Advanced applications of a computational design synthesis method

From modelling to manufacturing, computers have increasingly become partners in the design process, helping automate many phases once carried out by hand. In the creative phase, computational synthesis methods aim at facilitating designers' task through the automated generation of optimally directed design alternatives. Nevertheless, applications of these techniques are mainly academic and industrial design practice is still far from applying them routinely. This is due to the complex nature of many design tasks and to the difficulty of developing synthesis methods that can be easily adapted to multiple case studies and automated simulation. This work stems from the analysis of implementation issues and obstacles to the widespread use of these tools. The research investigates the possibility to remove these obstacles through the application of a novel technique to complex design tasks. The ability of this technique to scale-up without sacrificing accuracy is demonstrated. The successful results confirm the possibility to use synthesis methods in complex design tasks and spread their commercial and industrial application.

A conceptual client-designer framework: Inspiring the development of inclusive design interactive techniques

The adoption of inclusive design approach into design practice is compatible to the needs of an ageing society. However, tools and methods that promote inclusivity during new product development are scarcely used in industry. This paper is part of a research project that investigates ways to accommodate inclusive design into the design process in industrial context. The present paper is based on the finds from the observations and interviews with industrial designers and interviews with stakeholders. The outcomes from the study supported a better understanding of the client-designer dynamic as well as the stages in the design process where information related to inclusive design could be introduced. The findings were essential to inspire the development of an inclusive design interactive technique to be used by clients and designers. © 2013 Springer-Verlag Berlin Heidelberg.

Design thinking - a critical analysis.

The latest buzz phrase to enter the world of design research is “Design Thinking”. But is this anything new and does it really have any practical or theoretical relevance to the design world? Many sceptics believe the term has more to do with business strategy and little to do with the complex process of designing products, services and systems. Moreover, many view the term as misleading and a cheap attempt to piggyback the world of business management onto design. This paper seeks to ask is design thinking anything new? Several authors have explicitly or implicitly articulated the term “Design Thinking” before, such as Peter Rowe’s seminal book “Design Thinking” [1] first published in 1987 and Herbert Simon’s “The Sciences of the Artificial” [2] first published in 1969. In Tim Brown’s “Change by Design” [3], design thinking is thought of as a system of three overlapping spaces rather than a sequence of orderly steps namely inspiration – the problem or opportunity that motivates the search for solutions; ideation – the process of generating, developing and testing ideas; and implementation – the path that leads from the design studio, lab and factory to the market. This paper seeks to examine and critically analyse the tenets of this new design thinking manifesto set against three case studies of modern design practice. As such, the paper will compare design thinking theory with the reality of design in practice.

Application of Heuristic Evaluation Method by Universal Design Experts

This study highlights how heuristic evaluation as a usability evaluation method can feed into current building design practice to conform to universal design principles. It provides a definition of universal usability that is applicable to an architectural design context. It takes the seven universal design principles as a set of heuristics and applies an iterative sequence of heuristic evaluation in a shopping mall, aiming to achieve a cost-effective evaluation process. The evaluation was composed of three consecutive sessions. First, five evaluators from different professions were interviewed regarding the construction drawings in terms of universal design principles. Then, each evaluator was asked to perform the predefined task scenarios. In subsequent interviews, the evaluators were asked to re-analyze the construction drawings. The results showed that heuristic evaluation could successfully integrate universal usability into current building design practice in two ways: (i) it promoted an iterative evaluation process combined with multi-sessions rather than relying on one evaluator and on one evaluation session to find the maximum number of usability problems, and (ii) it highlighted the necessity of an interdisciplinary ad hoc committee regarding the heuristic abilities of each profession. A multi-session and interdisciplinary heuristic evaluation method can save both the project budget and the required time, while ensuring a reduced error rate for the universal usage of the built environments.

The discursive capacity of graphic design

The relationship between rhetoric and graphic design is presented in this article. The comparison between a classical orator and a graphic designer, between a discourse and a piece of design comes from the connections between with the communication and creativity. We will see how an application of the fundamentals of rhetoric can open new doors to the professional practice, the education of graphic design and the same theory of the rhetoric of the image.By the analysis of a design is exemplified the points of union that show how the arguments, operations, figures of discourse and rhetorical phases are present in the creative process of graphic design and how designers, perhaps unconsciously, use techniques that were traditional. In other words, graphic design is a rhetorical construction.There is then a transposition of a discourse model created by linguistic signs to a discourse model consists of visual and typographic signs, causing design is seen as a discursivediscipline that goes beyond the aesthetic component.

A Novel Method to Enable Trade-offs Across the Whole Product Life of an Aircraft Using Value Driven Design

The increasing need to understand complex products and systems with long life spans, presents a significant challenge to designers who increasingly require a broader understanding of the operational aspects of the system. This demands an evolution in current design practice, as designers are often constrained to provide a subsystem solution without full knowledge of the global system operation. Recently there has been a push to consider value centric approaches which should facilitate better or more rapid convergence to design solutions with predictable completion schedules. Value Driven Design is one such approach, in which value is used as the system top level objective function. This provides a broader view of the system and enables all sub-systems and components to be designed with a view to the effect on project value. It also has the capacity to include value expressions for more qualitative aspects, such as environmental impact. However, application of the method to date has been restricted to comparing value in a programme where the lifespan is fixed and known a priori. This paper takes a novel view of value driven design through the surplus value objective function, and shows how it can be used to identify key sensitivities to guide designers in design trade-off decisions. By considering a new time based approach it can be used to identify optimum programme life-span and hence allow trade-offs over the whole product life.

Piñatex, the design development of a new sustainable material

This is a research project by practice, which firstly develops a new material invention derived from natural fibres extracted from waste pineapple leaves; secondly it articulates the contemporary designer’s role in facilitating sustainable solutions through: Insights from my own material invention, PiñatexTM, which integrates the materiality of design with the immateriality of concepts and values Developing a visual model of mapping I began with these questions: ‘What are the challenges in seeking to make a new and sustainable material from the waste products of pineapple agriculture in the Philippines?’ and ‘How can a design practice link elements of materiality (artifacts) with immaterial elements (value systems) in order to improve sustainable social and economic development?’ Significant influences have been the work of Papanek1 (2003), Hawken2 (1999) and Abouleish3 (2008) and in particular the ethical business model initiated by McDonough and Braungart in Cradle to Cradle®4 (2002). My own research project is inspired by the Cradle to Cradle® model. It proposes the development of a new material, PiñatexTM which is derived from natural fibres extracted from waste pineapple leaves and could be used in a wide variety of products that are currently fabricated in leather or petroleum-based materials. The methods have comprised: Contextual reviews; case studies (SEKEM, Cradle to Cradle® and Gawad Kalinga); practical experiments in the field of natural fibres, chemistry, product development, manufacturing and prototyping, leading to an invention and a theoretical model of mapping. In addition, collaboration has taken place across scientific, technological, social, ecological, academic and business fields. The outcome is a new material based on the synchronicity between the pineapple fibres, polymers, resins and coatings specially formulated. The invention of the new material that I developed as a central part of this research by practice has a patent in the national phase (PCT/GB 2011/000802) and is in the first stages of manufacturing, commercial testing and further design input (Summer 2014). The contribution to knowledge is firstly the material, PiñatexTM, which exhibits certain key qualities, namely environmentally non-toxic, biodegradable, income-generating potential and marketability. This is alongside its intrinsic qualities as a textile product: aesthetic potential, durability and stability, which will make it suitable for the accessories, interiors and furnishing markets. The theoretical mapping system Upstream and Downstream forms a secondary contribution.

Mid-Century Molecular: The Material Culture of X-ray Crystallographic Visualisation across Postwar British Science and Industrial Design

This thesis investigates the use and significance of X-ray crystallographic visualisations of molecular structures in postwar British material culture across scientific practice and industrial design. It is based on research into artefacts from three areas: X-ray crystallographers’ postwar practices of visualising molecular structures using models and diagrams; the Festival Pattern Group scheme for the 1951 Festival of Britain, in which crystallographic visualisations formed the aesthetic basis of patterns for domestic objects; and postwar furnishings with a ‘ball-and-rod’ form and construction reminiscent of those of molecular models. A key component of the project is methodological. The research brings together subjects, themes and questions traditionally covered separately by two disciplines, the history of design and history of science. This focus necessitated developing an interdisciplinary set of methods, which results in the reassessment of disciplinary borders and productive cross-disciplinary methodological applications. This thesis also identifies new territory for shared methods: it employs network models to examine cross-disciplinary interaction between practitioners in crystallography and design, and a biographical approach to designed objects that over time became mediators of historical narratives about science. Artefact-based, archival and oral interviewing methods illuminate the production, use and circulation of the objects examined in this research. This interdisciplinary approach underpins the generation of new historical narratives in this thesis. It revises existing histories of the cultural transmissions between X-ray crystallography and the production and reception of designed objects in postwar Britain. I argue that these transmissions were more complex than has been acknowledged by historians: they were contingent upon postwar scientific and design practices, material conditions in postwar Britain and the dynamics of historical memory, both scholarly and popular. This thesis comprises four chapters. Chapter one explores X-ray crystallographers’ visualisation practices, conceived here as a form of craft. Chapter two builds on this, demonstrating that the Festival Pattern Group witnesses the encounter between crystallographic practice, design practice and aesthetic ideologies operating within social networks associated with postwar modernisms. Chapters three and four focus on ball-and-rod furnishings in postwar and present-day Britain, respectively. I contend that strong relationships between these designed objects and crystallographic visualisations, for example the appellation ‘atomic design’, have been largely realised through historical narratives active today in the consumption of ‘retro’ and ‘mid-century modern’ artefacts. The attention to contemporary historical narratives necessitates this dual historical focus: the research is rooted in the period from the end of the Second World War until the early 1960s, but extends to the history of now. This thesis responds to the need for practical research on methods for studying cross-disciplinary interactions and their histories. It reveals the effects of submitting historical subjects that are situated on disciplinary boundaries to interdisciplinary interpretation. Old models, such as that of unidirectional ‘influence’, subside and the resulting picture is a refracted one: this study demonstrates that the material form and meaning of crystallographic visualisations, within scientific practice and across their use and echoes in designed objects, are multiple and contingent.

Miss-understand-ing: design education in Ontario secondary schools : an exploration of the issues with stakeholders and recommendations for change /

For most people design is a mystery. The products of design are integrated into our daily lives to the point that design has become invisible to us. However. what is subsumed in design practice is a creative problem-solving process that is applicable as a teaching strategy as well as a method for teaching the subject of design. The purpose of this study was to inquire into the current classroom practice of Ontario Visual Arts and Technological Education teachers, understand the goals of Ontario government curriculum developers, and explore the position held by the professional design community on secondary school design education. Data for this study were collected from: (a) a textual analysis of 4 Ministry curriculum documents; (b) interviews with JO stakeholders; (c) unobtrusive observations and informal conversations conducted at 7 secondary school open house events; and (d) observation of 2 sessions of an AQ course for Design and Technology. The research design modeled the design process and was divided into 2 parts: a discovery or problem-finding phase and a discussion or problem-solving phase. The results showed that design is misunderstood and misused; it has become lost between visual arts and technology where neither program holds responsibility for its delivery; students mistake working on computers for design practice; and while there is a desire within the professional community to have a voice in secondary school design education. there is no forum for participation. The technology-driven paradigm shift taking place in society today calls for a new framework for tellching and practicing dcsign. Further research is required; howcvcr. in the meantime. secondary school educators might benefit from professional development and classroom support from the professional dcsign community.

Sustainability = Good Design

Sustainable design is fundamentally a subset of good design.The description of good design will eventually include criteria for the creation of a healthy environment and energy efficiency. These goals will be achieved by an emergent paradigm of design practice:integration.At every level design interests will come together to facilitate common goals for the creation of a rewarding present and a healthy future. Interdisciplinary design teams will flourish. Inter-accommodating and fluidly communicating political structures will grow. Coalescing social values and economic forces will propel integrated strategies. Unique and innovative solutions will increasingly become the objective. One eventual outcome of this integrated or sustainable design practice will be the development of buildings that produce more energy than they consume.

Rendre possible l’engagement en familiarité dans les CHSLD : les savoir-être d’une pratique de design centrée sur l’usager

Les défis associés au phénomène du vieillissement démographique de la population se manifestent sous plusieurs formes et à de nombreux égards. Il y a des questions générales comme celles qui touchent l’économique et d’autres, plus spécifiques et situées, comme celles des modalités assurant des services et des soins adéquats aux personnes vulnérables. Par exemple, le colloque « La qualité de l’expérience des usagers et des proches : vers la personnalisation des soins et des services sociaux », programmé dans le cadre des Entretiens Jacques Cartier à l’automne 2014, s’était donné comme objectif d’examiner l’expérience personnelle des usagers relativement aux prestations de soins de santé et à l’organisation des services sociaux. L’origine de ces réflexions réside dans la nécessité de trouver un meilleur équilibre des pouvoirs dans les relations d’aide ou la prestation de soin. Cette problématique sous-entend l’idée de rendre les usagers capables d’un certain contrôle par l’adoption d’approches permettant aux professionnels de faire des ajustements personnalisés. Cette thèse de doctorat s’inscrit directement dans le prolongement de cette problématique. La recherche vise à examiner les conditions en mesure de rendre possible, dans les Centres d’hébergement et de soins de longue durée (CHSLD), un rapport au monde catégorisé par ce que le sociologue Laurent Thévenot nomme le régime de la familiarité. Le régime de la familiarité fait référence aux réalités où l’engagement des personnes se déploie dans l’aisance. Autrement dit, ce régime d’engagement correspond à un rapport au milieu où la personne est en mesure de déployer ses habitudes, d’habiter le moment et de se sentir chez elle. Comme le montre Thévenot, ce type d’engagement commande la conception d’un monde qui offre aux personnes la possibilité d’articuler les modalités de leurs actions sur des repères qui font sens personnellement pour eux. Ainsi, l’objet de la recherche consiste à mieux comprendre la participation du design à la conception d’un milieu d’hébergement capable d’accueillir ce type d’engagement pragmatique. Les orientations associées à la conception de milieux d’hébergement capables de satisfaire de telles exigences correspondent largement aux ambitions qui accompagnent le développement des approches du design centrées sur l’usager, du design d’expériences et plus récemment du design empathique. Cela dit, malgré les efforts investis en ce sens, les capacités d’appropriation des usagers restent un problème pour lequel les réponses sont précaires. La thèse interroge ainsi le fait que les développements des approches de design, qui ont fait de l’expérience des usagers une préoccupation de premier plan, sont trop souvent restreints par des questions de méthodes et de procédures. Le développement de ces connaissances se serait fait au détriment de l’examen précis des savoir-être également nécessaires pour rendre les designers capables de prendre au sérieux les enjeux associés aux aspirations de ces approches. Plus spécifiquement, la recherche précise les qualités de l’expérience des établissements dont le design permet l’engagement en familiarité. L’enquête s’appuie sur une analyse des jugements posés par des équipes d’évaluation de la qualité du milieu de vie des CHSLD présents sur le territoire Montréalais. L’analyse a mené à la caractérisation de cinq qualités : l’accueillance, la convivialité, la flexibilité, la prévenance et la stabilité. Finalement, sous la forme d’un essai réflexif, un tableau de savoir-être est suggéré comme manière de rendre les designers capables de mettre en œuvre des milieux d’hébergement présentant les qualités identifiées. Cet essai est également l’occasion du développement d’un outil réflexif pour une pédagogie et une pratique vertueuse du design.

COMPUTER assisted technologies to enhance CONCURRENce in building DESIGN

Modern organisms are adapted to a wide variety of habitats and lifestyles. The processes of evolution have led to complex, interdependent, well-designed mechanisms of todays world and this research challenge is to transpose these innovative solutions to resolve problems in the context of architectural design practice, e.g., to relate design by nature with design by human. In a design by human environment, design synthesis can be performed with the use of rapid prototyping techniques that will enable to transform almost instantaneously any 2D design representation into a physical three-dimensional model, through a rapid prototyping printer machine. Rapid prototyping processes add layers of material one on top of another until a complete model is built and an analogy can be established with design by nature where the natural lay down of earth layers shapes the earth surface, a natural process occurring repeatedly over long periods of time. Concurrence in design will particularly benefit from rapid prototyping techniques, as the prime purpose of physical prototyping is to promptly assist iterative design, enabling design participants to work with a three-dimensional hardcopy and use it for the validation of their design-ideas. Concurrent design is a systematic approach aiming to facilitate the simultaneous involvment and commitment of all participants in the building design process, enabling both an effective reduction of time and costs at the design phase and a quality improvement of the design product. This paper presents the results of an exploratory survey investigating both how computer-aided design systems help designers to fully define the shape of their design-ideas and the extent of the application of rapid prototyping technologies coupled with Internet facilities by design practice. The findings suggest that design practitioners recognize that these technologies can greatly enhance concurrence in design, though acknowledging a lack of knowledge in relation to the issue of rapid prototyping.

Using artefacts to mediate understanding in design conversations

The journey from the concept of a building to the actual built form is mediated with the use of various artefacts, such as drawings, product samples and models. These artefacts are produced for different purposes and for people with different levels of understanding of the design and construction processes. This paper studies design practice as it occurs naturally in a real-world situation by observing the conversations that surround the use of artefacts at the early stages of a building's design. Drawing on ethnographic data, insights are given into how the use of artefacts can reveal a participant's understanding of the scheme. The appropriateness of the method of conversation analysis to reveal the users' understanding of a scheme is explored by observing spoken micro-interactional behaviours. It is shown that the users' understanding of the design was developed in the conversations around the use of artefacts, as well as the knowledge that is embedded in the artefacts themselves. The users' confidence in the appearance of the building was considered to be gained in conversation, rather than the ability of the artefacts to represent a future reality.

On systems and quality in typeface design

This text extends some ideas presented in a keynote lecture of the 5th Encontro de Tipografia conference, in Barcelos, Portugal, in November 2014. The paper discusses problems of identifying the location and encoding of design decisions, the implications of digital workflows for capturing knowledge generating through design practice, and the consequences of the transformation of production tools into commodities. It concludes with a discussion of the perception of added value in typeface design.

Can web design methodologies (actually) help practitioners?

There exist many web design methodologies and the new ones are constantly being added to the pool of those offered to practitioners. However as previous research shows, practitioners either do not know, do not use or even do not care for these development approaches. This paper examines web design practice, and the design of visual aspects in particular, in order to establish whether any of the existing methodologies would actually address the practitioners concerns. Through grounded theory analysis, it transpires that from amongst several examined approaches, IS-based web design methods are dealing with great many practical issues which designers perceive as most pressing.