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Journal articles on the topic 'Industrial designers'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

Colgan, L., A. Gupta, P. J. Rankin, and R. Spence. "EMPOWERING INDUSTRIAL DESIGNERS." ACM SIGCHI Bulletin 23, no. 4 (October 1991): 50–51. http://dx.doi.org/10.1145/126729.1056046.

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2

Mohamed Raif, Diana, Rusmadiah Anwar, Siti Noor Azila Noordin, and Zuraidy Abd Rahim. "Designer Perception and Design Thinking in Industrial Ceramic Product Development." Environment-Behaviour Proceedings Journal 7, SI9 (October 30, 2022): 159–67. http://dx.doi.org/10.21834/ebpj.v7isi9.4260.

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This paper discusses the methods used to conduct designer perception and design thinking in industrial ceramic product development. The designers themselves struggle to clarify how they make the association that immediately them to be the outcome and why those decisions are rational because the thinking behind design is not completely comprehended. This research attempt to identify product design development in critical design situations, empirically test the design thinking process towards industrial ceramic design processes and establish an innovative technique for capturing the ceramic designer’s thinking process. Exploiting a mix of aesthetics, ethics, and knowledge, design thinking is a contemplative longing to maneuver a new schematic in design development.
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3

Qi, Hao, Xue Yan Wang, and Qiao Mei Zhang. "Research on Efficient Ceramic Materials and Measure Scheme." Applied Mechanics and Materials 329 (June 2013): 91–95. http://dx.doi.org/10.4028/www.scientific.net/amm.329.91.

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In the design of industrial products, industrial designers face the new product design issues in ceramic materials. The designer will be more concerned about the application of new materials in the product design respected selection innovations. The emergence of the ceramic material, adding a new "color" for the design of the expression, provides designers with a richer design means of expression.
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4

Luo, Shijian, Yufei Zhang, Jie Zhang, and Junheng Xu. "A User Biology Preference Prediction Model Based on the Perceptual Evaluations of Designers for Biologically Inspired Design." Symmetry 12, no. 11 (November 12, 2020): 1860. http://dx.doi.org/10.3390/sym12111860.

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Biology provides a rich and novel source of inspiration for product design. An increasing number of industrial designers are gaining inspiration from nature, producing creative products by extracting, classifying, and reconstructing biological features. However, the current process of gaining biological inspiration is still limited by the prior knowledge and experience of designers, so it is necessary to investigate the designer’s perception of biological features. Herein, we investigate designer perceptions of bionic object features based on Kansei engineering, achieving a highly comprehensive structured expression of biological features forming five dimensions—Overall Feeling, Ability and Trait, Color and Texture, Apparent Tactile Sensation, and Structural Features—using factor analysis. Further, producing creative design solutions with a biologically inspired design (BID) has a risk of failing to meet user preferences and market needs. A user preference prediction support tool may address this bottleneck. We examine user preference by questionnaire and explore its association with the perceptual evaluation of designers, obtaining a user preference prediction model by conducting multiple linear regression analysis. This provides a statistical model for identifying the relative weighting of the perception dimensions of each designer in the user preference for an animal, giving the degree of contribution to the user preference. The experiment results show that the dimension “Overall Feeling” of the designer perception is positively correlated with the “like” level of the user preference and negatively correlated with the “dislike” level of the user preference, indicating that this prediction model bridges the gap caused by the asymmetry between designers and users by matching the designer perception and user preference. To a certain extent, this research solves the problems associated with the cognitive limitations of designers and the differences between designers and users, facilitating the use of biological features in product design and thereby enhancing the market importance of BID schemes.
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Page, Tom. "An Analysis of the Value of Data Ecosystem Tools for Industry 4.0." International Journal of Innovation in the Digital Economy 10, no. 4 (October 2019): 18–32. http://dx.doi.org/10.4018/ijide.2019100102.

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Product design is a process that involves many methods and practices to be able to create “good design.” From user studies to experimentation, the designer has many tools at his disposal to understand the market and the requirements of the product they wish to produce. Big data has been a disruptor in user analysis for many organizations wishing to get the bigger picture. It has proven to have many positive implications while also being restrictive to those willing to use it. Therefore, connected open systems where all stratums are able to access similar applications have been made available. With the 4th industrial revolution underway, and the ability to utilise a plethora of sensors and electronic data provided by internet connected devices, is it in the designer's interest to adopt modern data practices? During this research, the suitability of big data practices to designers was assessed to gain an understanding of the environment that would allow designers to utilise this new platform including the practice of open data and the systems required to manage it. This article will address emerging and current technologies in the use of data within the 4th industrial revolution. Big data and open data were critically examined of their processes and downfalls compared to how the designer would use the practices.
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6

Thilmany, Jean. "Shaking Hands Again." Mechanical Engineering 125, no. 04 (April 1, 2003): 34–36. http://dx.doi.org/10.1115/1.2003-apr-1.

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This article discusses that technology can ease the adversity between industrial designers and mechanical engineers. In many manufacturing organizations, engineers coexist, albeit sometimes uneasily, with the industrial designers who shape the way the product will look on the outside. While mechanical engineers take care of laying out the mechanisms inside the product’s shell, industrial designers are concerned with its external shape and appeal. At Symbol Technologies in Holtsville, NY, that uneasy alliance does not exist anymore. Symbol’s devices have to be rugged because, although they are meant to be held easily in the hand, they can just as easily be dropped. The company uses I-deas, from EDS of Plano, Texas, for CAD modeling. Before beginning to sculpt on screen, the designer now talks to the engineer about the product. The engineer might know that both a scan engine and a set of batteries must be included inside the final product. The CAID and CAD software work together in such a way that, if an industrial designer changes something about the outside shape, the mechanical features automatically update to accommodate the change. Engineers do not have to rework the internal parts each time the external changed.
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7

Süner-Pla-Cerdà, Sedef, Gülşen Töre-Yargin, and Asli Günay. "Industrial Designers in UX Practice: Motivations, Professionalization, and the Construction of Designer Identity." Design Issues 39, no. 2 (2023): 27–40. http://dx.doi.org/10.1162/desi_a_00715.

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Abstract Our article discusses the insights from original research conducted with design practitioners to better understand the experiences of industrial design graduates as they are adopting new professional roles in user experience (UX) affiliated positions. We utilize narrative identity work as the theoretical frame to interpret the legitimation strategies of industrial designers while grounding their motivations, perceived competence, and fitness to a UX position. Such narratives support our arguments on the conscious efforts of designers toward the construction of a professional designer identity, which is stimulated by this role change.
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8

Skaggs, Paul T. "Industrial Designers: Three Cognitive Modes." International Journal of Design Education 12, no. 2 (2018): 39–44. http://dx.doi.org/10.18848/2325-128x/cgp/v12i02/39-44.

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9

MCCLELLAND, IAN. "Marketing ergonomics to industrial designers." Ergonomics 33, no. 4 (April 1990): 391–98. http://dx.doi.org/10.1080/00140139008927142.

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10

Kim, KwanMyung, and Kun‐Pyo Lee. "Don't Make Art, Do Industrial Design: A Voice from Industry." Design Management Review 25, no. 1 (March 2014): 40–45. http://dx.doi.org/10.1111/drev.10270.

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Industrial designers and engineering designers: Can't we all just get along? Unfortunately, when push comes to shove, it's engineering that tends to win. How can schools better prepare industrial designers for the work force?Engineering designers and industrial designers would get along much better if they shared common knowledge and common goals—long before they reached the workplace.
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11

Chang, Wei-Chen, Nabil Khelil, and Yu-Chieh Hung. "Exploring the Differences Between Leaders’ and Designers’ Communication Styles: Insights from Industrial Design Micro-Enterprises in Taiwan." Journal of Enterprising Culture 28, no. 03 (September 2020): 201–21. http://dx.doi.org/10.1142/s0218495821500096.

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This study explores the differences in communication styles adopted by leaders and designers during the processes of design and development of a product in the specific organizational context of micro-enterprises operating in the design industry in Taiwan. To that end, both quantitative and qualitative studies were conducted using the Communication Styles Inventory (CSI) scale. The data were gathered from both questionnaires and crossed interviews conducted with 10 leaders and 22 designers belonging to 9 industrial design micro-enterprises. The knowledge of the differences in communication styles adopted by leaders and designers provides both theoretical and practical insights into the following question: how should a leader “fit” their communication styles with a designer communication styles to enhance communication performance during the product design and the development phase.
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12

Armstrong, Leah. "“Fashions of the Future”: Fashion, Gender, and the Professionalization of Industrial Design." Design Issues 37, no. 3 (2021): 5–17. http://dx.doi.org/10.1162/desi_a_00644.

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Abstract In 1939, U.S. Vogue magazine dedicated its February issue to the promotion of the New York World's Fair, which would open in April 1939, giving significant editorial space to the subject of industrial design for the first time. The issue's leading fashion editorial feature, “Fashions of the Future,” invited nine industrial designers to dress the “woman of tomorrow.” The feature served as a promotional vehicle for the World's Fair and for the industrial designers who worked on it. Through a close examination of the issue's visual and textual content, this article explores the relationship between industrial design, fashion, consumption, and gender at a formative moment in the professionalization of design in the United States at the outbreak of the Second World War. It argues that fashion media served a discursive function in the elevation of the industrial designer's professional status, presenting a case for further consideration of the relationship between fashion and industrial design in the history of the design profession.
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13

Stadler, S., H. Cornet, D. Mazeas, J. R. Chardonnet, and F. Frenkler. "IMPRO: IMMERSIVE PROTOTYPING IN VIRTUAL ENVIRONMENTS FOR INDUSTRIAL DESIGNERS." Proceedings of the Design Society: DESIGN Conference 1 (May 2020): 1375–84. http://dx.doi.org/10.1017/dsd.2020.81.

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AbstractComputer-Aided Design (CAD) constitutes an important tool for industrial designers. Similarly, Virtual Reality (VR) has the capability to revolutionize how designers work with its increased sense of scale and perspective. However, existing VR CAD applications are limited in terms of functionality and intuitive control. Based on a comparison of VR CAD applications, ImPro, a new application for immersive prototyping for industrial designers was developed. The user evaluations and comparisons show that ImPro offers increased usability, functionality, and suitability for industrial designers.
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14

YIYAN, WANG, and NORSAADAH ZAKARIA. "Designers’ potential in sustainable fashion: a systematic literature review." Industria Textila 74, no. 06 (December 22, 2023): 718–26. http://dx.doi.org/10.35530/it.074.06.2022139.

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Given the unsustainable issues of environmental pollution, resource waste, and industrial cycle blockage, the garment industry, has sought an innovation for sustainable development led by the linear economy. The circular economy (CE) advocates closing and correcting material and energy circuits, minimising resource entry and waste, and improving emissions and energy consumption. Most practices under the existing CE model address the outcome rather than comprehending the source. As one of the most critical players in the apparel industry, designers understand the source of product development. In this paper, existing sustainable design practices (SDPs) in the transition of the apparel industry to CE were summarised through a systematic literature review. The extent of designers’ involvement in CE was explored through a correlation study and data analysis between SDPs and the processes of product development (PDP) and production process (PP). Furthermore, the designers’ potential to contribute sustainably to the CE transformation within the apparel industry was discussed via qualitative analysis. The findings demonstrated infrequent involvement in PP by designers, whose voices were limited in the apparel industry, and that the possibility of more designer involvement in SDP. Therefore, this research only focused on the sustainability potential of designer-led PDPs. Lastly, the potential and limitations of applying PDP three-dimensional visualisation as a designer-led SDP were presented.
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15

Norman, L., and E. Norman. "Engaging Industrial Designers With Music Therapy." Music and Medicine 3, no. 3 (April 29, 2011): 163–71. http://dx.doi.org/10.1177/1943862111407204.

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16

Muminovic, Adis J., Isad Saric, Elmedin Mesic, Nedim Pervan, and Muamer Delic. "Research about characteristics of designs from industrial designers and product designers." Periodicals of Engineering and Natural Sciences (PEN) 7, no. 2 (July 31, 2019): 860. http://dx.doi.org/10.21533/pen.v7i2.435.

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17

RAKOV, Anton P. "THREE-DIMENSIONAL MODELING TECHNOLOGIES IN INDUSTRIAL DESIGN." Urban construction and architecture 11, no. 2 (December 15, 2021): 155–61. http://dx.doi.org/10.17673/vestnik.2021.02.20.

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Currently, specialists who use the skills of drawing, drawing, modeling and modeling in their work have largely begun to use the capabilities of computer technology and software. Working with digital models and three-dimensional modeling technologies are also within the competence of an industrial designer. This article att empts to make a selection of computer programs that are used in their work by industrial designers and classify the capabilities of this software according to its functional purpose. It is obvious that all the technologies of three-dimensional modeling listed in the article are very important for specialists engaged in technical aesthetics, artistic design, visualization, prototyping and prototyping of things.
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18

Norzaman, Nor Ziratul Aqma, Khairul Aidil Azlin Abd Rahman, Mohd Yazid Mohd Yunos, and Nor ‘Atiah Ismail. "Adaptation of Asma’ul Husna in Existing Design Practice." Pertanika Journal of Social Sciences and Humanities 29, no. 4 (December 14, 2021): 2785–98. http://dx.doi.org/10.47836/pjssh.29.4.37.

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Until now, industrial designers are solely educated with the epistemology of dialectical materialism; meanwhile, the spiritual aspect is often segregated from education affairs. Many kinds of literature highlighted that this segregation could lead to negative impacts. Supposedly as a Muslim, learning about our Creator through Asma’ul Husna is an essential trait to develop designers’ value, also known as sahsiah or characteristic of excellence. Therefore, this paper attempted to study the adaptation of Asma’ul Husna in the existing design practice among Muslim designers and at the same time devote the existent designer’s knowledge and awareness to this understanding. A set of questionnaires were distributed using stratified sampling. The result showed that the majority of the respondents did not adapt Asma’ul Husna in the existing design practice due to limited knowledge on ways to integrate Asma’ul Husna in the design process. Designers who claimed to use Asma’ul Husna in design are either still confused with the usage or only limits the usage to motif and zikr. As an overview, this paper highlights the general view of an adaptation of Asma’ul Husna’s among designers and emphasises the urgency to develop a guideline for designers to implement the values in their design process.
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19

Shi, Jianing, and Zhiguo Fang. "A glimpse into Victor Papanek's "critical design theory" and its contemporary applications." Advances in Operation Research and Production Management 1, no. 1 (November 20, 2023): 15–19. http://dx.doi.org/10.54254/3029-0880/1/2023003.

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Victor Papanek is a famous American designer, design educator and design theorist after the war. Among them, his "critical design theory" plays a crucial role in the formation of sustainable development and environmental protection concepts. In his controversial Designing for the Real World, he called on the American industrial design community to oppose commercial profit-oriented design and focus on the real needs of those ignored by designers. This article explains Papanek's "critical design theory" and his "three principles" of environmental protection, and then explains some of his own insights into this view, and finally constructs Papanek's responsibility framework for designers.
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Shi, Jianing, and Zhiguo Fang. "A glimpse into Victor Papanek's "critical design theory" and its contemporary applications." Advances in Operation Research and Production Management 1, no. 1 (November 20, 2023): 15–19. http://dx.doi.org/10.54254/3006-1229/1/2023003.

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Victor Papanek is a famous American designer, design educator and design theorist after the war. Among them, his "critical design theory" plays a crucial role in the formation of sustainable development and environmental protection concepts. In his controversial Designing for the Real World, he called on the American industrial design community to oppose commercial profit-oriented design and focus on the real needs of those ignored by designers. This article explains Papanek's "critical design theory" and his "three principles" of environmental protection, and then explains some of his own insights into this view, and finally constructs Papanek's responsibility framework for designers.
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21

Sarkar, Prabir, and Amaresh Chakrabarti. "The effect of representation of triggers on design outcomes." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 22, no. 2 (2008): 101–16. http://dx.doi.org/10.1017/s0890060408000073.

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AbstractCreativity of designers can be enhanced by the application of appropriate triggers. The presence of triggers helps designers to search solution spaces. The searching of a solution space increases the possibility of finding creative solutions. Both representation and content of the triggers or stimulus to which the designers are exposed are believed to play a vital role in the representation and content of the outcome of the designers during problem solving. We studied the effect of representation of triggers on ideas generated by six design engineers while trying to solve a given problem. A variety of representations (video/animation and audio, text, explanation, and others) that are potentially useful to designers for five prespecified triggers were administered to each designer, who generated ideas in response to each trigger–representation combination individually. The effect of representations of these triggers on the content and representation of the solutions generated by the design engineers was studied. The results showed significant influence of the representation of the triggers on the representations, number, and quality of the resulting ideas that were generated.
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22

Stehling, Miguel Pereira, and Eduardo Marques Arantes. "Análise do processo de implantação de BIM em empresas de projetos industriais e arquitetônicos em Belo Horizonte." PARC Pesquisa em Arquitetura e Construção 5, no. 1 (June 30, 2014): 35. http://dx.doi.org/10.20396/parc.v5i1.8634542.

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This paper presents an analysis of the Building Information Modeling implementation process in architectural and industrial design companies in Belo Horizonte. A field research was conducted interviewing professionals from industrial design and architectural design companies. The analysis was based on companies’ characteristics and tools used. Also, it was evaluated how implementation occurred, resulting benefits, challenges faced and designers perception of the process. A diversified BIM tools use was observed in different specialties on industrial design while on architectural design it was observed hegemony of tools. It was observed that the implementation of BIM, in the studied universe, is more developed in industrial design than in architectural design. Industrial design companies are already in the interoperability implementation stage, which is a higher BIM level than in architectural design companies. Architectural design companies are in the effort of leaving the traditional two-dimensional drawings towards parameterized 3D models. It was noted that industrial designers have a higher value perception regarding to parametric issues than architectural designers. Regarding of major reasons for adopting BIM, the perception of value among industrial designers and architectural designers is similar.The perceptions on the barriers to the adoption of BIM are basically antagonic for industrial and architectural designers. The most common way of software learning occurs through tutorials, forums and collaboration between peers. Among the proposed improvements presented by the interviewees it stands out the collaboration in team work and the commitment from the top management.
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23

Fillingim, Kenton B., Hannah Shapiro, Catherine J. Reichling, and Katherine Fu. "Effect of physical activity through virtual reality on design creativity." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 35, no. 1 (January 21, 2021): 99–115. http://dx.doi.org/10.1017/s0890060420000529.

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AbstractA deeper understanding of creativity and design is essential for the development of tools to improve designers’ creative processes and drive future innovation. The objective of this research is to evaluate the effect of physical activity versus movement in a virtual environment on the creative output of industrial design students. This study contributes a novel assessment of whether the use of virtual reality can produce the same creative output within designers as physical activity has been shown to produce in prior studies. Eighteen industrial design students at the Georgia Institute of Technology completed nine design tasks across three conditions in a within-subjects experimental design. In each condition, participants independently experienced one of three interventions. Solutions were scored for novelty and feasibility, and self-reported mood data was correlated with performance. No significant differences were found in novelty or feasibility of solutions across the conditions. However, there are statistically significant correlations between mood, interventions, and peak performance to be discussed. The results show that participants who experienced movement in virtual reality prior to problem solving performed at an equal or higher level than physical walking for all design tasks and all designer moods. This serves as motivation for continuing to study how VR can provide an impact on a designer's creative output. Hypothesized creative performance with each mode is discussed using trends from four categories of mood, based on the combined mood characteristics of pleasantness (positive/negative) and activation (active/passive).
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24

Kuys, Blair, Christoph Koch, and Gianni Renda. "The Priority Given to Sustainability by Industrial Designers within an Industry 4.0 Paradigm." Sustainability 14, no. 1 (December 22, 2021): 76. http://dx.doi.org/10.3390/su14010076.

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Industrial design is intrinsically linked to manufacturing; however, what is required of industrial design to adapt to new changes brought on by Industry 4.0 in manufacturing is unknown. Current literature gives little insight into how industrial designers need to evolve to the current developments in manufacturing to remain value drivers in an Industry 4.0 paradigm. There is minimal research describing the link between industrial design, Industry 4.0 and the effect this will have on sustainability. We conducted an extensive survey of 190 respondents from 53 countries to establish the present state of industrial design practice globally and to better understand the priority sustainability is given by practicing industrial designers. Qualitative data showed a desire for improved sustainable processes; however, quantitative data contradicted this, showing “sustainability” as one of the lowest ranked areas of importance in design practice for industrial designers. While sustainability—especially in manufacturing—demands more prominent change as industrial design adapts to an Industry 4.0 manufacturing paradigm, it seems that junior industrial designers do not currently see this as a priority.
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Bonner, John V. H., and J. Mark Porter. "Introducing User Participative Design Methods to Industrial Designers." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 44, no. 38 (July 2000): 787–90. http://dx.doi.org/10.1177/154193120004403828.

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Communication between designers and human factors specialists needs to be improved. Over the past few years we have been conducting a range of studies to explore and identify how to improve this communication deficit. A participatory design tool-set was designed to encourage designers and potential end-users of future interactive products to communicate their design intentions and user needs through the use of drawing and placing cards on a table with the use of some limited role-playing. This paper reports on two case studies conducted at two organisations involved in the development of consumer products. Suggestions are provided on how these type of design tools can be improved to increase acceptance by user interface designers.
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Aflatoony, L., and S. J. Lee. "CODEA: A FRAMEWORK FOR CO-DESIGNING ASSISTIVE TECHNOLOGIES WITH OCCUPATIONAL THERAPISTS, INDUSTRIAL DESIGNERS, AND END-USERS WITH MOBILITY IMPAIRMENTS." Proceedings of the Design Society: DESIGN Conference 1 (May 2020): 1843–52. http://dx.doi.org/10.1017/dsd.2020.332.

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AbstractThere are currently limited guidelines on how to design complex assistive technologies (ATs), which necessitates expertise beyond that possessed by designers, occupational therapists (OTs), or end-users. To address this issue, we conducted a series of four participatory workshops to study various configurations of OT-designer-user collaboration in co-designing do-it-yourself (DIY) ATs for an older adult with mobility impairment. We then proposed a specific co-design framework for such OT-designer-user collaboration.
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Hu, Jun, and Du Jiang. "Study on Industrial Design Method for Product Life Cycle." Advanced Materials Research 712-715 (June 2013): 2884–87. http://dx.doi.org/10.4028/www.scientific.net/amr.712-715.2884.

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Modern industrial design has been extended to the whole product life cycle of production, manufacture, sale and recycling from traditional appearance design and product performance. Facing today’s intense and diversification market competition, product design must be taken the whole product life cycle routes based on design, quality, economic and environmental protection. Starting from the design, designer should concern about the product life cycle of the product in each stage of the design process, and use design principles and methods for product design reasonable. With quality competitive as the basis for product, with economic environmental competition as improve quality of power, industrial design can provide high quality product and create a perfect user experience, in order to reduce pollution and satisfied our clients’ needs. In this paper, industrial design processes and methods for product life cycle are discussed and analyzed systematic, so as to product designers of the designer to provide methodology.
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Osadcha, Kateryna P., and Maryna V. Osadcha. "GENERATIVE ARTIFICIAL INTELLIGENCE VS HUMANS IN THE PROCESS OF CREATING CORPORATE IDENTITY ELEMENTS." Information Technologies and Learning Tools 98, no. 6 (December 28, 2023): 212–30. http://dx.doi.org/10.33407/itlt.v98i6.5494.

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The emergence of new tools, the appearance of new technologies and improvements to existing ones have resulted in expansion of generative artificial intelligence. The technologies of generative artificial intelligence have already been used by people to perform not only intellectual tasks, but also creative ones, in particular in the field of design. Therefore, their capabilities in graphic design need to be studied. One of the routine tasks of a designer is the development of corporate identity elements (a logo, font, and colour). Designers can spend a lot of time on this, choosing different style options. Therefore, delegating this routine work to generative artificial intelligence may be appropriate. With this practical need in mind, the capabilities of modern AI tools for image and logo generation were studied in the research, and the results of AI logo generation compared to the work of novice designers were analysed. As a result, conclusions were drawn about the expediency of using generative AI technology in the work of designers, in particular, for the development of corporate identity elements, and the appropriateness of studying generative artificial intelligence technology in the training of future designers. These conclusions were made on the basis of a survey of 41 experts in the field of design, information technology and artificial intelligence. Based on the findings of the survey, we can note that it was difficult for experts to distinguish between logos generated by artificial intelligence and logos created by novice designers. Logos developed by novice designers (5) were recognized as the most attractive among the 45 logos presented in the survey. Images generated in some AI tools (Tailor Brands, Hatchful) are considered attractive by design, information technology and artificial intelligence professionals. Therefore, they can be used to create corporate identity elements. Thus, the vast majority of experts agreed that artificial intelligence tools for generating images and logos should be used in the process of creating corporate identity elements. In addition, the vast majority of experts found it advisable to use generative artificial intelligence technologies in the process of professional training of future designers.
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29

Ventura, Jonathan, and Wendy Gunn. "Now You See Me, Now You Don’t." Anthropology in Action 24, no. 3 (December 1, 2017): 45–55. http://dx.doi.org/10.3167/aia.2017.240305.

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AbstractThe body as an anthropological nexus of sociocultural norms and conventions has been discussed at length in the humanities and social sciences. However, within the worlds of industrial design, an important player influencing an understanding of the body within a design process has been neglected and that is the industrial designer. Our main thesis considers designing as an anthropological, sociocultural and physical praxis, in the midst of which stand person(s) engaging within their material environments. We argue that, as an interdisciplinary dialogue with anthropologists and designers alike, the industrial designer could pursue a broader perspective than the classic techno-practice perspective, which deliberately detaches the social qualities of human action with the aim of changing user behaviour through the use of medical products. Instead, we propose an understanding of industrial design practice(s) that considers the improvisational and interwovenness of peoples and practices and what this means for attuning industrial design practices accordingly.
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Pacelli, Francesco, Francesca Ostuzzi, and Marinella Levi. "Reducing and reusing industrial scraps: a proposed method for industrial designers." Journal of Cleaner Production 86 (January 2015): 78–87. http://dx.doi.org/10.1016/j.jclepro.2014.08.088.

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31

Shopina, E., N. Orlov, and E. Anpilogova. "INDUSTRIAL BUILDINGS OF RUSSIAN NORTH." Technical Aesthetics and Design Research 1, no. 4 (December 23, 2020): 19–28. http://dx.doi.org/10.34031/2687-0878-2019-1-4-19-28.

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Nowadays, architecture and design mainly is oriented on development of new technologies. In these conditions it is important to use traditional styles and techniques. This knowledge can help to form a basis for future architects and designers as well as for professionals is to know current ideas and projects. Object of research is Russian wooden architecture, in particular, industrial buildings of Russian North; historical background of formation of this style. These knowledges is an essential base for professional mentality of architects and designers. Results of the study: it was found that specificity of Russian wooden architecture consists of combination of traditions in this region. According to the author’s opinion, understanding of the individual architecture of this region, the specifics of the construction of wooden buildings and untraditional mentality of ancient architects, opens up a large field for investigation of the culture of this region.
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Andersson, Torbjörn, Johan Ölvander, and Renee Wever. "HOW DESIGNERS STRATEGICALLY MANAGE PRODUCT PORTFOLIOS." Proceedings of the Design Society 1 (July 27, 2021): 1725–34. http://dx.doi.org/10.1017/pds.2021.434.

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AbstractThe continuous management of a manufacturing company's product portfolio is a key aspect of successful product development. Managers determine when and which products should be updated or terminated. This process influences inhouse Industrial design teams, thus prompting a range of development strategies they might deploy. In product portfolio management there is a tension between standardisation and customisation. From a marketing perspective this is may be addressed through brand DNA, from engineering through modularization. The design perspective (merging those two) has been ill-explored, particularly from professional designers. Previously we proposed a theoretical model describing different industrial design projects and how they influence industrial designers strategic thinking. It was developed through literature reviews and examples found in manufacturing industry. Through a multi-case interview study with 16 participants from five manufacturing companies with strong brands, this article aims to empirically evaluate the proposed model. The results show that the respondents could describe all but one industrial design projects, the cause maybe that they had not been exposed to saving a company by doing a total makeover.
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Toppinen-Tanner, Salla, and Raija Kalimo. "Psychological Symptoms and Competence at Three Organizational Levels of Industrial Design: The Main and Moderating Role of Sense of Coherence." Psychological Reports 92, no. 2 (April 2003): 667–82. http://dx.doi.org/10.2466/pr0.2003.92.2.667.

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This study investigated the role of the sense of coherence in occupational well-being at three organizational positions of industrial designing (top-level designers, designers, and assisting personnel). In a sample of 422 industrial design personnel, sense of coherence was positively related to competence and negatively to psychological symptoms. It also moderated the relation of autonomy to competence and psychological symptoms but more strongly among the designers and the assisting personnel than among the top-level designers. Analysis showed autonomy was beneficial for individuals who also had high scores on sense of coherence. Longitudinal studies are needed on the role of sense of coherence as regards the psychological health of different subgroups.
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Xu, Lijun, Jing Zheng, Jun Gao, Wei Chen, and Lu Chen. "General Industrial Environment and Health Design Software Using a Small Data-Driven Neural Network Model." Journal of Environmental and Public Health 2022 (July 13, 2022): 1–13. http://dx.doi.org/10.1155/2022/1768446.

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The developed enterprise intellectual brain neural network platform for industrial environment and health design driven by small data converts the wisdom knowledge of enterprise designers into data and helps enterprises retain design experience, accumulate design knowledge results, sort out the design process, and shorten the design cycle. The goal of this project is to combine artificial intelligence, big data, the Internet of things, parameterization, and other computer technologies with the industrial environment and health design and development process of manufacturing enterprises to solve pain points for businesses and designers, as well as to develop and create a large-scale product-level general parameter intelligent design software. The development of this software project can greatly improve the work efficiency of designers, save the time spent by designers on low-end repetitive labor, and in turn promote designers to engage in more valuable creative work and realize the digitization of entire product life cycle. It can also improve the inefficient and redundant work efficiency of designers, and designers can switch between multiple roles. At the same time, a design think tank is formed through the accumulation of enterprise design knowledge through data, and the neural network platform development of big data drives the design brain, that is, an efficient and intelligent industrial environment and health design expert system is generated, just like the enterprise brain, including expert think tanks, internal technical data encryption of enterprises interface, enterprise core technology think tank, enterprise production resources, risk control standard library, etc.
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Colombo, Samuele, John S. Gero, Alessandro Mazza, and Marco Cantamessa. "Chronobiology of pupil dilation in design students during idea generation." Proceedings of the Design Society 4 (May 2024): 925–34. http://dx.doi.org/10.1017/pds.2024.95.

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AbstractChronobiology studies physiological variations due to the time of day, an unexplored factor in design research. This paper explores the effect of time of day on designers' physiological responses in idea generation. Convergent (CT) and divergent (DT) thinking, as building blocks of designing, are explored using pupil dilation as a proxy for cognitive load. Time of day and educational background are explored for engineering and industrial designers. Results show a larger pupil diameter in the afternoon than in the morning, especially for DT, with higher values for industrial designers.
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Pei, Eujin, Ian R. Campbell, and Mark A. Evans. "Development of a tool for building shared representations among industrial designers and engineering designers." CoDesign 6, no. 3 (September 2010): 139–66. http://dx.doi.org/10.1080/15710882.2010.510197.

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Pei, Eujin, Ian Campbell, and Mark Evans. "A Taxonomic Classification of Visual Design Representations Used by Industrial Designers and Engineering Designers." Design Journal 14, no. 1 (March 2011): 64–91. http://dx.doi.org/10.2752/175630610x12877385838803.

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Lee, Yann-Long, Feng Che Tsai, Shuo-Fang Liu, and Yuan-Chin Hsu. "A scale development of industrial designer ability index through quality function deployment and grey relational analysis methods." Advances in Mechanical Engineering 8, no. 12 (December 2016): 168781401668220. http://dx.doi.org/10.1177/1687814016682202.

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In recent years, the design and development capabilities, which provided products with vitality and value, had become one of the key factors in transforming and upgrading enterprises. Also, the industrial design ability had become a powerful weapon in enhancing business competitiveness. This study aimed at developing a self-assessment scale to evaluate the pre-service capabilities of industrial design students and it was found to be useful also in analyzing the ability levels of professional designer after the self-assessment scale was established. According to the literature review and interviews with experts, this study summarized the categories and indicators of professional abilities of industrial designers. Next, grey relational analysis was applied for analyzing these categories and indicators, then the weight between these indicators were determined through the method of quality function deployment, and finally, these indicators were further transferred into questions to become a pre-service self-assessment scale with 70 items, named industrial design ability index questionnaire. The industrial design ability index assessment scale was validated using 211 college students ranging from freshman to senior year. The industrial design ability index score shows a direct relationship between designer skills and years in school from freshman to senior year and verified that the industrial design ability index is able to assess the level of experiences of an industrial designer.
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Ullman, David G., Thomas G. Dietterich, and Larry A. Stauffer. "A model of the mechanical design process based on empirical data." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 2, no. 1 (February 1988): 33–52. http://dx.doi.org/10.1017/s0890060400000536.

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This paper describes the task/episode accumulation model (TEA model) of non-routine mechanical design, which was developed after detailed analysis of the audio and video protocols of five mechanical designers. The model is able to explain the behavior of designers at a much finer level of detail than previous models. The key features of the model are (a) the design is constructed by incrementally refining and patching an initial conceptual design, (b) design alternatives are not considered outside the boundaries of design episodes (which are short stretches of problem solving aimed at specific goals), (c) the design process is controlled locally, primarily at the level of individual episodes. Among the implications of the model are the following: (a) CAD tools should be extended to represent the state of the design at more abstract levels, (b) CAD tools should help the designer manage constraints, and (c) CAD tools should be designed to give cognitive support to the designer.
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Pismenkova, Tetiana, and Kirill Ziborov. "To the Problem of Improving the Education of Industrial Design Specialists in Ukraine." International Scientific Journal of Universities and Leadership, no. 16 (December 29, 2023): 149–71. http://dx.doi.org/10.31874/2520-6702-2023-16-149-171.

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New world challenges increasingly require designers to solve social problems of humanity, so designers are entrusted with increasingly complex and impressive tasks. However, the modern system of design education does not always prepare students for these tasks. This article analyses how the educational process of training designers in European countries is built. The realities of the development of industrial design in Spain and Ukraine are given, with an immersion in the historical prerequisites for the formation of this field of activity. The development of industrial design in countries is demonstrated, taking into account historical, economic and political prerequisites. The training programs were considered and the content of the training of industrial design engineers in Spain and the content of the training of industrial design specialists in Ukraine were compared. In the process of studying the training programs, significant differences in the understanding of the field of activity and the content of the training of industrial designers in Ukraine and Spain were revealed. This fact is reflected in the demand of students to study in the relevant training programs. In order to demonstrate the shortage of industrial design engineers in the production sector of industry, the labour market requirements for these specialists in Ukraine are given. According to the results of the analysis, the inconsistency of the training content of industrial designers with the requirements of the labour market was demonstrated both at the legislative level and at the level of employers’ requirements In order to meet the needs of industry and bring Ukrainian education to European requirements, it is proposed to introduce a new interdisciplinary educational program for training engineers in industrial design in Ukraine, taking into account the experience of the Spanish School of Industrial Design, which has incorporated the best English and European practices. It should contain two main focuses of training: engineering and aesthetics. At the same time, business awareness and environmental awareness when making decisions should become a mandatory component of the training of industrial design engineers.
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Zhang, Wendy, Charlie Ranscombe, Thammathip Piumsomboon, and Prabha Mallya. "WHAT DETERMINES VR INTEGRATION IN DESIGN PRACTICE? AN INVESTIGATION OF INDUSTRIAL DESIGNER'S ACCEPTANCE OF VR VISUALISATION TOOLS." Proceedings of the Design Society 3 (June 19, 2023): 3861–70. http://dx.doi.org/10.1017/pds.2023.387.

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AbstractEmerging visualisation tools based on eXtended Reality (XR) platforms offer designers new possibilities and benefits, attracting increasing interest from academia and industry. However, as the users and consumers of these tools, practising designers' perceptions of XR visualisation tools need to be further verified as they shape the tools' acceptance and integration in the industry. This paper investigates industrial designers' acceptance of VR visualisation tools using the Unified Theory of Acceptance and Use of Technology (UTAUT) model. Semi-structured interviews were undertaken with 12 designers from 3 countries to discuss their attitudes, motivations, experiences, and expectations regarding adopting VR visualisation tools as professional tools. The study highlights key opportunities to promote VR integration in industrial design as the tools' practical capabilities to support design performance and the social influence of stakeholders and peer designers on the professional use of VR. The main barriers lie in designers' expected effort to learn and use the tools and the investment and upkeep of VR systems and facilities in the industry. The paper concludes with recommendations for reaping benefits and overcoming barriers.
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Spreafico, Christian, and Daniele Landi. "Using Product Design Strategies to Implement Circular Economy: Differences between Students and Professional Designers." Sustainability 14, no. 3 (January 19, 2022): 1122. http://dx.doi.org/10.3390/su14031122.

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Different studies in the scientific literature have shown how the transition towards a circular economy (CE) can benefit from product design, although maintaining a rather broad and qualitative perspective of analysis. This study investigates and compares which product design strategies (from routinely design, structural optimization, industrial design and systematic innovation) are most used by students and professional designers to implement different CE strategies (i.e., waste reduction, reuse, remanufacturing, recycling and biodegradability). Students’ data were collected from year projects and MSc degree theses based on real industrial case studies and carried out in two Italian engineering universities, while those of professional designers, were collected from selected scientific articles. Among the main outcomes emerged that the design strategies deriving from systematic innovation were preferred by students quite clearly. The design strategies referred to industrial design, e.g., user-centered design and timeless design were preferred by professional designers. The design strategies related to routine design, i.e., materials substitution, reducing resources and energy consumption, and structural optimization, were indistinctly used by both students and professional designers. The obtained results and their discussion can be useful during eco-design teaching to show the main gaps that students should fill in comparison with professional designers.
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Lu, Jiahao, Alejandra Gomez Ortega, Milene Gonçalves, and Jacky Bourgeois. "THE IMPACT OF DATA ON THE ROLE OF DESIGNERS AND THEIR PROCESS." Proceedings of the Design Society 1 (July 27, 2021): 3021–30. http://dx.doi.org/10.1017/pds.2021.563.

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AbstractWith the advance of the Internet and the Internet of Things, an abundance of 'big' data becomes available. Data science can be incorporated in design, which brings forward various opportunities for designers to benefit from this new material. However, the designer's perspective and their role remains unclear. How do they think about and approach data? What do they want to achieve with this data? What do they need to take ownership of designing with data? In this paper we take a design perspective to map the opportunities and challenges of leveraging large data-sets as part of the design process. We rely on a survey with 75 participants across a Faculty of Industrial Design Engineering and in-depth reflective interviews with a subset of 9 participants. We discuss the impact of data on the roles designers can adopt as well as an approach to designing with data. This work aims to inform on educational support, data literacy and tools needed for designers to take advantage of this new era of design digitalisation.
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Guo, Ting Liang, Jun Liu, Hong Juan Dai, and Hui Xia Zhang. "Embodying of Human-Centered Perspective in Household Basic Appliances Product Design." Advanced Materials Research 346 (September 2011): 372–78. http://dx.doi.org/10.4028/www.scientific.net/amr.346.372.

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Traditional critical goals for industrial products design includes five factors. They are utility, appearance, ease of maintenance, low costs and communication[1]. In this paper, puts forth a new perspective, in which considers that embodying of human-centered perspective should be also another critical goal to industrial product besides traditional five critical goals. The paper is aimed at giving rise to the industrial designers to pay more attention to the design principles of ‘Human-Centered’ during their household bisic appliances product design because they are usually ignored by the designers. In the paper, mainly analyzed some household basic appliances products, which are used in every day life of people. The way of study is to analyze some problems in the products design by the examples of the products that are being applied in every day life, but there are some defects. What the analyses mainly concerned is how to embody the principle of “human-centered” in industrial product design. The “green design” and “healthy design” should be put the first place when industrial designers to design industrial products.
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Prati, Elisa, Valeria Villani, Margherita Peruzzini, and Lorenzo Sabattini. "An Approach Based on VR to Design Industrial Human-Robot Collaborative Workstations." Applied Sciences 11, no. 24 (December 11, 2021): 11773. http://dx.doi.org/10.3390/app112411773.

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This paper presents an integrated approach for the design of human-robot collaborative workstations in industrial shop floors. In particular, the paper presents how to use virtual reality (VR) technologies to support designers in the creation of interactive workstation prototypes and in early validation of design outcomes. VR allows designers to consider and evaluate in advance the overall user experience, adopting a user-centered perspective. The proposed approach relies on two levels: the first allows designers to have an automatic generation and organization of the workstation physical layout in VR, starting from a conceptual description of its functionalities and required tools; the second aims at supporting designers during the design of Human-Machine Interfaces (HMIs) by interaction mapping, HMI prototyping and testing in VR. The proposed approach has been applied on two realistic industrial case studies related to the design of an intensive warehouse and a collaborative assembly workstation for automotive industry, respectively. The two case studies demonstrate how the approach is suited for early prototyping of complex environments and human-machine interactions by taking into account the user experience from the early phases of design.
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46

Felip Miralles, Francisco. "The effectiveness of graphic representation techniques used by industrial designers for the conceptual presentation of new products." Multidisciplinary Journal for Education, Social and Technological Sciences 4, no. 2 (September 27, 2017): 97. http://dx.doi.org/10.4995/muse.2017.7686.

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<p class="Textoindependiente21">Graphic techniques are very important means for designers. They can improve the conceptual presentation of new products before a client or a company, stimulating the communication of their potential, defending their benefits and making clear their commercial viability. To choose the most suitable graphic languages is essential so that the client can understand the proposal, allowing this way to establish a dialogue with the designer itself in order to improve the solution. Today the multiplication of graphic media has made it possible for the designers to have a wide range of ways to conduct and present their ideas, but it may happen that the graphic techniques chosen may not always be the most appropriate.</p><p class="Textoindependiente21">This work aims to demonstrate the importance of graphic expression used as a tool for presenting ideas about new products, and evaluate the effectiveness of several graphic techniques in improving the client's understanding of the product, taking into account the conceptual clarity, the representation of the mode of use, the relationship with the user and the contextualization of the product in its habitat or use environment.</p>
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47

Elsen, Catherine, Jean-Noël Demaret, Maria C. Yang, and Pierre Leclercq. "Sketch-based interfaces for modeling and users' needs: Redefining connections." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 26, no. 3 (August 2012): 281–301. http://dx.doi.org/10.1017/s0890060412000157.

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AbstractThe goal of this paper is to reexamine assumptions about sketch-based interfaces for modeling in the context of designers' needs and practices. Research questions examine (a) the type of sketch support and (b) the timing of support. Both concepts try to determine when, what, why and how to augment design processes in a way that is useful to designers. Two experiments (one in architecture and one in product design) based on ergonomics theory are conducted and intend to question some of these assumptions. The Port Zeeland experiment examines how 20 novices perceive and copy a blurred architectural sketch, which provides clues for a sketch interpretation system. The “Tragere” experiment studies how 12 professional product designers, some of whom are “idea generators” and others “idea pursuers,” perceive, recognize, and handle a design sketch. The results take a designer's point of view in assessing the timing and value of sketch assistance in product design. The quantitative data analysis provides rich clues about when, why and how product sketches should be supported. The paper explores the strategies developed by designers to perceive and recognize graphical content and discusses the generation of three-dimensional volumes, the univocity state between sketches and three-dimensional models, and the treatment of features in freehand sketches. The paper concludes with observations on the timing and value of support, as first integrated in NEMo, a tool for early stage architectural design, and then in PEPS3, an early stage framework for product design.
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Vieira, Sonia Liliana da Silva, Mathias Benedek, John S. Gero, Gaetano Cascini, and Shumin Li. "BRAIN ACTIVITY OF INDUSTRIAL DESIGNERS IN CONSTRAINED AND OPEN DESIGN: THE EFFECT OF GENDER ON FREQUENCY BANDS." Proceedings of the Design Society 1 (July 27, 2021): 571–80. http://dx.doi.org/10.1017/pds.2021.57.

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AbstractIn this paper, we present results from an experiment using EEG to measure brain activity and explore EEG frequency power associated with gender differences of professional industrial designers while performing two prototypical stages of constrained and open design tasks, problem-solving and design sketching. Results indicate no main effect of gender. However, among other main effects, a consistent main effect of hemisphere for the six frequency bands under analysis was found. In the problem-solving stage, male designers show higher alpha and beta bands in channels of the prefrontal cortices and female designers in the right occipitotemporal cortex and secondary visual cortices. In the design sketching stage, male designers show higher alpha and beta bands in the right prefrontal cortex, and female designers in the right temporal cortex and left prefrontal cortex, where higher theta is also found. Prioritising different cognitive functions seem to play a role in each gender's approach to constrained and open design tasks. Results can be useful to design professionals, students and design educators, and for the development of methodological approaches in design research and education.
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Maddox, Michael E., and James A. Turpin. "Design of a Consumer Computer Terminal for Automated Access to Overnight Delivery Services." Proceedings of the Human Factors Society Annual Meeting 33, no. 6 (October 1989): 465–69. http://dx.doi.org/10.1518/107118189786759714.

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Consumer product design is seldom approached in a truly systematic framework, especially in applied settings. Although most designers know about systems design techniques, real design projects usually appear to be driven by severe scheduling constraints, cost limitations, strongly held opinions on the part of management and designers, or all of these characteristics. There has also historically been friction between human factors professionals and industrial designers. The result is that most consumer products have not undergone a truly systematic process of design and testing. This paper describes a case study in which a real product with potentially significant financial impact has been designed and is being tested using a systematic process. More significantly, this product represents a collaboration among company management, human factors professionals, and industrial designers. The overall design and testing process is described. Results from several tests, successively increasing the fidelity of the test items, are presented
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Abedini, Kamran. "An Assessment of Industrial Designers Use of Human Factors Criteria in Product Design Evaluation." Proceedings of the Human Factors Society Annual Meeting 32, no. 6 (October 1988): 420–24. http://dx.doi.org/10.1177/154193128803200602.

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In order to know the pattern of actual application of human factors criteria by industrial designers an experiment was conducted by asking 87 students of industrial design to evaluate a CAD workstation after completing a course in “human factors in design”. The guidelines chosen for the evaluation were those related to design of visual displays, controls and workstation layout on the CAD system. Since the main objective was to see how many of the principles had become part of their “common sense” they were asked to evaluate the equipment without any reference to any books/notes. The subject's responses were compared with the human factors guidelines using a Chi-square test (0.05 significance). The results pointed out that industrial designers readily accepted general criteria such as visibility, operability, and accessibility but interpretability of the display was frequently unrecognized. Such information could be used by industrial designers and human factors experts to improve their cooperation in the design process and thus increase the acceptance and marketability of the product.
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