A Grand Day Out Empathic Approaches to Design, 2008
... Connecting Sustainability to the Design Process. Julian Lindley 2008. proceeding: Proceedin... more ... Connecting Sustainability to the Design Process. Julian Lindley 2008. proceeding: Proceedings of EDPE 08, Barcelona, Spain section: Sustainability editor: Anna Clarke, Mike Evatt, Peter Hogarth, Joaquim Lloveras, Luis Pons pages: 497-502. ...
Hertfordshire Business School Working Paper (2013) The Working Paper Series is intended for rapid... more Hertfordshire Business School Working Paper (2013) The Working Paper Series is intended for rapid dissemination of research results, work-inprogress, and innovative teaching methods, at the pre-publication stage. Comments are welcomed and should be addressed to the individual author(s). It should be noted that papers in this series are often provisional and comments and/or citations should take account of this.
Ds 62 Proceedings of E Pde 2010 the 12th International Conference on Engineering and Product Design Education When Design Education and Design Research Meet Trondheim Norway 02 03 09 2010, 2010
This Paper outlines the CUBE Research Project and its value and integration into the 0Degree Prog... more This Paper outlines the CUBE Research Project and its value and integration into the 0Degree Programmes in Product, Industrial and Interior Design at the University of Hertfordshire. The CUBE Project, managed within the Faculty of Psychology, mission statement is to: 'Build a living space for one person with an internal dimension of 3 metres cubed' The CUBE will have a minimum dependence on external supplies of energy and water. It will also consider material flows during specification and construction. The first CUBE will be constructed on Campus in Hatfield. Concurrent with and informing the development, are a series of talks by experts within the fields of energy and sustainability and companies who supply products relevant to the project. These talks are open to students and staff of the University as well as externally to the local business community. They form a forum for discussions on the CUBE Project and sustainable issues. The students have been directly involved in the design and development of the CUBE. Initially working in cross-disciplinary teams, ten proposals were presented to the Research Team. These proposals were the first visualisation and physical consideration of the use of space and layout of the CUBE. The concepts generated within this initial design challenge are informing the final design of the CUBE. To progress the development five students were selected to join a steering committee making the design decisions for the physical construction of the CUBE. They join the research team and professional designers who will realise the concept. This paper will expand on how the research project is managed and the value to the students' academic experience. Issues covered will include cross-disciplinary working, integration of research into studio practice, professional context and trade-offs and very importantly Sustainability in the wider context.
abstract The core of this paper outlines and reflects on a project set as a challenge to final ye... more abstract The core of this paper outlines and reflects on a project set as a challenge to final year Product Design Students. The project is used as one approach to explore the possibilities of new manufacturing technologies within an undergraduate curriculum. The paper explores how these technologies can be introduced creatively as well as formally. Within this the current purpose of product design is touched upon. Its starting point is observations of how the landscape for manufacture is changing due to scale and cost of new technologies to the point that citizen designers can manufacture at home. The question of 'What is the mandate and role of the modern professional designer?' is explored. Universities are training the next generation and it is important that they address these issues both from an understanding of the technology but also the new creative possibilities through practical projects. The introduction places design in the context of manufacture from a traditional perspective allowing new technologies to be considered as both evolving and divergent to this knowledge. The project, 'designing a three dimensional business card utilising new 3D Printing technologies' allows students to explore the possibilities of these machines with a physical outcome while also considering how business cards can be used to attract attention and therefore promote themselves as creative designers. 1 Introduction This research paper considers the integration of the relatively new technologies of 3D Printing and Additive Manufacturing within a Product Design undergraduate curriculum. More particularly it outlines how the author and colleagues have progressively introduced these technologies both from a knowledge base and through practical project challenges. Initially, and in line with their capabilities, these new technologies were understood from a modelling or prototyping perspective whereby complex 'one-off' objects could be more quickly and cheaper when compared with traditional model making procedures [1]. As the capabilities of the technology improved, however, there followed a realisation that complex forms could be manufactured directly which otherwise would be impossible to produce. As these technology platforms have descended in price to the point, currently, whereby basic machines are available for less than £1,000, there has been a notable shift from 3D printing being available as a specialist service only, to more general and widespread availability. This facilitates manufacture at home and could potentially change the landscape of production and consumption. All of these possibilities impact on the education of future product designers. With manufacturing capability being shared with the consumer, the role of 'professional' designer is being re-evaluated to include facilitator, catalyst and co-designer. Central to this paper is the superimposition of new possibilities on existing knowledge sets and methodologies within undergraduate design education. This superimposition is crucial if the next generation of designers are to understand and contribute effectively to paradigms of consumption and production. Through a focussed design project students are challenged to demonstrate creativity
The Use of Student Design Projects as a Catalyst for Collaborations across Industry Sectors
Thi... more The Use of Student Design Projects as a Catalyst for Collaborations across Industry Sectors
This paper is based on product design students work in response to collaborative projects. These projects are supported by companies operating within similar market sectors but offering different products and services.
By co-operating with two companies projects can move beyond a specific product agenda, typically a demand for students to design another product within a companies portfolio, to a research based agenda. There are two primary objectives with the exercise:
Objective A To challenge the students. Students are forced to question and think beyond existing paradigms, and with limited preconceptions, students are able to indirectly propose new questions and ways of analysing a market sector.
Objective B To allow the industrial collaborators to reappraise their own position within a market sector through the observations and proposals generated by students.
The paper will use as an example a project whose area of investigation is the office with the collaborative partners being Herman Miller and Xerox Corporation. As the brief is to understand and question this market sector students quickly move away from the office as a given paradigm and question fundamental working practices and the environment in which this activity takes place. The partners supply insight into these issues form their own perspective. Consequently the resultant proposals are not a response to either party but are a synthesis of differing inputs. The type of response is open to the students.
As the project has an academic rather than economic structure the students can be used as catalysts for companies to explore, away from the commercial arena, common ground and review how cross fertilization of ideas could have a benefit to both parties. They can also exchange ideas through student work without directly revealing their own future plans or technology.
The paper will expand on the opportunities provided by collaborative projects and explore how this forum can formalized into a research agenda.
ERSCP-EMSU 2010 CONFERENCE
This abstract is submitted under Theme 1A Sustainable Education and ... more ERSCP-EMSU 2010 CONFERENCE
This abstract is submitted under Theme 1A Sustainable Education and Educational Programmes. Sustainability’s relationship with Product Design Education Keywords: EDUCATION, DESIGN, WELLBEING, INNOVATION. This paper shares the experiences of delivering dedicated curriculum in sustainable design (BA & MA Programmes at the University for the Creative Arts) and integrating sustainability into already congested Product Design Programmes (BA & BSc Programmes at the University of Hertfordshire). With the former sustainability is the key driver for design innovation, while with the latter sustainability is balanced against the commercial restraints of the professional product designer. As such it introduces the notions of responsibility, issues and stakeholders to other drivers for design such as new technology, brand awareness and profitability. The concepts of needs/issues, both environmental and social/cultural, strategies and assessment in relation to evolving a sustainable world are discussed with students in open forums. There is a shift in delivery whereby students are encouraged to design the experience or response to need rather than assume design propositions have to be products. In effect the mandate for product design has expanded to encompass services and systems. Importance is placed on research identifying real rather than assumed needs and students are taught to think holistically beyond the lifecycle of products. The financial concept of the single bottom line is expanded to the triple bottom with happiness and well being examples of the parameters used to gauge the success of design propositions. Finally the paper reflects on what depth can be achieved within a standard three year degree programme and what aspects of sustainability can only be dealt with superficially. 237 words Julian Lindley Senior Lecturer University of Hertfordshire e-mail: [email protected]
Topics: Ethics and Social Issues
Keywords: well-being, happiness, pleasure, word-circles, design ... more Topics: Ethics and Social Issues Keywords: well-being, happiness, pleasure, word-circles, design research, storyboards
Well Being as a Criteria for Product Design Julian Lindley, Richard Adams University of Hertfordshire, United Kingdom
Research has indicated that Happiness in the Western World Peaked in the late 1950’s. This correlates with the accelerated growth in both Product Design and Consumption*.
Historically Product Designers have concerned themselves with manufactured objects through negotiated briefs for clients either as external consultants or in-house designers. Within this remit traditional attributes of a product are well understood but the defining criteria for success is the bottom line of profitability. However there has recently been a shift in application of the design process (or Design Thinking) to a diverse range of market sectors and problems. With this comes a reappraisal of the criteria which designers should use to gauge success.
Product Designers should acknowledge that they have a responsibility, beyond the bottom line of usability and commercial profit, to deliver equitable value to many stakeholders. Among these values are social indicators such as well-being in contrast to short term desire (point of purchase), happiness or pleasure rather than functionality and value for money. The values by which design outputs are judged have become a lot more complex.
This paper sets out to explore these issues and a call for Product Design application to expand from purely commercial to that of responding to human requirements whether individual, communal or cultural. It attempts to address what we mean by the terms well-being and happiness and how these can form part of both a design brief and a mechanism for judging success. It uses a series of student projects as case studies to introduce these concerns to design students and finally muses on the value of design itself as a mechanism for creating positive sustainable futures.
*From www.storyofstuff .com/Annie Leonard, accessed 17th November 2014
A sharing of the experience of a research project exploring PSS within the provision of baby equi... more A sharing of the experience of a research project exploring PSS within the provision of baby equipment
Broadening Assessment Criteria and Student Awareness
Keywords: assessment, sustainability, respon... more Broadening Assessment Criteria and Student Awareness Keywords: assessment, sustainability, responsibility, triple bottom line, self evaluation We all know the need for society and designers to create a balanced or sustainable future. That is to acknowledge the need to meet demands of all stakeholders, whether they fall into the Economic arena, Environmental concerns or a Cultural or Social need. In deed much work has been done to explore how, in a design context, this can be achieved. There are tools and strategies available to designers to both develop and assess ‘eco designs’ which in itself is different from the bigger picture of Sustainability. However there is a tendency, particularly amongst students, to see main stream commercial design as different from eco-design. This is coupled by governments and the media reducing sustainability to purely material use and climate change. Sustainability is still seen as a bolt on rather than an integral part of design. There is a need for designers to take responsibility and both understand and control the impact of their work. It is no longer acceptable to just respond to a given brief. These need to be analysed, questioned and agendas prioritised through a personal and sustainable lens. However no two projects respond to exactly the same issues and consequently there needs to be a better framework for sustainable design than the tradition but rigid Venn Diagram of the three systems. This paper will explore ways in which students can contextualise their work and understand the implications and aspirations inherent in their work. Within it students are encouraged to consider the criteria they are responding to and matrices they are evaluated against . Working visually they balance the needs of stakeholders and gain an insight into what is both necessary and practical within their projects. Ultimately it is about students gaining the framework to contextualise their own work and help them make decisions on what can and cannot be achieved. The paper details work with undergraduate students to delineate the criteria which their projects are aspiring to within the pre-brief stage and briefing documents. At the end of project they also rate both their own standpoint on the issues covered and their projects achievements against these criteria. It is an attempt to move the parameters for success from a linear gauge such as market demand or profitability to a fluid and adaptable approach taking into account a range of stakeholders. The project, like sustainability is a work in progress.
A TRADITIONAL APPROACH TO 3D PRINTING
Julian Lindley1, Richard Adams1, John Beaufoy1 and Stephen ... more A TRADITIONAL APPROACH TO 3D PRINTING Julian Lindley1, Richard Adams1, John Beaufoy1 and Stephen McGonigal1 1University of Hertfordshire, United Kingdom
Keywords: design method, construction, manufacture, rapid prototyping SUMMARY OF PAPER Since the 1980’s Industrial Design has developed beyond the remit of the traditional realisation of the object or product. That is design is seen as a user-centred problem identification and solution methodology which can be applied to several contexts or issues. However, there is still a need to be able to realise a manufactured artefact; skills increasingly demanded by industrial design employers. The knowledge of materials and how they are processed into components is paramount in this process. Also, in the last few years the possibilities for rapid prototyping and manufacture through 3D printing machines has become financially possible and creatively opens up new possibilities. Shapes which can now be manufactured were impossible a few years ago. The authors took a pragmatic approach which utilised the possibilities of 3D Printing to help understand the complexity of traditional manufacture through a design and build project. An ambition was connect the virtual world of the computer with the physical world of products. We are dealing with Generation Z students do not explore in the real world in the way they are fearless in the virtual world. The project outlined below is an attempt to link the two worlds and re-engage student designers with the third physical dimension. Whereas most student projects conclude with propositions, few are carried through to validation. Students were challenged to design, manufacture each component and assemble a working model of an alarm clock. Each component has to be designed against an understanding of a material and production process and then prototyped on a 3D Printer. Finally the paper reflects that making is an essential part of the design process and that new technologies can enhance this empirical approach.
Understanding through Making
Keywords: Making, Playing, mechanics, Re-use, Second life
The core ... more Understanding through Making Keywords: Making, Playing, mechanics, Re-use, Second life
The core theme of the paper is incorporating an empirical approach in the understanding of object value(s) within Product Design. It is a reaction too and an acknowledgement of the changing nature of both the students previous experiences and the value of design to the modern world. With the former, applicants lack the breadth of basic skills in drawing, making and experimentation. Indeed many lack a curiosity which is natural to design. This is in part due to the diminishing number of applicants from Foundation Courses in Art and Design (United Kingdom). These pre-degree courses encourage experimentation and play in understanding materials and structures. Another observation is that design has progressed beyond the production of artefacts to a process of problem identification and solving (1). In this context Sustainability, Brand and Human Centred Design are all common themes within design curricula. However focussing on these in an already congested curriculum has left some of the basic skills and investigations lacking in students vocabulary and skills within design. The paper outlines a way in which an understanding of structures and objects can be achieved. Two projects are cited, the first a project which gets students to think with their hands and make quickly. In essence the project is about the deconstruction and re-constructing of chairs. Based on the work of Martino Gamper (2), students are challenged to make new chairs using discarded and broken chairs as source material. Within this construct issues of material and object value can be discussed as well as product lifetime, product evolution and second life. The second project builds on this experience with a mechanical design challenge, that of an Automata. With this project students start investigating on paper but quickly need to develop with simple mechanical mock ups both in 2D and 3D. The combination of these projects amongst others equips students with a preliminary understanding of construction, mechanics, materials and aesthetics. This is a starting point for understanding the physicality of artefacts underpinning Product Design Education.
1. RSA Design & Society Social Animals: tomorrow’s designers in today’s world by Sophia Parker. P19, 2009 2. 100 Chairs in 100 Days
A Grand Day Out Empathic Approaches to Design, 2008
... Connecting Sustainability to the Design Process. Julian Lindley 2008. proceeding: Proceedin... more ... Connecting Sustainability to the Design Process. Julian Lindley 2008. proceeding: Proceedings of EDPE 08, Barcelona, Spain section: Sustainability editor: Anna Clarke, Mike Evatt, Peter Hogarth, Joaquim Lloveras, Luis Pons pages: 497-502. ...
Hertfordshire Business School Working Paper (2013) The Working Paper Series is intended for rapid... more Hertfordshire Business School Working Paper (2013) The Working Paper Series is intended for rapid dissemination of research results, work-inprogress, and innovative teaching methods, at the pre-publication stage. Comments are welcomed and should be addressed to the individual author(s). It should be noted that papers in this series are often provisional and comments and/or citations should take account of this.
Ds 62 Proceedings of E Pde 2010 the 12th International Conference on Engineering and Product Design Education When Design Education and Design Research Meet Trondheim Norway 02 03 09 2010, 2010
This Paper outlines the CUBE Research Project and its value and integration into the 0Degree Prog... more This Paper outlines the CUBE Research Project and its value and integration into the 0Degree Programmes in Product, Industrial and Interior Design at the University of Hertfordshire. The CUBE Project, managed within the Faculty of Psychology, mission statement is to: 'Build a living space for one person with an internal dimension of 3 metres cubed' The CUBE will have a minimum dependence on external supplies of energy and water. It will also consider material flows during specification and construction. The first CUBE will be constructed on Campus in Hatfield. Concurrent with and informing the development, are a series of talks by experts within the fields of energy and sustainability and companies who supply products relevant to the project. These talks are open to students and staff of the University as well as externally to the local business community. They form a forum for discussions on the CUBE Project and sustainable issues. The students have been directly involved in the design and development of the CUBE. Initially working in cross-disciplinary teams, ten proposals were presented to the Research Team. These proposals were the first visualisation and physical consideration of the use of space and layout of the CUBE. The concepts generated within this initial design challenge are informing the final design of the CUBE. To progress the development five students were selected to join a steering committee making the design decisions for the physical construction of the CUBE. They join the research team and professional designers who will realise the concept. This paper will expand on how the research project is managed and the value to the students' academic experience. Issues covered will include cross-disciplinary working, integration of research into studio practice, professional context and trade-offs and very importantly Sustainability in the wider context.
abstract The core of this paper outlines and reflects on a project set as a challenge to final ye... more abstract The core of this paper outlines and reflects on a project set as a challenge to final year Product Design Students. The project is used as one approach to explore the possibilities of new manufacturing technologies within an undergraduate curriculum. The paper explores how these technologies can be introduced creatively as well as formally. Within this the current purpose of product design is touched upon. Its starting point is observations of how the landscape for manufacture is changing due to scale and cost of new technologies to the point that citizen designers can manufacture at home. The question of 'What is the mandate and role of the modern professional designer?' is explored. Universities are training the next generation and it is important that they address these issues both from an understanding of the technology but also the new creative possibilities through practical projects. The introduction places design in the context of manufacture from a traditional perspective allowing new technologies to be considered as both evolving and divergent to this knowledge. The project, 'designing a three dimensional business card utilising new 3D Printing technologies' allows students to explore the possibilities of these machines with a physical outcome while also considering how business cards can be used to attract attention and therefore promote themselves as creative designers. 1 Introduction This research paper considers the integration of the relatively new technologies of 3D Printing and Additive Manufacturing within a Product Design undergraduate curriculum. More particularly it outlines how the author and colleagues have progressively introduced these technologies both from a knowledge base and through practical project challenges. Initially, and in line with their capabilities, these new technologies were understood from a modelling or prototyping perspective whereby complex 'one-off' objects could be more quickly and cheaper when compared with traditional model making procedures [1]. As the capabilities of the technology improved, however, there followed a realisation that complex forms could be manufactured directly which otherwise would be impossible to produce. As these technology platforms have descended in price to the point, currently, whereby basic machines are available for less than £1,000, there has been a notable shift from 3D printing being available as a specialist service only, to more general and widespread availability. This facilitates manufacture at home and could potentially change the landscape of production and consumption. All of these possibilities impact on the education of future product designers. With manufacturing capability being shared with the consumer, the role of 'professional' designer is being re-evaluated to include facilitator, catalyst and co-designer. Central to this paper is the superimposition of new possibilities on existing knowledge sets and methodologies within undergraduate design education. This superimposition is crucial if the next generation of designers are to understand and contribute effectively to paradigms of consumption and production. Through a focussed design project students are challenged to demonstrate creativity
The Use of Student Design Projects as a Catalyst for Collaborations across Industry Sectors
Thi... more The Use of Student Design Projects as a Catalyst for Collaborations across Industry Sectors
This paper is based on product design students work in response to collaborative projects. These projects are supported by companies operating within similar market sectors but offering different products and services.
By co-operating with two companies projects can move beyond a specific product agenda, typically a demand for students to design another product within a companies portfolio, to a research based agenda. There are two primary objectives with the exercise:
Objective A To challenge the students. Students are forced to question and think beyond existing paradigms, and with limited preconceptions, students are able to indirectly propose new questions and ways of analysing a market sector.
Objective B To allow the industrial collaborators to reappraise their own position within a market sector through the observations and proposals generated by students.
The paper will use as an example a project whose area of investigation is the office with the collaborative partners being Herman Miller and Xerox Corporation. As the brief is to understand and question this market sector students quickly move away from the office as a given paradigm and question fundamental working practices and the environment in which this activity takes place. The partners supply insight into these issues form their own perspective. Consequently the resultant proposals are not a response to either party but are a synthesis of differing inputs. The type of response is open to the students.
As the project has an academic rather than economic structure the students can be used as catalysts for companies to explore, away from the commercial arena, common ground and review how cross fertilization of ideas could have a benefit to both parties. They can also exchange ideas through student work without directly revealing their own future plans or technology.
The paper will expand on the opportunities provided by collaborative projects and explore how this forum can formalized into a research agenda.
ERSCP-EMSU 2010 CONFERENCE
This abstract is submitted under Theme 1A Sustainable Education and ... more ERSCP-EMSU 2010 CONFERENCE
This abstract is submitted under Theme 1A Sustainable Education and Educational Programmes. Sustainability’s relationship with Product Design Education Keywords: EDUCATION, DESIGN, WELLBEING, INNOVATION. This paper shares the experiences of delivering dedicated curriculum in sustainable design (BA & MA Programmes at the University for the Creative Arts) and integrating sustainability into already congested Product Design Programmes (BA & BSc Programmes at the University of Hertfordshire). With the former sustainability is the key driver for design innovation, while with the latter sustainability is balanced against the commercial restraints of the professional product designer. As such it introduces the notions of responsibility, issues and stakeholders to other drivers for design such as new technology, brand awareness and profitability. The concepts of needs/issues, both environmental and social/cultural, strategies and assessment in relation to evolving a sustainable world are discussed with students in open forums. There is a shift in delivery whereby students are encouraged to design the experience or response to need rather than assume design propositions have to be products. In effect the mandate for product design has expanded to encompass services and systems. Importance is placed on research identifying real rather than assumed needs and students are taught to think holistically beyond the lifecycle of products. The financial concept of the single bottom line is expanded to the triple bottom with happiness and well being examples of the parameters used to gauge the success of design propositions. Finally the paper reflects on what depth can be achieved within a standard three year degree programme and what aspects of sustainability can only be dealt with superficially. 237 words Julian Lindley Senior Lecturer University of Hertfordshire e-mail: [email protected]
Topics: Ethics and Social Issues
Keywords: well-being, happiness, pleasure, word-circles, design ... more Topics: Ethics and Social Issues Keywords: well-being, happiness, pleasure, word-circles, design research, storyboards
Well Being as a Criteria for Product Design Julian Lindley, Richard Adams University of Hertfordshire, United Kingdom
Research has indicated that Happiness in the Western World Peaked in the late 1950’s. This correlates with the accelerated growth in both Product Design and Consumption*.
Historically Product Designers have concerned themselves with manufactured objects through negotiated briefs for clients either as external consultants or in-house designers. Within this remit traditional attributes of a product are well understood but the defining criteria for success is the bottom line of profitability. However there has recently been a shift in application of the design process (or Design Thinking) to a diverse range of market sectors and problems. With this comes a reappraisal of the criteria which designers should use to gauge success.
Product Designers should acknowledge that they have a responsibility, beyond the bottom line of usability and commercial profit, to deliver equitable value to many stakeholders. Among these values are social indicators such as well-being in contrast to short term desire (point of purchase), happiness or pleasure rather than functionality and value for money. The values by which design outputs are judged have become a lot more complex.
This paper sets out to explore these issues and a call for Product Design application to expand from purely commercial to that of responding to human requirements whether individual, communal or cultural. It attempts to address what we mean by the terms well-being and happiness and how these can form part of both a design brief and a mechanism for judging success. It uses a series of student projects as case studies to introduce these concerns to design students and finally muses on the value of design itself as a mechanism for creating positive sustainable futures.
*From www.storyofstuff .com/Annie Leonard, accessed 17th November 2014
A sharing of the experience of a research project exploring PSS within the provision of baby equi... more A sharing of the experience of a research project exploring PSS within the provision of baby equipment
Broadening Assessment Criteria and Student Awareness
Keywords: assessment, sustainability, respon... more Broadening Assessment Criteria and Student Awareness Keywords: assessment, sustainability, responsibility, triple bottom line, self evaluation We all know the need for society and designers to create a balanced or sustainable future. That is to acknowledge the need to meet demands of all stakeholders, whether they fall into the Economic arena, Environmental concerns or a Cultural or Social need. In deed much work has been done to explore how, in a design context, this can be achieved. There are tools and strategies available to designers to both develop and assess ‘eco designs’ which in itself is different from the bigger picture of Sustainability. However there is a tendency, particularly amongst students, to see main stream commercial design as different from eco-design. This is coupled by governments and the media reducing sustainability to purely material use and climate change. Sustainability is still seen as a bolt on rather than an integral part of design. There is a need for designers to take responsibility and both understand and control the impact of their work. It is no longer acceptable to just respond to a given brief. These need to be analysed, questioned and agendas prioritised through a personal and sustainable lens. However no two projects respond to exactly the same issues and consequently there needs to be a better framework for sustainable design than the tradition but rigid Venn Diagram of the three systems. This paper will explore ways in which students can contextualise their work and understand the implications and aspirations inherent in their work. Within it students are encouraged to consider the criteria they are responding to and matrices they are evaluated against . Working visually they balance the needs of stakeholders and gain an insight into what is both necessary and practical within their projects. Ultimately it is about students gaining the framework to contextualise their own work and help them make decisions on what can and cannot be achieved. The paper details work with undergraduate students to delineate the criteria which their projects are aspiring to within the pre-brief stage and briefing documents. At the end of project they also rate both their own standpoint on the issues covered and their projects achievements against these criteria. It is an attempt to move the parameters for success from a linear gauge such as market demand or profitability to a fluid and adaptable approach taking into account a range of stakeholders. The project, like sustainability is a work in progress.
A TRADITIONAL APPROACH TO 3D PRINTING
Julian Lindley1, Richard Adams1, John Beaufoy1 and Stephen ... more A TRADITIONAL APPROACH TO 3D PRINTING Julian Lindley1, Richard Adams1, John Beaufoy1 and Stephen McGonigal1 1University of Hertfordshire, United Kingdom
Keywords: design method, construction, manufacture, rapid prototyping SUMMARY OF PAPER Since the 1980’s Industrial Design has developed beyond the remit of the traditional realisation of the object or product. That is design is seen as a user-centred problem identification and solution methodology which can be applied to several contexts or issues. However, there is still a need to be able to realise a manufactured artefact; skills increasingly demanded by industrial design employers. The knowledge of materials and how they are processed into components is paramount in this process. Also, in the last few years the possibilities for rapid prototyping and manufacture through 3D printing machines has become financially possible and creatively opens up new possibilities. Shapes which can now be manufactured were impossible a few years ago. The authors took a pragmatic approach which utilised the possibilities of 3D Printing to help understand the complexity of traditional manufacture through a design and build project. An ambition was connect the virtual world of the computer with the physical world of products. We are dealing with Generation Z students do not explore in the real world in the way they are fearless in the virtual world. The project outlined below is an attempt to link the two worlds and re-engage student designers with the third physical dimension. Whereas most student projects conclude with propositions, few are carried through to validation. Students were challenged to design, manufacture each component and assemble a working model of an alarm clock. Each component has to be designed against an understanding of a material and production process and then prototyped on a 3D Printer. Finally the paper reflects that making is an essential part of the design process and that new technologies can enhance this empirical approach.
Understanding through Making
Keywords: Making, Playing, mechanics, Re-use, Second life
The core ... more Understanding through Making Keywords: Making, Playing, mechanics, Re-use, Second life
The core theme of the paper is incorporating an empirical approach in the understanding of object value(s) within Product Design. It is a reaction too and an acknowledgement of the changing nature of both the students previous experiences and the value of design to the modern world. With the former, applicants lack the breadth of basic skills in drawing, making and experimentation. Indeed many lack a curiosity which is natural to design. This is in part due to the diminishing number of applicants from Foundation Courses in Art and Design (United Kingdom). These pre-degree courses encourage experimentation and play in understanding materials and structures. Another observation is that design has progressed beyond the production of artefacts to a process of problem identification and solving (1). In this context Sustainability, Brand and Human Centred Design are all common themes within design curricula. However focussing on these in an already congested curriculum has left some of the basic skills and investigations lacking in students vocabulary and skills within design. The paper outlines a way in which an understanding of structures and objects can be achieved. Two projects are cited, the first a project which gets students to think with their hands and make quickly. In essence the project is about the deconstruction and re-constructing of chairs. Based on the work of Martino Gamper (2), students are challenged to make new chairs using discarded and broken chairs as source material. Within this construct issues of material and object value can be discussed as well as product lifetime, product evolution and second life. The second project builds on this experience with a mechanical design challenge, that of an Automata. With this project students start investigating on paper but quickly need to develop with simple mechanical mock ups both in 2D and 3D. The combination of these projects amongst others equips students with a preliminary understanding of construction, mechanics, materials and aesthetics. This is a starting point for understanding the physicality of artefacts underpinning Product Design Education.
1. RSA Design & Society Social Animals: tomorrow’s designers in today’s world by Sophia Parker. P19, 2009 2. 100 Chairs in 100 Days
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Papers by Julian Lindley
This paper is based on product design students work in response to collaborative projects. These projects are supported by companies operating within similar market sectors but offering different products and services.
By co-operating with two companies projects can move beyond a specific product agenda, typically a demand for students to design another product within a companies portfolio, to a research based agenda. There are two primary objectives with the exercise:
Objective A
To challenge the students. Students are forced to question and think beyond existing paradigms, and with limited preconceptions, students are able to indirectly propose new questions and ways of analysing a market sector.
Objective B
To allow the industrial collaborators to reappraise their own position within a market sector through the observations and proposals generated by students.
The paper will use as an example a project whose area of investigation is the office with the collaborative partners being Herman Miller and Xerox Corporation. As the brief is to understand and question this market sector students quickly move away from the office as a given paradigm and question fundamental working practices and the environment in which this activity takes place. The partners supply insight into these issues form their own perspective. Consequently the resultant proposals are not a response to either party but are a synthesis of differing inputs. The type of response is open to the students.
As the project has an academic rather than economic structure the students can be used as catalysts for companies to explore, away from the commercial arena, common ground and review how cross fertilization of ideas could have a benefit to both parties. They can also exchange ideas through student work without directly revealing their own future plans or technology.
The paper will expand on the opportunities provided by collaborative projects and explore how this forum can formalized into a research agenda.
This abstract is submitted under Theme 1A Sustainable Education and Educational Programmes.
Sustainability’s relationship with Product Design Education
Keywords: EDUCATION, DESIGN, WELLBEING, INNOVATION.
This paper shares the experiences of delivering dedicated curriculum in sustainable design (BA & MA Programmes at the University for the Creative Arts) and integrating sustainability into already congested Product Design Programmes (BA & BSc Programmes at the University of Hertfordshire). With the former sustainability is the key driver for design innovation, while with the latter sustainability is balanced against the commercial restraints of the professional product designer. As such it introduces the notions of responsibility, issues and stakeholders to other drivers for design such as new technology, brand awareness and profitability. The concepts of needs/issues, both environmental and social/cultural, strategies and assessment in relation to evolving a sustainable world are discussed with students in open forums. There is a shift in delivery whereby students are encouraged to design the experience or response to need rather than assume design propositions have to be products. In effect the mandate for product design has expanded to encompass services and systems. Importance is placed on research identifying real rather than assumed needs and students are taught to think holistically beyond the lifecycle of products. The financial concept of the single bottom line is expanded to the triple bottom with happiness and well being examples of the parameters used to gauge the success of design propositions. Finally the paper reflects on what depth can be achieved within a standard three year degree programme and what aspects of sustainability can only be dealt with superficially.
237 words
Julian Lindley
Senior Lecturer
University of Hertfordshire
e-mail: [email protected]
22nd February 2010
Keywords: well-being, happiness, pleasure, word-circles, design research, storyboards
Well Being as a Criteria for Product Design
Julian Lindley, Richard Adams
University of Hertfordshire, United Kingdom
Research has indicated that Happiness in the Western World Peaked in the late 1950’s. This correlates with the accelerated growth in both Product Design and Consumption*.
Historically Product Designers have concerned themselves with manufactured objects through negotiated briefs for clients either as external consultants or in-house designers. Within this remit traditional attributes of a product are well understood but the defining criteria for success is the bottom line of profitability. However there has recently been a shift in application of the design process (or Design Thinking) to a diverse range of market sectors and problems. With this comes a reappraisal of the criteria which designers should use to gauge success.
Product Designers should acknowledge that they have a responsibility, beyond the bottom line of usability and commercial profit, to deliver equitable value to many stakeholders. Among these values are social indicators such as well-being in contrast to short term desire (point of purchase), happiness or pleasure rather than functionality and value for money. The values by which design outputs are judged have become a lot more complex.
This paper sets out to explore these issues and a call for Product Design application to expand from purely commercial to that of responding to human requirements whether individual, communal or cultural. It attempts to address what we mean by the terms well-being and happiness and how these can form part of both a design brief and a mechanism for judging success. It uses a series of student projects as case studies to introduce these concerns to design students and finally muses on the value of design itself as a mechanism for creating positive sustainable futures.
*From www.storyofstuff .com/Annie Leonard, accessed 17th November 2014
Keywords: assessment, sustainability, responsibility, triple bottom line, self evaluation
We all know the need for society and designers to create a balanced or sustainable future. That is to acknowledge the need to meet demands of all stakeholders, whether they fall into the Economic arena, Environmental concerns or a Cultural or Social need. In deed much work has been done to explore how, in a design context, this can be achieved. There are tools and strategies available to designers to both develop and assess ‘eco designs’ which in itself is different from the bigger picture of Sustainability. However there is a tendency, particularly amongst students, to see main stream commercial design as different from eco-design. This is coupled by governments and the media reducing sustainability to purely material use and climate change. Sustainability is still seen as a bolt on rather than an integral part of design. There is a need for designers to take responsibility and both understand and control the impact of their work. It is no longer acceptable to just respond to a given brief. These need to be analysed, questioned and agendas prioritised through a personal and sustainable lens. However no two projects respond to exactly the same issues and consequently there needs to be a better framework for sustainable design than the tradition but rigid Venn Diagram of the three systems.
This paper will explore ways in which students can contextualise their work and understand the implications and aspirations inherent in their work. Within it students are encouraged to consider the criteria they are responding to and matrices they are evaluated against . Working visually they balance the needs of stakeholders and gain an insight into what is both necessary and practical within their projects. Ultimately it is about students gaining the framework to contextualise their own work and help them make decisions on what can and cannot be achieved.
The paper details work with undergraduate students to delineate the criteria which their projects are aspiring to within the pre-brief stage and briefing documents. At the end of project they also rate both their own standpoint on the issues covered and their projects achievements against these criteria. It is an attempt to move the parameters for success from a linear gauge such as market demand or profitability to a fluid and adaptable approach taking into account a range of stakeholders.
The project, like sustainability is a work in progress.
Julian Lindley1, Richard Adams1, John Beaufoy1 and Stephen McGonigal1
1University of Hertfordshire, United Kingdom
Keywords: design method, construction, manufacture, rapid prototyping
SUMMARY OF PAPER
Since the 1980’s Industrial Design has developed beyond the remit of the traditional realisation of the object or product. That is design is seen as a user-centred problem identification and solution methodology which can be applied to several contexts or issues. However, there is still a need to be able to realise a manufactured artefact; skills increasingly demanded by industrial design employers. The knowledge of materials and how they are processed into components is paramount in this process. Also, in the last few years the possibilities for rapid prototyping and manufacture through 3D printing machines has become financially possible and creatively opens up new possibilities. Shapes which can now be manufactured were impossible a few years ago. The authors took a pragmatic approach which utilised the possibilities of 3D Printing to help understand the complexity of traditional manufacture through a design and build project. An ambition was connect the virtual world of the computer with the physical world of products. We are dealing with Generation Z students do not explore in the real world in the way they are fearless in the virtual world. The project outlined below is an attempt to link the two worlds and re-engage student designers with the third physical dimension. Whereas most student projects conclude with propositions, few are carried through to validation. Students were challenged to design, manufacture each component and assemble a working model of an alarm clock. Each component has to be designed against an understanding of a material and production process and then prototyped on a 3D Printer. Finally the paper reflects that making is an essential part of the design process and that new technologies can enhance this empirical approach.
Keywords: Making, Playing, mechanics, Re-use, Second life
The core theme of the paper is incorporating an empirical approach in the understanding of object value(s) within Product Design. It is a reaction too and an acknowledgement of the changing nature of both the students previous experiences and the value of design to the modern world. With the former, applicants lack the breadth of basic skills in drawing, making and experimentation. Indeed many lack a curiosity which is natural to design. This is in part due to the diminishing number of applicants from Foundation Courses in Art and Design (United Kingdom). These pre-degree courses encourage experimentation and play in understanding materials and structures. Another observation is that design has progressed beyond the production of artefacts to a process of problem identification and solving (1). In this context Sustainability, Brand and Human Centred Design are all common themes within design curricula. However focussing on these in an already congested curriculum has left some of the basic skills and investigations lacking in students vocabulary and skills within design. The paper outlines a way in which an understanding of structures and objects can be achieved. Two projects are cited, the first a project which gets students to think with their hands and make quickly. In essence the project is about the deconstruction and re-constructing of chairs. Based on the work of Martino Gamper (2), students are challenged to make new chairs using discarded and broken chairs as source material. Within this construct issues of material and object value can be discussed as well as product lifetime, product evolution and second life. The second project builds on this experience with a mechanical design challenge, that of an Automata. With this project students start investigating on paper but quickly need to develop with simple mechanical mock ups both in 2D and 3D. The combination of these projects amongst others equips students with a preliminary understanding of construction, mechanics, materials and aesthetics. This is a starting point for understanding the physicality of artefacts underpinning Product Design Education.
1. RSA Design & Society Social Animals: tomorrow’s designers in today’s world by Sophia Parker. P19, 2009
2. 100 Chairs in 100 Days
This paper is based on product design students work in response to collaborative projects. These projects are supported by companies operating within similar market sectors but offering different products and services.
By co-operating with two companies projects can move beyond a specific product agenda, typically a demand for students to design another product within a companies portfolio, to a research based agenda. There are two primary objectives with the exercise:
Objective A
To challenge the students. Students are forced to question and think beyond existing paradigms, and with limited preconceptions, students are able to indirectly propose new questions and ways of analysing a market sector.
Objective B
To allow the industrial collaborators to reappraise their own position within a market sector through the observations and proposals generated by students.
The paper will use as an example a project whose area of investigation is the office with the collaborative partners being Herman Miller and Xerox Corporation. As the brief is to understand and question this market sector students quickly move away from the office as a given paradigm and question fundamental working practices and the environment in which this activity takes place. The partners supply insight into these issues form their own perspective. Consequently the resultant proposals are not a response to either party but are a synthesis of differing inputs. The type of response is open to the students.
As the project has an academic rather than economic structure the students can be used as catalysts for companies to explore, away from the commercial arena, common ground and review how cross fertilization of ideas could have a benefit to both parties. They can also exchange ideas through student work without directly revealing their own future plans or technology.
The paper will expand on the opportunities provided by collaborative projects and explore how this forum can formalized into a research agenda.
This abstract is submitted under Theme 1A Sustainable Education and Educational Programmes.
Sustainability’s relationship with Product Design Education
Keywords: EDUCATION, DESIGN, WELLBEING, INNOVATION.
This paper shares the experiences of delivering dedicated curriculum in sustainable design (BA & MA Programmes at the University for the Creative Arts) and integrating sustainability into already congested Product Design Programmes (BA & BSc Programmes at the University of Hertfordshire). With the former sustainability is the key driver for design innovation, while with the latter sustainability is balanced against the commercial restraints of the professional product designer. As such it introduces the notions of responsibility, issues and stakeholders to other drivers for design such as new technology, brand awareness and profitability. The concepts of needs/issues, both environmental and social/cultural, strategies and assessment in relation to evolving a sustainable world are discussed with students in open forums. There is a shift in delivery whereby students are encouraged to design the experience or response to need rather than assume design propositions have to be products. In effect the mandate for product design has expanded to encompass services and systems. Importance is placed on research identifying real rather than assumed needs and students are taught to think holistically beyond the lifecycle of products. The financial concept of the single bottom line is expanded to the triple bottom with happiness and well being examples of the parameters used to gauge the success of design propositions. Finally the paper reflects on what depth can be achieved within a standard three year degree programme and what aspects of sustainability can only be dealt with superficially.
237 words
Julian Lindley
Senior Lecturer
University of Hertfordshire
e-mail: [email protected]
22nd February 2010
Keywords: well-being, happiness, pleasure, word-circles, design research, storyboards
Well Being as a Criteria for Product Design
Julian Lindley, Richard Adams
University of Hertfordshire, United Kingdom
Research has indicated that Happiness in the Western World Peaked in the late 1950’s. This correlates with the accelerated growth in both Product Design and Consumption*.
Historically Product Designers have concerned themselves with manufactured objects through negotiated briefs for clients either as external consultants or in-house designers. Within this remit traditional attributes of a product are well understood but the defining criteria for success is the bottom line of profitability. However there has recently been a shift in application of the design process (or Design Thinking) to a diverse range of market sectors and problems. With this comes a reappraisal of the criteria which designers should use to gauge success.
Product Designers should acknowledge that they have a responsibility, beyond the bottom line of usability and commercial profit, to deliver equitable value to many stakeholders. Among these values are social indicators such as well-being in contrast to short term desire (point of purchase), happiness or pleasure rather than functionality and value for money. The values by which design outputs are judged have become a lot more complex.
This paper sets out to explore these issues and a call for Product Design application to expand from purely commercial to that of responding to human requirements whether individual, communal or cultural. It attempts to address what we mean by the terms well-being and happiness and how these can form part of both a design brief and a mechanism for judging success. It uses a series of student projects as case studies to introduce these concerns to design students and finally muses on the value of design itself as a mechanism for creating positive sustainable futures.
*From www.storyofstuff .com/Annie Leonard, accessed 17th November 2014
Keywords: assessment, sustainability, responsibility, triple bottom line, self evaluation
We all know the need for society and designers to create a balanced or sustainable future. That is to acknowledge the need to meet demands of all stakeholders, whether they fall into the Economic arena, Environmental concerns or a Cultural or Social need. In deed much work has been done to explore how, in a design context, this can be achieved. There are tools and strategies available to designers to both develop and assess ‘eco designs’ which in itself is different from the bigger picture of Sustainability. However there is a tendency, particularly amongst students, to see main stream commercial design as different from eco-design. This is coupled by governments and the media reducing sustainability to purely material use and climate change. Sustainability is still seen as a bolt on rather than an integral part of design. There is a need for designers to take responsibility and both understand and control the impact of their work. It is no longer acceptable to just respond to a given brief. These need to be analysed, questioned and agendas prioritised through a personal and sustainable lens. However no two projects respond to exactly the same issues and consequently there needs to be a better framework for sustainable design than the tradition but rigid Venn Diagram of the three systems.
This paper will explore ways in which students can contextualise their work and understand the implications and aspirations inherent in their work. Within it students are encouraged to consider the criteria they are responding to and matrices they are evaluated against . Working visually they balance the needs of stakeholders and gain an insight into what is both necessary and practical within their projects. Ultimately it is about students gaining the framework to contextualise their own work and help them make decisions on what can and cannot be achieved.
The paper details work with undergraduate students to delineate the criteria which their projects are aspiring to within the pre-brief stage and briefing documents. At the end of project they also rate both their own standpoint on the issues covered and their projects achievements against these criteria. It is an attempt to move the parameters for success from a linear gauge such as market demand or profitability to a fluid and adaptable approach taking into account a range of stakeholders.
The project, like sustainability is a work in progress.
Julian Lindley1, Richard Adams1, John Beaufoy1 and Stephen McGonigal1
1University of Hertfordshire, United Kingdom
Keywords: design method, construction, manufacture, rapid prototyping
SUMMARY OF PAPER
Since the 1980’s Industrial Design has developed beyond the remit of the traditional realisation of the object or product. That is design is seen as a user-centred problem identification and solution methodology which can be applied to several contexts or issues. However, there is still a need to be able to realise a manufactured artefact; skills increasingly demanded by industrial design employers. The knowledge of materials and how they are processed into components is paramount in this process. Also, in the last few years the possibilities for rapid prototyping and manufacture through 3D printing machines has become financially possible and creatively opens up new possibilities. Shapes which can now be manufactured were impossible a few years ago. The authors took a pragmatic approach which utilised the possibilities of 3D Printing to help understand the complexity of traditional manufacture through a design and build project. An ambition was connect the virtual world of the computer with the physical world of products. We are dealing with Generation Z students do not explore in the real world in the way they are fearless in the virtual world. The project outlined below is an attempt to link the two worlds and re-engage student designers with the third physical dimension. Whereas most student projects conclude with propositions, few are carried through to validation. Students were challenged to design, manufacture each component and assemble a working model of an alarm clock. Each component has to be designed against an understanding of a material and production process and then prototyped on a 3D Printer. Finally the paper reflects that making is an essential part of the design process and that new technologies can enhance this empirical approach.
Keywords: Making, Playing, mechanics, Re-use, Second life
The core theme of the paper is incorporating an empirical approach in the understanding of object value(s) within Product Design. It is a reaction too and an acknowledgement of the changing nature of both the students previous experiences and the value of design to the modern world. With the former, applicants lack the breadth of basic skills in drawing, making and experimentation. Indeed many lack a curiosity which is natural to design. This is in part due to the diminishing number of applicants from Foundation Courses in Art and Design (United Kingdom). These pre-degree courses encourage experimentation and play in understanding materials and structures. Another observation is that design has progressed beyond the production of artefacts to a process of problem identification and solving (1). In this context Sustainability, Brand and Human Centred Design are all common themes within design curricula. However focussing on these in an already congested curriculum has left some of the basic skills and investigations lacking in students vocabulary and skills within design. The paper outlines a way in which an understanding of structures and objects can be achieved. Two projects are cited, the first a project which gets students to think with their hands and make quickly. In essence the project is about the deconstruction and re-constructing of chairs. Based on the work of Martino Gamper (2), students are challenged to make new chairs using discarded and broken chairs as source material. Within this construct issues of material and object value can be discussed as well as product lifetime, product evolution and second life. The second project builds on this experience with a mechanical design challenge, that of an Automata. With this project students start investigating on paper but quickly need to develop with simple mechanical mock ups both in 2D and 3D. The combination of these projects amongst others equips students with a preliminary understanding of construction, mechanics, materials and aesthetics. This is a starting point for understanding the physicality of artefacts underpinning Product Design Education.
1. RSA Design & Society Social Animals: tomorrow’s designers in today’s world by Sophia Parker. P19, 2009
2. 100 Chairs in 100 Days