Scent and Sound of Vision: Expressing Scent or Sound as Visual Forms

1989 ◽  
Vol 69 (1) ◽  
pp. 227-233 ◽  
Author(s):  
G. J. F. Smets ◽  
C. J. Overbeeke
Keyword(s):  
Energy Flow ◽  
Engineering Students ◽  
Chance Level ◽  
Direct Perception ◽  
Design Engineering ◽  
Perceptual Sense

This article describes three experiments on the possibility of expressing scent or sound into visual forms made by design engineering students. The hypothesis tested was that people are able to pick up patterns in the energy flow that the students transposed from one perceptual sense to another. In Exp. 1 subjects were given different scents and were asked to choose a sculpture designed according these scents. In Exp. 2 subjects were given different musical pieces and asked to match them with portable cassette players designed according to this music. Exp. 3 was identical to Exp. 2 but different music selections, similar to the ones in Exp. 2, were used. In all three experiments subjects were indeed able to perform the tasks above chance level. Results are discussed within the framework of the theory of direct perception of Gibson.

scholarly journals ENGINEERING STUDENT ATTAINMENT AND ENGAGEMENT THROUGHOUT THE DESIGN PROCESS

2021 ◽  
Vol 1 ◽  
pp. 1373-1382
Author(s):  
Avril Thomson ◽  
Hilary Grierson
Keyword(s):  
Design Process ◽  
Engineering Students ◽  
Project Work ◽  
Design Engineering ◽  
Engineering Student ◽  
Online Questionnaire ◽  
Main Research ◽  
Research Questions ◽  
Design Students ◽  
Major Project

AbstractThe paper reports on a study that aims to gain an understanding of how senior engineering design students engage and attain throughout the various stages of the design process during a major design project. Following a literature review it sets out to answer 3 main research questionsQ1. Do students engage more with certain stages of the design process during major project work?;Q2. Do students attain better during certain phases of the design process during major project ?Q3. Is there a difference in this attainment between year groups of the same degree programme ?The methodology adopted employs an analysis of marks and an online questionnaire to collect data. Patterns and trends in how senior BEng and MEng Product Design Engineering students engage and attain within the design process are presented, identified and discussed and in turn used to inform reflection on the research questions set.

Creativity and meaning: including meaning as a component of creative solutions

2018 ◽  
Vol 32 (4) ◽  
pp. 365-379 ◽  
Author(s):  
Maria Sääksjärvi ◽  
Milene Gonçalves
Keyword(s):  
Engineering Students ◽  
Empirical Studies ◽  
Explanatory Power ◽  
User Needs ◽  
Design Engineering ◽  
Separate Component ◽  
Factor Solution ◽  
Creative Solutions ◽  
Item Scale ◽  
Three Factor

AbstractThe goal of this paper is to examine meaning as a component of creativity. We take a demand-based approach for conceptualizing meaning, and propose that it emerges from user needs instead of emerging from already existing creative solutions. Meaning is proposed as a third component of creativity, alongside novelty and usefulness. We test this proposition in a pre-study, and two empirical studies. In the pre-study, designers define creativity and provide examples of solutions that they deem creative. The results of the pre-study yield a 24-item scale for assessing creativity. Then, we conduct two empirical studies, in which we utilize the created scale for measuring creativity, and for examining the components arising thereof. In the first study, we ask creators (design engineering students) to generate ideas for one of two design briefs. Afterwards, creators were asked to rate their own creations, on the 24-item creativity scale. Here, we find a four-factor solution for creative outcomes, consisting of the dimensions novelty, usefulness, cleverness, and meaning. In the second study, we ask independent evaluators (individuals with related and relevant degrees) to assess the creators’ work on the creativity scale. Here, we find a three-factor solution for creative outcomes, consisting of the dimensions novelty, usefulness, and meaning. In both studies, meaning emerged as a separate component of creativity. Additionally, in both studies, it accounted for variance that was unaccounted for by novelty and usefulness, thereby increasing the overall explanatory power of creative solutions. These findings strongly speak of meaning as a third component of creativity.

Influence of Interconnect-Channel Shape on Heat and Mass Transfer in Anode-Supported Planar Solid Oxide Fuel Cells

2006 ◽  
Author(s):  
Yogesh N. Magar ◽  
Raj M. Manglik ◽  
Milind A. Jog
Keyword(s):  
Mass Transfer ◽  
Learning Styles ◽  
Solid Oxide Fuel Cells ◽  
Engineering Students ◽  
Solid Oxide ◽  
Design Engineering ◽  
Oxide Fuel ◽  
Survey Results ◽  
Engineering Survey ◽  
Effective Design

The debate on inculcating effective design engineering learning – its fundamental conceptualization, application of theoretical constructs to model physical devices/systems, and development of tools for solving unstructured problems – and associated critical thinking has primarily focused on curricula issues. Little effort has been made to understand the cognitive underpinning of students that lends to success in this direction. This paper presents the findings of a transverse study to assess learning styles of undergraduate mechanical engineering students and their perceptions about design engineering. Survey results from a batch of sophomores and seniors are analyzed to ascertain: (i) aspects of learning styles that are conducive to design comprehension, and (ii) perceptions about design engineering that aid or impede such learning.

scholarly journals Complexity Made Simple

2012 ◽  
Author(s):  
Philippe Kruchten
Keyword(s):  
Conceptual Model ◽  
Engineering Students ◽  
Systematic Approach ◽  
Design Principles ◽  
Design Methods ◽  
Design Engineering ◽  
The Core ◽  
Key Concepts ◽  
Perceived Complexity

We present a simple conceptual model of what constitutes complexity and simplicity in design engineering. At the core of the model are the three concepts of 1) scale (how many things are there), 2) diversity (how many different kinds of things are there), and 3) connectivity (how many relationships are there between things). The model distinguishes essential from accidental complexity (i.e., the complexity that we, engineers, add while designing), and intrinsic versus perceived complexity. The model also articulates the complexity of the thing (or system) we design or observe versus the complexity of the community around the system: its users, designers, manufacturers, sellers, other systems, etc. This model is then used to articulate a set of heuristics to address complexity: reduce, hide, shrink, organize, explain, expose.. Finally we open the toolkits of engineers in various disciplines to identify strategies, methods, or tools that they can use to address complexity: design principles, guidelines, design methods, patterns, tactics, frameworks, etc. Approaches such as modeling, abstraction, partitioning can then be described in terms of our key concepts and heuristics; e.g., “abstraction reduces perceived complexity”. This conceptual model helps engineering students to better reflect on their practices of design, and how these practices vary across disciplines. It also provides a more systematic approach to answering the never ending question: “how can you make this simpler?”

Industrial design engineering and the theory of direct perception

1994 ◽  
Vol 15 (2) ◽  
pp. 175-184 ◽  
Author(s):  
Gerda Smets ◽  
Kees Overbeeke
Keyword(s):  
Industrial Design ◽  
Direct Perception ◽  
Design Engineering

scholarly journals UNIVERSITY-LEVEL DESIGN ENGINEERING CHALLENGES WITH STUDENT FEEDBACK

2011 ◽  
Author(s):  
Jason Bazylak ◽  
Peter Wild
Keyword(s):  
Engineering Students ◽  
Interdisciplinary Teams ◽  
Student Feedback ◽  
First Year ◽  
Design Engineering ◽  
Electromagnetic Model ◽  
University Level ◽  
The University ◽  
Academic Year

The Design Engineering Challenge Series is a set of design events organized by the University of Victoria Design Engineering Office to enhance the undergraduate student design experience. The first of the two events run in the series was the First Year Design Engineering Challenge. This event challenged first year engineering students to design and construct a microcontroller-directed electromagnetic model crane, in a single day. The second event had students from across campus working in interdisciplinary teams to design video games. Both events were extremely successful with follow up events planned for the next academic year.

scholarly journals TEACHING AIRCRAFT DESIGN:A CASE STUDY ON AN ALTERNATIVE ENGINEERING UNDERGRADUATE CAPSTONE FINAL YEAR PROJECT

2018 ◽  
Author(s):  
Andrea Cartile ◽  
Catharine C. Marsden ◽  
Yong Zeng ◽  
Brandiff Caron
Keyword(s):  
Engineering Education ◽  
Curriculum Reform ◽  
Q Methodology ◽  
Engineering Students ◽  
Design Engineering ◽  
Reform Initiatives ◽  
Design Creativity ◽  
The University ◽  
Engineering Training

Abstract – The effectiveness of aerospace design engineering education has received a great deal of anecdotal feedback from its stakeholders. The aerospace industry, the Canadian government, the University, and the enrolled engineering students have expressed customer needs and expectations of design engineering training.  While numerous curriculum reform initiatives have been developed and implemented, their impact has not yet beenstudied quantitatively. This paper proposes to use a theoretical model on design creativity, the statistical Q methodology, and an aerospace undergraduate capstone team case study to develop a tool for the quantitative evaluation for the effectiveness of aerospace design engineering education.  

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