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2021 ◽  
Vol 14 (1) ◽  
pp. 76
Author(s):  
Blair Kuys ◽  
Christoph Koch ◽  
Gianni Renda

Industrial design is intrinsically linked to manufacturing; however, what is required of industrial design to adapt to new changes brought on by Industry 4.0 in manufacturing is unknown. Current literature gives little insight into how industrial designers need to evolve to the current developments in manufacturing to remain value drivers in an Industry 4.0 paradigm. There is minimal research describing the link between industrial design, Industry 4.0 and the effect this will have on sustainability. We conducted an extensive survey of 190 respondents from 53 countries to establish the present state of industrial design practice globally and to better understand the priority sustainability is given by practicing industrial designers. Qualitative data showed a desire for improved sustainable processes; however, quantitative data contradicted this, showing “sustainability” as one of the lowest ranked areas of importance in design practice for industrial designers. While sustainability—especially in manufacturing—demands more prominent change as industrial design adapts to an Industry 4.0 manufacturing paradigm, it seems that junior industrial designers do not currently see this as a priority.


Author(s):  
Lei Zhang ◽  
Minli Zheng ◽  
Wei Zhang ◽  
Kangning Li

Abstract In the field of mold manufacturing, the wear resistance of the mold is a key factor affecting the life of the mold. In order to extend the life of the mold, most scholars have invested a lot of research on the surface texture of the mold. This article mainly analyzes the influence of the texture angle of different milling topography on the wear resistance of the mold. First, we studied the formation process of the milling topography, and distinguished the quadrilateral pit topography and the hexagonal pit topography by defining the texture angle. Secondly, we carried out a wear simulation analysis on the slider with a texture angle, and studied the influence of different topography on the wear depth and stress distribution. Finally, with the help of friction and wear experiments, the wear amount of the slider with different texture angles is tested, and the relationship between the texture angle, the wear quality and the friction coefficient is analyzed. The conclusions obtained provide an effective reference for industrial designers to prepare wear-resistant molds.


2021 ◽  
Vol 11 (2) ◽  
pp. 155-161
Author(s):  
Anton P. RAKOV

Currently, specialists who use the skills of drawing, drawing, modeling and modeling in their work have largely begun to use the capabilities of computer technology and software. Working with digital models and three-dimensional modeling technologies are also within the competence of an industrial designer. This article att empts to make a selection of computer programs that are used in their work by industrial designers and classify the capabilities of this software according to its functional purpose. It is obvious that all the technologies of three-dimensional modeling listed in the article are very important for specialists engaged in technical aesthetics, artistic design, visualization, prototyping and prototyping of things.


2021 ◽  
Vol 29 (4) ◽  
pp. 2785-2798
Author(s):  
Nor Ziratul Aqma Norzaman ◽  
Khairul Aidil Azlin Abd Rahman ◽  
Mohd Yazid Mohd Yunos ◽  
Nor ‘Atiah Ismail

Until now, industrial designers are solely educated with the epistemology of dialectical materialism; meanwhile, the spiritual aspect is often segregated from education affairs. Many kinds of literature highlighted that this segregation could lead to negative impacts. Supposedly as a Muslim, learning about our Creator through Asma’ul Husna is an essential trait to develop designers’ value, also known as sahsiah or characteristic of excellence. Therefore, this paper attempted to study the adaptation of Asma’ul Husna in the existing design practice among Muslim designers and at the same time devote the existent designer’s knowledge and awareness to this understanding. A set of questionnaires were distributed using stratified sampling. The result showed that the majority of the respondents did not adapt Asma’ul Husna in the existing design practice due to limited knowledge on ways to integrate Asma’ul Husna in the design process. Designers who claimed to use Asma’ul Husna in design are either still confused with the usage or only limits the usage to motif and zikr. As an overview, this paper highlights the general view of an adaptation of Asma’ul Husna’s among designers and emphasises the urgency to develop a guideline for designers to implement the values in their design process.


2021 ◽  
Author(s):  
◽  
Edgar Raymundo Rodríguez Ramírez

<p>Fascinating designs can break our expectations and elicit a sense of surprise that first invokes our interest, increases the emotional intensity of an experience and may affect how we interact with our surroundings. Design researchers have identified the importance of surprise. Valuable studies have been carried out on the role of surprise as a design strategy (Ludden, Schifferstein, & Hekkert, 2008), on how appearance elicits emotions including surprise (Desmet, 2002; Desmet, Porcelijn, & van Dijk, 2005) and on the role of sensory incongruity in eliciting surprise (Ludden, 2008). Some characteristics of eliciting surprise can be beneficial to a product’s success. However, little research has been done into the strategies designers can use when attempting to elicit surprise through interaction, or how the experience of surprise affects how people interact with products. My research addresses two main questions. The first question is: how can designers attempt to elicit surprise through interaction? Through a set of 30 interviews worldwide, participatory research through design at design studios and collaboration with design students, I have developed a set of strategies that address this question. The strategies are the result of an analysis following a Postmodern Grounded Theory methodology, namely Situational Analysis (Clarke, 2003, 2005). My research suggests that design organisations address surprise in interaction according to their main concerns. While large design organisations reported little interest in eliciting surprise, design studios with specific characteristics constantly attempted to elicit surprise through their products. I suggest 22 strategies that designers can use when attempting to elicit surprise. The strategies are presented as cards for easy access by practicing designers and design students alike. The second question is, once surprise is elicited through interaction, how does the experience of surprise affect the way people interact with an object? I addressed this question through designing a number of products, testing them with people and assessing what different interactions resulted. My research suggests that through eliciting surprise, designers can support what people do, indicate unambiguously what ought to be done, subtly suggest what to do or attempt to persuade. The role of surprise varies for each of these intentions. Finally, my research suggests that surprise can be seen as a threat-detecting mechanism when trying to discourage people to engage in an activity; surprise can also be addressed as a sense-making process when attempting to persuade.</p>


2021 ◽  
Author(s):  
◽  
Edgar Raymundo Rodríguez Ramírez

<p>Fascinating designs can break our expectations and elicit a sense of surprise that first invokes our interest, increases the emotional intensity of an experience and may affect how we interact with our surroundings. Design researchers have identified the importance of surprise. Valuable studies have been carried out on the role of surprise as a design strategy (Ludden, Schifferstein, & Hekkert, 2008), on how appearance elicits emotions including surprise (Desmet, 2002; Desmet, Porcelijn, & van Dijk, 2005) and on the role of sensory incongruity in eliciting surprise (Ludden, 2008). Some characteristics of eliciting surprise can be beneficial to a product’s success. However, little research has been done into the strategies designers can use when attempting to elicit surprise through interaction, or how the experience of surprise affects how people interact with products. My research addresses two main questions. The first question is: how can designers attempt to elicit surprise through interaction? Through a set of 30 interviews worldwide, participatory research through design at design studios and collaboration with design students, I have developed a set of strategies that address this question. The strategies are the result of an analysis following a Postmodern Grounded Theory methodology, namely Situational Analysis (Clarke, 2003, 2005). My research suggests that design organisations address surprise in interaction according to their main concerns. While large design organisations reported little interest in eliciting surprise, design studios with specific characteristics constantly attempted to elicit surprise through their products. I suggest 22 strategies that designers can use when attempting to elicit surprise. The strategies are presented as cards for easy access by practicing designers and design students alike. The second question is, once surprise is elicited through interaction, how does the experience of surprise affect the way people interact with an object? I addressed this question through designing a number of products, testing them with people and assessing what different interactions resulted. My research suggests that through eliciting surprise, designers can support what people do, indicate unambiguously what ought to be done, subtly suggest what to do or attempt to persuade. The role of surprise varies for each of these intentions. Finally, my research suggests that surprise can be seen as a threat-detecting mechanism when trying to discourage people to engage in an activity; surprise can also be addressed as a sense-making process when attempting to persuade.</p>


2021 ◽  
Vol 115 ◽  
pp. 85-94
Author(s):  
Anna Różańska

Classics of Polish Design. Post-War Polish Furniture Design the paper presents a review of Polish post-war design in the times of Polish People's Republic: in the 1950s and 1960s. It is the first paper in the series of "Classical Polish Design", presenting the results of research on Polish furniture and the icons of Polish design, carried out within the framework of dissertations in the Department of Wood Technology in the Warsaw University of Life Sciences (SGGW). The paper presents two main trends in Polish post-war design, together with their background. We analysed the development of industrial design and of mass production dedicated for mass users, as well as the education system for industrial designers. We present the concept of furniture for small living spaces and the impact of global trends, availability of new materials and technological solutions on Polish furniture design.


2021 ◽  
Vol 1 ◽  
pp. 571-580
Author(s):  
Sonia Liliana da Silva Vieira ◽  
Mathias Benedek ◽  
John S. Gero ◽  
Gaetano Cascini ◽  
Shumin Li

AbstractIn this paper, we present results from an experiment using EEG to measure brain activity and explore EEG frequency power associated with gender differences of professional industrial designers while performing two prototypical stages of constrained and open design tasks, problem-solving and design sketching. Results indicate no main effect of gender. However, among other main effects, a consistent main effect of hemisphere for the six frequency bands under analysis was found. In the problem-solving stage, male designers show higher alpha and beta bands in channels of the prefrontal cortices and female designers in the right occipitotemporal cortex and secondary visual cortices. In the design sketching stage, male designers show higher alpha and beta bands in the right prefrontal cortex, and female designers in the right temporal cortex and left prefrontal cortex, where higher theta is also found. Prioritising different cognitive functions seem to play a role in each gender's approach to constrained and open design tasks. Results can be useful to design professionals, students and design educators, and for the development of methodological approaches in design research and education.


2021 ◽  
Vol 1 ◽  
pp. 3339-3348
Author(s):  
Sander Van Goethem ◽  
Jouke Verlinden ◽  
Regan Watts ◽  
Stijn Verwulgen

AbstractMore than ever, the ability to quickly and effectively shape ideas in a 3D environment is essential for industrial designers and with the rise of XR technology, a shift from traditional, screen-based CAD to VR-based CAD could improve time to market and personal effectiveness for product designers. In this study, this shift is assessed from a user experience perspective. Ten professional product developers are asked to design respirator masks. The experiment takes place in the Gravity Sketch VR app, using a HTC Vive Pro HMD. The participants are observed, surveyed and interviewed regarding different parameters on their experience. Participants experienced VR Aided Design as quick and intuitive. They personally felt performant and they enjoyed the process. As of now, VRAD is not seen as an alternative to neither sketching nor CAD. Instead, new users experience it being a new tool that can be positioned either parallel to or in between ideation sketching, clay modeling and detailed CAD design. Lastly, this paper includes a preliminary look at a VR Stylus for virtual reality aided design.


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