Dissertationen zum Thema „Design“
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1
Sjöberg, Moa. „Allt utom väggarna : En studie som undersöker rumslighet och hierarkier“. Thesis, Linköpings universitet, Malmstens Linköpings universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-168705.
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The aim of this thesis is to explore how a furniture designer can create spatiality, by studying how other people in creative spheres achieve spatial quality. The project also highlights the patriarchal hierarchies that can set within the creative sphere. This article scratch the surface to be able to break the norms and create perspective richness in how we consider objects, space and various professionals in the creative sphere. The project takes shape in the small object, then develop and give shape to the larger object and eventually create the space.
2
Kliiman, Kristin, und Annie Ekblom. „The effect of constraints in creativity : From the perspective of web designers“. Thesis, Tekniska Högskolan, Högskolan i Jönköping, JTH, Datateknik och informatik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-43643.
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Purpose – Web is no longer solely about functionality and information as it used to be. Nowadays the aesthetic aspects, including creativity, could be considered just as important. However, web designers still need to fulfil the needs of clients and users in the design process which causes various design constraints. Therefore, this study aims to investigate how web designers’ creativity is affected by various design constraints. This is explored by one main research question and a sub-question: 1.) How is web designers’ creativity affected by design constraints?; 1.1) What could cause web designers to break web design guidelines? Method – This research applied an inductive, qualitative approach with an exploratory view. In order to find answers for the research questions, semi-structured interviews were conducted with 8 participants from the field of web design. The data gathered was later analysed and evaluated through thematic analysis Conclusions – The findings of this study suggest that while there are some positive effects, web designers’ creativity is mostly negatively affected by design constraints. Furthermore, it seems web designers break web design guidelines due to finding them irrelevant and/or to get a more creative outcome as well as breaking them unintentionally. Delimitations – This study only covers how web designers reason regards the research questions and does not include the perspective of web developers. Moreover, this thesis focuses solely on website design and does not involve design for mobile applications.
3
Lau, King-hong, und 柳景康. „Urban gallery for design“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31983972.
4
Tarnoff, David. „Episode 1.1 – The Importance of Hardware Design“. Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/computer-organization-design-oer/1.
5
Tarnoff, David. „Episode 6.07 – 7-Segment Display Driver Design“. Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/computer-organization-design-oer/47.
Annotation:
Sometimes, it’s nice to take a look at old tech to learn a new tool. The 7-segment display has been in our lives for years – mostly in alarm clocks. Join us as we use a Karnaugh map to design a driver for one.
6
Genre, Brice. „Dessiner, désigner : une pratique expérimentale de l'habiter“. Toulouse 2, 2009. http://www.theses.fr/2009TOU20063.
Annotation:
Traiter de l'habiter c'est avant tout considérer la notion d'habitat, terme comme on le verra générique, au-delà de toutes considérations basiques qui en feraient un rassemblement de choses nécessaires à satisfaire des besoins physiologiques. Notre habitat est constitué d'une multitude d'éléments allant des « petits objets » jusqu'aux grands espaces géographiques en passant par l'architecture. L'habitat comme toutes ces choses qui le constituent, n'ont jamais sembler ne répondre qu'en surface à toutes les questions que nous nous posons sur l'espace et le temps, comme s'il se jouait là une toute autre chose, un espace au-delà de l'espace: sensible, complexe et multiple. Ainsi, le véritable intérêt ne semble pas être dans ce que nous avons sous nos yeux, mais plutôt ce qui nous est imperceptible, et que nous avons défini comme étant l'habiter, cette chose reliant le sujet et la perception concomitante qu'il peut avoir de l'espace et du temps, lorsqu'il est en relation avec l' habitat. L'hypothèse est la suivante, l'habiter serait, en quelque sorte, le fait, la substance d'une relation, d'un intervalle entre le sujet et les constituantes de son habitat: ses artefacts. Les implications dans les domaines de l'habitat et, par extension, tout ce qui évoque notre habitabilité du monde, peut relever de cette relation, à savoir que ce sont les intentions définies par le sujet, comme les intentions à l'origine des objets qui forment et font ce qu'est la relation de l'homme au monde, une relation imprégnée de la pensée poétique. Le sujet et l'objet se « forment » et se dessinent ainsi dans la complexité du rapport de l'un à l'autre, dans le temps de cet intervalle inframince qu'est l'habiter. La relation dessein-dessin qui prévaut à la manière de concevoir notre habiter, confère à notre habitat la nécessité d'être poïétiquement construit et élaboré, en reliant expressément l'intention et la manière dans la chose pro-duite tout en développant parallèlement la fonction poétique. Le design semblerait-être en soi l'acte par lequel l'homme dessine la nature de sa relation au monde en en dessinant ses desseins. L'individu se dessine alors au monde dans le même temps où il le dessine. Les idées développées dans ces recherches sont les symptômes et les témoins d'une mutation en cours dans la discipline qu'est le designDealing with the living above all on the concept of habitat, a term as discussed generically, beyond all basic considerations that make it a gathering of things necessary to satisfy physiological needs. Our habitat is composed of a multitude of items ranging from "little things" to large geographic areas through the architecture. Habitat as these are the things that have never appeared in response to surface all the questions we ask about space and time, as if he is playing a completely different thing, space beyond space: sensitive, complex and multifaceted. Thus, the real interest does not appear to be in what we have before our eyes, but which are imperceptible to us, and we have defined as the living, this thing between the subject and the concomitant perception that may have space and time, when in relationship with the habitat. The hypothesis is that the living would, somehow, the fact the substance of a relationship, an interval between the subject and the constituents of its habitat: its artifacts. The implications in the areas of habitat and, by extension, anything that evokes habitability of our world, may fall within this relationship, namely, that intentions are defined by the subject, as the intentions behind objects which are formed and what the relationship of man to the world, a relationship steeped in poetic thought. The subject and object "form" and emerge as the complexity of the report to one another in this time interval inframince what the living. The relation intention-design that prevails in the way of designing our living, our habitat gives the poietic need to be built and developed by linking specific intent and the way in the thing pro-duced while developing parallel function poetic. The design would seem to be in itself an act by which man draws the nature of its relationship to the world by drawing his designs. The individual then draws the world at the same time he draws it. The ideas developed in this research are the symptoms and witnessing a change in course in the discipline of design
7
Libânio, Cláudia de Souza. „O papel do profissional de design e suas interfaces na gestão de design : um estudo de caso“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/31397.
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Este trabalho trata do entendimento das atividades dos profissionais de design participantes da gestão de design e tem como objetivo geral estudar e compreender a atividade desses profissionais, almejando a melhoria dos processos de trabalho desses indivíduos nas empresas. Para alcançar o objetivo geral, foram estipulados objetivos específicos, que correspondem aos três artigos constituintes desta dissertação. O primeiro artigo propõe o desenvolvimento de uma revisão sistemática da literatura brasileira, no que tange à gestão de design, buscando identificar o estado da arte do tema em questão. O segundo foca a revisão sistemática de literatura no profissional de design participante da gestão de design, em nível nacional e internacional. Já o terceiro artigo apresenta um estudo de caso com três profissionais de design, mapeando a atividade interna e externa desses profissionais nas empresas e, assim, esclarecendo a estrutura e os fatores intervenientes dessa atividade, bem como as relações com seus principais interlocutores nas organizações. A metodologia utilizada neste trabalho tem caráter exploratório. Em um primeiro momento, foi realizada uma revisão sistemática de literatura, de natureza aplicada e, em um segundo momento, uma pesquisa qualitativa, a partir de um estudo de caso, com realização de entrevistas em profundidade. Como resultado, pôde-se perceber a estrutura e os fatores intervenientes da atividade do profissional de design, bem como suas relações com seus principais interlocutores nas organizações.This document is about the understanding of the activities of design professionals participating in the design management and aims to study and understand the activity of these professionals, targeting the improvement of the work processes of these individuals in the companies. To achieve the overall objective, specific goals were set, corresponding to the three articles of this dissertation. The first article proposes the development of a systematic review of Brazilian literature, regarding the design management, seeking to identify the state of the art of the theme. The second one focus on the systematic review of the literature of the design professional participating in the design management, in national and international levels. The third article presents a case study with three design professionals, mapping the internal and external activities of these professional in the companies, and, this way, clarifying the structure and intervenient factors of this activity and its relations with its main coworkers in the organizations. The methodology used in this study is exploratory. At first, it was performed a systematic review of the literature, of an applied nature, and, in a second moment, a qualitative research, from a case study, with in-depth interviews. As a result, it was possible to see the structure and intervene factors of the activity of the design professional as well as its relations with its main coworkers in the organizations.
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Camargo, Bruna Costa. „A dimensão social do design de comunicação: conceitos, história e práticas contemporâneas“. Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28686.
Annotation:
Este trabalho investiga o Design de Comunicação com foco na sua dimensão social.
Busca-se perceber como o aspecto social da profissão, sendo este, projetos voltados para
o bem comum, trabalha do ponto de vista histórico e contemporâneo. A investigação procura
assim contribuir com a fomentação do tema e apontar metodologias, diretrizes e possíveis
saídas profissionais em torno dos novos paradigmas que articulam o Design de Comunicação
e a Inovação Social. Compreendidos na dimensão social do Design de Comunicação
são debatidos e relacionados conceitos como Social Design, Citizen Designer, Critical
Design, Design para Sustentabilidade, Design para Inovação Social, Colaborative Design,
Co-Design, Design Thinking e Slow Design. Em um segundo momento, é feito
um resgate histórico focado na dimensão social do Design de Comunicação, com
a identificação de trabalhos e de designers marcantes neste contexto, para perceber seus
contributos para a área. O terceiro capítulo é dedicado ao estudo e análise de práticas
contemporâneas na área da dimensão social do Design de Comunicação, com a finalidade
de perceber abordagens, metodologias de trabalho e saídas de atuação profissionais
possíveis. O quarto capítulo é dedicado as considerações finais, resultados obtidos
e caminhos futuros. Como procedimentos metodológicos, recorre-se a Revisão de Literatura,
análise de Casos de Estudo contemporâneos e Inquéritos com designers de comunicação
e estudantes; ABSTRACT:
This work investigates communication design with a focus on its social dimension. It seeks
to understand how the social aspect of the profession, being this, projects aimed at the
common good works from a historical and contemporary point of view. The investigation
thus seeks to contribute to the promotion of the theme and to point out methodologies,
guidelines and possible professional opportunities around the new paradigms that articulate
communication design and Social Innovation. Understood in the social dimension
of communication design, concepts such as Social Design, Citizen Designer, Critical
Design, Design for Sustainability, Design for Social Innovation, Collaborative Design, are
discussed and related. Co-Design, Design Thinking and Slow Design. In a second step,
a historical rescue focused on the social dimension of communication design is made,
with the identification of outstanding works and designers in this context, to understand
their contributions to the area. The third chapter is dedicated to the study and analysis
of contemporary practices in the area of the social dimension of communication design,
in order to understand approaches, work methodologies and professional performance.
possible. The fourth chapter is dedicated to the final considerations, results obtained and
future paths. As methodological procedures, literature review, analysis of contemporary
cases and surveys with communication designers are used.
9
Peplinski, Jesse D. „Enterprise design : extending product design to include manufacturing process design and organization design“. Diss., Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/18242.
10
Stuckey, Rachel E. „Creating a Model for Developmental, Cross-Cultural Design“. University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342716398.
11
Perolini, Petra S. „Futuring Design: Transforming Interior Design using Design Futures Theory“. Thesis, Griffith University, 2020. http://hdl.handle.net/10072/393969.
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Design studies traditionally examine the process of design in the context of how that process contributes to the creation of the designed object, system or structure. That is, a successful design process is measured by the capacity and efficiency with which it results in an object, space or system. In many cases, there is no measure of how well-designed these outputs are, at most; such measures will generally be limited to cost, efficacy and user satisfaction. Further, the notion of what constitutes well-designed is arbitrary and inconsistent across disciplines. The theory of Design Futures highlights the crucial implications of design on society and the environment in which the designed object operates over its lifetime. This thesis deals with the challenge of finding ways to incorporate the principles of Design Futures to improve design practice so that it incorporates both the lessons learned from historical enquiry and the experience of design practitioners who have attempted to incorporate these historical lessons. Inevitably, any attempt to improve design practice must engage with education practice to ensure that designers acquire the principles and methods of design which they apply in their professional practice.
Human-centred design focuses on the impact of the design on the user as they make use of the space, dwelling or object that has been designed and Design Thinking facilitates this by framing the problem as broadly and contextually as possible and iteratively reviewing the design approach with the user. Design Futures is one of a number of theories, or movements, that extends the context to the long term social, environmental and cultural implications of the design. This research builds on that work to discover a framework that connects theory to practice and how that framework might be used in educating designers to embed that theory into their practice thereby assisting them to take responsibility for the long term cultural, social and environmental implications of their design.
This research sets out to link the theory and the practice by creating a Design Futures framework and integrating it into the curriculum of an Interior Design course. This challenges the superficial view of Interior Design with a view to teaching a socially responsible design practice that takes a long-term view. Such a curriculum is built on the theoretical underpinnings of Design Futures and is informed by the key principle that a designer is responsible for the social, cultural and environmental impact of their design. The term sustainability is used in this research to include these impacts over the long-term.
This review unfolds in a narrative that moves from the literature review of Interior Design theory and practice in chapter one to an analysis of Urban Planning and its social impacts in chapter two. This second phase combines the literature review with interviews to explore the mechanics of change through an examination of the theory and practice of Urban Planning. The chapter on Authenticity extracts and examines a framework based on the variables of success developed by Price Waterhouse Coopers and summarised by the Greater Namoi Chamber of Commerce, to determine criteria for urban planners to measure the “Success of the City.”
Interviews were carried out with the founder and residents of Common Ground and with the urban planners commenting on authenticity. The practitioners actively engaged in the research as they commented on the value of authenticity as a framework for measuring the impact of gentrification as well as on the authenticity of their practice.
Given the apparent power of a framework to record and collate quantitative action research, these frameworks are then examined and compared with the Authenticity framework, to create the proposed Design Futures framework. This framework is then tested against Action Research previously undertaken by the author to explore its aptness for measuring Design Thinking and ways in which it might be employed pedagogically.
There are two separate sets of Action Research used to retrospectively review the Design Futures framework. Firstly, the author and colleagues undertook major external projects applying Design Futures theory to refine, develop and promote it. In addition, the students engaged in delivering design projects to real-world clients by applying Design Futures methodology and so were actively engaged in developing and testing the concepts that were later incorporated as the components of the Design Futures framework developed in this thesis.
By working with the students to refine and test the application of Design Futures theory, the research actively engages the students as participants in the research that they are applying. By developing the framework and the Action Research independently but from the same underpinning theory, it is possible that built in assumptions have been reinforced rather than exposed. Methods for overcoming this weakness are addressed in the conclusion.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
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DeVore, Kelly C. O'Gorman. „Design Activism and Design Education: Seeds for Responsive Design Education“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342817424.
13
Anastácio, Ana Filipa Fonseca. „Design ecológico: as iniciativas em Portugal“. Master's thesis, Universidade da Beira Interior, 2008. http://hdl.handle.net/10400.6/1441.
Annotation:
Durante as últimas décadas, os consumidores começaram a perceber os efeitos ambientais que algumas das suas escolhas diárias provocam e tentam fazer algo para ajudarem a melhorar o ambiente.
Os designers têm percebido a importância e influência que o design tem para responder a essa necessidade ambiental dos consumidores criando objectos que não prejudiquem o ambiente. Nesse sentido, o Design Ecológico apresenta-se como uma oportunidade para reduzir o impacto ambiental dos produtos ao mesmo tempo que oferece qualidades estéticas, preocupando-se com essa redução desde a escolha dos materiais até ao final da vida de um produto. Apesar das várias iniciativas de que todos temos conhecimento, são poucos os estudos desenvolvidos e publicados a nível
Nacional. São vários os designers e empresas que se preocupam em criar produtos “amigos do ambiente”. Nesse sentido, pretende-se com esta investigação dar a conhecer algumas das iniciativas que são tomadas e os seus efeitos perante a sociedade e o ambiente.During the last decades, consumers began to understand the environmental effects that some of their daily choices cause and try to make something to help improve the environment. Designers have realized the importance and influence that design has to respond that environmental necessity creating objects that do not harm the environment. In that sense, the Ecological Design presents itself as an opportunity to reduce the environmental impact of products while offering aesthetic qualities, looking up for this reduction since the choice of materials until the end of life of a product. Despite the various initiatives that we all know, very few studies are developed and published nationally. There are several designers and companies that are concerned with creating products "environmentally friendly". In that sense, seeks to it is with this research, discover some of the initiatives being taken and their effects to the society and the environment.
14
Gerstheimer, Oliver. „Service Design = Kognitives Design [Präsentationsfolien]“. Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-213988.
15
Gomez, Rafael. „Experience design and automotive design“. Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16172/1/Rafael_Gomez_Thesis.pdf.
Annotation:
This thesis centres on experience design and automotive design. The aim is to investigate the emotional experience of the driving activity. The research question driving the study is: "How can experience design influence the driving activity?" Experience design proposes to explore emotional aspects of interactions in context. A model of the human-product-environment relationship, using activity theory as its foundation, is presented. The model is used to situate the overall experience of driving.
An experiment exploring the overall emotional experience in real driving situations was conducted. Participants were required to drive around a specified route while performing particular tasks with the vehicle interface. A data triangulation approach was employed involving interviews, think-aloud protocols and observations.
Findings indicate that context together with the emotional state of the driver before driving impacts the overall emotional experience. Positive emotional states before driving with no interaction challenges in high-traffic contexts generated neutral overall experiences. However, positive emotional states before driving with interaction challenges in high-traffic contexts generated negative overall experiences. Negative emotional states before driving combined with interaction challenges in high-traffic contexts generated
positive emotional experiences. It appears that positive emotions associated with overcoming challenging interactions in high-traffic contexts reflect positively on the overall experience. Emotions elicited in low and mediumtraffic contexts did not affect the overall experience. Another finding suggests that extended visual interaction with interface in high-traffic context generates negative emotions.
It is proposed that vehicle interfaces should adapt appropriately to their surrounding context to support positive (and avoid negative) emotional experiences. In low and medium-traffic contexts interfaces may encourage interactions. In high-traffic contexts, if the driver is in a positive emotional state before driving interfaces may discourage challenging interactions. If the driver is in a negative emotional state before driving the interface may encourage challenging interactions.
In conclusion, this study proposes the application of current and upcoming technologies for future automotive interiors to enhance positive (and reduce negative) emotional experiences within the driving activity.
16
Gomez, Rafael. „Experience design and automotive design“. Queensland University of Technology, 2005. http://eprints.qut.edu.au/16172/.
Annotation:
This thesis centres on experience design and automotive design. The aim is to investigate the emotional experience of the driving activity. The research question driving the study is: "How can experience design influence the driving activity?" Experience design proposes to explore emotional aspects of interactions in context. A model of the human-product-environment relationship, using activity theory as its foundation, is presented. The model is used to situate the overall experience of driving. An experiment exploring the overall emotional experience in real driving situations was conducted. Participants were required to drive around a specified route while performing particular tasks with the vehicle interface. A data triangulation approach was employed involving interviews, think-aloud protocols and observations. Findings indicate that context together with the emotional state of the driver before driving impacts the overall emotional experience. Positive emotional states before driving with no interaction challenges in high-traffic contexts generated neutral overall experiences. However, positive emotional states before driving with interaction challenges in high-traffic contexts generated negative overall experiences. Negative emotional states before driving combined with interaction challenges in high-traffic contexts generated positive emotional experiences. It appears that positive emotions associated with overcoming challenging interactions in high-traffic contexts reflect positively on the overall experience. Emotions elicited in low and mediumtraffic contexts did not affect the overall experience. Another finding suggests that extended visual interaction with interface in high-traffic context generates negative emotions. It is proposed that vehicle interfaces should adapt appropriately to their surrounding context to support positive (and avoid negative) emotional experiences. In low and medium-traffic contexts interfaces may encourage interactions. In high-traffic contexts, if the driver is in a positive emotional state before driving interfaces may discourage challenging interactions. If the driver is in a negative emotional state before driving the interface may encourage challenging interactions. In conclusion, this study proposes the application of current and upcoming technologies for future automotive interiors to enhance positive (and reduce negative) emotional experiences within the driving activity.
17
Vardouli, Theodora. „Design-for-empowerment-for-design : computational structures for design democratization“. Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/72864.
Annotation:
Thesis (S.M. in Architecture Studies)--Massachusetts Institute of Technology, Dept. of Architecture, June 2012."June 2012." Cataloged from PDF version of thesis.
Includes bibliographical references (p. 107-112).
The vision to engage non-architects in the design of their habitat through the mediation of computer aids, dates back to the early computational era (1960s-1970s) and is currently being recast under cyber-cultural and technological influences. The computational tools enabling this architectural do-it-yourself-ism have been traditionally conceptualized as mediating "infrastructures:" neutral and non-defining control systems, which ensure the validity of the designs produced by the non-expert users without distorting their personal hypotheses. Through a critical comparative analysis of two basal computational systems for design "democratization," as discussed in Yona Friedman's and Nicholas Negroponte's early 1970s writings, this thesis illustrates that the "infrastructure" metaphor was engendered and still resides in a positivist paradigm of design, allowing for little freedom or intuition on behalf of the user. Rather than denouncing the internal contradictions of the "structure for freedom" model, this thesis inquires into the computational structures of Friedman's and Negroponte's proto-computational proposals in order to identify and critique the assumptions which underpin their optimism about the non-paternalistic character of their control systems. By exposing the discursive role of the internal workings of the two systems in their authors' arguments, along with their cultural and historical biases, this research aims to problematize inherited approaches to computational tools for user empowerment in design which persist until the present, and to hint to new programmatic agendas.
by Theodora Vardouli.
S.M.in Architecture Studies
18
Aluru, Gunasekhar. „Exploring Analog and Digital Design Using the Open-Source Electric VLSI Design System“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849770/.
Annotation:
The design of VLSI electronic circuits can be achieved at many different abstraction levels starting from system behavior to the most detailed, physical layout level. As the number of transistors in VLSI circuits is increasing, the complexity of the design is also increasing, and it is now beyond human ability to manage. Hence CAD (Computer Aided design) or EDA (Electronic Design Automation) tools are involved in the design. EDA or CAD tools automate the design, verification and testing of these VLSI circuits. In today’s market, there are many EDA tools available. However, they are very expensive and require high-performance platforms. One of the key challenges today is to select appropriate CAD or EDA tools which are open-source for academic purposes. This thesis provides a detailed examination of an open-source EDA tool called Electric VLSI Design system. An excellent and efficient CAD tool useful for students and teachers to implement ideas by modifying the source code, Electric fulfills these requirements. This thesis' primary objective is to explain the Electric software features and architecture and to provide various digital and analog designs that are implemented by this software for educational purposes. Since the choice of an EDA tool is based on the efficiency and functions that it can provide, this thesis explains all the analysis and synthesis tools that electric provides and how efficient they are. Hence, this thesis is of benefit for students and teachers that choose Electric as their open-source EDA tool for educational purposes.
19
Seeger, Ida. „User eXperience : Design, teknik, business – men vad innebär det egentligen?“ Thesis, Högskolan i Gävle, Industridesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-30764.
Annotation:
User Experience, UX, som till en början främst användes inom IT-världen och sägs härstamma från HCI (Human Computer Interaction) används idag i allt större utsträckning. Den här studien syftar till att förtydliga vad UX innebär, hur definieras det samt hur ser yrkesrollerna ut inom UX. Denna studie är en jämförelse mellan teori och praktik för att se om praktiken matchar litteraturen. Ytterligare fokus ligger på organisationers UX-mognad samt vad det innebär för någon som är yrkesverksam inom UX. Vad innebär det för designers när mognaden är låg respektive hög? I den här studien användes huvudsakligen metoderna litteraturstudie, semi-strukturerade intervjuer där deltagarna alla är aktiva utövare inom UX och en enkät om upplevd UX-mognad. UX kommer från användbarhet, då användbarhet anses för snävt för att täcka alla områden man jobbar med vid utvecklingen av en produkt eller tjänst. I teorin beskrivs UX till större del som ett användarfokuserat arbetssätt där användaren ses som experten istället för designern. Eftersom det idag finns en uppsjö av digitala produkter och tjänster har UX blivit viktigt för att kunna uppnå ökad konkurrenskraft på marknaden. Därav har allt fler organisationer börjat intressera sig för UX. För att veta vart en organisation befinner sig i UX-mognaden finns en mängd olika UXmognadsmodeller som kan vara användbara för att fastställa detta samt guida hur en organisation kan avancera. Om UX-mognaden är låg innebär det att ingen eller få jobbar med UX i en organisation. Är det få som jobbar med UX innebär det att de får ta på sig en väldigt bred roll, det blir ett väldigt stort ansvar. Är det verkligen rimligt att en person ska behöva bära det ansvaret? Är däremot UX-mognaden är hög så jobbar hela team eller hela organisationen med UX på något sätt. Det underlättar för designer och bidrar till att skapa ett bättre samarbete inom organisationen. Men om allt fler använder sig av UX och det blir en del av flertalet olika yrken, vad kommer då hända med rollen?
20
Kickbusch, Steven. „How learning designers work with teachers“. Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/235922/1/Steven%2BKickbusch_PhD_Thesis_2022%282%29.pdf.
Annotation:
This thesis investigates the relationship between learning designers and teachers by addressing the question: How do learning designers work with teachers to develop their capability to design for learning? It explores the role of learning designers as both co-designer and coach through studies into the way that these roles play out during learning design sessions and the methods available for investigating them. It investigates how learning designers facilitate teachers’ development in three ways: design mindshift progression, design for learning skills and processes, and pedagogical skills for enacting learning designs.
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Li, Yawei, und Yuanzhe Wu. „Design of a cycloid reducer : Planetary stage design, shaft design, bearing design, bearing selection, and design of shaft related parts“. Thesis, Linnéuniversitetet, Institutionen för teknik, TEK, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-19758.
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The RV reducer (one tpye of cycloid reducer) which has two stage transmissions is widely used in manyfields of engineering. This project is going to design the first stage of the RV reducer, as well as therelated components. The details contain design of input shaft, planetary gears, output shaft, generalbearings and eccentric bearings. The fatigue analysis is mostly used in the calculation process becausethe fatigue failure happens frequently in such rotation machine. In the same time, the general bearingsdesign is based on SKF General Catalogue and the eccentric bearings design is supported by theChinese standard.
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Chomtee, Boonorm. „Comparison of design optimality criteria of reduced models for response surface designs in a spherical design region“. Diss., Montana State University, 2003. http://etd.lib.montana.edu/etd/2003/chomtee/ChomteeB_03.pdf.
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In this dissertation, the major objective is to compare 3 and 4 factor response surface designs in a spherical design region by studying design optimality criteria (D, A, G, and IV-criteria) over sets of reduced models. Hence, theoretical and computational details of evaluating optimality criteria for reduced models for response surface designs in a spherical design region have been described. Specifically, robustness results of the spherical response surface designs and the comparison of design optimality criteria of the response surface designs across the full second-order model and sets of reduced models for 3 and 4 design variables based on the four optimality criteria (D, A, G, and IV-criteria) are presented. Also, new types of D, A, G, and IV optimality criteria for response surface designs in a spherical design region are developed by using prior probability assignment to model effects (for some specified values of pl, pq, p 1, and p2). The four new D, A, G , and IV optimality criteria will be referred to as weighted design optimality criteria. The weighted design optimality criteria of the response surface designs across the weak heredity and strong heredity reduced models for 3 and 4 design variables are evaluated.
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Palaoro, Stefania. „Arch bridges: Design - Construction - Perception“. Doctoral thesis, University of Trento, 2011. http://eprints-phd.biblio.unitn.it/504/1/Stefania_Palaoro_Arch_bridges%2Cdesign-construction-perception.pdf.
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The arch bridges have an historical development, that is rooted in their ancient tradition, yet are also very successful to this day, a rediscovery of the earliest arched forms can be seen in the most recent innovations. After millennia of masonry arch bridges and almost two centuries of relentless development of iron, steel and concrete arch bridges, with different structural schemes and constructive shapes, there was a moment that this type of structure was bound to disappear.
The scope of traditional arch bridges, which refers mainly to the ones of small and medium span, was to become the uncontested role of the girder bridges. The reuse and the assertion of the arch bridge has been accompanied by a strong architectural emphasis on their structural design and constructive details. This relation, increasingly important during the design phase between the concept of FORM and of STRUCTURE, has ensured that many new projects link the strong relationship between TRADITION and technological and constructive INNOVATION.
I ponti ad arco sono quelli che presentano un’evoluzione storica che fonda le sue radici nella tradizione più antica, ma anche quelli che ricevono all’oggi il maggior successo, una riscoperta delle prime forme arcuate che ritornano quasi come una moda ma con l’impiego delle recenti innovazioni: dopo millenni di ponti ad arco in muratura e quasi due secoli di inarrestabile sviluppo di ponti ad arco in ghisa, di ferro, acciaio e di cemento armato, accompagnato da diversi schemi strutturali e di forme costruttive, sembrava che questa tipologia fosse destinata a scomparire. Infatti il campo tradizionale dei ponti ad arco che si riferiva soprattutto ai ponti di media luce era divenuto oramai dominio incontrastato dei soli ponti a travata. Il riuso e il riaffermarsi del ponte ad arco è stato accompagnato da una forte accentuazione architettonica della loro concezione strutturale e dei loro dettagli costruttivi. Il rapporto sempre più importante in fase progettuale di correlare il concetto di FORMA con quello di STRUTTURA ha fatto in modo che molte nuove opere d’arte di nuova realizzazione unissero in sé il forte rapporto tra TRADIZIONE e INNOVAZIONE tecnologica e costruttiva.
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Bagley, Matthew R. 1966. „Modeling an automobile steering system using Axiomatic Design's Design Matrix and the Design Structure Matrix“. Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/34823.
Annotation:
Thesis (S.M.)--Massachusetts Institute of Technology, System Design & Management Program, 2005.Includes bibliographical references (p. 128-129).
The automobile steering system can be thought of as a system within a system. The steering system has clear functions and requirements as well as many interrelated components and subsystems including the front tires, wheels, front suspension, steering gear, intermediate shaft, column and steering wheel. System decomposition is an important aspect of this system analysis. The scope of this thesis is the steering system and steering attributes of a particular new model program code named UXXX. An important element of this research is a case study where an error state called Nibble was discovered late in the program. The attempted resolution of the concern caused much turmoil and drove higher component costs, engineering costs, launch delays, warranty costs and decreased customer satisfaction. The main objective of this work was to execute good system analysis to understand key interactions within the system and to provide documentation and knowledge transfer of key discoveries. A requirement based Design Structure Matrix (DSM) was used as the primary methodology for system analysis. In order to construct the DSMs, Axiomatic Design's Design Matrix (DM) was used to develop Functional Requirements (FRs) and Design Parameters (DPs). The requirements based DSM was derived from the DM. DSMs were created from requirements based interactions, spatial interactions and Nibble relationships (Design Parameters influencing Nibble). Herein outlines an approach for synthesizing functional requirements to create a quality Design Matrix and then transform into a DSM. One key discovery is in the development of FRs using a left-to-right and then a right-to-left approach followed by synthesis. Another important development is a matrix comparison
(cont.) method where matrices of different types of interactions are compared through matrix addition. Discussion of key questions from the case are presented as well as conclusions, recommendations and proposed future work.
by Matthew R. Bagley.
S.M.
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Vernier, Michelle. „Design i cirklar : En studie i cirkulär designs inverkan på klädindustrin“. Thesis, Stockholms universitet, Modevetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-167268.
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Souza, Aline Teixeira de [UNESP]. „Diretrizes projetuais e as tendências: o design de móveis residenciais no pólo de Arapongas-PR“. Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/89727.
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souza_at_me_bauru.pdf: 16885214 bytes, checksum: e974fef72194a2e267c8f353609ebafd (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
As constantes transformações sociais, culturais e políticas influenciam diretamente a vida das pessoas e delimitam suas necessidades e gostos. As tendências têm o papel de sinalizar por meio desses fatos as preferências das pessoas em relação aos objetos, podendo ser, portanto, grandes aliadas do design, já que este trabalha com projeto que é uma atividade de planejamento do futuro. Neste contexto, este trabalho teve por objetivo caracterizar o emprego das tendências na metodologia de projeto de móveis residenciais brasileiros. Para tanto: foram estudados aspectos teóricos que deram origem à fundamentação; foi realizada uma pesquisa de campo em cinco indústrias do Pólo Moveleiro de Arapongas/PR; e uma pesquisa de possíveis referências para o desenvolvimento de móveis no Brasil. os resultados indicaram: o uso incorreto e equivocado do conceito de tendência e o desconhecimento do modo que elas operam; a falta de conhecimento a respeito do perfil do consumidor nas indústrias do setor; a preocupação com as vendas e não o consumidor enquanto usuário do móvel; e por fim, a existência de fontes brasileiras de referências, mas a falta de profissionais especializados que poderiam decodificar essas fontes.
Constant social, cultural and political transformatios influence directly people's life and define their needs and tastes. Trends are the role of signaling through these facts as people's preferences regarding to objects and can therefore be match to great design, as it works on that project is an activity of planning for future. In this context, this study aimed to characterize trends job in Brazilians home design methodology. For both: theoretical aspects were studied that led to reasoning, was a field research in five industries of Furniture Pole of Arapongas/PR, and a search for possible reference to development of furniture in Brazil. Results indicated: misure and mistaken concepts of trend and ignorance of how they operate, lack of knowledge about industries sector consumer profile, the concern about sales and not with consumer as furniture user and finally, the existence of Brazilian sources of references but the lack of skilled professionals that could decode these sources.
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Gu, Ning. „Dynamic Designs of Virtual Worlds Using Generative Design Agents“. Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/984.
Annotation:
This research aims at developing a different kind of virtual world that is dynamically designed and implemented as needed. Currently, most virtual world designs are considered static. Similar to the physical world, these worlds are pre-defined prior to their use. The resultant environments serve certain purposes but do not take into consideration possible changes to the purposes during their use, changes which often occur when the occupants interact with the environments and with each other. Virtual worlds as networked environments can be flexibly configured and programmed. This flexibility makes it possible to consider virtual world designs in terms of dynamics and autonomy, reflecting the changing needs of different moments. To achieve dynamic designs of virtual worlds, this study applies a computational approach using rational design agents. A Generative Design Agent (GDA) model is developed that specifies computational processes for reasoning and designing in virtual worlds. The GDAs serve as personal design agents to the virtual world occupants. Design formalisms for virtual worlds are also addressed. The design component of a GDA is supported by the application of a generative design grammar. On one hand, generative design grammars serve as the generative force to be applied by the GDAs for virtual world design automation. On the other hand, each grammar defines coherent stylistic characterisations shared by the virtual world designs it generates. The technical outcomes of the research consist of the GDA model and a generative design grammar framework. The framework provides guidelines and strategies to designers for developing generative design grammars that produce different design languages for virtual worlds, rather than predefine every detail of all possible virtual world designs. GDAs monitor the virtual worlds and the various activities that occur in the worlds, interpret the occupants’ needs in the virtual worlds and the state of the worlds based on these observations, hypothesise design goals in order to satisfy these needs, and finally apply generative design grammars to provide virtual world designs for the moment, or initiate other actions in the worlds, according to the current design goals, on behalf of the occupants. The development of the GDA model and the generative design grammar framework provides new perspectives for understanding and developing virtual worlds. The GDA model challenges the conventional way that virtual worlds are designed and implemented, and this leads to dynamic designs of virtual worlds. The generative design grammar framework provides a computational approach to formally defining design languages for virtual worlds.
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Gu, Ning. „Dynamic Designs of Virtual Worlds Using Generative Design Agents“. Architecture, 2006. http://hdl.handle.net/2123/984.
Annotation:
Doctor of Philosophy (PhD)This research aims at developing a different kind of virtual world that is dynamically designed and implemented as needed. Currently, most virtual world designs are considered static. Similar to the physical world, these worlds are pre-defined prior to their use. The resultant environments serve certain purposes but do not take into consideration possible changes to the purposes during their use, changes which often occur when the occupants interact with the environments and with each other. Virtual worlds as networked environments can be flexibly configured and programmed. This flexibility makes it possible to consider virtual world designs in terms of dynamics and autonomy, reflecting the changing needs of different moments. To achieve dynamic designs of virtual worlds, this study applies a computational approach using rational design agents. A Generative Design Agent (GDA) model is developed that specifies computational processes for reasoning and designing in virtual worlds. The GDAs serve as personal design agents to the virtual world occupants. Design formalisms for virtual worlds are also addressed. The design component of a GDA is supported by the application of a generative design grammar. On one hand, generative design grammars serve as the generative force to be applied by the GDAs for virtual world design automation. On the other hand, each grammar defines coherent stylistic characterisations shared by the virtual world designs it generates. The technical outcomes of the research consist of the GDA model and a generative design grammar framework. The framework provides guidelines and strategies to designers for developing generative design grammars that produce different design languages for virtual worlds, rather than predefine every detail of all possible virtual world designs. GDAs monitor the virtual worlds and the various activities that occur in the worlds, interpret the occupants’ needs in the virtual worlds and the state of the worlds based on these observations, hypothesise design goals in order to satisfy these needs, and finally apply generative design grammars to provide virtual world designs for the moment, or initiate other actions in the worlds, according to the current design goals, on behalf of the occupants. The development of the GDA model and the generative design grammar framework provides new perspectives for understanding and developing virtual worlds. The GDA model challenges the conventional way that virtual worlds are designed and implemented, and this leads to dynamic designs of virtual worlds. The generative design grammar framework provides a computational approach to formally defining design languages for virtual worlds.
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Pimentel, Ronald Ward 1955. „Consumer preference for logo designs: Visual design and meaning“. Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/282334.
Annotation:
Logo designs provide a quick visual shorthand for all the meaning, associations, and equity associated with a brand. Virtually all major companies utilize logos, but there is little theory-based research regarding logo design published in marketing and consumer behavior journals. Related research from psychology regarding preference for visual images has generally used special stimuli created for the laboratory that do not carry the meaning that logos acquire in the markerplace and consequently have very limited generalizability. This study seeks to begin to fill the void by examining preference for actual, familiar logo designs. An improved understanding of preference for logo designs can be a great advantage to a company considering a logo design change. The costs involved in such a change can be enormous. Beyond the cost of the services of graphic designers, a change in logo design incurs the cost of changing everything that displays the logo, and any lost sales that may result if the new design is ineffective in some way. The equity of the brand may be connected to the logo design, so a change in the design of the logo may have long-term implications. Many logos have evolved over the years through successive changes to keep the designs from becoming outdated. This study examined theoretical bases for such activity. According to adaptation-level theory (McClelland et al. 1953), individuals become adapted to an object or image due to experience with it. Slight changes to this adaptation level result in increased preference while drastic changes result in decreased preference. These effects are represented by the distinctive butterfly curve. The current study developed a technique that allows for differentiation of visual designs, indicating the degree of change. This was used to test whether adaptation-level theory applies to familiar logo designs. The results indicate a general preference for no changes in familiar logo designs. While practitioners make changes in logo designs that are consistent with adaptation-level theory, it appears that consumers react instead, in accordance with social judgment theory--they tolerate rather than prefer the changes.
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Mannapperuma, Chanaka. „Try to Understand Design and Design Process“. Thesis, Umeå University, Department of Informatics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-35027.
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It is difficult for designers to explain what they do. In addition,those unfamiliar with design do not understand the rigor and logic of design thinking and process .We can’t formulate pre defined model for design process because every design situation is unique and new situation. But I tried to formulate my own model for design process as common with Inspirations from my supervisors/Lectures. I tried to describe what is design? And what is design process? In this paper.This personal position paper explores the personal improvement throughout the course work and what I learnt though out the course work.
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Herrmann, Amy Elizabeth. „Coupled design decisions in distributed design“. Thesis, Georgia Institute of Technology, 1999. http://hdl.handle.net/1853/16656.
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McDonagh, D. C. „Empathic design : emerging design research methodologies“. Thesis, Loughborough University, 2006. https://dspace.lboro.ac.uk/2134/7785.
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A new relationship between product designers and the users of products is emerging. It is now being realised that users have complex supra-functional needs, which include the emotional, spiritual, social, tribal aspects of the relationship between particular products and the user/consumer'. Users seek more than mere functionality. In order to meet these needs designers need to actively develop research methodologies that are specifically aimed at collecting design relevant data which includes the often difficult to grasp elements of the supra-functional. The comfort zone for many designers involves designing products for themselves (or people like themselves) when intuition and insight can be closely matched. In modern, international markets and with increasingly demanding consumers, such approaches are inadequate. However, it is possible for designers to become directly immersed in researching users' needs and experiences rather than rely on third party research which, whilst potentially valuable, does not enable the same intimacy and potential for growth of experience for the designer. This approach is termed empathic design research. It seeks to broaden designers' 'comfort zone' by expanding the number of people they can empathise with, broadening their 'empathic horizon'. This thesis presents a body of published work by the author that explores the position of design research in relation to the changing role of Industrial/Product designers. The thesis consists of an introductory paper that pulls together the various strands in the published work. Following this a set of ten journal papers, one refereed conference paper and three book chapters is presented. The work as a whole defines a number of research approaches that designers can employ to elicit and understand users' suprafunctional needs. The papers establish the evolving context of product design and the growing interest in User-centred Design in its various forms. They examine research approaches that extend beyond user observation, involvement and draw the designer into a more empathic contact with users to illuminate functional and supra-functional requirements. Designers must learn to 'get under the skin' of the user; to develop empathy with users from population groups very different from their own in terms of culture, age and ability. This empathic intimacy can result in data generation and insight with this evaluation becoming an integral part of the designing process. The changing role of the product designer, as well as the nature of the design research process, frames the argument for adopting an empathic design research model. Finally, the author explores the implications of this important paradigm shift for design education.
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Vadhavkar, Sanjeev Sureshchandra. „Augementing design patterns with design rationale“. Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/43291.
Annotation:
Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Civil and Environmental Engineering, 1997.Includes bibliographical references (leaves 100-103).
by Sanjeev Sureshchandra Vadhavkar.
M.S.
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Ling, Andrea Shin. „Design by decay, decay by design“. Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/120696.
Annotation:
Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2018.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 136-139).
THE USE of biological agents, such as bacteria, fungi, plant material, and insects, is proposed as a viable design methodology that can include end-of-life material treatment and re-use as part of the design process. Decay, typically thought of as a destructive process with spatially and temporally unpredictable results can be potentially designed to high levels of spatial and temporal tunability, such that the product of decay can still be of value to the designer. In particular, could microbes, in combination with water, be guided to selectively disintegrate, and potentially also then be harnessed as agents of assembly, enabling design construction instead of destruction? What would the ecology of this system that includes the microbes, biocompatible substrate, and contextual environment, look like? How might it behave and how might this affect how architects design the built environment? The main goal of this thesis is to understand how water-induced decay of biocomposite-based artifacts might be designed such that the deterioration process has use-value for the designed artifact and how this decay might be harnessed as a formative agent instead of only as a deconstructive one. This understanding will be informed by the execution and analysis of a series of case study projects that include: Aguahoja: Artifacts and Hexes Aguahoja: Colonization Aguahoja: Pavilion For these projects, water-based composites of chitosan, cellulose, and pectin, will be additively printed into architectural-scale artifacts and panels which are used as the skin of a small pavilion. The use of the chitin-cellulose-pectin composite introduces a water-dependent biocompatible material system that can act as the base scaffold for biofilms and microbial colonies. A series of material characterization tests were done to understand the nuances of the different bio-composites. Working challenges for this system included warping and uncontrolled deflections due to changing relative humidity and the gradual and constant dehydration of the material. This hydration dependent activity also dictated flexibility rigidity, and colour. Water is used to initiate the disintegration of the panels as well as initiate the growth of microbial cultures on the panels. The projects described here are intended to serve as examples of how a designer might be able to incorporate biological agency into her process. It is not intended as a comprehensive guidebook, but rather as case studies of how one might use nascent biological tools in current design methodology and how that methodology might have to change in order to leverage biology in her process.
by Andrea Ling.
S.M.
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Valério, José Henrique. „Processing design: reflexões sobre design gerativo“. Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/1876.
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Jose Henrique Valerio.pdf: 6043900 bytes, checksum: 180a04e1603076d2e5d38913b36c912f (MD5)
Previous issue date: 2013-06-18The Processing language programming can be considered a pluralistic language. It is used in works ranging from design to their association with the use of the logic board Arduino, with which it is possible to control systems with applications in the field of 3D printing, robotics, transportation engineering, and others. All of them this vastness applications, this research focuses on Processing language programming while design. It seeks to understand, from a historical and conceptual as well as the analysis of the works of some contemporary artists from Brazil and abroad, the existence of the unpredictability of this type of design, purposing to study the processing design and their applications. The generative structure will be faced with the cultural design tradition propagated today in schools and by designers. Therefore, this project It starts with the practical-theoretical reflection: presents a series of examples of processing design developed by professionals based on questions and clarifications raised throughout the research process, contributing to the understanding and suggesting new avenues for research on processing design and new technologies.
A linguagem de Programação Processing pode ser considerada uma linguagem pluralista. É usada em trabalhos que vão do design até com sua associação ao uso da placa lógica Arduíno, com a qual é possível até mesmo controlar sistemas com aplicações na área de impressão 3D, robótica, engenharia de transportes, entre outros. Dentre toda essa vastidão de aplicações, esta pesquisa concentra-se na linguagem de programação Processing enquanto design. Procura-se entender, a partir de um levantamento histórico e conceitual, bem como pela análise das obras de alguns artistas contemporâneos, do Brasil e do exterior, a existência da imprevisibilidade desta modalidade de design, com o objetivo de estudar o processing design e suas aplicações. A estrutura autogerativa é confrontada com a tradição cultural do design propagado hoje, tanto nas escolas quanto por designers. Para tanto, este projeto parte de uma reflexão prático-teórica: apresenta uma série de exemplos de processing design desenvolvidos por profissionais a partir dos questionamentos e das elucidações levantados ao longo do processo de investigação, contribuindo com o entendimento e sugerindo novos caminhos para a pesquisa sobre processing design e novas tecnologias.
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Wu, Yutong. „SEME Design Methodology For Nostalgic Design“. University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1530880404101115.
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Monteiro, Pedro Duarte Cortesão. „A questão do design“. Doctoral thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2014. http://hdl.handle.net/10400.5/11721.
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Persson, Johan. „Restricted Region Exact Designs“. Thesis, Linköpings universitet, Matematiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-138614.
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Problem statement: The D-optimal design is often used in clinical research. In multi-factor clinical experiments it is natural to restrict the experiment's design space so as not to give a patient the combination of several high dose treatments simultaneously. Under such design space restrictions it is unknown what designs are D-optimal. The goal of the thesis has been to find D-optimal designs for these design spaces. Approach: Two new algorithms for finding D-optimal designs with one, two or three factors with linear models has been developed and implemented in MATLAB. Two restricted design spaces were explored. In cases when the program could not find the D-optimal design an analytic approach was used. Results: Special attention was given to the two factor model with interaction. All of the D-optimal designs for this model, N less or equal to 30, and their permutations have been listed as well as their continous designs. Conclusion: In one of the restricted design regions a simple design pattern appeared for N greater than or equal to 7. In the other restricted design region no obvious pattern was found but its continuous design could be calculated through analysis. It turned out that the number of trials at the lowest dose combination did not change when moving from the full space design to the restricted design regions.Frågeställning: D-optimala designer är vanliga i kliniska studier. När flera faktorer (läkemedel) prövas samtidigt kan det vara nödvändigt att begränsa försöksrummet så att patienterna undviker att få en hög dos av flera faktorer samtidigt. I sådana begränsade försöksrum är det okänt vilka designer som är D-optimala. Uppsatsens mål har varit att hitta D-optimala designer i begränsade försöksrum. Metod: Två nya algoritmer för att hitta D-optimala designer med en, två eller tre dimensioner och linjära modeller har utvecklats och implementerats i MATLAB. Två begränsade försöksrum har utforskats. I de fall då MATLAB-programmet inte kunde hitta de D-optimala designerna användes analytiska metoder. Resultat: Analys av en tvåfaktormodell med interaktion utforskades särskilt noggrant. Alla D-optimala designer och permutationer av dessa i de båda begränsade försöksrummen har listats för alla N mindre än eller lika med 30, samt även deras kontinuerliga designer. Slutsats: För det ena försöksrummet upptäcktes ett mönster i designen då N är större än eller lika med 7. I det andra försöksrummet upptäcktes inget mönster och det krävdes således analytiska metoder för att finna dess kontinuerliga design. Det visade sig att antalet försök i den lägsta doskombinationen förblev oförändrat då man bytte från det fulla designrummet till de båda begränsade designrummen.
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Källeskog, Jessika. „Från Idé till Design : med undersökande av frilansande“. Thesis, Högskolan i Kalmar, Institutionen för kommunikation och design, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-881.
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Syftet med denna uppsats var att skildra designprocessen i utformningen av ett matbord där ett bimål var att undersöka hur man som frilansare kommunicerar med ledet ovanför: d.v.s. producenterna. Därav detta egna utformade projekt som tar med er på resan från en inspiration till skapandet av en prototyp av en produkt.
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Yeo, (Sue) Siew Hoong. „Understanding The Practices of Instructional Designers Through The Lenses of Different Learning Theories“. Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1367862206.
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Gilberg, Fryxell Beatrice. „Cirkulär design“. Thesis, Mittuniversitetet, Institutionen för design, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-36522.
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Syftet med denna undersökning är att undersöka hur cirkulär design kan bidra till en hållbar konsumtion inom förpackningsdesign. Frågorna var hur kan man skifta fokus från linjär till cirkulär design? Hur förhåller sig ett urval människor till hållbart konsumtion? Hur ser ett urval människors vardagliga konsumtion ut? Denna studie blev utformad kring tre metodistiska moment. Det första momentet gick ut på att se på design utifrån ett “design thinking”-metodiskt perspektiv. Denna följs sedan av två kompletterande metodansatser, det vill säga de kvalitativa samtalsintervjuerna och de kvalitativa etnografiska observationerna. För att kunna applicera design thinking metodiken på ett verklighetsbaserat exempel så används Jordans “Green Clean Toothbrush.”I samtalsintervjuerna så användes en intervjuguide för att strukturera upp intervjuerna. I de etnografiska observationsstudierna så användes bilder användes som visual research för att skildra hur ett urval respondenternas vardagliga konsumtion egentligen såg ut.
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Kim, Sungil. „Experimental design methods for nano-fabrication processes“. Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42738.
Annotation:
Most design of experiments assumes predetermined design regions. Design regions with uncertainty are of interest in the first chapter. This chapter proposes optimal designs under a two-part model to handle the uncertainty in the design region. In particular, the logit model in the two-part model is used to assess the uncertainty on the boundary of the design region. The second chapter proposes an efficient and effective multi-layer data collection scheme (Layers of Experiments) for building accurate statistical models to meet tight tolerance requirement commonly encountered in nano-fabrication. "Layers-of-Experiments" (LOE) obtain sub-regions of interest (layer) where the process optimum is expected to lie and collect more data in the sub-regions with concentrated focus. The third chapter contributes a new design criterion combining model-based optimal design and model-free space-filling design in a constraint manner. The proposed design is useful when the fitted statistical model is required to have both characteristics: accuracy in statistical inference and design space exploration. The fourth chapter proposes adaptive combined designs in the layers of experiments. This chapter also develops methods to improve model quality by combining information from various layers and from engineering models. Combined designs are modified to improve its efficiency by incorporate collected field data from several layers of experiments. Updated engineering models are used to build more accurate statistical models.
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Vieira, Cibele Helena. „O design de moda e a indústria“. Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2014. http://hdl.handle.net/10400.5/12313.
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Wilkinson, Melissa Sue. „Design“. ScholarWorks@UNO, 2005. http://louisdl.louislibraries.org/u?/NOD,115.
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Thesis (M.F.A.)--University of New Orleans.Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Drama and Communications"--Thesis t.p. Vita.
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Seleme, Eliane Betazzi Bizerril. „Design“. Florianópolis, SC, 2002. http://repositorio.ufsc.br/xmlui/handle/123456789/83965.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós-Graduação em Engenharia de Produção.Made available in DSpace on 2012-10-20T05:03:06Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-26T01:15:11Z : No. of bitstreams: 1 190915.pdf: 13400591 bytes, checksum: 69acd4f8fdbc51fc68bb65ed40e7d746 (MD5)
Este estudo tem por objetivo verificar como o design está inserido nas empresas do setor moveleiro, a fim de analisar e propor diretrizes às micro, pequenas e médias empresas deste setor, com o intuito de melhorar o desenvolvimento e aumentar a competitividade.
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OLIVEIRA, Felipe Guimarães Fleury de. „Design têxtil: perspectivas da estamparia industrial“. Universidade Anhembi Morumbi, 2014. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1626.
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Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-03T23:22:52Z
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Felipe Guimaraes Fleury de Oliveira.pdf: 2921352 bytes, checksum: 36875117c556ca8466af572e6af6611f (MD5)Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-04T13:18:18Z (GMT) No. of bitstreams: 1 Felipe Guimaraes Fleury de Oliveira.pdf: 2921352 bytes, checksum: 36875117c556ca8466af572e6af6611f (MD5)
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Made available in DSpace on 2016-10-18T19:58:19Z (GMT). No. of bitstreams: 1 Felipe Guimaraes Fleury de Oliveira.pdf: 2921352 bytes, checksum: 36875117c556ca8466af572e6af6611f (MD5) Previous issue date: 2014-08-28
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This master thesis introduces aspects of textile printing in its technological context, in order to elucidate their techniques and processes. Expands this study, in the relations between the textile industry which includes the printing with the environmental parameters. Shows the importance of design and the textile designer in the challenges that can promote benefits about sustainable development solutions to the society. Reports the questions found in the case study that bring perspective to make the reflection of the designer in this industrial area.
Esta dissertação trata de apresentar aspectos relativos à estamparia têxtil em seu contexto tecnológico, no sentido de elucidar suas técnicas e processos. Amplia este estudo, no aprofundamento das relações entre indústria têxtil na qual se insere a estamparia, acerca da sustentabilidade ambiental. Com o estudo de caso de uma indústria têxtil, evidencia a importância do design e do designer têxtil, nos desafios que podem promover a busca por soluções, no sentido de minimizar os impactos ambientais que beneficiem a sociedade de acordo com as leis e diretrizes da política municipal de desenvolvimento sustentável. Relata questionamentos encontrados no estudo de caso que trazem perspectivas para reflexão o fazer do designer nesta área industrial.
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Trinh, Hoang T. „Optimisation framework for sustainable design of concrete buildings“. Thesis, Griffith University, 2021. http://hdl.handle.net/10072/409575.
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The building industry is identified as the largest single contributor to climate change, due to extensive consumption of natural resources and the discharge of high volumes of carbon emissions. It is consequently imperative for the whole sector to work towards sustainable design and construction. Although structural engineers have the greatest potential to enhance buildings’ sustainability by means of structural optimisation and/or material efficiency, they often play a restricted role in the sustainable design of a project. While many studies separately investigate the eco-friendly potentials of horizontal frames and vertical systems, most of them have not thoroughly considered all major components together for the whole structure, making it challenging for structural designers to incorporate and apply their findings into design projects. In addition, many design factors that are decided in early design stages have tremendous impacts on a building’s life cycle carbon footprint. Therefore, a comprehensive op imisation methodology that allows for a thorough environmental impact assessment and a quick investigation of the design solutions space is extremely essential.
To facilitate sustainable designs of buildings in conceptual and preliminary designs, this research attempts to develop an innovative optimisation framework, combining an advanced deterministic optimisation algorithm and a data-driven surrogate model. Overall, the framework is comprised of two main phases: the design optimisation phase and the surrogate Artificial Neural Networks (ANN) modelling phase. In the design optimisation phase, the carbon-minimised design problems are formulated in accordance with relevant Australian design standards and solved with deterministic Branch-and-Reduce algorithm. Three types of concrete buildings are investigated, namely flat plate, flat slab with drop panels, and beam-slab systems. To verify the effectiveness and reliability of the formulated problems and adopted algorithm, sample building problems are solved and compared with their conventionally designed counterparts. Accordingly, the optimised buildings have shown to be environmentally superior to the conventional designs, with a reduction in EC of 0.8-22.6%, 1.1-32.3%, and 1.8-26.6%, respectively for flat plate, flat slab, and beam-slab buildings. Regardless of the type of buildings, most of the optimised designs were solved within two days, demonstrating significant time efficiency.
In the surrogate ANN modelling phase, hundreds of building optimisation problems with different structural heights, spans, and column grids are randomly generated and solved for minimum CO2 emissions. These numerical applications are subsequently used to develop ANNs for the predictions of optimal design solutions. The input variables are the basic information of a building, including the building height, numbers of spans, column spacings, and concrete strengths for slabs and columns. The outputs are the essential design solutions, namely the slab thickness, drop panel depth, beam dimensions, column size, amounts of reinforcement for slabs, beams and columns, and the resultant carbon footprint.
Thousands of ANNs with different hyperparameters and configurations are investigated to determine the best performing models. The networks are evaluated based on three statistical metrics: the Root Mean Squared Error (RMSE), Mean Absolute Percentage Error (MAPE), and adjusted Coefficient of Determination (𝑅̅2). Compared to statistical multiple linear regression models, ANNs have shown to possess outstanding prediction capability. Most of the best predicting ANNs produce highly accurate results with small RMSEs, MAPEs of less than 10%, and high goodness of fit (𝑅̅2>0.9). While flat plate and flat slab buildings require only 1-2 days to tune the network, the tuning times of surrogate ANNs for beam slab buildings were 3-4 days, which is still short in comparison with the time frame available at initial design phases. Once the models are properly trained, they can predict the design solutions in seconds. Given the reliability of the dataset generated from the optimisation phase as well as the high efficiency and accuracy of the developed ANNs, this innovative framework can assist structural engineers to deliver the most sustainable designs for entire buildings, especially in the short time frames of early design stages.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Eng & Built Env
Science, Environment, Engineering and Technology
Full Text
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HEGDE, SHASHIKIRAN RAGHUPATI. „A SHEET METAL DESIGN ADVISOR: DESIGN RULES AND INTER-FEATURE DESIGN CHECKING“. University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1060360193.
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Hegde, Shashikiran R. „A sheet metal design advisor design rules and inter-feature design checking /“. Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1060360193.
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Rosensweig, Ryan R. „Elevating Design: Building Design as a Dynamic Capability“. University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498990.