Sofia Soledad Duarte Poblete, L. Anselmi, V. Rognoli
Materials Design is a recognized emerging and growing area in design practice and research that converges different fields and approaches to addressing a holistic perspective of materials in and for design. Therefore, it incorporates knowledge from various disciplines, like engineering and science. Direct interdisciplinary collaboration between engineers, scientists, artists and designers can benefit projects whose purpose is to bring innovation regarding materials and design. We assume this interdisciplinarity is a crucial practice for developing the emerging field of Materials Design with a sustainable and circular perspective. This article conveys the findings of an empirical collection of case studies on emerging materials and product design. The results demonstrate the sustainability and circularity orientations they present and different disciplinary cooperation to generate innovative outcomes. The authors examined ten European enterprises that present products driven by emerging materials from alternative sources to support the statement. The paper identifies and reflects on the importance and value of collaboration. It aims to disseminate knowledge about the field of Materials Design and intends to highlight that interdisciplinary collaboration in this area can be favourable for achieving a sustainable paradigm and more responsible production and consumption patterns.
{"title":"Emerging materials fostering interdisciplinary collaboration in Materials Design","authors":"Sofia Soledad Duarte Poblete, L. Anselmi, V. Rognoli","doi":"10.54941/ahfe1002978","DOIUrl":"https://doi.org/10.54941/ahfe1002978","url":null,"abstract":"Materials Design is a recognized emerging and growing area in design practice and research that converges different fields and approaches to addressing a holistic perspective of materials in and for design. Therefore, it incorporates knowledge from various disciplines, like engineering and science. Direct interdisciplinary collaboration between engineers, scientists, artists and designers can benefit projects whose purpose is to bring innovation regarding materials and design. We assume this interdisciplinarity is a crucial practice for developing the emerging field of Materials Design with a sustainable and circular perspective. This article conveys the findings of an empirical collection of case studies on emerging materials and product design. The results demonstrate the sustainability and circularity orientations they present and different disciplinary cooperation to generate innovative outcomes. The authors examined ten European enterprises that present products driven by emerging materials from alternative sources to support the statement. The paper identifies and reflects on the importance and value of collaboration. It aims to disseminate knowledge about the field of Materials Design and intends to highlight that interdisciplinary collaboration in this area can be favourable for achieving a sustainable paradigm and more responsible production and consumption patterns.","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125128431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ahmed Baruwa, Susan L. Sokolowski, J. Searcy, Daniel Lowd
Functional designers use 3D body scan measurements to create 2D pattern blueprints, to develop products that size and fit bodies appropriately - to enable safety, comfort, and activity-related performance. To gather measures, surface anthropometric landmarks are critical, to enable accuracy and consistency between scans. However, many 3D scan databases do not include data with anthropometric landmarks, making bodies challenging to measure. Therefore, the purpose of this research was to develop a machine learning (ML) model for the automatic landmarking of 3D body scans from raw point clouds. A deep neural network model was developed, using the Civilian American and European Surface Anthropometry Resource (CAESAR) scan dataset (2002) for training. The model enabled 3D scans from any device that outputs in color to be used for landmark automation. Results of this work have also demonstrated that ML landmarking can enable bulk processing of 3D body scan point cloud data more efficiently compared to traditional manual landmarking methods.
{"title":"Machine Learning to Define Anthropometric Landmarks for Relevant Product Design 2D Blueprint Measures","authors":"Ahmed Baruwa, Susan L. Sokolowski, J. Searcy, Daniel Lowd","doi":"10.54941/ahfe1002965","DOIUrl":"https://doi.org/10.54941/ahfe1002965","url":null,"abstract":"Functional designers use 3D body scan measurements to create 2D pattern blueprints, to develop products that size and fit bodies appropriately - to enable safety, comfort, and activity-related performance. To gather measures, surface anthropometric landmarks are critical, to enable accuracy and consistency between scans. However, many 3D scan databases do not include data with anthropometric landmarks, making bodies challenging to measure. Therefore, the purpose of this research was to develop a machine learning (ML) model for the automatic landmarking of 3D body scans from raw point clouds. A deep neural network model was developed, using the Civilian American and European Surface Anthropometry Resource (CAESAR) scan dataset (2002) for training. The model enabled 3D scans from any device that outputs in color to be used for landmark automation. Results of this work have also demonstrated that ML landmarking can enable bulk processing of 3D body scan point cloud data more efficiently compared to traditional manual landmarking methods.","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125959068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Yu Hsiu Hung, Yu Ching Lin, Shan Song Yang, Yen Chen Liu
Background: Mirror therapy (MT) has been shown to improve upper extremity function in stroke rehabilitation. In MT, engaging patients in meaningful therapeutic exercise determines patients’ motivations and further the effectiveness of a rehabilitation program. The purpose of this study was to explore tasks that effectively enhance patient engagement in MT. Five participants with clinical and industrial design background were recruited to perform brainstorming activities for generating MT task ideas. All task ideas were evaluated by two rehabilitation specialists on the applicability based on the current MT protocol. Four task ideas (out of 74) were chosen by the two specialists and design recommendations were made for improving their feasibilities in MT. These ideas were: filling the blank with stamping tools (on magnetic board), spelling words with wooden letter dice, making patterns with black/white cubes, and making 3D shapes with clay. After identifying the potential task ideas, fifteen participants were recruited to assess the four developed MT tasks as well as five most-mentioned MT tasks in the literature using the User Engagement Scale (Short Form). One-way repeated measures ANOVA and pairwise comparisons were then conducted on participants’ rating scores. Results showed that participants’ rating scores for “filling the blank with stamping tools (on magnetic board)” as well as “making 3D shapes with clay” were significantly higher than those of five conventional MT tasks. The outcomes of the study benefit the communities of occupational therapy in the design of MT tasks.
{"title":"Enhancing Patient Engagement: The Development of Mirror Therapy Tasks for Stroke Rehabilitation","authors":"Yu Hsiu Hung, Yu Ching Lin, Shan Song Yang, Yen Chen Liu","doi":"10.54941/ahfe1002018","DOIUrl":"https://doi.org/10.54941/ahfe1002018","url":null,"abstract":"Background: Mirror therapy (MT) has been shown to improve upper extremity function in stroke rehabilitation. In MT, engaging patients in meaningful therapeutic exercise determines patients’ motivations and further the effectiveness of a rehabilitation program. The purpose of this study was to explore tasks that effectively enhance patient engagement in MT. Five participants with clinical and industrial design background were recruited to perform brainstorming activities for generating MT task ideas. All task ideas were evaluated by two rehabilitation specialists on the applicability based on the current MT protocol. Four task ideas (out of 74) were chosen by the two specialists and design recommendations were made for improving their feasibilities in MT. These ideas were: filling the blank with stamping tools (on magnetic board), spelling words with wooden letter dice, making patterns with black/white cubes, and making 3D shapes with clay. After identifying the potential task ideas, fifteen participants were recruited to assess the four developed MT tasks as well as five most-mentioned MT tasks in the literature using the User Engagement Scale (Short Form). One-way repeated measures ANOVA and pairwise comparisons were then conducted on participants’ rating scores. Results showed that participants’ rating scores for “filling the blank with stamping tools (on magnetic board)” as well as “making 3D shapes with clay” were significantly higher than those of five conventional MT tasks. The outcomes of the study benefit the communities of occupational therapy in the design of MT tasks.","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114177800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The studio method of instruction, termed “the classroom of the future,” is receiving a great deal of attention in the academic media. MIT’s new engineering building, for instance, will have numerous studio-instruction classrooms. The National Science Foundation is also promoting studio instruction in engineering and the sciences. Industrial Design has been using the studio method of instruction for more than 40 years it is even mandated by our accrediting body National Association of Schools of Art and Design (NASAD). Because of this long history Industrial Design was asked to give a presentation about studio instruction to the Engineering faculty at BYU. The presentation focused on the principles of the studio class and where it works well and where it may not. What faculty and students’ responsibilities for a successful studio instruction? The interest and conversation that was generated from the presentation caused members of the Industrial Design faculty to reflect on our own history of studio instruction. Industrial design realized that the way we look at the studio experience has changed. Many of the principles that form the core of studio instruction have evolved as the design industry, design methods, students, and technologies have changed. As design educators we have experienced and struggled with these natural changes and how they have impacted studio classes and design students. As a result, we began to look at our methods to determine what the tradition from the arts and crafts past was and what is truly needed in design education today. Industrial Design had discovered that over time we had moved away from the student nesting workspace mentality of the traditional arts and crafts–based studio and toward the more current business model of the studio as a war room. The studio had moved away from a home to a hub for the students. This change has mirrored what is happening in the design industry as it has moved from focusing on tactical problem-solving skills to more strategic problem-finding and problem-defining skills. This paper outlines the history, basic principles, and focus of studio instruction and what has prompted the moving way from studio tradition.
{"title":"Studio as a Hub not a Home","authors":"Paul Skaggs","doi":"10.54941/ahfe1002017","DOIUrl":"https://doi.org/10.54941/ahfe1002017","url":null,"abstract":"The studio method of instruction, termed “the classroom of the future,” is receiving a great deal of attention in the academic media. MIT’s new engineering building, for instance, will have numerous studio-instruction classrooms. The National Science Foundation is also promoting studio instruction in engineering and the sciences. Industrial Design has been using the studio method of instruction for more than 40 years it is even mandated by our accrediting body National Association of Schools of Art and Design (NASAD). Because of this long history Industrial Design was asked to give a presentation about studio instruction to the Engineering faculty at BYU. The presentation focused on the principles of the studio class and where it works well and where it may not. What faculty and students’ responsibilities for a successful studio instruction? The interest and conversation that was generated from the presentation caused members of the Industrial Design faculty to reflect on our own history of studio instruction. Industrial design realized that the way we look at the studio experience has changed. Many of the principles that form the core of studio instruction have evolved as the design industry, design methods, students, and technologies have changed. As design educators we have experienced and struggled with these natural changes and how they have impacted studio classes and design students. As a result, we began to look at our methods to determine what the tradition from the arts and crafts past was and what is truly needed in design education today. Industrial Design had discovered that over time we had moved away from the student nesting workspace mentality of the traditional arts and crafts–based studio and toward the more current business model of the studio as a war room. The studio had moved away from a home to a hub for the students. This change has mirrored what is happening in the design industry as it has moved from focusing on tactical problem-solving skills to more strategic problem-finding and problem-defining skills. This paper outlines the history, basic principles, and focus of studio instruction and what has prompted the moving way from studio tradition.","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115941121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper presents an overview of Victor Papanek’s book Design for the Real World (1971) from the perspective of current 3rd year industrial design students, members of GenZ, combined with the perspectives of the educators/authors who read the original edition of the book in the 70s and 80s. Students read individual chapters the 2019 edition of this book, wrote a critical review, and presented their overviews and findings in two lengthy class discussions that allowed them to ‘read’ the entire book. The perspectives of the students and educators (from very different generations) reveal an interesting story about the Austrian-born American designer and educator’s writings. In this paper we reveal the continued relevance and critically analyze Papanek’s writings by illustrating how his views on socially and environmentally responsible design live on.Taking his early design inspiration from Raymond Loewy, Papanek went on to study architecture with Frank Lloyd Wright. An early follower and ally of Buckminster Fuller, a designer and systems theorist, Papanek applied principles of socially responsible design, both in theory and practice ultimately working on collaborative projects with UNESCO and the World Health Organization. In Design for the Real World, Papanek professed his philosophy that objects or systems work as political tools for change. He became a controversial voice within that time frame as he declared that many consumer products were frivolous, excessive, and lacked basic functionality causing them to be recklessly dangerous to the users. His ideas seemed extreme, echoed by many other environmental philosophers at the time, at that point in history, but perhaps viewed from the 21st century seem prophetic. An advocate for responsible design, Papanek had visionary ideas on design theory. Papanek felt it was important to put the user first when designing. He spent time observing indigenous communities in developing countries, working directly with, and studying people of different cultures and backgrounds. Papanek designed for people with disabilities often in pursuit of a better world for all. He also addressed themes that have continue to be overlooked in design in the 21st century - inclusion, social justice, appropriate technology, and sustainability.Papanek ultimately earned the respect of many talented colleagues. He would go on to design, teach, and write for future generations. Opposing the ideals of planned obsolescence and the mass consumerism that fuels it, his work encompassed what would become the idea of sustainable design and decreasing overproduction for the consumer market. Themes from Design for the Real World remain relevant, and today it has become one of the most widely read books on design; resulting in Papanek’s voice continuing to push designers to uplift their morals and standards in practicing design.This paper highlights Papanek’s values of designing thoughtfully and for all, while revealing the details on the rel
本文从当前三年级工业设计学生、GenZ成员的角度，结合70年代和80年代阅读该书原版的教育工作者/作者的观点，概述了Victor Papanek的《Design for the Real World》(1971)一书。学生们阅读了这本书的2019年版的各个章节，写了一篇批判性的评论，并在两次冗长的课堂讨论中展示了他们的概述和发现，这使他们能够“阅读”整本书。学生和教育工作者(来自不同的时代)的观点揭示了一个有趣的故事，关于奥地利出生的美国设计师和教育工作者的作品。在本文中，我们通过说明帕帕内克对社会和环境负责的设计的观点如何继续存在，揭示了其持续的相关性，并批判性地分析了帕帕内克的著作。帕帕内克从雷蒙德·洛伊(Raymond Loewy)那里获得了早期的设计灵感，随后跟随弗兰克·劳埃德·赖特(Frank Lloyd Wright)学习建筑。作为设计师和系统理论家巴克明斯特·富勒的早期追随者和盟友，帕帕内克将社会责任设计原则应用于理论和实践中，最终与联合国教科文组织和世界卫生组织合作开展项目。在《现实世界的设计》一书中，帕帕内克宣称他的哲学是，物体或系统是变革的政治工具。在那段时间里，他成为了一个有争议的声音，因为他宣称许多消费产品是轻佻的，过度的，缺乏基本的功能，导致它们对用户造成了极大的危险。他的观点似乎很极端，在当时的历史上得到了许多其他环境哲学家的呼应，但从21世纪的角度来看，他的观点似乎是预言性的。作为负责任设计的倡导者，帕帕内克对设计理论有着远见卓识。Papanek认为在设计时把用户放在第一位是很重要的。他花时间观察发展中国家的土著社区，直接与不同文化和背景的人一起工作，并研究他们。帕帕内克为残疾人设计的作品往往是为了追求一个更美好的世界。他还谈到了21世纪设计中一直被忽视的主题——包容、社会正义、适当的技术和可持续性。帕帕内克最终赢得了许多有才华的同事的尊重。他将继续为后代设计、教学和写作。他的作品反对计划报废和大众消费主义的理念，他的作品包含了可持续设计和减少消费市场生产过剩的理念。《面向现实世界的设计》的主题仍然具有相关性，今天它已成为最广泛阅读的设计书籍之一;导致帕帕内克的声音继续推动设计师在实践设计中提高他们的道德和标准。这篇论文强调了帕帕内克深思熟虑和为所有人设计的价值，同时揭示了他的作品在原始出版五十年后的相关性细节。
{"title":"Design for the Real World: a look back at Papanek from the 21st Century","authors":"Joyce Thomas, M. Strickfaden","doi":"10.54941/ahfe1002010","DOIUrl":"https://doi.org/10.54941/ahfe1002010","url":null,"abstract":"This paper presents an overview of Victor Papanek’s book Design for the Real World (1971) from the perspective of current 3rd year industrial design students, members of GenZ, combined with the perspectives of the educators/authors who read the original edition of the book in the 70s and 80s. Students read individual chapters the 2019 edition of this book, wrote a critical review, and presented their overviews and findings in two lengthy class discussions that allowed them to ‘read’ the entire book. The perspectives of the students and educators (from very different generations) reveal an interesting story about the Austrian-born American designer and educator’s writings. In this paper we reveal the continued relevance and critically analyze Papanek’s writings by illustrating how his views on socially and environmentally responsible design live on.Taking his early design inspiration from Raymond Loewy, Papanek went on to study architecture with Frank Lloyd Wright. An early follower and ally of Buckminster Fuller, a designer and systems theorist, Papanek applied principles of socially responsible design, both in theory and practice ultimately working on collaborative projects with UNESCO and the World Health Organization. In Design for the Real World, Papanek professed his philosophy that objects or systems work as political tools for change. He became a controversial voice within that time frame as he declared that many consumer products were frivolous, excessive, and lacked basic functionality causing them to be recklessly dangerous to the users. His ideas seemed extreme, echoed by many other environmental philosophers at the time, at that point in history, but perhaps viewed from the 21st century seem prophetic. An advocate for responsible design, Papanek had visionary ideas on design theory. Papanek felt it was important to put the user first when designing. He spent time observing indigenous communities in developing countries, working directly with, and studying people of different cultures and backgrounds. Papanek designed for people with disabilities often in pursuit of a better world for all. He also addressed themes that have continue to be overlooked in design in the 21st century - inclusion, social justice, appropriate technology, and sustainability.Papanek ultimately earned the respect of many talented colleagues. He would go on to design, teach, and write for future generations. Opposing the ideals of planned obsolescence and the mass consumerism that fuels it, his work encompassed what would become the idea of sustainable design and decreasing overproduction for the consumer market. Themes from Design for the Real World remain relevant, and today it has become one of the most widely read books on design; resulting in Papanek’s voice continuing to push designers to uplift their morals and standards in practicing design.This paper highlights Papanek’s values of designing thoughtfully and for all, while revealing the details on the rel","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132213838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Responding to a sustainable production is an imperative that is gaining more and more relevance in the definition of specific programs and strategies at national and international level. This urgency leads towards zero waste and circular models and processes that minimize the extraction of resources from the biosphere and do not create waste; instead, when the waste of natural or anthropogenic transformations cannot be avoided, their valorization as resources must be carried out. The development of integrated supply chains, knowledge transfer between different disciplines and the dialogue between research and industry becomes fundamental for the achievement of these objectives. Existing studies in the literature regarding the agri-food production chain in Italy show that the sector, whose environmental impacts are by no means marginal, is fragmented in many small production companies; an interesting and critical aspect at the same time since the generation of waste is not accompanied by an appropriate dissemination of data at a quantitative-qualitative level and there is no clear regulatory framework available on alternative management and valorisation methods. Design, given its natural inclination to transversality, allows to trace scenarios in which to configure, through interdisciplinary approaches, the sustainability models that are intended to be covered in this contribution. Moreover, its methods and tools allow to develop a critical thinking starting from the very early designing phase. The paper addresses the valorisation of agro-industrial waste in a circular and systemic perspective through the presentation of a review of case studies from the textile supply chain, which is one of the most relevant for Italian industry.Due to its disastrous environmental impact, the global textile industry is today the subject of extensive research aimed at the development of innovative materials and processes in order to overcome the traditional linearity of the textile supply chain. The negative impacts of the textile industry are distributed along the entire value chain and are mainly attributable to greenhouse gas emissions -for which the textile industry represents the fifth manufacturing sector- consumption and pollution of water resources and the production of textile waste. In particular, the production of synthetic fibers, which is estimated to be almost two thirds of the global fiber production, is associated with a high use of non-renewable resources and emissions, which derives from the extraction of fossil fuels. In this sense, the valorisation of agro-industrial waste as secondary raw materials and new sustainable inputs for the textile supply chain, represents an opportunity not yet fully explored, in particular as regards the development of a new generation of fibers, yarns and eco-compatible fabrics alternative to the materials currently in use. Bio-based wastes and by-products from agri-food industry could as well present enormous pote
{"title":"Design and tools for the transformation and valorisation of agro-industrial waste for Made in Italy industries","authors":"Elena Cioffi, B. Pizzicato","doi":"10.54941/ahfe1002019","DOIUrl":"https://doi.org/10.54941/ahfe1002019","url":null,"abstract":"Responding to a sustainable production is an imperative that is gaining more and more relevance in the definition of specific programs and strategies at national and international level. This urgency leads towards zero waste and circular models and processes that minimize the extraction of resources from the biosphere and do not create waste; instead, when the waste of natural or anthropogenic transformations cannot be avoided, their valorization as resources must be carried out. The development of integrated supply chains, knowledge transfer between different disciplines and the dialogue between research and industry becomes fundamental for the achievement of these objectives. Existing studies in the literature regarding the agri-food production chain in Italy show that the sector, whose environmental impacts are by no means marginal, is fragmented in many small production companies; an interesting and critical aspect at the same time since the generation of waste is not accompanied by an appropriate dissemination of data at a quantitative-qualitative level and there is no clear regulatory framework available on alternative management and valorisation methods. Design, given its natural inclination to transversality, allows to trace scenarios in which to configure, through interdisciplinary approaches, the sustainability models that are intended to be covered in this contribution. Moreover, its methods and tools allow to develop a critical thinking starting from the very early designing phase. The paper addresses the valorisation of agro-industrial waste in a circular and systemic perspective through the presentation of a review of case studies from the textile supply chain, which is one of the most relevant for Italian industry.Due to its disastrous environmental impact, the global textile industry is today the subject of extensive research aimed at the development of innovative materials and processes in order to overcome the traditional linearity of the textile supply chain. The negative impacts of the textile industry are distributed along the entire value chain and are mainly attributable to greenhouse gas emissions -for which the textile industry represents the fifth manufacturing sector- consumption and pollution of water resources and the production of textile waste. In particular, the production of synthetic fibers, which is estimated to be almost two thirds of the global fiber production, is associated with a high use of non-renewable resources and emissions, which derives from the extraction of fossil fuels. In this sense, the valorisation of agro-industrial waste as secondary raw materials and new sustainable inputs for the textile supply chain, represents an opportunity not yet fully explored, in particular as regards the development of a new generation of fibers, yarns and eco-compatible fabrics alternative to the materials currently in use. Bio-based wastes and by-products from agri-food industry could as well present enormous pote","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125022805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Technical product development (PD) is becoming increasingly complex. New adaptations have to be carried out constantly in order to meet the process-related, but also product-related challenges. In order to be able to effectively optimize a development process, a precise understanding of the process, i.e. on the process steps and correlations, is necessary. The fundamental decisions during automotive development are made in the early phase as part of the Design-Technology Convergence process (DTC). For this reason, the convergence process is of great importance for automotive development and yet there is very little valid knowledge about it. In addition to the ambiguity of the cause-effect relationships in this phase, no specific approaches exist to initiate necessary changes in a holistic way, taking into account the prevailing characteristics in this important phase, in order to make PD fit for the current challenges. Therefore, the aim of this paper is to elaborate approaches for optimizing PD in the early phase, especially DTC from everyday practical experiences.A systematic literature review was used to identify the basic needs and current approaches for optimizing development processes. Since no approaches exist for DTC, we have conducted expert workshops specifically on this topic area. The experts were professionals from the automotive industry who contributed their experience of daily work in DTC in order to ultimately derive optimization potential. Based on these results, various approaches were formulated that can be used to address the current challenges facing PD.Through the interviews, it was possible to create an up-to-date depiction of the practice in the early phases of automotive development. In particular, this describes the current challenges that need to be taken into account in these crucial phases. These challenges include the current trend toward sustainable PD, as well as the general shortening of development times and better integration of interdisciplinary development teams. Furthermore, potential were also mentioned as to how the convergence process can be made fit to master these challenges. With the help of the results, four approaches were derived that can be used to raise the potential. These approaches can be divided into a method-based, process-based, tools-based and skills-based approach. These different approaches can be used to address the current challenges in a targeted manner. On main focus is on supporting specific collaboration between designers and engineers, as this is seen as a core factor for success in DTC.Based on our investigations, we were able to generate a valid image of real-life practice in the early phases of the automotive development process. On the basis of this image, we identified both the current challenges as well as the potential that ultimately describe the need for optimization of the DTC. Thus, on the other hand, specific approaches could be derived as to how an optimization of the
{"title":"Optimisation Approach for the Convergence Process of Design and Technology in Automotive Development","authors":"F. Reichelt, Daniel Holder, T. Maier","doi":"10.54941/ahfe1002977","DOIUrl":"https://doi.org/10.54941/ahfe1002977","url":null,"abstract":"Technical product development (PD) is becoming increasingly complex. New adaptations have to be carried out constantly in order to meet the process-related, but also product-related challenges. In order to be able to effectively optimize a development process, a precise understanding of the process, i.e. on the process steps and correlations, is necessary. The fundamental decisions during automotive development are made in the early phase as part of the Design-Technology Convergence process (DTC). For this reason, the convergence process is of great importance for automotive development and yet there is very little valid knowledge about it. In addition to the ambiguity of the cause-effect relationships in this phase, no specific approaches exist to initiate necessary changes in a holistic way, taking into account the prevailing characteristics in this important phase, in order to make PD fit for the current challenges. Therefore, the aim of this paper is to elaborate approaches for optimizing PD in the early phase, especially DTC from everyday practical experiences.A systematic literature review was used to identify the basic needs and current approaches for optimizing development processes. Since no approaches exist for DTC, we have conducted expert workshops specifically on this topic area. The experts were professionals from the automotive industry who contributed their experience of daily work in DTC in order to ultimately derive optimization potential. Based on these results, various approaches were formulated that can be used to address the current challenges facing PD.Through the interviews, it was possible to create an up-to-date depiction of the practice in the early phases of automotive development. In particular, this describes the current challenges that need to be taken into account in these crucial phases. These challenges include the current trend toward sustainable PD, as well as the general shortening of development times and better integration of interdisciplinary development teams. Furthermore, potential were also mentioned as to how the convergence process can be made fit to master these challenges. With the help of the results, four approaches were derived that can be used to raise the potential. These approaches can be divided into a method-based, process-based, tools-based and skills-based approach. These different approaches can be used to address the current challenges in a targeted manner. On main focus is on supporting specific collaboration between designers and engineers, as this is seen as a core factor for success in DTC.Based on our investigations, we were able to generate a valid image of real-life practice in the early phases of the automotive development process. On the basis of this image, we identified both the current challenges as well as the potential that ultimately describe the need for optimization of the DTC. Thus, on the other hand, specific approaches could be derived as to how an optimization of the ","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122587671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Eyewear is a product at the intersection of medical devices and fashion accessories. It is an everyday object most people take for granted without much consideration of its functionality and symbolic meaning. Many consumers do not know that their frames are not fitting them well, leading to potential damage to their visions. According to 2020 census data, America is diversifying racially and ethnically, which requires the ergonomics of eyewear to be diverse as well. Currently, there are various terminologies of eyewear fittings on the market, including Standard Fit, Alternative Fit, Elevated Fit, Low-Bridge Fit, Asian Fit, etc. Without a standard regulation for eyewear fitting, consumers often have a hard time understanding the differences and finding a good fit for themselves. This paper introduced an Eyewear Design Studio course initiated in the Fall 2022 term at Drexel University, collaborating with an eyewear start-up firm Knows Eyewear. It explores the students’ eyewear design journey and uses case studies to discuss how they provided better-fitting eyewear designs to diverse users and equal access to better vision.
{"title":"Eyewear Design: The Journey to Improve Fitting for a Diverse Population","authors":"Juanjuan June He","doi":"10.54941/ahfe1002973","DOIUrl":"https://doi.org/10.54941/ahfe1002973","url":null,"abstract":"Eyewear is a product at the intersection of medical devices and fashion accessories. It is an everyday object most people take for granted without much consideration of its functionality and symbolic meaning. Many consumers do not know that their frames are not fitting them well, leading to potential damage to their visions. According to 2020 census data, America is diversifying racially and ethnically, which requires the ergonomics of eyewear to be diverse as well. Currently, there are various terminologies of eyewear fittings on the market, including Standard Fit, Alternative Fit, Elevated Fit, Low-Bridge Fit, Asian Fit, etc. Without a standard regulation for eyewear fitting, consumers often have a hard time understanding the differences and finding a good fit for themselves. This paper introduced an Eyewear Design Studio course initiated in the Fall 2022 term at Drexel University, collaborating with an eyewear start-up firm Knows Eyewear. It explores the students’ eyewear design journey and uses case studies to discuss how they provided better-fitting eyewear designs to diverse users and equal access to better vision.","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116519928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With robots’ presence gradually expanding to homes and public spaces, there are increasing needs for new robot development and design. Mobile robots’ autonomous and dynamic behaviors ask for new design approaches and methods that are different from the ones for designing non-robotic products. This study proposes a methodology for designing mobile robots from a systems thinking perspective to supplement the limitation of traditional industrial design approaches. A conceptual framework consisting of user, robot, and environment is proposed and task flow models are built to help designers analyze and specify complex interactions between multiple system elements. A robot system blueprint, a storyboard, and a system map are subsequently introduced to design and represent a product-service system of a robot holistically. This approach was applied to student projects for mobile robot design in a fourth-year studio course at a university’s industrial design program.
{"title":"Designing Mobile Robots: A Systems Thinking Approach for Industrial Designers","authors":"Y. Ghim","doi":"10.54941/ahfe1002024","DOIUrl":"https://doi.org/10.54941/ahfe1002024","url":null,"abstract":"With robots’ presence gradually expanding to homes and public spaces, there are increasing needs for new robot development and design. Mobile robots’ autonomous and dynamic behaviors ask for new design approaches and methods that are different from the ones for designing non-robotic products. This study proposes a methodology for designing mobile robots from a systems thinking perspective to supplement the limitation of traditional industrial design approaches. A conceptual framework consisting of user, robot, and environment is proposed and task flow models are built to help designers analyze and specify complex interactions between multiple system elements. A robot system blueprint, a storyboard, and a system map are subsequently introduced to design and represent a product-service system of a robot holistically. This approach was applied to student projects for mobile robot design in a fourth-year studio course at a university’s industrial design program.","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123325560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
According to the UN Environment Program (UNEP), 400 million tons of plastic is produced every year, but only 9% of it is recycled. More than 40% of plastic is used just once before being thrown out and at least 14 million tons of plastic enters oceans every year. To help address these enormous plastic pollution problems, an open source organization called Precious Plastic was established in 2012 with the goal of diverting plastic from waste streams, and recycling it into valuable products. They developed a series of open source, plastic processing machines which could be replicated by people with a desire to recycle plastic. Students from the University of Houston Industrial Design Program established a student chapter of Precious Plastic and obtained a plastic shredder and heat press. This paper describes some of the unique processes that a couple of students developed when challenged to design products utilizing the Precious Plastic processing machines.
{"title":"Experimental Processes with Precious Plastics","authors":"G. Chow","doi":"10.54941/ahfe1002016","DOIUrl":"https://doi.org/10.54941/ahfe1002016","url":null,"abstract":"According to the UN Environment Program (UNEP), 400 million tons of plastic is produced every year, but only 9% of it is recycled. More than 40% of plastic is used just once before being thrown out and at least 14 million tons of plastic enters oceans every year. To help address these enormous plastic pollution problems, an open source organization called Precious Plastic was established in 2012 with the goal of diverting plastic from waste streams, and recycling it into valuable products. They developed a series of open source, plastic processing machines which could be replicated by people with a desire to recycle plastic. Students from the University of Houston Industrial Design Program established a student chapter of Precious Plastic and obtained a plastic shredder and heat press. This paper describes some of the unique processes that a couple of students developed when challenged to design products utilizing the Precious Plastic processing machines.","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"314 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120940336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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