Дисертації з теми "Product Design Creativity"

Through nine experiments, this research advances knowledge about the influence of metaphors grounded in the visual sensory system on creative cognition by showing that perceiving ostensibly task-unrelated visual images that carry metaphoric meaning alters consumers’ creativity. While the results of Experiments 1a, 1b, and 2 provide convergent evidence that positive visual metaphors representing ideas like “I just had a light go on” increase consumers’ creative output, Experiments 3a and 3b reveals that a negative visual metaphor conveying ideas like “ I am burnt out” decrease it. Experiments 4a and 4b show that aptness and familiarity moderate the metaphor creativity link, and Experiment 6 shows that the metaphor–creativity link is moderated by analogical reasoning skills. Experiment 5 uncovers the mediating role of creative intent. In addition to implying that marketers can use metaphors to enhance consumers’ creative feedback in areas like new product development, this research also makes important theoretical contributions by showing (1) that grounded visual metaphors (in addition to tangible objects or physical exercises) can not only raise but also lower creative output, (2) that the cognitive relationship to the metaphor alters the metaphor-creativity link, (3) that a unique cognitive skill alters the metaphor–creativity link, and (4) that consumers’ intentions explain that relationship.

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2010.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 107-116).
It is widely recognized that innovation and creativity is the new competitive battleground for product development firms. Engineers and product designers are now expected to be highly creative, prolific idea generators in addition to being analytically competent. Thus, it is of interest to study methods to improve a designer's idea generation capabilities. It is believed that wit, being spontaneous humor production, is strongly related to creativity as both involve making nonobvious connections between seemingly unrelated things. This thesis looks into the realm of humor and improvisational comedy to suggest means of enhancing creative output in blue-sky product design idea generation. We have found that the ability to quickly generate many ideas is strongly correlated (r2=.82) with being able to come up with a single, promising, creative idea. It was also found that, with appropriate training, individuals may learn to become more prolific idea generators. Furthermore, improvisational comedians were more proficient at new product idea generation than professional product designers, and methods for training comedians can be effectively adapted to product design idea generation. In a study where 84 participants (students, professional designers and improvisational comedians) took a cartoon caption humor test and a nominal product brainstorming test, we found that improvisational comedians on average produced 20% more product ideas and 25% more creative product ideas than professional product designers. Furthermore, the few individuals that were highly prolific in both creative product ideation and humorous cartoon caption production had an improvisational comedy background. Many of the games used in improvisational comedy training are intended to promote associative thinking. We designed an improvisational comedy workshop composed of these association-based games. A group of 11 subjects who participated in this workshop increased their idea output on average by 37% in a subsequent product brainstorming session. Our findings suggest that improvisational comedy games are a useful warm-up for idea generation, that prolific generation is not a domain-specific ability and that it is possible to teach creativity. Ultimately, this work can lead to the development of tools and methods that designers can use to improve their idea generation skills.
by Barry Matthew Kudrowitz.
Ph.D.

In this study a number of Australian fashion enterprises are investigated in an effort to understand how product development is managed and creativity facilitated. Of particular interest was the interaction between the various actors in the creative process and the manner in which they influenced creative output. The study was underpinned by a wideranging review of the literature that reflects the multidisciplinary nature of creativity and innovation in business. The study is timely because Australian fashion enterprises are operating in an increasingly challenging market with a perfect storm of competitive drivers at play. Technology enables instant dissemination of fashion trends and easy international shopping online. Tariff reductions and free trade agreements provide less protection for local manufacturers and revenues have contracted sharply in recent years. Retail revenues have flat-lined at a time when a number of global superbrands are opening stores in Australia with aggressive expansion plans. In response, government and industry groups are promoting product differentiation and innovation as key levers for competitiveness for Australian businesses. The reason for undertaking the study was to investigate contemporary product development practices, to identify barriers to creativity and find ways that enterprises can leverage the creative abilities of employees to improve innovation practices. Managers of six enterprises from a diverse range of markets and enterprise types agreed to participate in a descriptive study of their product development practices. The study deployed a qualitative case based methodology and used a combination of data collection types including participant observation and field observation, field interviews, documents and artefacts. The data was analysed within case for key contextual findings and across case for broader themes and patterns. Participant enterprises employed a variety of approaches to product development as described in the innovation literature (for example, Cappetta, Cillo, & Ponti, 2006; Cillo & Verona, 2008; Dell'Era & Verganti, 2007; Payne, 2011; Perks, Cooper, & Jones, 2005; Ward, Runcie, & Morris, 2009; Weller, 2007), with hybrid approaches at work in some cases. Management were not always aware of the practice implications for the various approaches, and though all participants deemed creativity important, it was not explicitly measured or rewarded. The dichotomy between management and creativity, a prevalent theme in the literature (for example, Adorno, 1997; Caves, 2000; Townley, Beech, & McKinlay, 2009), did not present strongly in the participant cases. Instead, more collaborative creative practices were in evidence where designers, merchandisers, sales and business managers developed and decided on product together. The study provides rich detail about collaborative product development practices at an operational level that balances the management and leadership focus of the literature by leading creativity scholars in the field (for example, Amabile, Schatzel, Moneta, & Kramer, 2004; Basadur, 2004; Černe, Jaklič, & Škerlavaj, 2013; Mumford, Scott, Gaddis, & Strange, 2002; Shalley & Gilson, 2004). Similar to Tran’s (2010) detailed study on the practice of fashion designers, this study provides a window into distributed creative processes involving a variety of actors. Cross case analysis has revealed a number of themes that have implications for practice. These include the need for greater alignment of product development with strategic intent; the influence of organisational structure and reporting on creative processes; and the need to develop metrics and performance management systems that focus specifically on creativity.

L'objectif général de cette thèse est d'étudier l'évaluation de la créativité dans le domaine du design. Plus précisément, ce travail se centre sur l'évaluation de productions créatives en design graphique et il repose sur des méthodes complémentaires d'analyse des critères utilisés par des juges. L'approche adoptée vise à explorer les variations de jugements, dans différents contextes d'évaluation, afin d'identifier les facteurs influant sur les critères (ou les « référents évaluatifs ») qui sont pris en considération par les juges. Deux facteurs ont plus particulièrement été pris en compte : les points de vue adoptés par les juges en fonction de leur parcours professionnel (designers, directeurs artistiques, enseignants en design et public visé) et le niveau d'expertise en design (experts affirmés, experts intermédiaires et non-experts).Cette recherche a été réalisée dans différents contextes d'évaluation et elle tente d'identifier les éléments caractéristiques des jugements, selon le profil des juges émettant ces jugements. La première étude vise à comprendre les représentations mentales des juges, en explorant les critères qu'ils déclarent importants pour la créativité. La seconde étude analyse les corrélations entre les scores attribués aux productions en design sur un ensemble des critères, ainsi que les niveaux d'accords inter-juges pour chacun de ces critères. La troisième étude permet une analyse qualitative des verbalisations spontanées exprimées par des juges durant leurs évaluations de productions en design
The present thesis aims to study creativity assessments in design. More precisely, this research focuses on the evaluation of creative productions in graphic design area and it is based on complementary methods of analysis of used criteria and "evaluative referents". It aims to identify, in various assessment contexts, factors that exert an influence on the judgments of creative productions. It develops a multiple feedback approach by exploring assessments made by judges with different professional backgrounds (designers, art directors, design teachers and targeted audience) and levels of experience in design (asserted experts, intermediary experts and laypeople).The research frame includes different contexts of assessment situations and tries to capture the characteristics of judges' approaches to creativity in design, on the basis of three complementary studies. The first study focusses on judges' mental representations by exploring criteria they declare important to creativity in design. The second study allows an analysis of correlations between scores attributed to design productions with regard to different criteria as well as an analysis of inter-judge agreement on them. The third study aims to perform qualitative analyses of spontaneous verbalizations expressed by judges during their analyses of design outcomes

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Dados os recentes indícios quanto a configuração da chamada realidade, explicitadas pelas ciências duras (físicas, e a matemática), pelas biológicas e pela filosofia, o presente texto busca traçar um panorama do momento histórico contemporâneo, sob a ótica do design e sua ressignificação simbólica e cognitiva. Recriam-se assim as relações do homem com suas linguagens, seu corpo e seu espaço, através de novas leituras subjetivas do compo do real. Este trabalho é parte de um estudo mais amplo, desenvolvido coletivamente, e que busca lançar luz sobre o modo de produção de objetos sensíveis, tentando com isso, gerar novas propostas sobre a construção projetual
Given evidence for the configuration of the so-called reality, explained bu the hard sciences (physics, mathematics) by the biological ones and by philosophy, this dissertation seeks to give an overview of the contemporary historical moment, from the perspective of design and its symbolic and cognitive signification. So that the relationship between man and his language, his body and his space are recreated through new readings of the field of subjective reality. This work is part of a larger study that seeks to shed light on the mode of production of sensible objects, and it tries to generate new proposals for the construction of the architectural design

This thesis introduce a new innovation methodology called IDEAS(R)EVOLUTION that was developed according to an on-going experimental research project started in 2007. This new approach to innovation has initial based on Design thinking for innovation theory and practice. The concept of design thinking for innovation has received much attention in recent years. This innovation approach has climbed from the design and designers knowledge field towards other knowledge areas, mainly business management and marketing. Human centered approach, radical collaboration, creativity and breakthrough thinking are the main founding principles of Design thinking that were adapted by those knowledge areas due to their assertively and fitness to the business context and market complexity evolution. Also Open innovation, User-centered innovation and later on Living Labs models emerge as answers to the market and consumers pressure and desire for new products, new services or new business models. Innovation became the principal business management focus and strategic orientation. All this changes had an impact also in the marketing theory. It is possible now to have better strategies, communications plans and continuous dialogue systems with the target audience, incorporating their insights and promoting them to the main dissemination ambassadors of our innovations in the market. Drawing upon data from five case studies, the empirical findings in this dissertation suggest that companies need to shift from Design thinking for innovation approach to an holistic, multidimensional and integrated innovation system. The innovation context it is complex, companies need deeper systems then the success formulas that “commercial “Design thinking for innovation “preaches”. They need to learn how to change their organization culture, how to empower their workforce and collaborators, how to incorporate external stakeholders in their innovation processes, hoe to measure and create key performance indicators throughout the innovation process to give them better decision making data, how to integrate meaning and purpose in their innovation philosophy. Finally they need to understand that the strategic innovation effort it is not a “one shot” story it is about creating a continuous flow of interaction and dialogue with their clients within a “value creation chain“ mindset; RESUMO: Metodologia de co-criação de um produto/marca cruzando Marketing, Design Thinking, Criativity and Management - IDEAS(R)EVOLUTION. Esta dissertação apresenta uma nova metodologia de inovação chamada IDEAS(R)EVOLUTION, que foi desenvolvida segundo um projecto de investigação experimental contínuo que teve o seu início em 2007. Esta nova abordagem baseou-se, inicialmente, na teoria e na práctica do Design thinking para a inovação. Actualmente o conceito do Design Thinking para a inovação “saiu” do dominio da area de conhecimento do Design e dos Designers, tendo despertado muito interesse noutras áreas como a Gestão e o Marketing. Uma abordagem centrada na Pessoa, a colaboração radical, a criatividade e o pensamento disruptivo são principios fundadores do movimento do Design thinking que têm sido adaptados por essas novas áreas de conhecimento devido assertividade e adaptabilidade ao contexto dos negócios e à evolução e complexidade do Mercado. Também os modelos de Inovação Aberta, a inovação centrada no utilizador e mais tarde os Living Labs, emergem como possiveis soluções para o Mercado e para a pressão e desejo dos consumidores para novos productos, serviços ou modelos de negócio. A inovação passou a ser o principal foco e orientação estratégica na Gestão. Todas estas mudanças também tiveram impacto na teoria do Marketing. Hoje é possivel criar melhores estratégias, planos de comunicação e sistemas continuos de diálogo com o público alvo, incorporando os seus insights e promovendo os consumidores como embaixadores na disseminação da inovação das empresas no Mercado Os resultados empiricos desta tese, construídos com a informação obtida nos cinco casos realizados, sugerem que as empresas precisam de se re-orientar do paradigma do Design thinking para a inovação, para um sistema de inovação mais holistico, multidimensional e integrado. O contexto da Inovação é complexo, por isso as empresas precisam de sistemas mais profundos e não apenas de “fórmulas comerciais” como o Design thinking para a inovação advoga. As Empresas precisam de aprender como mudar a sua cultura organizacional, como capacitar sua força de trabalho e colaboradores, como incorporar os públicos externos no processo de inovação, como medir o processo de inovação criando indicadores chave de performance e obter dados para um tomada de decisão mais informada, como integrar significado e propósito na sua filosofia de inovação. Por fim, precisam de perceber que uma estratégia de inovação não passa por ter “sucesso uma vez”, mas sim por criar um fluxo contínuo de interação e diálogo com os seus clientes com uma mentalidade de “cadeia de criação de valor”

Resumo: Dados os recentes indícios quanto a configuração da chamada realidade, explicitadas pelas ciências duras (físicas, e a matemática), pelas biológicas e pela filosofia, o presente texto busca traçar um panorama do momento histórico contemporâneo, sob a ótica do design e sua ressignificação simbólica e cognitiva. Recriam-se assim as relações do homem com suas linguagens, seu corpo e seu espaço, através de novas leituras subjetivas do compo do real. Este trabalho é parte de um estudo mais amplo, desenvolvido coletivamente, e que busca lançar luz sobre o modo de produção de objetos sensíveis, tentando com isso, gerar novas propostas sobre a construção projetual
Abstract: Given evidence for the configuration of the so-called reality, explained bu the hard sciences (physics, mathematics) by the biological ones and by philosophy, this dissertation seeks to give an overview of the contemporary historical moment, from the perspective of design and its symbolic and cognitive signification. So that the relationship between man and his language, his body and his space are recreated through new readings of the field of subjective reality. This work is part of a larger study that seeks to shed light on the mode of production of sensible objects, and it tries to generate new proposals for the construction of the architectural design
Orientador: Olimpio José Pinheiro
Coorientador: Dorival Campos Rossi
Banca: Jorge Albuquerque Vieira
Mestre

In a time where fast trends and shorter product lifecycles are dominating the clothing industryfashion companies must constantly deliver revolutionary products in order to survive. Theconsumers are more demanding than ever before and collections that used to be released twicea year are almost nothing but a memory lost. Some companies are now releasing theircollections continuously and have abandoned the seasons completely. Media has put attentionon the speed that the fashion industry is moving in now and asks whether we can expect it toimplode?The purpose of the thesis is to establish how the creative process in a company operating onthe Swedish or the Danish clothing market is affected by external factors i.e. the everdecreasing life span of products and consumers becoming increasingly savvy, amongst manyother factors. It also attempts to determine whether what the media is broadcasting isconsistent with how designers experience the evolution of the clothing industry in this area orthe world.This study is conducted using a qualitative research method with a deductive approach. Basedon the theories collected empirics were formed relating to the subject. The empirics werecreated through qualitative interviews conducted with respondents from four differentcompanies. The companies and the respondents have been chosen with a non-probableselection in order to obtain varied and relevant empirics. The data gathered from theseinterviews was then analyzed and compared to the chosen theory to ascertain patterns ofsimilarities or dissimilarities.The drawn conclusion is that the creativity suffers on account of many different factors, forexample; stress, organizational structure, freedom within the organization and sales. Theworry that has been expressed in the media is justified and the workload has partly increased.The study also showed that the designers wanted to follow their own path but had to considerthe consumer’s wishes and the demands of the company.
Program: Textilekonomutbildningen

Cada vez existe más interés y necesidad de implantar el modelo de economía circular, basado en mantener los recursos en circulación el mayor tiempo posible. El diseño de producto es una disciplina que necesita estar en continua innovación para satisfacer las nuevas necesidades que surgen en la sociedad. Dentro de las etapas que el diseño de productos abarca, la etapa de diseño conceptual es la etapa más flexible y donde se lleva a cabo la actividad creativa. Esta tesis muestra el diseño de una métrica de evaluación de propuestas conceptuales que cubre todos los aspectos integrados en la economía circular, referentes al diseño de producto, y que proporciona un resultado objetivo de medición conjunta de la circularidad y la novedad, fomentando que las propuestas tengan las dos características conjuntas. También se estudia cómo introducir la economía circular en el proceso de diseño sin perjudicar a la creatividad de los resultados.
There is an increasing interest and need to implement the circular economy model, based on keeping resources in circulation for as long as possible. Product design is a discipline that needs to be in continuous innovation to meet the new needs that arise in society. Within the stages that product design encompasses, the conceptual design stage is the most flexible stage and where the creative activity is carried out. This thesis shows the design of an evaluation metric for conceptual proposals that covers all the aspects integrated into the circular economy, referring to product design, and that provides an objective result of combined measurement of circularity and novelty, encouraging the proposals to have both characteristics together. It also studies how to introduce the circular economy in the design process without harming the creativity of the results.

The purpose of this study was to better understand the role of design in the product development process in the apparel industry in the United States, looking for variations in how design is used in the industry. In order to obtain a snapshot of the fashion design industry, creativity, originality, innovation, and product development were examined, as well as corporate culture and strategic orientation. The study also sought to examine pedagogical strategies based on these findings. A mixed methods approach, consisting of an on-line survey and interviews, was employed. The findings suggest variations in the role of design based on the time design-department employees spent on creative tasks. These variations were examined and industrial and pedagogical implications are explored. The significance of this study relates to the findings of the importance of creativity in the product development process of the apparel industry in the United States, as well as considerations for pedagogical strategies.

Corporations spend a great deal of time and money trying to facilitate innovation in their employees. The act of introducing something new, a product or a service that is viable and innovative is often increased by enhancing or nurturing creativity.This experimental study investigated the effect of group verbally interactive brainstorming (social interaction) on creativity, not by comparing the number of ideas generated on a simple task in a brainstorming session, but by assessing creativity in the final product of a complex heuristic task. The purpose of this study was to compare the effect of group interactive brainstorming to individual brainstorming on individual creativity assessed in the final product.The hypothesis which was tested in this study was that participation in group verbally interactive brainstorming prior to developing a design solution would not facilitate creativity in the final product more than individual brainstorming. Indeed, it was hypothesized that individuals brainstorming in teams.Participants were 36 interior design students in a FIDER accredited program at Virginia Tech. The Multidimensional Stimulus Fluency Measure (MSFM) was administered before beginning the experiment in order to determine individual differences in creativity. Subjects were randomly assigned to either a treatment group than participated in group verbally interactive brainstorming prior to developing a product individually, or a control group that participated in an individual brainstorming session. All subjects then created a design project individually that was assessed for creativity by judges who were recruited from professional interior design organizations. Creativity was measures using the Consensual Assessment for Interior Design Creativity (Barnard, 1992). A post session questionnaire also was used to measure attitudes and perceptions of the subjects about the creative process.Analysis of variance revealed no significant differences when creativity scores were compared between two brainstorming groups. That is, projects developed by interior design students did not differ significantly in creativity systematically between the two brainstorming techniques. When scores on the two dependent variables of secondary interest (novelty and appropriateness) were compared between groups they also did not differ significantly.Responses to post-session questionnaires indicated that although students found it more difficult to generate ideas in a group, they still believed they would generate more ideas and preferred to generate ideas in a group rather than alone. However, when developing a project students preferred to work independently.This study supports past research which suggests that group verbally interactive brainstorming does not enhance creativity. In this study, interactive brainstorming neither enhanced nor constrained creativity in the final product. The creativity scores were higher for those in the individual brainstorming condition, although not significantly so. This study also supports findings which indicate that people still believe they will generate more ideas in a group and that they prefer to generate ideas as a group.
Ph. D.

The current concerns about global warming are increasing the demands for electric vehicles (Ou- chi, Bando, Kodani, Hirata & Mubin, 2012).With the increasing demands, electric boats have now come into focus (Sierzchula, 2014). However, there is yet to be developed standards for charging of electric boats.This is where this thesis project comes in, as this thesis is a part of the E-Sea Power project,which is a project to develop a new and safe standard for charging of electric boats.The thesis project was completed at the company No Picnic in Stockholm, through the work of my final master degree course, in the education of Industrial Design Engineering, taught at Luleå Uni- versity of Technology. The objective of the thesis project was to provide a basis for the facilitation of the standardization of chargers for boats, with the possibility of full-scale tests. Where the final aim of the project was to develop both a normal charger standard and a quick charger that is to be mounted in a harbor, being able to utilize the harbor’s own electricity grid.Where in this context, a normal charger is a slower charger that charges with the users own cord and where a quick charger is a fast charger which has a built-in charger cord and handle. The project was divided into need, design, and function to make it structured and easy to follow, going through the design phases Immersion, Ideation, and Implementation.Throughout the project the current state was firsts analyzed, going on to several brainstorming and evaluation techniques and then ending with the building of final CAD prototypes, of both a normal charger and a quick charger, through the use of the software Solidworks, Keyshot, Photoshop and Maxwell.The projects focus has been on finding creative and ergonomic new solutions, with good user experience and accessibility. The final result of the project is two modular new chargers, with belonging to the same product family. Both a quick charger, which has had the thesis main focus and a normal charger, which has also been developed. The quick charger is a tall charging post that has a built-in lamp consisting of four fluorescent lamps and a, on the outside hanging, charging cord mounted at the top.The charger has two component houses which house necessary components. One that houses the CCS charger female and infor- mation label and one that houses the screen, IR sensor and emergency stop. The main feature of the final quick charger is its charging arm, which bends down with a hidden hinge, enabling the required total reach of 5 meters, while helping lift the charging cord for the user and giving the best possible light were the user is. The normal charger is also a charging post with the same type of house as the quick charger. How- ever the charger post is much shorter and it has only one house, which houses two Type 2 females instead of one CCS female.The normal charger also has a different lamp consisting of small LEDs, so that the user is not disturbed by its brightness at its lower hight, but still gaining enough light during use, where the surrounding light is lacking.
Den nuvarande oron för global uppvärmning ökar kraven på el-fordon (Ouchi, Bando, Kodani, Hirata & Mubin, 2012). Med de ökande kraven har nu de elektriska båtarna kommit i fokus (Sier- zchula, 2014). Det har emellertid ännu inte utvecklats standarder för laddning av elektriska båtar. Det är här det här master projektet kommer in, då detta projekt ingår i E-Sea Power-projektet, som är ett projekt för att utveckla en ny och säker standard för laddning av elektriska båtar. Projektet slutfördes på företaget No Picnic i Stockholm, genom mitt examensarbete, vid utbildningen civil- ingenjörsutbildningen i teknisk design, undervisad vid Luleå tekniska universitet. Målet med projektet var att skapa en grund för att underlätta standardiseringen av laddare för båtar, med möjlighet till fullskaliga tester. Där det slutliga målet med projektet var att utveckla både en normalladdare standard och en snabbladdare som ska monteras i en hamn och kunna utnyttja ham- nens egna elnät. I det här sammanhanget är en normalladdare en långsammare laddare som laddar med användarens egen kabel och en snabbladdare är en snabb laddare som har en egen inbyggd kabel med ett handtag. Projektet var uppdelat i behov, design och funktion för att göra det strukturerat och lätt att följa. Det gick även igenom designfaserna Immersion, Ideation och Implementation. Hela projektet bör- jade med analyseradet av det nuvarande tillståndet och fortsatte sedan med diverse brainstorming och utvärderingstekniker och slutade sedan med byggandet av slutliga CAD-prototyper, både av en normalladdare och en snabbladdare, med hjälp av programmen Solidworks, Keyshot, Photoshop och Maxwell. Projektets fokus har varit att hitta kreativa och ergonomiska nya lösningar med bra användarupplevelse och tillgänglighet. Det slutliga resultatet av projektet är två modulära nya laddare, som tillhör samma produktfamilj. Både en snabbladdare, som har haft huvudfokus och en normalladdare, som också har utvecklats. Snabbladdaren är en hög laddningsstolpe som har en inbyggd lampa som består av fyra lysrörslam- por och en utvändigt hängande laddningssladd monterad på toppen. Laddaren har två komponent- hus ett som rymmer CCS laddarens hona och informationsetikett och ett som rymmer skärmen, IR sensorn och nödstoppet. Huvudfunktionen hos den slutliga snabbladdaren är dess laddarm som böjer sig ned med ett dolt gångjärn, vilket möjliggör den totala räckvidden på 5 meter, samtidigt som den hjälper till att lyfta laddkabeln åt användaren och ger bästa möjliga ljus där användaren är. Den vanliga laddaren är också en laddstolpe med samma typ av hus som snabbladdaren. Laddstolpen är dock mycket kortare och den har bara ett hus, som rymmer två Type 2-honor i stället för en CCS-hona. Normalladdaren har också en annan lampa än snabbladdaren som består av små lysdio- der, så att användaren inte störs av ljusstyrkan vid dess lägre placering, men fortfarande får tillräckligt med ljus vid användning, där det omgivande ljuset är bristande.

This research project explores how we can apply Emerging Design Landscapes such as Critical Design and Collective Creativity, in combination with traditional fields of visual communication to address societal challenges in cooperation with society. In particular, this paper aims to question the visual representation of nuclear warfare, and how we could utilize Peircean Semiotics to better understand set representation. The design outcome is a critical board game that at its core aims to create a discussion around the visual representation of nuclear warfare today and act as a learning platform that would help its user better understand the practice of semiosis.

This research project explores how we can apply Emerging Design Landscapes such as Critical Design and Collective Creativity, in combination with traditional fields of visual communication to address societal challenges in cooperation with society. In particular, this paper aims to question the visual representation of nuclear warfare, and how we could utilize Peircean Semiotics to better understand set representation. The design outcome is a critical board game that at its core aims to create a discussion around the visual representation of nuclear warfare today and act as a learning platform that would help its user better understand the practice of semiosis.

碩士
高雄師範大學
視覺設計學系
98
Due to the flaws of brand style and product design, researcher set up this thesis inorder to relocate its own brand ＂PTORabbits＂. The whole content has five sections, First section narrating the motivation and purpose. Second section is about relevant knowledge and document analyze. By using the symbolism to confer the development of rabbit images and its meaning, west and east culture＇s rabbits document collection, rabbits idioms and images research for further product exploitation. Third section is about the analyze of rabbits relevant brands. understanding each brands characteristic and its benefits. Forth section will be the reason and explaination of designing PTORabbits. From early analyze to its new position and ideas, Those will be the evidence and main key of this research purpose. The last will ne the furture and expectaion of PTORabbits. By finding its flaws and redesign, making product with meaningful ideas and creation, not only make it more practical but also valuable. After the exibition and value, the product has become more welcome, which make it more valuable for selling and display in the future.

博士
國立成功大學
工業設計學系碩博士班
93
New product development (NPD) is regarded as a key factor to corporate success in the market and a powerful measure for a company’s long-term survival and growth. In present highly competitive and uncertain market environment with short product life cycles, companies must learn how to rise to the challenge of global competition as well as strengthen their product development capabilities. Only through the continuous innovation in new product design, companies could be able to maintain their competitiveness all over the world. 　Product design is a critical process within the overall performance of new product development. It plays an important role in providing what things to the users. A high quality product design can not only meet the market requirements but can also increase the possibility of success in new product development. Product design is also a complex problem-solving activity, whose intention is to materialize the artificial objects purposefully. It should be regarded as an interdisciplinary performing requiring contribution by the proper integration of various design methodologies and techniques. 　The present thesis focuses on product design, also known as industrial design, integrating a creativity-based design process, anthropometric measurement, appearance design and prototype making techniques for new product development. The essence of integration is not the conceivable blending among various design methodologies and techniques but the coherent application of them. We hope that the research can provide a coherent approach to new product design for industries by taking advantage of the creativity-based design process to achieve the goals of innovative product development.

碩士
國立交通大學
應用藝術研究所
107
In the past the general purpose of industrial design was expected to manufacture productions on large scale by design and also decreased the cost of development while mass production. Now the rise of Maker Movement, people can make testing models quickly or even manufacture in small quantity through the digital desktop machines, such as 3D Printing machine, CNC machine, Lacer cutting machine.The new making processes bring more flexible in Design.However, industrial design has developed so far,the role of design seems to be replaced by an array of open resources. Could we keep more personal characters keep more elastic in the process of producing? Maker culture brings a lot of impacts between design and manufacturing factory.Through the discussions of flexibility, the author aims to find out the four principles,which are change, emotion, care, interaction,then basing on own experience to focus on the “migration”.By extending the intention of “migration”,the author searches out the four states of “residence" which as following: one person at home, one person traveling, many people at home,and many person traveling. The author aims to express the flexibility while migrating by four work: “ Dialogue:loneness “ “ Fighting “ , “poetry poet” “ Rotating”. It is expected that through the interactions of documentary case analysis and creation, if the designer with the thinking and spirit of Maker, there is more flexibility in the processes and creations.

Innovation as been changing through the years and companies are continuously seeking for enhanced processes to achieve competitive advantage. Innovation is now seen as an open and collaborative process with the entering of different players in the ecosystem. Universities are relevant candidates to change innovation landscape and contribute to the reality of a learning economy. The present work explores a university-industry collaboration based on a case study of an innovation project under the ME310 program. Porto Design Factory (P.Porto) and IKEA Industry joined forces to tackle a problem using the Human-Centred Design (HCD) approach. The case study methodology provides an understanding the outcomes that revealed the potential of the HCD to solve a technical problem while enhancing the customer experience. Also, it’s possible to recognize the benefits that each institution had by collaborating. Research, prototypes and comprehensive documentation with all the knowledge generated through the process, were some of the results that contributed to the company’s innovation effort. PDF also benefited by providing differentiating learning conditions and employment opportunities to its students. The outcomes show that companies do benefit from building interfaces with external partners and that universities are relevant players in the innovation ecosystem satisfying its third mission. Further investigation may look for the level of implementation of the concepts coming from this kind of partnerships as well as it impacts in company’s culture and work process in the long term.

碩士
明志科技大學
工業工程與管理研究所
98
In recent years, many domestic enterprises and government departments concerned to realize that creativity and product development capacity building, thereby increasing the importance of value-added. Through this study, the design department to conduct observations and interviews with students, summed up the design students the concept of start-up phase in the product when the demand for the relationship between creativity and content, to creative thinking as the intrinsic motivation of the legislative base, compared with creative application of external motivation of the consideration to explore creativity and application of thinking on the relationship between the binding. According to the application of creativity to seek practical for the show to showcase the creativity of the application As the study found that after roots, thus summed up the formation of theory, the demand for creative product design features dimensions and in accordance with collaborative design, contextual design and intangible design for Product Design characteristics of creative thinking, to make further proposals for design students in self-creativity of thought and check, also help design students for the cultivation of creativity and development, expand the broad design of the unlimited possibilities.

碩士
國立雲林科技大學
視覺傳達設計系碩士班
101
After “Cultural Heritage Preservation Act” is announced in Taiwan in early 1991, the purpose of “Intangible Cultural Heritage Conservation Plan” executed by Publisher Planning Office of Headquarters Administration of Cultural Heritage, Council for Cultural Affairs, Taiwan is to review the importance of traditional folk culture. “The Keelung Ghost Festival” in Keelung region is different from Taoism’s so-called ghost festival of Jul. The Keelung Ghost Festival due to its special historical tradition, which is evolved from Zhang Quan fights to a form of surname clan association rotates for the year and has been carried on for over 150 years incessantly, and is unique belief in Keelung. It therefore, has been chosen as intangible cultural heritage while appointing historical relics with regard to nation’s important folk custom for the first time in 2008. In order to pass down this local traditional folk custom permanently and vividly, transformation via a form of manifestation is a must so as to transform people’s fear on the ghost month, to promote the cultural meaning of mercy and commemoration to ancestors of the Keelung Ghost Festival. Given a fact that many places have reported good performance after those feature-rich cultural products are released consecutively in reaction to policies, therefore this creation has firstly summarized literature with regard to cultural and creative industries, cultural products and Keelung Ghost Festival upon “textual analysis” in the first stage through designing research method, while stage II is to conduct in-depth interview with related important personnel via “semi-structured interview” in order to understand connotation of activity itself and development of related cultural products in recent years, stage III, to further analyze literature and interview contents and derive related cultural elements, then conducts creation of cultural products in stage IV, and lastly, to summarize outcomes and exhibit in public. The purpose of this creation is to understand culture of Keelung Ghost Festival, to analyze its unique culture and features and highlight its value, with event name “The Keelung Ghost Festival” regarded as brand name and with brand positioning rendered, to have unique cultural elements derived incorporated and to design a series of cultural products, and expect to provide as a reference for local industries, Keelung City Cultural Affairs Bureau and clan association to refer to for creativity of cultural products with regard to upcoming research and propaganda

碩士
高雄師範大學
視覺設計學系
99
Yancheng is one of regions of development in Kaohsiung in early days. From the period of Japan governs to reclaimed land only hundred years, come through the government established and gather the culture trade then become the Kaohsiung capital before age 70 of Republic of China. Yancheng influence the modern development of Kaohsiung about 50 or 60 years. Accumulates the trace of history and the old building and street testimony that formerly development. After age 70 of Republic of China, because of transfer the downtown area,Yancheng to be on the downgrade. But it remains the precipitation of one kind of historical atmosphere. This research through the conception of sense of place from John Agnew—people regarding the place has the attachment of affection and subjective. To discusses the affection of Yancheng area regarding Kaohsiung people. Sense of place involve the local resident even residents of a city regarding the emotion and memory of this place. And one kind of element of build the collective memory is old building. The modeling structure and the building symbol become the remarkable optical impression of modern resident regarding Yancheng this place in the sense of sight. Therefore, after this research discusses the above-mentioned, through visual design, choose the five old building in Yancheng to be the object of construction commodity design and develop the peripheral commodity. To reappear these old building that once was the resident remembers familiar-sounding by the lignin modeling. To integration the familiar advertise inscription and attempts the grain modeling, then redesign the old map. Hope the creative achievement that combined both and discuss mutually after the theory can let old Kaohsiung person or the young generation has more recollections and the imagination to Yancheng.

碩士
真理大學
管理科學研究所
92
As information technology soaring has changed marketing concept greatly. How to develop customer-orientated business models becomes the most important issue in business management. In the past, manufacturers (sellers) designed their products mainly with product-orientated or market-orientated business model, and then customers could only play a half-chooser role, which so called alternative-focused thinking (AFT). Often they sell the products that do not meet customers’ need. If sellers can look into customers’ values and objectives, and then let customers design their favorable products by themselves and choose one form what they designed, which so called value-focused thinking (VFT). In view of customers, VFT should better than AFT. This study develops a customer-oriented multiple criteria decision making (MCDM) model for which a customer can design his favorite product by himself. With the model, we create a complete creativity’s objectives space through the procedure of VFT, and then customers select a favorite product with an IGA-based “choice during search” process of the model. “Search” can help GA to find a favorite product in the solution space according to decision-makers’ objectives, and “Choice” can help decision-makers to set their objectives and preferences in the objectives space. To verify the effect of our model, we apply it to a case of designing bottle of mineral water. Experimental results of the case showed that the effect of our VFT-based model is significantly better than traditional AFT-based model. In practice, we hope our new product design model could bring both sellers and buyers a “win-win” ground.

碩士
大同大學
工業設計學系(所)
101
Looking for the history of China, lots of artistic achievements all emerge the extensive knowledge and profound scholarship. For example, calligraphy shows its unique in every dynasty. Even until now, calligraphy still have the status in the artistic fields. In modern artistic world, calligraphy is a creative form of art. Because of the fact that in different dynasty, calligraphers created the forms of words in different feelings and different skills to express their special thoughts. This creative way is not in other places in the world. Therefore, calligraphy is one of the superior cultures in China. Thus, I chose this topic to be the subject of my research. In 2011, Interdisciplinary Creative Works on Asia’s Cultural Creativity Exhibition in the Taipei world design session won the vast applause. Beside, it also won the most perfect design in a competition in Hongkong. We also can say that calligraphy can be changed by modern people, and can be handed down. In the progress of research, throughout the interview , I have been used the real model to demonstrate the correct way to transform calligraphy forms.

碩士
國立臺北科技大學
創新設計研究所
98
The topic “culture industry” has been highly taken in many developed countries since 1990. More and more culture oriented designs have emerged and the number of products with application of culture factors have gradually increased. However, the cultural creative products in the market, although taking culture as their starting points, are actually lack of innovation and cultural spirit. Those products emphasize the imitate of appearance but neglect the inner spirit and meaning of culture. In order to understand where to develop creativity in cultural product designs, this study will aim at the winners works from domestic and international design awards, and work for inducing the creativity attribute and expression technique for further discussion on how to successfully transfer cultural meaning into product design, enhance the value of product, conclude a guiding principle for students, and future development for the present cultural products. This thesis not only try to re-know the traditional culture but also return the symbolic meaning from cultural products, and therefore further succeed, develop and innovate said factors for broaden application in different products.

碩士
銘傳大學
商品設計學系創新設計與管理碩士在職專班
105
Since the Taiwanese government incorporated the “Cultural and Creative Industry Development Program” into their “Challenge 2008: National Key Development Program,” the cultural and creative industries have become central to the national economic and image development strategy. In 2014, the government introduced a course to teach design agents reflecting the need for design agents in Taiwan. This study was carried out through literature review, interviews, and questionnaire survey. It aims to explore the current situation of the design agent used by designers, the roles and functions of different agents, and industrial designers’ agent needs, and to evaluate the feasibility of design agency leaded in the cultural creativity product design industry of Taiwan, thus enhancing its competitiveness and providing talented designers with support and training to enable them to operate sustainably. This study has the following conclusions: 1. A review of previous studies demonstrated that agencies are an element of industrial development. Synthesizing the four mature agent industries yielded the following results: (1) Incubation stage: The beginning of an industry often begins with the business model trading at a location or platform by supply and demand sides. (2) Development stage: Through time, space, and economic and technological changes, a developed industry promotes the complex business chain and then various types of agencies are produced. This process begins with project based transactions. (3) Brand- building stage: To take control of profits, agencies sign full management contracts with designers and offer them generous benefits. To ensure the steady production of creative and quality products, agencies actively market creators and facilitate transactions. When agents obtain considerable power, labor disputes may occur. (4) Standardization stage: Powerful unions or international organizations are formed to solve the problem mentioned in previous stage (Brand- building stage) as the market increasingly expands. 2. Because the product design industry has privacy policy concerns of product development and difficulties recruiting suitable staff problems, product design is always in the condition of using design technical services for exchanging recompense. Product designers have a limited stage. 3. Most of Taiwan's cultural industries are domestic market oriented. To persist, they must open up the international market, and the agency business model thus has development space. 4. For designers working in design houses, they most require agency’s function at the development-stage. If a product design house is regarded as an agent unit, it has essentially reached the development or brand-building stages. 5. If product designers want to depart from the manufacturing industry, they must develop a valuation mode, leafrog forming skills, and cause the industry to recognize their value. 6. If Cultural creativity products want to establish a brand, the language barriers must overcome, and thus the international market can be opened up. 7. Product designers who work in SOHO most require agencies. 8. Agency concept should be started teaching in schools, and combining with industries, academia, and government to let the cultural creativity agencies supported by government to enter into campuses and design organizations.

碩士
國立高雄應用科技大學
文化創意產業系
103
In recent years, with the vigorous development of the cultural and creative industries in Taiwan, the design and marketing of relevant cultural and creative products has attracted attention of numerous researchers. Moreover, many scholars have explored different fields of cultural and creative products, such as the design aspect, consumer experience, loyalty and so on. At present, scholars have taken the craft industry for example and propose the analytical framework of creativity applicable to the cultural and creative product of Taiwan. However, the attributes of craft products on the demand level or experience manner are different from the rapidly changing fashion products. Therefore, this research looks at the case study of 'Shiatzy Chen', which has successfully stepped on the stage of Paris Fashion Week for more than a decade. In this research, we will combine the cultural theory and design theory and conduct in-depth analysis of existing fashion industry in the facets of product creativity assessment. This research utilized AHP (Analytic Hierarchy Process), experts are recruited to conduct a professional comprehensive assessment to fashion industry in the facets of product creativity; so that the quantized weighting corresponded to each factors on the facets of creativity assessment items can be proposed and reorganized. The result shows that the 'fashionability' of fashion product is not the decisive factor of successful sales volume. According to the research data, the leading, uniqueness, rarity and cultural content of the product, as well as the consumer experience based on sensual and emotional aspect, those are the key to successful product design and marketing.

碩士
國立臺灣師範大學
創造力發展碩士在職專班
104
This study was designed to investigate the creative thinking techniques on the cultural creativity industry’s products design and satisfaction. It takes the Formosan animals’ image of personification products as the example. The purpose of this study is to build a process to design cultural and creative industry’s product. Then integrated creative thinking techniques into the process. After using process, produced and displayed the products. Investigated the satisfaction of the products with the public, whether to raise the economic and spiritual. The results of this study are summarized as follows: 1. Creative thinking techniques help the thinking more creative. 2. This process is practical, as amended, to complete the recurrence nature. 3. The public satisfaction with the products influenced by cognition of cultural and creative industry, the role of shaping, and the presentation mediums. 4. Happiness is an important factor in the cultural and creative product, and creativity is the key to manufacturing happiness. According to the findings of the present study and reflection, the researcher makes recommendations for reference subsequent design and research.

碩士
銘傳大學
設計創作研究所碩士班
97
How to make sure the public can feel free and comfortable when using the state of the art technology devices is the major subject to the product designer. According to the popularization of digital music and the decreasing price of MP3 player, the population of MP3 users is growing rapidly. However, there are only a few costumer-oriented-designed MP3 players which are designed for using easily or user friendly on the market now. This article will discuss the interface design for MP3 player in detail for developing handy devices. This article discussed by relative literature to realize MP3 player, analyze the present situation of MP3 player interface design, the functions and problems for using of MP3 player, and the usage environment relation, so that discuss one step ahead about the trend of design. According to questionnaire survey, we would like to find out the likes and dislikes to the interface design of each kind of MP3 players. On the side of human-computer interaction, this article collected and arranged related records written by international scholars papers and found out the concept of human-computer interaction which the designers should know and follow when they are working for a new era product. After integrated all bibliographies above, we analyzed from the cases of human-computer interaction and chose three outstanding cases of them. They are iPod, MOTOROKR E8, and wii. In this work, we would discuss the essential factors for success and the merits and the defects of functional interface for the basis to design and to draft a set of design rule for the users in the following section. At last, we would integrate the bibliographies and the results of analysis to introduce human-computer interaction into product design including the development feasibility of design to MP3 player and realized the operation process. In this thesis, we propose and build up four different design projects and present with 2D-drafting software and choice a project to develop a real product with practicability and convenient operation.

This work proposes a framework of concept generation and evaluation that takes into consideration the benefit of creativity and innovation in current market trends. By educating engineers in how to increase creativity in concept design and assess it quantitatively, the next generation of designers will be a step ahead of the market. This research begins with an in-depth survey of current creativity assessment methods in engineering in order to determine where the limitations currently lie in this field of study. The limitations discovered based on this unique analysis were used as motivation for the development of the proposed creativity assessment method. Specifically, we introduce a set of metrics that break down concepts to their component and subfunction level to assess the novelty and quality of component solutions ��� called the Comparative Creativity Assessment (CCA) Method. Secondly, we break down market-tested innovative products to isolate innovation information to utilize in concept generation inspiration ��� called the Repository of Innovative Products (RIP). Finally, revisions to the initial CCA method and RIP are proposed and analysis of past data results are compared to the new revised results. Revisions to the CCA method include additional metrics that factor in interaction effects from function pairing and component assemblies deemed innovative as well as eliminate evaluator subjectivity in the analysis. Observations from the experiments conducted are presented in a Lessons Learned chapter.
Graduation date: 2013