In this paper we report on an exploration of how to apply the theory of
Slow Design to mass produced products to establish more mindful usage of
products; the intention behind this is to promote product attachment
and the associated sustainable benefits of long term use. Slow Design is
a design philosophy that focuses on promoting well-being for
individuals, society, and the natural environment. It encourages people
to do things at the right time and at the right speed which helps them
to understand and reflect on their actions. Several authors have
proposed Slow Design principles and cases have been reported in which
these principles were applied in cultural design projects. These
applications indicated that Slow Design can indeed have a positive
impact on wellbeing. Although promising, this philosophy has not yet
been used in the design of mass consumer products. In this paper we
present a design case study in which we explored how the Slow Design
principles can be applied in the design of an electric fruit juicer. Two
studies are reported on where the conditions for implementing Slow
Design are explored. The results led to a revision of the principles for
use by product designers. The main finding from the case study is that
the Slow Design principles can be used to create more 'mindful'
interactions that stimulate positive user involvement. This is not from
designing interactions that require more time per se, but by stimulating
the user to use more time for those parts of the interaction that are
meaningful and less for those that are not meaningful.
CHI '13 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
sustainable design etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster
sustainable design etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster
Designing with Smell: Challenges, Techniques, and Perceptions
The sense of smell has over many years been undervalued and frequently ignored by numerous key design disciplines; deemed of most relevance within the scientific realms of food and beverage development, with artistic imaginary in the commercial perfume sector, and in relation to planting in landscape architecture. However, times are changing and with new knowledge emerging on how this illusive sense operates and increasingly sophisticated technologies and techniques developed, smell is being incorporated into design practices including media and on-street advertising, graphic and cartographical design, experiential events and theatrical production, and architectural and urban design.
This colloquium includes presentations from design practitioners, researchers and academics from across a range of disciplines, all of whom include and incorporate considerations of smell into their work be it in real, representational or virtual space. It highlights some of the issues faced when working with smell in spatial design including the emission and control of odours, the perception of different odours across time, space and by different bodies and the ethical considerations which arise as a result such as the idea of smell as manipulation, air quality concerns, and environmental and idiosyncratic sensitivities.
8th International Conference on Design Principles and Practices
This colloquium includes presentations from design practitioners, researchers and academics from across a range of disciplines, all of whom include and incorporate considerations of smell into their work be it in real, representational or virtual space. It highlights some of the issues faced when working with smell in spatial design including the emission and control of odours, the perception of different odours across time, space and by different bodies and the ethical considerations which arise as a result such as the idea of smell as manipulation, air quality concerns, and environmental and idiosyncratic sensitivities.
8th International Conference on Design Principles and Practices
Design Education, Design Management, and Professional Practice: Designing Strategic and Sustainable Advantage
This paper will address the value-added of design to the professional practice of strategy formulation and implementation. While design leaders create design strategies, they are not as likely to create enterprise strategies unless they are founders or CEO's.
This has a consequence for business as it attempts to innovate in an environment characterized by disruption. It also has a consequence for design as a discipline that is often excluded from the strategy conversation. There is a profound consequence for global enterprises moving into the 21st century with a strategic framework developed in the last century. This framework assumes a resource base that is now scarce and imperiled and a society content to consume.
The world of seven billion now requires more of enterprise and its leaders. Advocacy has become as global as corporate activity. Demand grows for a triple bottom line focused on economic value creation that also creates value for society and a shared biosphere.
Design can help companies deliver a triple bottom line and gain sustainable strategic advantage. But, there is a practice gap in most design education. This is paper will provide a road map for closing that gap and educating design professionals to innovate business practice.
8th International Conference on Design Principles and Practices
This has a consequence for business as it attempts to innovate in an environment characterized by disruption. It also has a consequence for design as a discipline that is often excluded from the strategy conversation. There is a profound consequence for global enterprises moving into the 21st century with a strategic framework developed in the last century. This framework assumes a resource base that is now scarce and imperiled and a society content to consume.
The world of seven billion now requires more of enterprise and its leaders. Advocacy has become as global as corporate activity. Demand grows for a triple bottom line focused on economic value creation that also creates value for society and a shared biosphere.
Design can help companies deliver a triple bottom line and gain sustainable strategic advantage. But, there is a practice gap in most design education. This is paper will provide a road map for closing that gap and educating design professionals to innovate business practice.
8th International Conference on Design Principles and Practices
FROM INDUSTRIAL WASTE TO PRODUCT DESIGN
To use waste as a starting point for new product development would be a
sustainable use of material resources that alleviates waste handling loads.
So far, products that use waste as a starting point have not been able to
significantly affect waste trends. This shows a need for methods that
facilitate using waste materials for product development. With this in mind,
the project “From Industrial Waste to Product Design” was initiated.
Industrial design engineering students are encouraged to do their master
theses on exploring product development with currently unused waste. This
article suggests a methodology to help designers achieve this. Two
approaches were undertaken: a product study to review the state of the art
in designing with waste; and an analysis of traditional design processes. In
the end, an expanded design process was proposed, since a description of a
systematic process for this issue was lacking among researchers or
practitioners.
sustainable use of material resources that alleviates waste handling loads.
So far, products that use waste as a starting point have not been able to
significantly affect waste trends. This shows a need for methods that
facilitate using waste materials for product development. With this in mind,
the project “From Industrial Waste to Product Design” was initiated.
Industrial design engineering students are encouraged to do their master
theses on exploring product development with currently unused waste. This
article suggests a methodology to help designers achieve this. Two
approaches were undertaken: a product study to review the state of the art
in designing with waste; and an analysis of traditional design processes. In
the end, an expanded design process was proposed, since a description of a
systematic process for this issue was lacking among researchers or
practitioners.
The Emerging Field of Biomimicry as a Post-industrial Response to the New Paradigms of Design
The paradigmatic situation in which the design disciplines are immersed as part of the human-driven global crisis – environmental, social and economical – demands responses coming from innovation and radical change. In this context the field of Biomimicry emerges in response to the new paradigms of design and can be a powerful tool for design for sustainability, and furthermore, for ‘resilient design’. Biomimicry inspires designers to learn from nature rather than use it as resource for materials and disposal. Natural systems are the playground for an astonishing amount of living forms in perfect balance with natural forces, living in a network of mutualism and synergy, in a sort of perpetual cycling loop. Life teaches us a clear lesson: after 3.8 billion years of research and development, failures are fossils, and what surround us is the secret to survival. We can learn from nature not only how to design better materials and artifacts, but also how to design better systems and conducts that lead to better behavioral patterns. As the principles of Biomimicry state, nature must be our measure, model, and mentor. This paper will explain why the emerging field of Biomimicry can be the (r)evolutionary step that design needs in order to address the new paradigms of a sustainable future. It will present main points which make Biomimicry a substantial set of ideas that can lead to product and material innovation, and finally it will discuss the prospect of this emerging field for building resilient and sustainable futures, while exploring and defining the concept of ‘resilient design’. Examples come from an extensive literature review, as well as from several years of implementation of “Biomimicry” in “Design for Sustainability” modules, within design courses taught by the authors in Singapore, Australia and Canada.
8th International Conference on Design Principles and Practices
Biological Approaches to Design for Sustainability: Biotechnology, Biomimicry, and Biophillic Design
Design is mainly our conscious human action to modify our environment. It affects our context at different levels and scales, from “micro” to “macro”. In relation to design and industry, diverse approaches of bio-utilization (as in bio-technology) and bio-inspiration in arts, architecture and design, as well as fields of research such as “bionics, and “biomimetics” are discussed. A key reference to current bio-inspiration, “Biomimicry” proposes using nature as “model”, “measure” and “mentor”. Proposing a bio-affiliation, “Biophilic Design” explores the benefits of nature in the built environment. Furthermore, two of the most relevant examples of contemporary imitation of nature which are strongly linked to Industrial Design and operate at a systems level are “Industrial Ecology” and “Cradle to Cradle”. The influence of bio-technology and bio-inspired design thinking in design for sustainability is discussed through case studies. Within this framework and from the point of view of design, biotechnology can have negative environmental implications (such as bio-utilization, or simply exploiting organisms to produce materials or substances for human consumption). However, biotechnology can also have positive environmental implications too, when used adequately within DfS objectives (for example, biodegradable and compostable materials from natural renewable sources). Main conclusions of the paper are that biological approaches can have both negative as well as positive environmental and social impacts. However, imitation of 1) form, 2) function, 3) process and 4) systems from nature, as well as adequate use of biological design approaches can help designers to develop projects which are more sustainable.
8th International Conference on Design Principles and Practices
Cuca System: Sustainable Furniture for Small Dwellings in Mexico
This paper addresses a furniture design problem related to the limited space in small housing units in Mexico.
The study analyzes the socio-cultural furniture needs for the living spaces of Mexicans with small dwellings and offers a sustainable design solution in the furniture sector.
The main hypothesis for this project is: The use of the dining room for family gatherings is essential to sustain Mexican culture, and the functionality of the dining room for this purpose is threatened by new housing that provides a very small area for these activities.
The research is supported with on-site surveys and interviews with Mexicans living in small homes. In addition, a careful analysis is conducted of the various activities normally performed in their dining rooms.
My findings validate the main hypothesis and show evidence that (a) the number of furniture users varies on average from four people on weekdays to eight people on weekends; (b) most inhabitants have a strong preference for long-lasting furniture that reflects the cultural values of urban Mexican cities; and (c) there might be a design solution that supports and sustains Mexican culture.
8th International Conference on Design Principles and Practices
The study analyzes the socio-cultural furniture needs for the living spaces of Mexicans with small dwellings and offers a sustainable design solution in the furniture sector.
The main hypothesis for this project is: The use of the dining room for family gatherings is essential to sustain Mexican culture, and the functionality of the dining room for this purpose is threatened by new housing that provides a very small area for these activities.
The research is supported with on-site surveys and interviews with Mexicans living in small homes. In addition, a careful analysis is conducted of the various activities normally performed in their dining rooms.
My findings validate the main hypothesis and show evidence that (a) the number of furniture users varies on average from four people on weekdays to eight people on weekends; (b) most inhabitants have a strong preference for long-lasting furniture that reflects the cultural values of urban Mexican cities; and (c) there might be a design solution that supports and sustains Mexican culture.
8th International Conference on Design Principles and Practices
The Mass-Customization of Sustainability
With rapid prototype 3d printers on-demand, online interfaces, and dedicated retail environments, mass-customization design is more accessible than ever. The authenticity, the hand-crafted elements, the uniqueness, and the perceived values of the artisan, are returning with limited-runs and consumer-crafted designs. Online entities such as Ponoko and Nikeid, and retail environments such as Mi Adidas and Ridemakerz, allow consumers to design and create their own things. But how does this emergence of mass-customization affect the future of sustainability? Instead of discarding a monitor or scrapping a vehicle, shall we simply 3d print the defective parts? If consumers can design their own possessions, what roles do designers play in designing sustainability? This paper explores mass-customization design’s role in sustainability via scenario-based topics including design for reparability, perceived value, design systems and methodologies, reuse, lifecycle analysis, and consumer commitment. Utilizing specific design examples, the sustainability of mass-customization design is compared with traditional design and production processes to reflect the sustainability-based opportunities and pitfalls found within this emerging movement.
8th International Conference on Design Principles and Practices
8th International Conference on Design Principles and Practices
DESIGNING SUSTAINABLE FUTURES
This paper discusses how future studies and design
could enable a more conscious and participatory
engagement in our common future. The starting
point being that representations of the future are
often done in an abstract and quantitative manner,
which hinders a broad engagement, and
understanding of the implications of the scenarios
presented. We discuss how on-going research
including experimental design methodologies can
be used to make images of the future more
concrete and accessible. Finally, we argue, not
only for prototyping as a method to make the
ungraspable future more concrete, but foremost for
a designerly approach to the most important of all
stakes - the future.
Nordic Design Research Conference 2013
could enable a more conscious and participatory
engagement in our common future. The starting
point being that representations of the future are
often done in an abstract and quantitative manner,
which hinders a broad engagement, and
understanding of the implications of the scenarios
presented. We discuss how on-going research
including experimental design methodologies can
be used to make images of the future more
concrete and accessible. Finally, we argue, not
only for prototyping as a method to make the
ungraspable future more concrete, but foremost for
a designerly approach to the most important of all
stakes - the future.
Nordic Design Research Conference 2013
BALANCING FOOD VALUES: MAKING SUSTAINABLE CHOICES WITHIN COOKING PRACTICES
Within user-centred
design and topics such as
persuasive design,
pleasurable products, and
design for
sustainable behaviour, there is a danger
of
over-determining, pacifying or reducing
people’s diversity.
Taking the case of sustainable
food, we have
looked into the social aspects of
cooking at home, in
specific related to the type of
food that is
purchased. This paper describes what it
means for people to
make more sustainable choices
in food shopping
and how that can be mediated
while taking
different ‘food values’ that household
members have into
account. In a design
experiment, we
developed a service for selecting
daily dinner meals
while supporting choices of
sustainable food
which reported on environmental
impact, health and
nutrition values, and purchase
data. Through
visualizations of alternative food
choices, the
experiment provided a space for
households to
negotiate food values, while opening
up possibilities for changing cooking
practices.
Nordic Design Research Conference 2013
Integration of Generative Research and Sustainability into the Product Design and Development Process
To explore the relationships between the generative research and design for sustainability
at the idea generation phase of the design process, a design research method that emerges
from generative research approach “Experience Reflection Modeling” (ERM) has been
developed and integrated into a design for sustainability project within the context of
design education in the Department of Industrial Design at the Middle East Technical
University (METU). The ERM method brings together 3D modelling, interview and video
recording techniques to help user reflect her/his needs, experiences, preferences and
expectations regarding a product lifespan. This method focuses on integrating user
observations with the idea generation phase of the product design and development
process.
This paper presents initial conclusions and findings from a doctoral study with an emphasis
on the development of the ERM method. Firstly, it will provide an overview of the
generative research with a particular focus on the ERM involving people in the early stages
of the design process. Then, it will present “My Sustainable Mini Oven” project and its
sustainable design considerations. Subsequently, the paper will illustrate how these
considerations (e.g. engaging design solutions, energy consumption, product maintenance
and repair, etc.) are integrated into the ERM method. Finally, further conclusions and
insights in terms of the relationships between the ERM and sustainability will be discussed.
DRS 2012 Bangkok
at the idea generation phase of the design process, a design research method that emerges
from generative research approach “Experience Reflection Modeling” (ERM) has been
developed and integrated into a design for sustainability project within the context of
design education in the Department of Industrial Design at the Middle East Technical
University (METU). The ERM method brings together 3D modelling, interview and video
recording techniques to help user reflect her/his needs, experiences, preferences and
expectations regarding a product lifespan. This method focuses on integrating user
observations with the idea generation phase of the product design and development
process.
This paper presents initial conclusions and findings from a doctoral study with an emphasis
on the development of the ERM method. Firstly, it will provide an overview of the
generative research with a particular focus on the ERM involving people in the early stages
of the design process. Then, it will present “My Sustainable Mini Oven” project and its
sustainable design considerations. Subsequently, the paper will illustrate how these
considerations (e.g. engaging design solutions, energy consumption, product maintenance
and repair, etc.) are integrated into the ERM method. Finally, further conclusions and
insights in terms of the relationships between the ERM and sustainability will be discussed.
DRS 2012 Bangkok
Mobile Marketplace Designing Digital Devices to Connect Rural & Urban China
The paper describes the methodology and process of an ongoing research project,
conducted by Studio TAO and Tongji University with Nokia, to demonstrate how
c
digital communication devices can help bridge the social gap between rural and
urban China. Rapid growth, substantial socio-economic changes, and massive
migration from the countryside to the urban areas, are creating an imbalance in
the urban-rural system. No visible value is given to activities and resources related
to the countryside. Young people move to urban areas to find a job to economically
sustain their families; social fabric is weakening and traditional practices and
local skills are disappearing. DESIGN Harvest explores ways to connect rural
areas with the city to enhance the exchange of resources. This approach is being
prototyped in the context of Chongming Island, near Shanghai. The proximity of
the island to the city, and the way it has maintained its rural identity, despite
Shanghai's fast pace of growth, makes it ideal for researching the relationship
between the two realities. Together with Nokia, we started researching how
communication devices can help enhance connections through prototypes, models
of interaction and service systems. In the initial phase we combined desk-based
research and ethnography to understand users. A set of tools and practices were
designed and tested for immersive exploration and to define user characteristics
for the later developed scenarios and concept generation phase. The need of a
specific methodology is due to the user group's peculiar profile, and no previous
specific study. Language based problems and semantic bias were also encountered.
The paper explains the methodology and the design guidelines for the concept
generation phase. Finally,design proposals are presented. Although these
proposals are the result of extensive research in the Shanghai/Chongming context,
modular and exportable design characteristics will be clarified, for possible
adoption in different contexts.
DRS 2012 Bangkok
conducted by Studio TAO and Tongji University with Nokia, to demonstrate how
c
digital communication devices can help bridge the social gap between rural and
urban China. Rapid growth, substantial socio-economic changes, and massive
migration from the countryside to the urban areas, are creating an imbalance in
the urban-rural system. No visible value is given to activities and resources related
to the countryside. Young people move to urban areas to find a job to economically
sustain their families; social fabric is weakening and traditional practices and
local skills are disappearing. DESIGN Harvest explores ways to connect rural
areas with the city to enhance the exchange of resources. This approach is being
prototyped in the context of Chongming Island, near Shanghai. The proximity of
the island to the city, and the way it has maintained its rural identity, despite
Shanghai's fast pace of growth, makes it ideal for researching the relationship
between the two realities. Together with Nokia, we started researching how
communication devices can help enhance connections through prototypes, models
of interaction and service systems. In the initial phase we combined desk-based
research and ethnography to understand users. A set of tools and practices were
designed and tested for immersive exploration and to define user characteristics
for the later developed scenarios and concept generation phase. The need of a
specific methodology is due to the user group's peculiar profile, and no previous
specific study. Language based problems and semantic bias were also encountered.
The paper explains the methodology and the design guidelines for the concept
generation phase. Finally,design proposals are presented. Although these
proposals are the result of extensive research in the Shanghai/Chongming context,
modular and exportable design characteristics will be clarified, for possible
adoption in different contexts.
DRS 2012 Bangkok
The Status of Sustainable Design in Thailand
Sustainable design encourages manufacturers to consider social and environmental
impacts whilst generating economic benefits (Macdonough & Braungart, 2002). Bhamra &
Lofthouse (2007) state that sustainable design can provide business opportunities to
organisations though cost reduction and increased marketability. Promoting sustainable
design activity has the potential to stimulate the Thai economy by responding to a global
trend in sustainability. Despite this, few manufacturers have the capacity to integrate
sustainability into their products due to inadequate sustainable design knowledge. Various
learning strategies and materials have been developed internationally, however, they
cannot be productively incorporated into Thai design education for reasons discussed in
this paper. This paper presents the partial findings from PhD research that proposes to
develop a more appropriate approach for learning and teaching sustainable design in
Thailand. It provides overview of education for sustainability, then outlines the current
status of sustainable design in Thailand by dividing into three sectors: government,
business, and education. The study commenced with a review of relevant literature and
secondary data, which indicated a limited amount of material for the Thai context. Primary
data collection was undertaken to address this shortfall through semi-structured interviews
with experts participated in sustainable design activities. The findings indicated that
Thailand has increased its focus on sustainability over recent years; a range of sustainable
design initiatives has been carried out. However, the implementation of sustainable design
in Thailand is not widespread because of three main obstacles. Firstly, imbalance between
the three pillars of sustainability — most sustainable design activities have given priority to
economic issues. Secondly, a lack of solid linkage among the initiatives — most of them
have run individually and have not resulted in significant impacts. Thirdly, Thailand is
lacking in sustainable design knowledge — most participants involved in these initiatives
lack an understanding of this concept.
DRS 2012 Bangkok
impacts whilst generating economic benefits (Macdonough & Braungart, 2002). Bhamra &
Lofthouse (2007) state that sustainable design can provide business opportunities to
organisations though cost reduction and increased marketability. Promoting sustainable
design activity has the potential to stimulate the Thai economy by responding to a global
trend in sustainability. Despite this, few manufacturers have the capacity to integrate
sustainability into their products due to inadequate sustainable design knowledge. Various
learning strategies and materials have been developed internationally, however, they
cannot be productively incorporated into Thai design education for reasons discussed in
this paper. This paper presents the partial findings from PhD research that proposes to
develop a more appropriate approach for learning and teaching sustainable design in
Thailand. It provides overview of education for sustainability, then outlines the current
status of sustainable design in Thailand by dividing into three sectors: government,
business, and education. The study commenced with a review of relevant literature and
secondary data, which indicated a limited amount of material for the Thai context. Primary
data collection was undertaken to address this shortfall through semi-structured interviews
with experts participated in sustainable design activities. The findings indicated that
Thailand has increased its focus on sustainability over recent years; a range of sustainable
design initiatives has been carried out. However, the implementation of sustainable design
in Thailand is not widespread because of three main obstacles. Firstly, imbalance between
the three pillars of sustainability — most sustainable design activities have given priority to
economic issues. Secondly, a lack of solid linkage among the initiatives — most of them
have run individually and have not resulted in significant impacts. Thirdly, Thailand is
lacking in sustainable design knowledge — most participants involved in these initiatives
lack an understanding of this concept.
DRS 2012 Bangkok
Neighborhood Labs – Community building through knowledge transfer
Although one can observe an emerging trend towards concepts of sharing and
collaborative consumption, we argue that appropriate systems of knowledge sharing are
still underrepresented in local communities – especially within an inter-generational
context. We further argue that proper understanding of the needs and motivations of
stakeholders in a specific local setting is required in order to successfully implement design
interventions, especially those that lead to self-driven and sustainable learning activities
among different stakeholder groups. The presented ongoing research project Neighborhood
Labs introduces our methods for approaching a complex local social setting that is
characterized by inhabitants with diverging biographical backgrounds and lifestyles. It
also discusses our understanding of “living labs” which is supported by what we call an
“ambassador approach”.
DRS 2012 Bangkok
collaborative consumption, we argue that appropriate systems of knowledge sharing are
still underrepresented in local communities – especially within an inter-generational
context. We further argue that proper understanding of the needs and motivations of
stakeholders in a specific local setting is required in order to successfully implement design
interventions, especially those that lead to self-driven and sustainable learning activities
among different stakeholder groups. The presented ongoing research project Neighborhood
Labs introduces our methods for approaching a complex local social setting that is
characterized by inhabitants with diverging biographical backgrounds and lifestyles. It
also discusses our understanding of “living labs” which is supported by what we call an
“ambassador approach”.
DRS 2012 Bangkok
Walk, Feel, Think, and Make: Creative design learning with nature
The purpose of this study is to examine and establish a road map of the integration process
of sustainable and experiential learning into the industrial design curriculum. In order to
facilitate the sustainable design process while developing the reflective learning to become
more environmentally responsible a new approach was initiated to incorporate new
sustainable tools into our design process in 2011. An immersive workshop was developed
on the basis of the shared philosophies of John Dewey’s experiential education and
Biomimicry, and introduced to the senior design studio. The workshop was conducted over
a four day period giving the students the opportunity of in-class lecture and out-of-class
nature experience. One of the primary goals of this workshop was to allow students to see,
hear, smell, feel, touch and connect themselves to Nature before they started a sustainable
design project.
Based on the triangulated data from the Biomimicry workshop result, the authors identified
some unsatisfactory learning outcomes from the workshop. The issue was that the
experiential learning from the Biomimicry workshop effect did not have an inclusion of
continuity and interaction in the learning process. Taking students back to Nature six weeks
later and reminding them of the holistic knowledge and tools for their projects was a
challenging but rewarding decision. The second trip was improvised to reinforce the
important theories, principles, and strategies that designers could learn from the
Biomimicry walking trail. With the second visit to Houston Arboretum & Nature Center,
the students were immersed more successfully with Nature and accomplished quality
observations which were applied to their creative design development within the studio.
This paper addresses a full semester’s progression of designing and executing a studio
project which integrated a challenging Biomimicry workshop. The authors reflected
problems in the initial workshop model and reinforced the value of experiential education
theories for quality design education.
DRS 2012 Bangkok
of sustainable and experiential learning into the industrial design curriculum. In order to
facilitate the sustainable design process while developing the reflective learning to become
more environmentally responsible a new approach was initiated to incorporate new
sustainable tools into our design process in 2011. An immersive workshop was developed
on the basis of the shared philosophies of John Dewey’s experiential education and
Biomimicry, and introduced to the senior design studio. The workshop was conducted over
a four day period giving the students the opportunity of in-class lecture and out-of-class
nature experience. One of the primary goals of this workshop was to allow students to see,
hear, smell, feel, touch and connect themselves to Nature before they started a sustainable
design project.
Based on the triangulated data from the Biomimicry workshop result, the authors identified
some unsatisfactory learning outcomes from the workshop. The issue was that the
experiential learning from the Biomimicry workshop effect did not have an inclusion of
continuity and interaction in the learning process. Taking students back to Nature six weeks
later and reminding them of the holistic knowledge and tools for their projects was a
challenging but rewarding decision. The second trip was improvised to reinforce the
important theories, principles, and strategies that designers could learn from the
Biomimicry walking trail. With the second visit to Houston Arboretum & Nature Center,
the students were immersed more successfully with Nature and accomplished quality
observations which were applied to their creative design development within the studio.
This paper addresses a full semester’s progression of designing and executing a studio
project which integrated a challenging Biomimicry workshop. The authors reflected
problems in the initial workshop model and reinforced the value of experiential education
theories for quality design education.
DRS 2012 Bangkok
Embedding Sustainability in Product Design Engineering Curriculum: A comparison of needs on an international level
Product Design Engineering is a relatively new engineering discipline that combines
Mechanical Engineering studies with Industrial Design. The emergence and credibility of
this field has created graduates who can successfully combine the creative thinking of
design with the analytical thinking of engineering. A Product Design Engineer forms a vital
role in a product development team making it even more necessary to ensure graduates
from this field have sustainability embedded into their skill-set.
Product Design Engineers are at the forefront of product development; this in turn puts
them at the forefront of unsustainable patterns of production and consumption that
currently plague the manufacturing industry. Due to this, it is imperative to ensure all
Product Design Engineering outcomes have implemented sustainable practices to develop
quality products with environmental concerns in mind. Sustainable design has become
more prevalent and is no longer perceived to be purely organic design, or associated with
single actions such as recycling. It now also involves concepts of Product Stewardship and
Life Cycle Management, including how these concepts translate into current best practice
within leading global manufacturing companies. Knowledge of sustainable design has
developed through necessity and a better understanding in this area has helped create
successful, competitive products with less impact on the environment. The range of
theoretical or conceptual knowledge and tools available across the environmental design
spectrum are then practiced by the students as applied design methods within studio
projects.
This paper shows how sustainability is now embedded in Product Design Engineering
disciplines and does not only discuss the relevance of the content, but moreover addresses
this issue from of student perspective. Three cohorts of undergraduate Product Design
Engineering students have been surveyed to respond to individual comprehension of this
topic — and how effective this is — on their knowledge base. Two cohorts from Swinburne
University of Technology, Melbourne, Australia, and the other from EAFIT University,
Medellin, Colombia. By doing this, an international perspective of educational experiences
in sustainability for Product Design Engineering can be obtained and is discussed in depth
within this paper.
DRS 2012 Bangkok
Mechanical Engineering studies with Industrial Design. The emergence and credibility of
this field has created graduates who can successfully combine the creative thinking of
design with the analytical thinking of engineering. A Product Design Engineer forms a vital
role in a product development team making it even more necessary to ensure graduates
from this field have sustainability embedded into their skill-set.
Product Design Engineers are at the forefront of product development; this in turn puts
them at the forefront of unsustainable patterns of production and consumption that
currently plague the manufacturing industry. Due to this, it is imperative to ensure all
Product Design Engineering outcomes have implemented sustainable practices to develop
quality products with environmental concerns in mind. Sustainable design has become
more prevalent and is no longer perceived to be purely organic design, or associated with
single actions such as recycling. It now also involves concepts of Product Stewardship and
Life Cycle Management, including how these concepts translate into current best practice
within leading global manufacturing companies. Knowledge of sustainable design has
developed through necessity and a better understanding in this area has helped create
successful, competitive products with less impact on the environment. The range of
theoretical or conceptual knowledge and tools available across the environmental design
spectrum are then practiced by the students as applied design methods within studio
projects.
This paper shows how sustainability is now embedded in Product Design Engineering
disciplines and does not only discuss the relevance of the content, but moreover addresses
this issue from of student perspective. Three cohorts of undergraduate Product Design
Engineering students have been surveyed to respond to individual comprehension of this
topic — and how effective this is — on their knowledge base. Two cohorts from Swinburne
University of Technology, Melbourne, Australia, and the other from EAFIT University,
Medellin, Colombia. By doing this, an international perspective of educational experiences
in sustainability for Product Design Engineering can be obtained and is discussed in depth
within this paper.
DRS 2012 Bangkok
Sustainability by Do-It-Yourself Product Design: User design opposing mass consumption
Industrialization brought about the 1st consumer revolution (Hudson, 2008). Massproduced
consumer goods entered the marketplace (Achterhuis, 2011), and, since then,
people purchased their goods instead of making tools and other needs for themselves and
their relatives. Sector A (self-sufficient) communities changed into an industrial civilization
(mainly sector B: making for someone else) (Toffler, 1980). Consumption became routine;
in many parts of today’s world, people live in this culture of consumption. This
consumption society has (had) severe effects on sustainability (Ehrenfeld, 2008), because
nature suffers from the consequences of traditional mass-production and from the use and
disposal of consumer products. What’s more, passive consumption appears to be highly in
contrast to people’s aspirations and needs (Atkinson, 2006; M. a. E. R.-H.
Csikszentmihalyi, 1981; Press, 2007). In the past decade, technological developments were
the underlying basis for a growing influence by the enduser in the development of user
products, resulting in today’s revolutionary ‘user design’, also referred to as ‘Do-It-
Yourself product design’. User design, as ‘Do-It-Yourself’ (DIY) traditionally does
(Edwards, 2006), represents a convergence of production and consumption. Some
examples are ‘Shapeways.com’, or ‘TechShop’. User design seems, considering the above
mentioned, to bring forth a sustainable form of product design and creation. Sustainability
is considered to concern both domains of human and nature. Through analysis of both
literature and recent developments, this paper attempts to validate the assumption that user
design as true type of Do-It-Yourself, both as a practice and philosophically, answers
today’s urge for approaching product design and development in a sustainable way. The
paper will also address ways in which – and why - user design may have a negative impact
on sustainability, contrasting to the above mentioned. The paper is part of an ongoing
research program in which the stimulating factors and implications of user design are
examined.
DRS 2012 Bangkok
consumer goods entered the marketplace (Achterhuis, 2011), and, since then,
people purchased their goods instead of making tools and other needs for themselves and
their relatives. Sector A (self-sufficient) communities changed into an industrial civilization
(mainly sector B: making for someone else) (Toffler, 1980). Consumption became routine;
in many parts of today’s world, people live in this culture of consumption. This
consumption society has (had) severe effects on sustainability (Ehrenfeld, 2008), because
nature suffers from the consequences of traditional mass-production and from the use and
disposal of consumer products. What’s more, passive consumption appears to be highly in
contrast to people’s aspirations and needs (Atkinson, 2006; M. a. E. R.-H.
Csikszentmihalyi, 1981; Press, 2007). In the past decade, technological developments were
the underlying basis for a growing influence by the enduser in the development of user
products, resulting in today’s revolutionary ‘user design’, also referred to as ‘Do-It-
Yourself product design’. User design, as ‘Do-It-Yourself’ (DIY) traditionally does
(Edwards, 2006), represents a convergence of production and consumption. Some
examples are ‘Shapeways.com’, or ‘TechShop’. User design seems, considering the above
mentioned, to bring forth a sustainable form of product design and creation. Sustainability
is considered to concern both domains of human and nature. Through analysis of both
literature and recent developments, this paper attempts to validate the assumption that user
design as true type of Do-It-Yourself, both as a practice and philosophically, answers
today’s urge for approaching product design and development in a sustainable way. The
paper will also address ways in which – and why - user design may have a negative impact
on sustainability, contrasting to the above mentioned. The paper is part of an ongoing
research program in which the stimulating factors and implications of user design are
examined.
DRS 2012 Bangkok
Upcycling: Where function follows form
Up-cycling is a “responsible” design approach in which designers seek to put discarded
consumer products, such as bottles, to new and valuable uses, such as making lampshades.
Since that approach involves finding new functions for extant manufactured forms, upcycled
products
appear
to
be
typical
of other products created as a result of both designers
and users adapting extant forms to serve entirely different functions. This form-adaptive
approach appears to reverse the causal direction implied by Louis Sullivan's famous
dictum "form ever follows function". This paper then reviews antecedents of the up-cycling
approach historically, in order to critically examine the form-function relationship in
selected examples of engineering, weapon and consumer product design.
The example of the Venturi tube shows that it can form a component of products with
functions as different as wind instruments, carburettors and jet pumps. Although the
Venturi effect can only be created by a tube of very specific form, the functions it performs
can be very different. Furthermore it is shown that the Venturi effect can be created without
use of a Venturi tube, by means of adapting the extant parts of a gas turbine to create a
novel secondary compressor.
The same form-adaptive approach can be found in primitive tools which evolved into
weapons such as the mace and the billhook. Ceremonial versions of the mace show that the
communication of ideas is a crucial function of many designs. Since beliefs and values
change over time, communicative functions are not temporally fixed. It is argued that the
primary function of many up-cycled products is to comment positively on sustainability
issues by demonstrating how consumer waste can be transformed into something far more
valuable by creative virtuosity. Consequently, up-cycled designs appear to function less
successfully in helping to physically manage post-consumer wastes.
DRS 2012 Bangkok
consumer products, such as bottles, to new and valuable uses, such as making lampshades.
Since that approach involves finding new functions for extant manufactured forms, upcycled
products
appear
to
be
typical
of other products created as a result of both designers
and users adapting extant forms to serve entirely different functions. This form-adaptive
approach appears to reverse the causal direction implied by Louis Sullivan's famous
dictum "form ever follows function". This paper then reviews antecedents of the up-cycling
approach historically, in order to critically examine the form-function relationship in
selected examples of engineering, weapon and consumer product design.
The example of the Venturi tube shows that it can form a component of products with
functions as different as wind instruments, carburettors and jet pumps. Although the
Venturi effect can only be created by a tube of very specific form, the functions it performs
can be very different. Furthermore it is shown that the Venturi effect can be created without
use of a Venturi tube, by means of adapting the extant parts of a gas turbine to create a
novel secondary compressor.
The same form-adaptive approach can be found in primitive tools which evolved into
weapons such as the mace and the billhook. Ceremonial versions of the mace show that the
communication of ideas is a crucial function of many designs. Since beliefs and values
change over time, communicative functions are not temporally fixed. It is argued that the
primary function of many up-cycled products is to comment positively on sustainability
issues by demonstrating how consumer waste can be transformed into something far more
valuable by creative virtuosity. Consequently, up-cycled designs appear to function less
successfully in helping to physically manage post-consumer wastes.
DRS 2012 Bangkok
Design for Longevity: Obstacles and opportunities posed by new public policy developments
This paper explores the implications for design theory and practice of recent public policy
initiatives that aim to promote longer lasting products. Public concern relating to product
lifetimes and, specifically, a perception that manufacturers of certain consumer durables
are responsible for planned obsolescence, is long established. Academic engagement in this
area has latterly increased and governments have taken interest in product longevity as a
means of increasing resource efficiency and reducing waste. One of the driving forces is
the revised EU Waste Framework Directive, which requires Member States to develop
waste prevention programmes and highlights product life extension as a means of reducing
waste. A subsequent Government review of waste policy in the United Kingdom indicated
an intention to promote ‘resource efficient product design’, of which one element would be
‘design for longer life, upgrading, reuse or repair’.
A range of possible implications for designers of this emerging public policy are
considered in this paper, which questions the feasibility of increased product longevity in
the light of the demands of market-oriented and growth-driven economies in Western
Europe and addresses the potential role of designers in achieving such change. Drawing
upon data from a series of semi-structured interviews with design practitioners, it considers
how able and how motivated designers are to respond to the challenge of increasing
product lifetimes and how they might utilise any power they have to affect change.
The paper relates these findings to the UK Government’s pledge to work with businesses to
‘design and manufacture goods that are more efficient, durable, repairable and
recyclable’. Unless businesses see the prospect of commercial gain, they will not specify
such products. The paper concludes that a mix of regulatory and market-based instruments
will need to be adopted by government if increased product longevity is to be regarded by
business as a credible strategy.
DRS 2012 Bangkok
initiatives that aim to promote longer lasting products. Public concern relating to product
lifetimes and, specifically, a perception that manufacturers of certain consumer durables
are responsible for planned obsolescence, is long established. Academic engagement in this
area has latterly increased and governments have taken interest in product longevity as a
means of increasing resource efficiency and reducing waste. One of the driving forces is
the revised EU Waste Framework Directive, which requires Member States to develop
waste prevention programmes and highlights product life extension as a means of reducing
waste. A subsequent Government review of waste policy in the United Kingdom indicated
an intention to promote ‘resource efficient product design’, of which one element would be
‘design for longer life, upgrading, reuse or repair’.
A range of possible implications for designers of this emerging public policy are
considered in this paper, which questions the feasibility of increased product longevity in
the light of the demands of market-oriented and growth-driven economies in Western
Europe and addresses the potential role of designers in achieving such change. Drawing
upon data from a series of semi-structured interviews with design practitioners, it considers
how able and how motivated designers are to respond to the challenge of increasing
product lifetimes and how they might utilise any power they have to affect change.
The paper relates these findings to the UK Government’s pledge to work with businesses to
‘design and manufacture goods that are more efficient, durable, repairable and
recyclable’. Unless businesses see the prospect of commercial gain, they will not specify
such products. The paper concludes that a mix of regulatory and market-based instruments
will need to be adopted by government if increased product longevity is to be regarded by
business as a credible strategy.
DRS 2012 Bangkok
An Overview of the Issues facing the Craft Industry and the Potential for Design, with a Case Study in Upper Northern Thailand
This paper presents initial findings from an ongoing research project that explores
opportunities for design to contribute to a sustainable future for the craft industry. The
research asks“Are there potential areas for design to make a positive contribution to the
craft industry in upper northern Thailand to help ensure its viable future, and if so, in what
areas can design best contribute?”The research consists of three main components: (i)
background research into crafts; (ii) identification of a specific study site; (iii) investigation
of craft practices, products and issues of concern in the context of the study site.
Background research includes: persistence of crafts in a period of Mass Production;
principles of craft today; genres of crafts; relationship of crafts with traditionand design.
The upper northern region of Thailand is identified as a major craft production area, with
historical, cultural and socio-economic significance. Craft in this region are classified and
the challenges for design and design management are identified. It is found that there is a
need to integrate: (i) ‘designers’ and ‘craft-makers’ in practice; and (ii) traditions in
commercial craft-product design.
DRS 2012 Bangkok
opportunities for design to contribute to a sustainable future for the craft industry. The
research asks“Are there potential areas for design to make a positive contribution to the
craft industry in upper northern Thailand to help ensure its viable future, and if so, in what
areas can design best contribute?”The research consists of three main components: (i)
background research into crafts; (ii) identification of a specific study site; (iii) investigation
of craft practices, products and issues of concern in the context of the study site.
Background research includes: persistence of crafts in a period of Mass Production;
principles of craft today; genres of crafts; relationship of crafts with traditionand design.
The upper northern region of Thailand is identified as a major craft production area, with
historical, cultural and socio-economic significance. Craft in this region are classified and
the challenges for design and design management are identified. It is found that there is a
need to integrate: (i) ‘designers’ and ‘craft-makers’ in practice; and (ii) traditions in
commercial craft-product design.
DRS 2012 Bangkok
Kaydol:
Kayıtlar (Atom)