A Design Process for New Concept Development

Author(s):  
Ding-Bang Luh ◽  
Frank (Ming-Hung) Chen ◽  
Vincent (I-Hsun) Ku
Author(s):  
Mohammed A. Azam ◽  
William P. Holmes

Abstract Research has been carried out at Coventry University Centre for Integrated Design on the concept design process and it is funded by the Coventry University Research Fund. An experiment, simulating product design in industry, was conducted by concept designers which were, in turn, acted by student industrial designers and student engineering designers. In general the product design process is a sequential process. The first part of the process is the conceptual phase. This is followed by the engineering design phases which include all the manufacturing information. In this case the downstream engineering design focuses on designs for manufacture and process selection. Information on the requirements of conceptual designers in these areas was collected from these experiments. The information is ultimately to be incorporated into rules in a knowledge base which can be readily accessed by the industrial designer during concept development via a CAD system.


2021 ◽  
Vol 11 (8) ◽  
pp. 448
Author(s):  
Katie Aylward ◽  
Joakim Dahlman ◽  
Kjetil Nordby ◽  
Monica Lundh

Maritime user interfaces for ships’ bridges are highly dependent on the context in which they are used, and rich maritime context is difficult to recreate in the early stages of user-centered design processes. Operations in Arctic waters where crews are faced with extreme environmental conditions, technology limitations and a lack of accurate navigational information further increase this challenge. There is a lack of research supporting the user-centered design of workplaces for hazardous Arctic operations. To meet this challenge, this paper reports on the process of developing virtual reality-reconstructed operational scenarios to connect stakeholders, end-users, designers, and human factors specialists in a joint process. This paper explores how virtual reality-reconstructed operational scenarios can be used as a tool both for concept development and user testing. Three operational scenarios were developed, implemented in a full mission bridge simulator, recreated in virtual reality (VR), and finally tested on navigators (end-users). Qualitative data were captured throughout the design process and user-testing, resulting in a thematic analysis that identified common themes reflecting the experiences gained throughout this process. In conclusion, we argue that operational scenarios, rendered in immersive media such as VR, may be an important and reusable asset when supporting maritime design processes and in maritime training and education.


2011 ◽  
pp. 288-300
Author(s):  
Lim Chee Koon ◽  
Henry B.L. Duh

This chapter will first describe the development workflow of graphical user interface (GUI) design and the implementation that is adopted across a 2G platform. It describes the development workflow of graphical user interface (GUI) design and the implementation that is adopted across a 2G platform. The authors then describe the implementation process of developing Icon-Scenario Based Animated Menu GUI. The same design process developed is implemented in the other models when the authors develop another set of GUIs for different customers using the same workflow. The chapter concludes by describing the concept development process of the phone’s menu enhanced by the use of a captivating Icon-Scenario Based Animated Menu, followed by demonstrating how it takes usability into consideration, bringing delight to users.


2019 ◽  
Vol 30 (5) ◽  
pp. 951-972 ◽  
Author(s):  
Alice Schut ◽  
Remke Klapwijk ◽  
Mathieu Gielen ◽  
Fenne van Doorn ◽  
Marc de Vries

Abstract In this paper, we explore the early indicators of design fixation occurring during the concept development stage of children’s design processes. This type of fixation, which we named: concept fixation, causes a blind adherence to the current (possibly unfavourable) state of a design idea. Its occurrence hampers the creative thinking processes present in a design process, which in turn stagnates the development of initial design ideas into final designs. Until now, research on design fixation has mainly focussed on creative idea generation in the early phases of the design process through analysing (intermediate) design ideas and completed artefacts. However, children’s fixation behaviours might be identified at an earlier moment through the conversations that take place in the classroom about their design ideas. To this end, we present a case study in which we explored early indicators of concept fixation of a group of 24 primary school children (ages 9–11) carrying out a co-design project. Fixation was observed through the manner in which the design teams responded to questions and comments from their peers and the client. Four categories of response behaviours indicating concept fixation emerged from the verbal data, namely: ‘band-aids’, ‘already-in-there’, ‘question-not-relevant’ and ‘it’s-not-possible’. We expect that the indicators will be helpful in identifying concept fixation during the design process, especially in an educational context. The process of identification of fixation, and reflecting on it, creates awareness. This is considered as an important step by professional designers towards guarding oneself from fixation episodes in future projects, and thus being more creative.


2013 ◽  
Author(s):  
Lori B. Stone ◽  
Abigail Lundquist ◽  
Stefan Ganchev ◽  
Nora Ladjahasan

Author(s):  
Catarina LELIS

The brand is a powerful representational and identification-led asset that can be used to engage staff in creative, sustainable and developmental activities. Being a brand the result of, foremost, a design exercise, it is fair to suppose that it can be a relevant resource for the advancement of design literacy within organisational contexts. The main objective of this paper was to test and validate an interaction structure for an informed co-design process on visual brand artefacts. To carry on the empirical study, a university was chosen as case study as these contexts are generally rich in employee diversity. A non-functional prototype was designed, and walkthroughs were performed in five focus groups held with staff. The latter evidenced a need/wish to engage with basic design principles and high willingness to participate in the creation of brand design artefacts, mostly with the purposeof increasing its consistent use and innovate in its representation possibilities, whilst augmenting the brand’s socially responsible values.


Author(s):  
Camilo POTOCNJAK-OXMAN

Stir was a crowd-voted grants platform aimed at supporting creative youth in the early stages of an entrepreneurial journey. Developed through an in-depth, collaborative design process, between 2015 and 2018 it received close to two hundred projects and distributed over fifty grants to emerging creatives and became one of the most impactful programs aimed at increasing entrepreneurial activity in Canberra, Australia. The following case study will provide an overview of the methodology and process used by the design team in conceiving and developing this platform, highlighting how the community’s interests and competencies were embedded in the project itself. The case provides insights for people leading collaborative design processes, with specific emphasis on some of the characteristics on programs targeting creative youth


Author(s):  
Andrea CAPRA ◽  
Ana BERGER ◽  
Daniela SZABLUK ◽  
Manuela OLIVEIRA

An accurate understanding of users' needs is essential for the development of innovative products. This article presents an exploratory method of user centered research in the context of the design process of technological products, conceived from the demands of a large information technology company. The method is oriented - but not restricted - to the initial stages of the product development process, and uses low-resolution prototypes and simulations of interactions, allowing users to imagine themselves in a future context through fictitious environments and scenarios in the ambit of ideation. The method is effective in identifying the requirements of the experience related to the product’s usage and allows rapid iteration on existing assumptions and greater exploration of design concepts that emerge throughout the investigation.


Author(s):  
Silas DENZ ◽  
Wouter EGGINK

Conventional design practices regard gender as a given precondition defined by femininity and masculinity. To shift these strategies to include non-heteronormative or queer users, queer theory served as a source of inspiration as well as user sensitive design techniques. As a result, a co-design workshop was developed and executed. Participants supported claims that gender scripts in designed artefacts uphold gender norms. The practice did not specify a definition of a queer design style. However, the co-design practice opened up the design process to non-normative gender scripts by unmasking binary gender dichotomies in industrial design.


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