Pemilihan Material dan Desain yang Inovatif serta Kreatif

Material selection and innovative and creative designs are needed as a medium for reducing production costs by changing the design of a product but still paying attention to the safety of its users. The problem that occurs in the surrounding community is the lack of public knowledge about the selection of materials that can risk accidents that will be experienced by users which can be caused by the material not being strong enough to support the load it gets. Innovative and creative design aims to reduce the mass of the material but still refers to user safety. Inappropriate design can increase the risk of accidents and wasted costs in the production process. The method used in this community service is a material selection workshop and an introduction to machine design using solidworks software. Therefore, this community service will greatly help the community in the Karang-tempel Village, East Semarang District, increase their insight into the selection of materials and innovative designs as an increase in the quality of production and ensure the safety of users. Keywords: creative; desain; inovative; material selection; workshop Abstrak: Pemilihan material dan desain yang inovatif dan kreatif sangat diperlukan sebagai media pengurangan biaya produksi dengan merubah rancangan suatu produk akan tetapi tetap memperhatikan keselamatan dari penggunanya. Permasalahan yang terjadi di masyarakat sekitar akan kurangnya pengetahuan masyarakat tentang pemilihan material yang dapat berisiko akan terjadinya kecelakaan yang akan dialami pengguna yang dapat disebabkan oleh material tidak cukup kuat untuk menopang beban yang didapatkannya. Desain yang inovatif dan kreatif bertujuan sebagai pengurangan massa dari material akan tetapi tetap merujuk kepada keselamatan pengguna. Desain yang tidak sesuai dapat meningkatkan risiko kecelakaan dan pemborosan biaya pada proses produksi. Metode yang digunakan pada pengabdian masyarakat ini adalah workshop pemilihan material dan pengenalan rancang bangun mesin menggunakan software solidworks. Oleh karena itu pengabdian kepada masyarakat ini akan sangat membantu mas-yarakat di lingkungan kelurahan Karang-tempel, kecamatan Semarang Timur untuk menambah wawasannya terhadap pemilihan material dan desain yang inovatif sebagai peningkatan kualitas hasil produksi dan menjamin keselamatan dari pengguna.Kata kunci: desain; inovatif; kreatif; pemilihan material; workshop

Creative Design Approaches in Digital Mental Health Interventions: Exploratory Mapping Review (Preprint)

BACKGROUND Digital mental health interventions show great potential to alleviate mental illness and increase access to care. However, these technologies face significant problems in terms of adoption. While it is suggested that this issue stems from a lack of user perspective in the development process, several creative design approaches have been developed over the years to consider this important aspect. Still, there have been few examples of creative design approaches and end users' involvement in the development of digital solutions in the field of mental health. OBJECTIVE The main objective of this literature review was to understand how design is considered in e-mental health intervention research. METHODS An exploratory mapping review was conducted among journals with an explicit scope covering mental health and technology. The creative design approaches reported and the core elements of a design activity (i.e., the object, the context, the design process and the actors involved) were examined among the eligible studies. RESULTS 30 studies met the inclusion criteria. 22 studies mentioned using creative design approaches or specific design methods in the development of an e-mental health solution. Approaches reported could be classified as participatory design (n=11), codesign (n=6), user-centered-design (n=5) or specific design methods (n=5). Just about half of the approaches mentioned (n=15/27) were supported by references. It was not possible to associate any creative design approaches with the description made of the main core elements (i.e., process, actors). End users were involved to some extent in all studies. For their part, designers were only involved in 8 studies, which was less than software development teams (n=14). That said, unlike the latter, their presence was noticed throughout the design process. CONCLUSIONS Results show that there are attempts to integrate creative design approaches into the development of e-mental health solutions. However, they rely very little on designers nor design research. Researchers and technology developers should know the underpinnings of creative design methods when choosing an approach over another. They should also consider involving designers to fully implement those methods and approaches.

Students crossing cultural boundaries within a transnational design course in China: An activity theory analysis

<p>The focus of this thesis is on visual communication design (VCD) students’ engagement with creative design process learning within a transnational context. The context is an international partnership between a higher education institution in New Zealand and Hunan City University (HNCU) in China. The Chinese government is currently positioned in a third wave of an internationalisation strategy which encourages cooperative agreements with foreign or overseas institutional partners situated within Chinese universities. For design institutions in particular, the Made in China government initiative has led universities to actively engage with design education approaches imported from the west. The aim for Chinese institutions is to encourage student creativity in order to build on government aspirations to move China from a manufacturing, to an innovation and design led economy. Cultural historic activity theory (CHAT) was used to analyse data from a VCD studio classroom at HNCU in China. A three-level hierarchy of artefacts model was developed for the analysis, which by extention offers a CHAT approach for creative design scenarios. The study had two phases. The first comprised two project-based case studies exploring how creative design process learning occurred when the students were exposed to design thinking. Students were organised into dyads to foster collaborative work for the projects, a branding project, and a cultural project involving illustration design. Data gathered through video stimulated recall interviews with eight dyad participants (sixteen VCD students) and 200 written reflections were analysed. The second phase of the research focused on understanding the cultural and historic pedagogical context. Eight semi-structured interviews were conducted with local teachers at HNCU, and observations were undertaken in Chinese language medium classrooms. Underpinning the findings, are the ways in which Chinese design education practices at HNCU are shaped by an interweaving of Confucian thought within contemporary social and political tenets (e.g., striving for perfection). The analysis revealed that familiar and unfamiliar learning practices, including previous models encountered by students in the classroom, together with an adjustment to new practices, directly impacted student actions. Imported educational practices resulted in tensions and contradictions between step-by-step and iterative design thinking processes, and collaboration within the division of labour. Non-creative and creative activity outcome conclusions were drawn, and it is argued that a fresh perspective emerged. A creative craft practice situated within its historic and cultural context exists at HNCU. Key to the idea of creative craft practice is that historic and current sociocultural contexts participate in the creative process and contextual elements such as materiality, and teaching practices which use imitation, repetition and precedents, are assembled. The practice contained deeply intertwined student object-oriented motives of product over process, and productions of excellence or perfection. Over time, the efficacy of these motives, alongside drawing from examples for conceptual development, led to enhanced student agency and engagement. This overall finding challenges the creativity deficit belief about students from China, and the originality syndrome imposed on VCD students. The contribution is timely owing to a dearth of studies about graphic or VCD education in general and the potential influence of transnational teaching on creative design process learning in China.</p>

Students crossing cultural boundaries within a transnational design course in China: An activity theory analysis

<p>The focus of this thesis is on visual communication design (VCD) students’ engagement with creative design process learning within a transnational context. The context is an international partnership between a higher education institution in New Zealand and Hunan City University (HNCU) in China. The Chinese government is currently positioned in a third wave of an internationalisation strategy which encourages cooperative agreements with foreign or overseas institutional partners situated within Chinese universities. For design institutions in particular, the Made in China government initiative has led universities to actively engage with design education approaches imported from the west. The aim for Chinese institutions is to encourage student creativity in order to build on government aspirations to move China from a manufacturing, to an innovation and design led economy. Cultural historic activity theory (CHAT) was used to analyse data from a VCD studio classroom at HNCU in China. A three-level hierarchy of artefacts model was developed for the analysis, which by extention offers a CHAT approach for creative design scenarios. The study had two phases. The first comprised two project-based case studies exploring how creative design process learning occurred when the students were exposed to design thinking. Students were organised into dyads to foster collaborative work for the projects, a branding project, and a cultural project involving illustration design. Data gathered through video stimulated recall interviews with eight dyad participants (sixteen VCD students) and 200 written reflections were analysed. The second phase of the research focused on understanding the cultural and historic pedagogical context. Eight semi-structured interviews were conducted with local teachers at HNCU, and observations were undertaken in Chinese language medium classrooms. Underpinning the findings, are the ways in which Chinese design education practices at HNCU are shaped by an interweaving of Confucian thought within contemporary social and political tenets (e.g., striving for perfection). The analysis revealed that familiar and unfamiliar learning practices, including previous models encountered by students in the classroom, together with an adjustment to new practices, directly impacted student actions. Imported educational practices resulted in tensions and contradictions between step-by-step and iterative design thinking processes, and collaboration within the division of labour. Non-creative and creative activity outcome conclusions were drawn, and it is argued that a fresh perspective emerged. A creative craft practice situated within its historic and cultural context exists at HNCU. Key to the idea of creative craft practice is that historic and current sociocultural contexts participate in the creative process and contextual elements such as materiality, and teaching practices which use imitation, repetition and precedents, are assembled. The practice contained deeply intertwined student object-oriented motives of product over process, and productions of excellence or perfection. Over time, the efficacy of these motives, alongside drawing from examples for conceptual development, led to enhanced student agency and engagement. This overall finding challenges the creativity deficit belief about students from China, and the originality syndrome imposed on VCD students. The contribution is timely owing to a dearth of studies about graphic or VCD education in general and the potential influence of transnational teaching on creative design process learning in China.</p>

Modernizing Batik Clothes for Community Enterprises Using Creative Design and Colorimetry

The objective of this study was to modernize batik clothes, a cultural heritage of Southeast Asia, through creative design, color characterization, and collection presentation. Three community enterprises from the southern regions of Thailand participated in designing batik motifs based on their local identities. The pattern of the first manufacturer group was influenced by stones and ancient beads of vivid orange and blue shades. The second community was inspired by the nearby sea, resulting in ocean blue, white, and emerald green colors on batik fabrics. Floras in the south of Thailand dominated the design of the final manufacturer group. Smartphone colorimetry was then used to characterize the batik fabrics. It was demonstrated that this proposed color quantification was not confined to the laboratory, and could easily be carried out by vendors or customers. The collaboration encouraged local batik artisans to use a variety of inspirations, new tools, as well as professional design and production methods. To introduce modernized batik to the public, collections of these newly designed clothes were displayed in a fashion show staged under the theme “Southern Chic.” The presentation of Thai batik clothes in seasonal collections highlighted the transformations of local manufacturers and products with increasing appeal to younger people. In addition to conservation and commercial advantages, the modernized approach is accessible and attractive for education purposes, engaging students in cultural heritage. Doi: 10.28991/esj-2021-01319 Full Text: PDF

Structural synthesis of plane kinematic chain inversions without detecting isomorphism

A plane kinematic chain inversion refers to a plane kinematic chain with one link fixed (assigned as the ground link). In the creative design of mechanisms, it is important to select proper ground links. The structural synthesis of plane kinematic chain inversions is helpful for improving the efficiency of mechanism design. However, the existing structural synthesis methods involve isomorphism detection, which is cumbersome. This paper proposes a simple and efficient structural synthesis method for plane kinematic chain inversions without detecting isomorphism. The fifth power of the adjacency matrix is applied to recognize similar vertices, and non-isomorphic kinematic chain inversions are directly derived according to non-similar vertices. This method is used to automatically synthesize 6-link 1-degree-of-freedom (DOF), 8-link 1-DOF, 8-link 3-DOF, 9-link 2-DOF, 9-link 4-DOF, 10-link 1-DOF, 10-link 3-DOF and 10-link 5-DOF plane kinematic chain inversions. All the synthesis results are consistent with those reported in literature. Our method is also suitable for other kinds of kinematic chains.