) En cada bloque (Comprehension, Use of English y Writing) se plantean varias preguntas, de las que se deberá responder al número que se indica en cada uno. En caso de responder más cuestiones de las requeridas, serán tenidas en cuenta las respondidas en primer lugar hasta alcanzar dicho número. Las preguntas han de ser respondidas en su totalidad: si la pregunta tiene dos secciones, hay que responder ambas. BLOQUE A (Comprensión lectora) Puntuación máxima: 4 puntos Debe responderse a las 8 preguntas de uno de los 2 textos propuestos. I * COMPREHENSION (4 points). CHOOSE TEXT 1 OR TEXT 2 AND ANSWER ALL THE QUESTIONS FROM THAT TEXT ONLY. TEXT 1: FASHION AND WASTE 1 In 2018, beauty vlogger Samantha Ravndahl announced to her legion of subscribers that she would no longer accept 2 promotional samples because she was concerned about the waste in the packaging of beauty and fashion items. She was trying 3 to combat not just her own waste, but that of all her followers. 4 It’s really a game of chicken or the egg to decide who is to blame for the culture of waste: social media or fashion itself? The 5 answer is a toxic combination of both. -
The Issues and Benefits of an Intelligent Design Observatory
INTERNATIONAL DESIGN CONFERENCE - DESIGN 2008 Dubrovnik - Croatia, May 19 - 22, 2008. THE ISSUES AND BENEFITS OF AN INTELLIGENT DESIGN OBSERVATORY B.J. Hicks, H.C. McAlpine, P. Törlind, M. Štorga, A. Dong and E. Blanco Keywords: design process, design teams, design performance, observational studies, experimental data, experimental methodology 1. Introduction Central to improving and sustaining high levels of innovative design is the fundamental requirement to maximise and effectively manage design performance. Within the context of 21st century design - where the process is largely digital, knowledge-driven and highly distributed - this involves the creation of tailored design processes, the use of best-performing tool sets, technology mixes and complementary team structures. In order to investigate these aspects, there is a need to evaluate the practices and needs of industry; advance understanding and design science; create new tools, methods and processes; and assess the state-of-the-art technology and research output. However, effective investigation of these four areas can only be achieved through a fundamental understanding of today’s complex, dynamic design environments. Such detailed understanding is presently unavailable or at least very difficult to obtain. This is largely because of a lack of capability for holistic investigation of the design process and an inability to perform controlled experiments, using reliable and meaningful metrics that generate complete high quality data. The consequences of this are that many tools, methods or technologies that could benefit industry are not adopted, some are adopted without rigorous assessment and do not perform as anticipated, and many are developed on the basis of incomplete or limited data. -
Curriculum Vitae
AUDREY G. BENNETT / t: 518.301.4583 / e: [email protected] / u: www.audreygbennett.com EDUCATIONAL PREPARATION 2 PROFESSIONAL APPOINTMENTS/EMPLOYMENT 2 PROFESSIONAL ACTIVITIES 3 Publications 3 Exhibitions 7 Research Archives 10 Reviews of My Work 12 Commissions 14 Research Grants & Contracts 15 Editorial Activities 18 Professional & Public Lectures 21 Awards & Honors, Fellowships 25 Sabbatical Leaves 27 Fieldwork & IRB Protocol Approvals 27 SERVICE 28 University Service 28 Service to My Profession 30 Community & Public Service 32 Curriculum Vitae EDUCATIONAL PREPARATION Baccalaureate and graduate degrees 1997, M.F.A. in graphic design, School of Art, Yale University AWARD: College Art Association Professional Development Fellowship 1993, B.A. in studio art (honors in major), Dartmouth College AWARDS: Citation in Visual Studies (Prof. Ben F. Moss III); Dartmouth College Black Community Award for Academic Achievement; Lorraine Hansberry–James Van Der Zee Award for Excellence in Performing and Fine Arts; Class of 1960/Office of Residential Life Student Art Acquisition Program Purchase Prize; Dartmouth Black Caucus 1993 Senior Honor Roll Non–degree preparation Diploma in Spanish, Autonomous University of Querétaro, MEXICO, Winter 1991 Dartmouth Study Abroad PROFESSIONAL APPOINTMENTS/EMPLOYMENT Academic appointments • Professor, Penny W. Stamps School of Art and Design, University of Michigan, July 2018-present • Graduate Program Director, Department of Communication and Media, Rensselaer, January 2017-June 2018 • Professor, Department of Communication and Media, Rensselaer, July 2016- July 2018 • Associate Professor of Graphics, Department of Communication and Media, Rensselaer, July 2003-June 2016 • Faculty of Information Technology, Rensselaer, 2000 • Assistant Professor of Graphics, Department of Communication and Media, Rensselaer, Aug. 1997-June 2003 Teaching Assistant Experience • Teaching Assistant, Introduction to Graphic Design, Graphic Design Department, Yale University, School of Art, 1996. -
Effective New Product Ideation: IDEATRIZ Methodology
Effective New Product Ideation: IDEATRIZ Methodology Marco A. de Carvalho Universidade Tecnológica Federal do Paraná, Mechanical Engineering Department, Av. Sete de Setembro 3165, 80230-901 Curitiba PR, Brazil [email protected] Abstract. It is widely recognized that innovation is an activity of strategic im- portance. However, organizations seeking to be innovative face many dilem- mas. Perhaps the main one is that, though it is necessary to innovate, innovation is a highly risky activity. In this paper, we explore the origin of product innova- tion, which is new product ideation. We discuss new product ideation ap- proaches and their effectiveness and provide a description of an effective new product ideation methodology. Keywords: Product Development Management, New Product Ideation, TRIZ. 1 Introduction Introducing new products is one of the most important activities of companies. There is a significant correlation between innovative firms and leadership status [1]. On the other hand, evidence shows that most of the new products introduced fail [2]. There are many reasons for market failures of new products. This paper deals with one of the main potential sources for success or failure in new products: the quality of new product ideation. Ideation is at the start of product innovation, as recognized by eminent authors in the field such as Cooper [1], Otto & Wood [3], Crawford & Di Benedetto [4], and Pahl, Beitz et al. [5]. According to the 2005 Arthur D. Little innovation study [6], idea management has a strong impact on the increase in sales associated to new products. This impact is measured as an extra 7.2 percent of sales from new products and makes the case for giving more attention to new product ideation. -
Social Responsibility and the Graphic Designer
DESIGNING FOR SOCIAL CHANGE. Social responsibility and the graphic designer. Daniel Scott Graphic design thesis 2012 Design and visual communication Supervisor: Anders Ljungmark K3, Malmö högskola Keywords Social change, social design, responsibility, social responsibility, corporate social responsibility, graphic design, community-based graphic design, socially conscious graphic design, propaganda. Abstract The aim of this thesis is to study social responsibility and find out what responsibilities the graphic designer may have and what they can do using their skill set as a designer to contribute in helping to better their community. Social responsibility needs to be addressed more within the design field. It needs to be introduced and taught to students at an early stage of their education, so as they fully understand the power and influence that their creations will have over society, and the role this plays in materialism, overconsumption and our modern day consumer-culture. Change needs to be made within graphic design and the urgency for this grows more and more for each day that passes. The graphic designer needs to critically reflect over the purpose of their work and answer the question of whom it stands to serve: their audience or consumer-culture. They need to move away from the creation of artificial needs and the promotion of unnecessary products, and move towards the creation of more useful and lasting communication that contributes to society. Daniel Scott - Designing for social change - 2012 Foreword Thanks to Anders Ljungmark, my supervisor, for support, encouragement and direction through the process of working with this essay. Thanks to my Mum and Dad for being supportive and offering encouragement for the most things I do. -
Reverse Metadesign: Pedagogy and Learning Tools for Teaching the Fashion Collection Design Process Online
7th International Conference on Higher Education Advances (HEAd’21) Universitat Politecnica` de Valencia,` Valencia,` 2021 DOI: http://dx.doi.org/10.4995/HEAd21.2021.13181 Reverse Metadesign: Pedagogy and Learning Tools for Teaching The Fashion Collection Design Process Online Daria Casciani, Chiara Colombi, Federica Vacca Design Department, Politecnico di Milano, Italy. Abstract The present article discusses the experience of redesigning the pedagogy and learning tools of a pillar course at the School of Design of Politecnico di Milano, the Metadesign studio course. Metadesign is a design methodology that leads to the concept definition of a new product or service through a research process that synthesizes design goals, technological and productive constraints, market context, and consumption trends for a consumers’ group of reference. It represents a unique methodological approach characterizing a design education as it provides a consolidated research practice able to support the design process. The course structure foresees the reconstruction in phases and the development of all the contextual elements—product, space, service, communication artifact, etc.—that come into relation with the to-be- designed object and influence its characteristics. This process enables creating the "abacus" of components to use in a design activity. Considering the ever- increasing need to reshape the whole education system because of the paradigmatic change pushed by digital transformation and the urgency for on- distance courses posed by the COVID-19 emergency, the article presents a renewed "reversed" course structure. It highlights strengths and opportunities for further improvements representing a solid base for innovating a fashion design education. Keywords: Metadesign; fashion design; learning-by-doing; reflection-in- action; deductive reflection; virtual learning environments. -
Designing Your Life How to Build a Well- Lived, Joyful Life Bill Burnett and Dave Evans
Designing Your Life How to Build a Well- Lived, Joyful Life Bill Burnett and Dave Evans ALFREDSUPPLEMENTAL A. KNOPF GRAPHICSNEW YORK 2016 COPYRIGHT © 2016 BY WILLIAM BURNETT AND DAVID J. EVAN Burn_9781101875322_3p_all_r1.j.indd 3 6/14/16 2:20 PM Contents 1. Try Stuff: Health/Work/Play/Love Dashboard 1 2. Try Stuff: Workview and Lifeview 6 3. Try Stuff: Good Time Journal 9 4. Try Stuff: Mind Mapping 13 5. Try Stuff: Odyssey Plan 20 6. Try Stuff: Prototyping 29 7. Try Stuff: Reframing Failure 37 8. Try Stuff: Building a Team 41 Try Stuff Health/Work/Play/Love Dashboard 1. Write a few sentences about how it’s going in each of the four areas. 2. Mark where you Tryare (0Stuff to Full) on each gauge. 3. Ask yourself if there’s a design problem you’d Health/Work/Play/LoveTry Stuff Dashboard like to tackle in any of these areas. Health/Work/Play/Love Dashboard 4. Now ask yourself if your “problem” is a gravity 1. Write a few sentences about how it’s going in problem. 1. Weachrite ofa fewthe foursentences areas. about how it’s going in 2. eachMark ofwher thee four you areas.are (0 to Full) on each gauge. 2.3. MarkAsk yourself where youif ther aree’s (0 a to design Full) on problem each gauge. you’d 3. Asklike toyourself tackle ifin ther anye’s of athese design areas. problem you’d 4. likeNow to ask tackle yourself in any if yourof these “problem” areas. is a gravity 4. Nowproblem. -
Brainstagram: Presenting Diverse Visually Inspiring Stimuli for Creative Design
Brainstagram: Presenting Diverse Visually Inspiring Stimuli For Creative Design Grace Yu-Chun Yen Wei-Tze Tsai Abstract Computer Science Computer Science This paper presents Brainstagram, a web-based tool University of Illinois University of Illinois leveraging the structure of social networks to assist 201 N. Goodwin Avenue 201 N. Goodwin Avenue designers in finding inspiration. One challenge Urbana, IL 61801 Urbana, IL 61801 designers face when brainstorming is knowing how to [email protected] [email protected] search for unlikely sources of inspiration. In our study we present designers with Brainstagram, which Jessica L. Mullins Ranjitha Kumar organizes visual stimuli through tag co-occurrence to Computer Science Computer Science display related concepts. This allows users to easily University of Illinois University of Illinois navigate from relevant to unexpected images. In this 201 N. Goodwin Avenue 201 N. Goodwin Avenue pilot study, 6 participants generated 29 different Urbana, IL 61801 Urbana, IL 61801 designs which were evaluated on creativity and [email protected] [email protected] diversity. Our study demonstrates Brainstagram as a potentially effective tool in the brainstorming process. Author Keywords Copyright is held by the author/owner(s). Creativity; Inspiration; Brainstorming; Design; Social CHI 2015, April 18 – 23, 2015, Seoul, Korea. Media ACM ACM Classification Keywords H.3.3 [Information Storage and Retrieval]: Information Search and Retrieval --- Search process, Selection process; H.5.2 [User Interfaces]: Information and Presentation --- User-centered design. Introduction related to the user’s specific design task. These stimuli Ideation is one of the crucial stages in design process. are intended to help the designer discover new sources Previous work has shown that the originality of a design of inspiration. -
Effective Brainstorming for Designers Overview
EFFECTIVE BRAINSTORMING FOR DESIGNERS OVERVIEW FOCUS THE METHOD + TIMEBOXES x PEOPLE = SYNTHESIZE PROBLEM VOLUME OF IDEAS IDEAS PREPARE BRAINSTORM DISTILL 1. Agree on the business 1. Determine how many people will be in your brainstorm, 1. Post all of your ideas problem you’re trying to solve and the space you’ll be able to hold your meeting. for the team to see— (ideally in a design brief). even those that weren’t 2. Select the design methods that you feel will yield in the meeting. 2. Work with your team to the most appropriate ideas, based on the required final focus your approach to output for the project and the different personalities 2. With your team or in a the problem by creating that will be involved. future meeting, cluster your ideation questions from your design ideas into concept agreed-upon area of focus. 3. Plan out a clear agenda that sets out how the time will maps as a timeboxed be used—down to the minute, with stated idea generation exercise. Move from an goals for everyone involved (a.k.a. timeboxing). overwhelming number of ideas to systematic 4. Reserve the final minutes of your meeting to establish solutions. criteria for evaluating your ideas and outline next steps. ©2012 DAVID SHERWIN | [email protected] | CHANGEORDERBLOG.COM | @CHANGEORDER | ALL RIGHTS RESERVED PREPARING FOR A BRAINSTORM: IDEATION QUESTIONS Let’s start coming up with all sorts of amazing ideas! Wait—where do we even start? First, jot down some ideation questions. They are restatements of issues that form the basis of a design problem. -
Architecture Activist
...not content with the way things are... ActivistAffect change in the established way of doing things. Architecture Philosophy & Practice of the Community Design Center Edited by: Dan Pitera & Craig L. Wilkins ActReflect ii Book Editors: Craig L. Wilkins, Ph.D., AIA, NOMA, ARA Instructor, University of Michigan Taubman College of Architecture + Urban Planning Former Director, Detroit Community Design Center Dan Pitera, FAIA, ACD Professor, University of Detroit Mercy School of Architecture Executive Director, Detroit Collaborative Design Center Book Design: Dan Pitera, FAIA, ACD Cover Image: DCDC Workshop Process with The Alley Project, Southwest Detroit ISBN: 978-0-9904595-3-8 © 2015 Detroit Collaborative Design Center, University of Detroit Mercy School of Architecture iii Thank You ...to all those who help expand the nature of all practices to include more people, more programs and more geographies. iv Preface You are not a profession that has distinguished itself by your social and civic contributions to the cause of civil rights. You are most distinguished by your thunderous silence and your complete irrelevance….You are employers, you are key people in the planning of our cities today. You share the responsibility for the mess we are in, in terms of the white noose around the central city. It didn’t just happen. We didn’t just suddenly get this situation. It was carefully planned….It took a great deal of skill and creativity and imagination to build the kind of situation we have, and it is going to take skill and imagination and creativity to change it. We are going to have to have people as committed to doing the right thing, to “inclusiveness,” as we have in the past to exclusiveness. -
Using Creativity Techniques in the Product-Innovation Process
61-03-83 USING CREATIVITY TECHNIQUES IN THE PRODUCT-INNOVATION PROCESS Horst Geschka uring the process of product innovation, numerous problems that require creative solutions are encountered. These problems include D recognizing of customer needs, generating ideas for new products or product applications, developing new product concepts, finding solutions for technical problems, adjusting the production process, and developing a marketing concept for the market launch. A number of solutions may be developed for each of these problems. Through screening and evaluation, the best solutions serve as a point of departure for the next step in the product-innovation process (see Exhibit 1). Solutions can be found by means of technical know-how and experience. However, solutions can also be developed systematically by applying creativity techniques. New product ideas often result from the efforts of a few highly creative individuals whose brilliant ideas are turned into new products. Although this method of developing new product ideas is often successful, an organization cannot merely depend on a few highly creative individuals. The reasons for this are: Only a limited number of people within an organization can be labelled “highly creative.” Experience shows that within certain professions less than 10% of the people can be indicated as highly creative. This means that when these people are the only ones that an organization can depend on, the production of useful ideas is rather limited. New products are now being developed systematically. Because the process of product development has a fixed sequence, creative input is required at certain fixed moments in the process. Therefore, a company must be able HORST GESCHKA is the founder of Geschka & Partner Management Consultants and professor at the Technical University of Darmstadt, Germany. -
Engaged Design and the Practice of Fashion Hacking: the Examples of Giana Gonzalez
Fashion Practice, Volume 1, Issue 2, pp. 163–186 DOI: 10.2752/175693809X469148 Reprints available directly from the Publishers. Photocopying permitted by licence only. © 2009 Berg. Engaged Design and the Practice of Fashion Hacking: The Examples of Giana Gonzalez Otto von Busch and Dale Sko Otto von Busch is a haute couture Abstract heretic, DIY-demagogue, and artistic researcher in socially engaged fashion design. He is a This article draws attention to how hacking, as a mode of practice, can researcher at the Business and be applied to fashion design processes. Hacking, originating from the Design Lab at School of Crafts and world of software programming, features characteristics that could be Design, University of Gothenburg, Sweden. More of his research of essential value when departing on participatory, engaged or sustain- projects can be found at able fashion endeavors beyond the modes of production we see com- www.selfpassage.org. mon in the industry today. Being networked and collaborative, hacking [email protected] is a constructive practice rather than subversive and can be a comple- mentary modus operandi to the workings of the traditionally hierarchi- cal fashion system. The first part of the article examines the origins 164 Otto von Busch and methods of hacking and their application outside of the computer world. The second part applies these ideas to fashion design and ex- amines two cases: Giana Gonzalez project “Hacking-Couture” and a workshop organized by the author at a shoe factory in Dale, Norway. The article finishes with a short discussion on how fashion hacking can act as a tool for empowerment and cultivation of craftsmanship among people who were once only “passive” consumers.