The paper aims to deepen the debate regarding the design discipline in relation to science, especially focusing on the possible outcomes generated by a concerted action between design and science in addressing the urgent environmental issues.In the research context, interdisciplinarity encourages new results and synergies through the exchange of knowledge and the construction of new paths, also promoting the adoption of different perspectives other than established research perspectives and paradigms. It brings together different scientific approaches, skills, methods and expertise to deal with complexity, to master technical challenges and to carry out research with different complexity levels. Although design is intrinsically interdisciplinary, nowadays the figure of the designer is changing, moving from the role of central planner to that of a participant in the design of complex systems. The boundaries of design as a discipline tend to blur more and more, with designers markedly approaching and operating at the intersection of other disciplines, researching, and even experimenting on matter first hand in their works.However, although there is a lot of data and insights on collaborative research programs, there is a lack of empirical evidence on how to best implement interdisciplinarity, on the added value it produces and on how to overcome narrow disciplinary restrictions.The difference between design and scientific research processes is well-established in design literature, it contrasts design and science on the basis that science is concerned with understanding real needs generally describing the nature course, and design is about using possibilities to create new particular conditions (e.g. a new product).These considerations lead to a critical reflection: if the scientific future occurs out of legitimate necessity, then how does the role of the designer take shape in this scenario, beyond the more recognized contribution of design to scientific research such as constructing models of representation and simulation, designing artifacts for testing and experimentation, ideating scenarios, visualizing scientific ideas and helping to disseminate scientific knowledge? The design can actively join scientific research by bringing new inputs, finding new applications for scientific research outcomes, providing means of experimentation and reflection, challenging scientists’ perceptions and encouraging the pursuit of new research directions. The topic of the sustainable valorisation of agro-industrial waste and by-products – which counts numerous examples in literature- is presented as a case study of virtuous collaboration between design and science. The agro-industrial sector represents a driving force in the global economy however, it is accompanied by remarkable amounts of residues and waste generated by agronomic practices and industrial manufacturing which, according to sustainability and circularity principles, can be transformed into valua
{"title":"Design and interdisciplinarity for sustainable and innovative valorization of agro-industrial waste and residues","authors":"B. Pizzicato, Elena Cioffi, S. Pacifico, M. Buono","doi":"10.54941/ahfe1002979","DOIUrl":"https://doi.org/10.54941/ahfe1002979","url":null,"abstract":"The paper aims to deepen the debate regarding the design discipline in relation to science, especially focusing on the possible outcomes generated by a concerted action between design and science in addressing the urgent environmental issues.In the research context, interdisciplinarity encourages new results and synergies through the exchange of knowledge and the construction of new paths, also promoting the adoption of different perspectives other than established research perspectives and paradigms. It brings together different scientific approaches, skills, methods and expertise to deal with complexity, to master technical challenges and to carry out research with different complexity levels. Although design is intrinsically interdisciplinary, nowadays the figure of the designer is changing, moving from the role of central planner to that of a participant in the design of complex systems. The boundaries of design as a discipline tend to blur more and more, with designers markedly approaching and operating at the intersection of other disciplines, researching, and even experimenting on matter first hand in their works.However, although there is a lot of data and insights on collaborative research programs, there is a lack of empirical evidence on how to best implement interdisciplinarity, on the added value it produces and on how to overcome narrow disciplinary restrictions.The difference between design and scientific research processes is well-established in design literature, it contrasts design and science on the basis that science is concerned with understanding real needs generally describing the nature course, and design is about using possibilities to create new particular conditions (e.g. a new product).These considerations lead to a critical reflection: if the scientific future occurs out of legitimate necessity, then how does the role of the designer take shape in this scenario, beyond the more recognized contribution of design to scientific research such as constructing models of representation and simulation, designing artifacts for testing and experimentation, ideating scenarios, visualizing scientific ideas and helping to disseminate scientific knowledge? The design can actively join scientific research by bringing new inputs, finding new applications for scientific research outcomes, providing means of experimentation and reflection, challenging scientists’ perceptions and encouraging the pursuit of new research directions. The topic of the sustainable valorisation of agro-industrial waste and by-products – which counts numerous examples in literature- is presented as a case study of virtuous collaboration between design and science. The agro-industrial sector represents a driving force in the global economy however, it is accompanied by remarkable amounts of residues and waste generated by agronomic practices and industrial manufacturing which, according to sustainability and circularity principles, can be transformed into valua","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":"120973540","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}
In recent years, virtual spaces and metaverse using VR technology have been attracting attention from web and application infrastructure services, and it has become commonplace to represent real information in the digital world. The spread of multiple devices has made it possible for anyone to browse and collect information on the web. Against this background, many businesses are accelerating the shift to e-commerce, meaning information on the texture of objects must be read digitally, creating a gap between the impression of the web and reality. Therefore, information that is difficult to read from such visual information is increasingly supplemented by elements such as language, motion, and sound. Among these, a verbal presentation can accurately convey ambiguous information, and among the verbal elements, onomatopoeia can be used to express detailed information as well as impressions based on sensitivity. In a previous study, it was found that onomatopoeic impressions have an intimate relationship with texture information through a system that can quantitatively capture onomatopoeic impressions. With the proliferation of e-commerce, the use of onomatopoeia is considered effective in narrowing the gap between digital images and impressions.This study clarifies the extent to which users can capture texture impressions from images and how the presentation of onomatopoeia affects texture impressions.In this experiment, 12 samples were displayed on the PC screen and evaluated in six categories (slippery/sticky, flat/uneven, smooth/rough, soft/hard, warm/cold, and moist/dry). The evaluation was performed using the SD method. In addition, we presented the appropriate onomatopoeia for each sample and conducted the same evaluation to clarify how the impression changed with and without onomatopoeia. The results indicated that the impression was positive for all samples, with significant results for four samples (slippery, soft, sticky, and uneven). In particular, the impression was reversed for all samples except for the slippery sample, indicating that onomatopoeia had a significant effect on the impression of the object. These results suggest that the respondents had little experience with objects and could not narrow down their impressions to a single texture image; their impressions were low without onomatopoeia, and the presentation of onomatopoeia enhanced the texture image. In addition, there were six samples with high impressions (smooth, flat, warm, rough, hard, and dry) even without the presentation of onomatopoeia. The tendency for high impressions is thought to be that the respondents can read the mono impression from the image and imagine the tactile texture from the visual information because it is difficult to cause a shift in recognition.In conclusion, the presentation of onomatopoeia is effective when the texture of an object can be read as multiple impressions, and it was found to have a positive effect on the impression of the object.
{"title":"Relation between the reality of digital and texture information using Onomatopoeia","authors":"Wonseok Yang, Misato Akiba","doi":"10.54941/ahfe1002984","DOIUrl":"https://doi.org/10.54941/ahfe1002984","url":null,"abstract":"In recent years, virtual spaces and metaverse using VR technology have been attracting attention from web and application infrastructure services, and it has become commonplace to represent real information in the digital world. The spread of multiple devices has made it possible for anyone to browse and collect information on the web. Against this background, many businesses are accelerating the shift to e-commerce, meaning information on the texture of objects must be read digitally, creating a gap between the impression of the web and reality. Therefore, information that is difficult to read from such visual information is increasingly supplemented by elements such as language, motion, and sound. Among these, a verbal presentation can accurately convey ambiguous information, and among the verbal elements, onomatopoeia can be used to express detailed information as well as impressions based on sensitivity. In a previous study, it was found that onomatopoeic impressions have an intimate relationship with texture information through a system that can quantitatively capture onomatopoeic impressions. With the proliferation of e-commerce, the use of onomatopoeia is considered effective in narrowing the gap between digital images and impressions.This study clarifies the extent to which users can capture texture impressions from images and how the presentation of onomatopoeia affects texture impressions.In this experiment, 12 samples were displayed on the PC screen and evaluated in six categories (slippery/sticky, flat/uneven, smooth/rough, soft/hard, warm/cold, and moist/dry). The evaluation was performed using the SD method. In addition, we presented the appropriate onomatopoeia for each sample and conducted the same evaluation to clarify how the impression changed with and without onomatopoeia. The results indicated that the impression was positive for all samples, with significant results for four samples (slippery, soft, sticky, and uneven). In particular, the impression was reversed for all samples except for the slippery sample, indicating that onomatopoeia had a significant effect on the impression of the object. These results suggest that the respondents had little experience with objects and could not narrow down their impressions to a single texture image; their impressions were low without onomatopoeia, and the presentation of onomatopoeia enhanced the texture image. In addition, there were six samples with high impressions (smooth, flat, warm, rough, hard, and dry) even without the presentation of onomatopoeia. The tendency for high impressions is thought to be that the respondents can read the mono impression from the image and imagine the tactile texture from the visual information because it is difficult to cause a shift in recognition.In conclusion, the presentation of onomatopoeia is effective when the texture of an object can be read as multiple impressions, and it was found to have a positive effect on the impression of the object.","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":"130206226","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}
Humans came from the earth and we have the ability to enhance or destroy its ecological processes. For approximately 10,000 years we have, in general, found ways to exploit the earth’s bounty while leaving degraded eco-systems. Sustainability, arguably, is about learning how to realign and co-create with the earth and its regenerative processes. Regenerative Agriculture is a pioneering example of this potential, learning from both traditional practices and ecological science. This paper/presentation introduces and explains concepts around Regenerative Agriculture (RA) and how it can be applied to the production of renewable materials for physical products. Products employing these materials can help humans synthesize with the planet and its productive processes while healing it and fulfilling human needs. It will explain RA’s principles, parameters, types, processes & applications and what materials are being produced currently that designers can integrate into their products to solve the Ecological Crisis. RA is pioneering new ways that humans can enhance the planet. A foundation for understanding RA, is how farmers are applying these processes for efficiency to ensure its success at providing both ecological services and low cost production of materials. This is critical for the success of Circular or Mutualistic Design when it comes to renewable materials. It will also explore how RA can play a significant role in reversing climate change, as these practices were identified as some of the lowest hanging fruit to decarbonize the atmosphere to pre-industrial levels in one generation as identified by Drawdown.org. Thus, integration of these materials into mass produced products can, if applied appropriately, accelerate climate decarbonization. This is a pioneering field that holds promise both ecologically and economically. It is estimated to be a $700 Billion industry in the coming decades. This paper/presentation will also identify products pioneering regenerative materials. Lastly, it will introduce several Regenerative Verification Programs, one that the Author co-created, that exist to help designers make wise choices in specifying materials that are contributing to Mutalistic future.
{"title":"Synthesizing Humans with the Planet: Regenerative Agriculture and its relevance and application to Industrial Design","authors":"Braden Trauth","doi":"10.54941/ahfe1002982","DOIUrl":"https://doi.org/10.54941/ahfe1002982","url":null,"abstract":"Humans came from the earth and we have the ability to enhance or destroy its ecological processes. For approximately 10,000 years we have, in general, found ways to exploit the earth’s bounty while leaving degraded eco-systems. Sustainability, arguably, is about learning how to realign and co-create with the earth and its regenerative processes. Regenerative Agriculture is a pioneering example of this potential, learning from both traditional practices and ecological science. This paper/presentation introduces and explains concepts around Regenerative Agriculture (RA) and how it can be applied to the production of renewable materials for physical products. Products employing these materials can help humans synthesize with the planet and its productive processes while healing it and fulfilling human needs. It will explain RA’s principles, parameters, types, processes & applications and what materials are being produced currently that designers can integrate into their products to solve the Ecological Crisis. RA is pioneering new ways that humans can enhance the planet. A foundation for understanding RA, is how farmers are applying these processes for efficiency to ensure its success at providing both ecological services and low cost production of materials. This is critical for the success of Circular or Mutualistic Design when it comes to renewable materials. It will also explore how RA can play a significant role in reversing climate change, as these practices were identified as some of the lowest hanging fruit to decarbonize the atmosphere to pre-industrial levels in one generation as identified by Drawdown.org. Thus, integration of these materials into mass produced products can, if applied appropriately, accelerate climate decarbonization. This is a pioneering field that holds promise both ecologically and economically. It is estimated to be a $700 Billion industry in the coming decades. This paper/presentation will also identify products pioneering regenerative materials. Lastly, it will introduce several Regenerative Verification Programs, one that the Author co-created, that exist to help designers make wise choices in specifying materials that are contributing to Mutalistic future.","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"108 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":"133331653","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 increasing use of mobile service robots in public spaces has led to more frequent encounters and interactions between humans and robots. However, our understanding of how people would perceive and react to these autonomously moving robots in real-world situations is still limited. Previous research suggests an optimal degree of human-likeness for anthropomorphic robots, but it remains unclear what level of anthropomorphism makes a robot most acceptable in a specific use context and how designers can achieve it. This study investigates the effect of a mobile service robot’s visual interface and manipulators on its morphology, human-likeness, and human perception. A conceptual framework is developed from literature to define the design elements that comprise robot morphology and their effects on human-likeness and human perception. The framework is then tested through an online survey using four design variations of a mobile service robot. The study finds that a robot’s visual interface and manipulators increase its human-likeness and enhance understanding of its intended function. However, no clear correlation is found between human-likeness and perceived capabilities in this study’s use context.
{"title":"Designing Mobile Service Robots: Roles of the Visual Interface and Manipulators for Human Perception","authors":"Y. Ghim","doi":"10.54941/ahfe1002985","DOIUrl":"https://doi.org/10.54941/ahfe1002985","url":null,"abstract":"The increasing use of mobile service robots in public spaces has led to more frequent encounters and interactions between humans and robots. However, our understanding of how people would perceive and react to these autonomously moving robots in real-world situations is still limited. Previous research suggests an optimal degree of human-likeness for anthropomorphic robots, but it remains unclear what level of anthropomorphism makes a robot most acceptable in a specific use context and how designers can achieve it. This study investigates the effect of a mobile service robot’s visual interface and manipulators on its morphology, human-likeness, and human perception. A conceptual framework is developed from literature to define the design elements that comprise robot morphology and their effects on human-likeness and human perception. The framework is then tested through an online survey using four design variations of a mobile service robot. The study finds that a robot’s visual interface and manipulators increase its human-likeness and enhance understanding of its intended function. However, no clear correlation is found between human-likeness and perceived capabilities in this study’s use context.","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"56 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":"133479970","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}
In the sports product industry, technical apparel materials can be developed to be perceived warm or cool to the human touch. Those created for warm touch are typically for cold environments - generating warmth for athlete comfort, whereas cool touch materials are developed for hot environments – making the athlete’s skin surface feel cool and fresh. These attributes can be engineered into the face or back side of the material – providing different point-of-purchase and next-to-skin perceptual experiences. The goal of this study was to define warm and cool touch effusivity spectrums that the sports apparel industry can reference when developing new technical materials. The warm and cool touch characteristics of common sports materials were evaluated mechanically with a Modified Transient Plane Source (MTPS) sensor and perceptually with a human subject fingertip test protocol. From the data collected, cool and warm touch effusivity spectrums were determined for face and back material sides. For the face side of the material specimens, subjects’ perception of warmth was at an average effusivity value of 145.9 (+/-23.1), and cool at 182.2 (+/-19.7). For the back side of the specimens, the materials were perceived warm at 138.6 (+/-22.6), and cool at 177.3 (+/-19.3). The results of this study provide sports apparel material developers insight into target effusivity value ranges for athlete warm or cool touch perceptual experiences.
{"title":"Sports Apparel Warm and Cool Touch Effusivity Spectrums Based on Human Perception","authors":"Susan L. Sokolowski, Emily Karolidis, A. Hakimian","doi":"10.54941/ahfe1002967","DOIUrl":"https://doi.org/10.54941/ahfe1002967","url":null,"abstract":"In the sports product industry, technical apparel materials can be developed to be perceived warm or cool to the human touch. Those created for warm touch are typically for cold environments - generating warmth for athlete comfort, whereas cool touch materials are developed for hot environments – making the athlete’s skin surface feel cool and fresh. These attributes can be engineered into the face or back side of the material – providing different point-of-purchase and next-to-skin perceptual experiences. The goal of this study was to define warm and cool touch effusivity spectrums that the sports apparel industry can reference when developing new technical materials. The warm and cool touch characteristics of common sports materials were evaluated mechanically with a Modified Transient Plane Source (MTPS) sensor and perceptually with a human subject fingertip test protocol. From the data collected, cool and warm touch effusivity spectrums were determined for face and back material sides. For the face side of the material specimens, subjects’ perception of warmth was at an average effusivity value of 145.9 (+/-23.1), and cool at 182.2 (+/-19.7). For the back side of the specimens, the materials were perceived warm at 138.6 (+/-22.6), and cool at 177.3 (+/-19.3). The results of this study provide sports apparel material developers insight into target effusivity value ranges for athlete warm or cool touch perceptual experiences.","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"41 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":"114869536","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 aim of this paper is to propose and elaborate on the concept of designing in the wild theoretically and practically through a case study on an apparel system created for people working in the oil and gas industry. Through our explorations we elaborate on motivating factors for designing in the wild, offer some of the fundamental theories on problem-solving in design, and provide an overview of human-centred practices to compare and contrast these with designing in the wild. Naturally there are a myriad of different ways that designers can approach designing. They can take a designer-centric approach, an artifact-centric approach, use- or user-centric approach, or a combination of these. Typically, designers will select one of these approaches especially when creating ready-to-wear apparel, soft products, and accessories. For example, apparel and soft product designers are often expected to peruse the market, speculate on new styles, and forecast trends (both are generally artifact-centric approaches) with a vision to realizing designs that will be easily produced and sell well. Alternatively, designers who are involved in creating products for specialized markets such as design for disability or safety wear take more use- and user-centric approaches where there is a greater focus on the use environment (use-centric approach). Furthermore, user-centric approaches in apparel design have been popularized around sizing, scaling and fit to the human body, usually as the study of anthropometrics, which is interestingly also quite artifact-centric because designers are consulting databases and documents with numbers that indicate how apparel and soft products need to interface with bodies. These approaches to creating apparel and soft products have provided the domain with tools towards developing apparel that fit the shapes and needs of consumers, but not necessarily the expectations and desires within specialized product realms. With the growing needs for more specialized apparel and soft product design due to specific work situations and environments, aging demographics and people with special needs, and niche markets it is essential that a more holistic problem-solving approach and acknowledgement of the complexity of design scenarios be taken. Designing in the wild plays on the work of Callon and Rabeharisoa’s Research ‘in the wild’ and the reshaping of new social identities (2003). Like “research in the wild” designing in the wild offers various methods to get at and understand the complexity of human experiences including the nuanced relationships among person-apparel-environment. Designing in the wild takes a two-pronged approach: (1) where the designer is required to understand themselves to design better for others; and (2) where a more in-depth methodology for understanding others is employed. Consequently, designing in the wild focuses on a more complex understanding of authentic human behavior to design for the portable environments of
{"title":"Designing in the Wild: Problem-solving for specialized apparel and soft products","authors":"M. Strickfaden, Joyce Thomas","doi":"10.54941/ahfe1002012","DOIUrl":"https://doi.org/10.54941/ahfe1002012","url":null,"abstract":"The aim of this paper is to propose and elaborate on the concept of designing in the wild theoretically and practically through a case study on an apparel system created for people working in the oil and gas industry. Through our explorations we elaborate on motivating factors for designing in the wild, offer some of the fundamental theories on problem-solving in design, and provide an overview of human-centred practices to compare and contrast these with designing in the wild. Naturally there are a myriad of different ways that designers can approach designing. They can take a designer-centric approach, an artifact-centric approach, use- or user-centric approach, or a combination of these. Typically, designers will select one of these approaches especially when creating ready-to-wear apparel, soft products, and accessories. For example, apparel and soft product designers are often expected to peruse the market, speculate on new styles, and forecast trends (both are generally artifact-centric approaches) with a vision to realizing designs that will be easily produced and sell well. Alternatively, designers who are involved in creating products for specialized markets such as design for disability or safety wear take more use- and user-centric approaches where there is a greater focus on the use environment (use-centric approach). Furthermore, user-centric approaches in apparel design have been popularized around sizing, scaling and fit to the human body, usually as the study of anthropometrics, which is interestingly also quite artifact-centric because designers are consulting databases and documents with numbers that indicate how apparel and soft products need to interface with bodies. These approaches to creating apparel and soft products have provided the domain with tools towards developing apparel that fit the shapes and needs of consumers, but not necessarily the expectations and desires within specialized product realms. With the growing needs for more specialized apparel and soft product design due to specific work situations and environments, aging demographics and people with special needs, and niche markets it is essential that a more holistic problem-solving approach and acknowledgement of the complexity of design scenarios be taken. Designing in the wild plays on the work of Callon and Rabeharisoa’s Research ‘in the wild’ and the reshaping of new social identities (2003). Like “research in the wild” designing in the wild offers various methods to get at and understand the complexity of human experiences including the nuanced relationships among person-apparel-environment. Designing in the wild takes a two-pronged approach: (1) where the designer is required to understand themselves to design better for others; and (2) where a more in-depth methodology for understanding others is employed. Consequently, designing in the wild focuses on a more complex understanding of authentic human behavior to design for the portable environments of ","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"8 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":"122219383","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 builds upon previous research where we discovered gaps related to how empathy is understood and how the empathic horizon is characterized within design studies. First, we offer concrete definitions of empathy through various perspectives to clarify misconceptions. Second, we offer a brief historical overview of the ‘empathic horizon’, which can be traced back to the 1960s. Third, we offer a critical analysis of empathy/empathic horizons and begin to characterize what is meant by empathic horizons through the literature reviewed. Fourth, we illustrate how designers’ empathic horizons may be unintentionally and intentionally stretched. That is, we believe that each person has an empathic horizon that evolves spontaneously, is connected to personal individual embodied experiences, and evolves dynamically across their life journey. Literature shows that a person’s empathic horizon is predominantly developed unintentionally but it can be intentionally stretched or expanded, particularly when awareness is brought to the value of doing so. Fifth, we use our Jellybeans Empathic Modeling Activity that 1145 people have participated in since 2011 to flush out the definitions we’ve established. This paper contributes information not currently found in design literature by bringing together theoretical and practical definitions and characteristics about empathy and empathic horizons that are relevant to design practitioners and design educators.
{"title":"Stretching and Using Designers’ Empathic Horizons","authors":"Joyce Thomas, M. Strickfaden","doi":"10.54941/ahfe1002970","DOIUrl":"https://doi.org/10.54941/ahfe1002970","url":null,"abstract":"This paper builds upon previous research where we discovered gaps related to how empathy is understood and how the empathic horizon is characterized within design studies. First, we offer concrete definitions of empathy through various perspectives to clarify misconceptions. Second, we offer a brief historical overview of the ‘empathic horizon’, which can be traced back to the 1960s. Third, we offer a critical analysis of empathy/empathic horizons and begin to characterize what is meant by empathic horizons through the literature reviewed. Fourth, we illustrate how designers’ empathic horizons may be unintentionally and intentionally stretched. That is, we believe that each person has an empathic horizon that evolves spontaneously, is connected to personal individual embodied experiences, and evolves dynamically across their life journey. Literature shows that a person’s empathic horizon is predominantly developed unintentionally but it can be intentionally stretched or expanded, particularly when awareness is brought to the value of doing so. Fifth, we use our Jellybeans Empathic Modeling Activity that 1145 people have participated in since 2011 to flush out the definitions we’ve established. This paper contributes information not currently found in design literature by bringing together theoretical and practical definitions and characteristics about empathy and empathic horizons that are relevant to design practitioners and design educators.","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"3 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":"130219387","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}
Extended Reality (XR) is an emerging technology and potential tool to support the creation of design concept sketches for remote review and evaluation. Design and engineering for air travel can be a lengthy and expensive process, interfering with rapid innovation. In the field of air travel design, researchers, designers, and engineers have been studying the use of XR (e.g., Virtual Reality and Augmented Reality) to support design workflows and comparing this technique to traditional industrial design methods. Early steps in aerospace design, i.e. research and brainstorming, have largely employed traditional methods, including sketching concepts and eliciting user feedback on early development work. In recent years, XR tools have been adopted to augment the design process and help drive innovative solutions, such as using virtual (VR) and augmented reality (AR) for simulated architecture design. However, XR development has primarily focused on simulating experiences; comparatively fewer resources are available to support the implementation of XR in the early phases of the design workflow. In response, this study investigated the application of XR techniques to support the early stages of the air travel design workflow with a focus on the industrial design contribution to the process. Specifically, the study evaluated the use of XR techniques to support the early stages of design within the Technology Readiness Levels (TRL) framework. The study used VR as a tool for 3D sketching and VR/AR hardware and software to engage users in evaluating the 3D design sketches generated using VR. The concepts generated were related to aircraft cabin concepts focused on a timely event, namely, creating concepts to support air travel during the COVID-19 pandemic.The study consisted of two phases: (1) comparing sketching in VR to traditional sketching methods from the researcher’s first-hand experience; and (2) the distribution of traditional 2D versus 3D VR developed sketches for design and evaluation. In Phase 1, we compared the use of VR versus traditional methods for design sketching by way of journaling first–person experience. In Phase 2, 2D and 3D sketches developed were shared in an online survey with two user groups: designers and non-designers (general population). These groups reviewed the sketches remotely via an online survey, and their experience was evaluated using the System Usability Scale to evaluate the system (traditional 2D illustrations versus VR/AR simulation). The designers completed an additional questionnaire (Technology Acceptance Model) to evaluate the ease and usability of the use of XR techniques in designer workflow. This paper presents initial results of Phase 1: A comparison of VR vs traditional sketching. An analysis of Phase 2, with a focus on the sharing of completed designs as traditional sketches vs VR/AR simulation is underway. The findings will support the development of best practices for embedding XR within the aerospace de
{"title":"Evaluating XR Techniques in Air Travel Design for Early Technology Readiness Levels","authors":"S. Kelsey, Chantal M. J. Trudel, Samantha Astles","doi":"10.54941/ahfe1002014","DOIUrl":"https://doi.org/10.54941/ahfe1002014","url":null,"abstract":"Extended Reality (XR) is an emerging technology and potential tool to support the creation of design concept sketches for remote review and evaluation. Design and engineering for air travel can be a lengthy and expensive process, interfering with rapid innovation. In the field of air travel design, researchers, designers, and engineers have been studying the use of XR (e.g., Virtual Reality and Augmented Reality) to support design workflows and comparing this technique to traditional industrial design methods. Early steps in aerospace design, i.e. research and brainstorming, have largely employed traditional methods, including sketching concepts and eliciting user feedback on early development work. In recent years, XR tools have been adopted to augment the design process and help drive innovative solutions, such as using virtual (VR) and augmented reality (AR) for simulated architecture design. However, XR development has primarily focused on simulating experiences; comparatively fewer resources are available to support the implementation of XR in the early phases of the design workflow. In response, this study investigated the application of XR techniques to support the early stages of the air travel design workflow with a focus on the industrial design contribution to the process. Specifically, the study evaluated the use of XR techniques to support the early stages of design within the Technology Readiness Levels (TRL) framework. The study used VR as a tool for 3D sketching and VR/AR hardware and software to engage users in evaluating the 3D design sketches generated using VR. The concepts generated were related to aircraft cabin concepts focused on a timely event, namely, creating concepts to support air travel during the COVID-19 pandemic.The study consisted of two phases: (1) comparing sketching in VR to traditional sketching methods from the researcher’s first-hand experience; and (2) the distribution of traditional 2D versus 3D VR developed sketches for design and evaluation. In Phase 1, we compared the use of VR versus traditional methods for design sketching by way of journaling first–person experience. In Phase 2, 2D and 3D sketches developed were shared in an online survey with two user groups: designers and non-designers (general population). These groups reviewed the sketches remotely via an online survey, and their experience was evaluated using the System Usability Scale to evaluate the system (traditional 2D illustrations versus VR/AR simulation). The designers completed an additional questionnaire (Technology Acceptance Model) to evaluate the ease and usability of the use of XR techniques in designer workflow. This paper presents initial results of Phase 1: A comparison of VR vs traditional sketching. An analysis of Phase 2, with a focus on the sharing of completed designs as traditional sketches vs VR/AR simulation is underway. The findings will support the development of best practices for embedding XR within the aerospace de","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":"128880411","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}
Throughout most mankind’s history our daily life artifacts have been designed, produced, and used with respect for social and environmental constrains and within the carrying capacity of ecosystems. Also, they have been created to fulfill tangible and specific needs (not desires) of individuals and communities to their daily tasks and have sustained a thorough process of evolution and adaptation to the cultural and environmental context and, so, have been perfected over time. It has been only with the technological and cultural changes implemented with the industrial revolution that several unbalances have been created in the relation between our material culture and the natural world. It stands to reason that there are lessons to be learned from those previous times, from their habits and, with a design perspective, from their products. This paper presents an analysis of vernacular objects identifying design features related to morphology, functionality, production, material, and use. This text presents as case study a set of vernacular objects from the rural life collection of the Portuguese National Museum of Ethnology. The analysis was made with support of literature, drawing and photography, and adapting some examples from previous studies of vernacular heritage and architecture. These products serve as example of the incorporation of circular product design strategies.
{"title":"Vernacular Products: An Example to Circular Design","authors":"J. Vicente","doi":"10.54941/ahfe1002026","DOIUrl":"https://doi.org/10.54941/ahfe1002026","url":null,"abstract":"Throughout most mankind’s history our daily life artifacts have been designed, produced, and used with respect for social and environmental constrains and within the carrying capacity of ecosystems. Also, they have been created to fulfill tangible and specific needs (not desires) of individuals and communities to their daily tasks and have sustained a thorough process of evolution and adaptation to the cultural and environmental context and, so, have been perfected over time. It has been only with the technological and cultural changes implemented with the industrial revolution that several unbalances have been created in the relation between our material culture and the natural world. It stands to reason that there are lessons to be learned from those previous times, from their habits and, with a design perspective, from their products. This paper presents an analysis of vernacular objects identifying design features related to morphology, functionality, production, material, and use. This text presents as case study a set of vernacular objects from the rural life collection of the Portuguese National Museum of Ethnology. The analysis was made with support of literature, drawing and photography, and adapting some examples from previous studies of vernacular heritage and architecture. These products serve as example of the incorporation of circular product design strategies.","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":"129177071","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 purpose of the study is to extract and construct the development and method of synaesthetic visual translation in product design, provide new design thinking, and enrich user experience. This paper employs a mixed method of case study, practice, fuzzy evaluation, etc. Through case analysis, the manifestation of visual translation in product design is summarized, the translation law between vision and other senses is abstracted, a method to achieve visual translation is built, and research conclusions are verified through design practice. Based on fuzzy evaluations, the development of synaesthetic visual translation is established, and a reusable visual translation design method is proposed, which enriches product connotation while improving comprehensibility, and realizes a multi-dimensional and in-depth user experience.
{"title":"The Application of Visual Translation in Synaesthesia to Product Design","authors":"Xiaodong Gong, Yue Ji","doi":"10.54941/ahfe1002027","DOIUrl":"https://doi.org/10.54941/ahfe1002027","url":null,"abstract":"The purpose of the study is to extract and construct the development and method of synaesthetic visual translation in product design, provide new design thinking, and enrich user experience. This paper employs a mixed method of case study, practice, fuzzy evaluation, etc. Through case analysis, the manifestation of visual translation in product design is summarized, the translation law between vision and other senses is abstracted, a method to achieve visual translation is built, and research conclusions are verified through design practice. Based on fuzzy evaluations, the development of synaesthetic visual translation is established, and a reusable visual translation design method is proposed, which enriches product connotation while improving comprehensibility, and realizes a multi-dimensional and in-depth user experience.","PeriodicalId":158693,"journal":{"name":"Interdisciplinary Practice in Industrial Design","volume":"53 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":"129685578","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：