Methods of Parameter Variations

Total Care Products are innovative packages consisting of hardware and services integrated to provide a complete functional provision. These types of products are becoming increasingly popular as companies strive to find new ways to ensure their business remains profitable and their products are attractive to customers. The Total Care Product creation process requires close collaboration between the customer and supplier as the two parties engage in an iterative, often time-consuming procedure involving needs, expectations and solutions exploration that ultimately leads to the creation of the functional product. This paper describes a novel design process for Total Care Product creation that seamlessly integrates hardware and service support by providing a robust design methodology and process support tool that firstly breaks down Total Care Product creation into distinct stages, and then the support structure is provided to facilitate the design and decision-making process at each stage in a rapid and simplified way. In order to be able to integrate hardware and service support design in such a manner, it is first necessary to assess how the hardware and service design processes are currently performed in their own right. The hardware design process is well documented and understood, in contrast to service design. This paper describes the service design process in detail, highlighting the similarities with hardware design and detailing how services are designed. Having described the service design process, and using knowledge of hardware design, the paper then proceeds to describe the development of a fast design process for the Total Care Product creation process that integrates both hardware and services. The numerous potential benefits of employing the fast design process are highlighted.

PurposeEarthquakes are a serious threat to life; they claim many casualties and cause huge damage to people's properties. Seismic design provisions are added to building codes in response to the lessons learned from past earthquakes. However, despite all successes, many challenges are still faced and there are still deficiencies, especially in the field of architectural non‐structural components (ANSCs). In spite of their significance in the seismic performance of the building, ANSCs are mostly neglected from the viewpoint of seismic design. The purpose of this paper is to explain a proper state for the seismic consideration of ANSCs in the designing and construction process.Design/methodology/approachThe key aim of this research is explaining a proper state for the seismic consideration of ANSCs in designing and construction process. For this purpose, first, their state is analyzed based on the conventional seismic design and construction process. Then, the insufficiencies of this approach are discussed through studying the consequences in the past earthquakes. Finally, based on the results obtained, the article tries to offer useful strategies to bring the potential threats of ANSCs to minimum.FindingsIt is found that ANSCs are considered only in a very small part of the design and construction process. In most cases, their executed details are allocated to a minor part of the design process or left to be chosen in the last stage of construction, as finishing details. As a result, despite all code provisions and practical guidelines, we still see many damages to and from ANSCs. The paper shows that the only way that the success of ANSCs' seismic restraints can be anticipated is by considering them in all stages of the design and construction process. To achieve this goal, collaboration is needed throughout all parts of the design and construction process, namely an interactive system design.Originality/valueThe paper, from the viewpoint of the design process, analyzes the seismic consideration of ANSCs, offering a new model for placing these components in a systematic design and construction process.

This article presents the results of a study that investigates the status of colour information use in the design process and generates ideas for a colour tool. Face‐to‐face interviews with senior designers and brand managers from the packaging and branding fields were conducted as the primary data collection method. The results are categorized into six topics: colour decision, types of colour information considered to be important in the design process, reasons for considering colour information important in the design process, current use of colour information, design professionals' preferences for existing colour tool types and data types and suggestions for a colour tool. It is concluded that there are problems with existing colour resources and tools regarding their availability and usefulness; there is a strong demand for a colour tool in the packaging design and branding processes. The insight from this work will help researchers, design professionals and colour tool developers to make informed decisions on the areas on which they should focus, how they should do so and why. This will facilitate better provisions and uptake of useful colour information for design professionals in the design process and strategy fields.

Our Faculty has embarked on an ambitious multi-year project aimed at taking advantage of lessons learned during emergency COVID online learning and teaching, to develop a set of Faculty principles and implement a transformation of unit offerings into a suite of integrated hybrid experiences supporting and connecting students both on campus and online. The challenge we faced was around the traditional way of delivering content and building knowledge as well as how we assess students. To support the transformation process, the teaching staff and the design staff involved, we have developed and continue to refine a collaborative and non-linear design process template in Miro. The template is designed to guide conversations with academic staff about proposed changes to the unit design. It allows entry into the design process at any point that suits the academic and supports an iterative design thinking approach. Additionally, it enables rapid ‘paper’ prototyping of ideas and establishes a common design language amongst teaching and design staff. This template helps rapidly explain current development thinking to others. The fundamental difference of this template and commonly used design processes is the visualisation of connections between learning outcomes, assessments and sequencing of learning activities. This approach to learning design uses digital mediating artefact in facilitating unit design. The template currently shows the design of a unit from its place within a course or courses, all the way down to the finer details of lesson planning. At every turn, it unobtrusively buttresses the design process with reference to selected design and educational theory, and university policy, subtly reinforcing good teaching practice. The following are currently included in the template, and there are plans to incorporate frames that support the development of assessment rubrics, lesson plans and the conceptual development of new units and courses. Curriculum Mapping - places the unit within its course context. Course and unit learning outcomes are mapped to unit assessments. Enables a simple and clear visualisation of unit place in multiple courses where applicable. Unit Delivery Mode - enables integration of face-to-face and remote learning activities, enables visualisation of connections between activities, and helps track unit student workload. Assessment Design - links assessment design to assessment theory - assessment by, for and of learning (Voinea, 2018), enables visualisation of connections between assessments and sequencing of learning activities, marking and feedback. It tracks student workload in assessment preparation. Refining Learning & Defining Content - links to Blooms and Solo and University learning outcome writing guide to guide crafting of unit learning outcomes if they need to change Class Lesson Plan - Enables the visualisation of in-class plans and implementation of University active learning guidelines (4As) (Vella & Ashworth, 2007) Semester Map - lays the entire unit out across a semester timeline. It enables a bird-eye view of the sequence of all unit-related activities. It can be used to compare student learning experience and workload over multiple units in any given semester timeframe.

Purpose: Of late, the focus of service design is moving toward emphasizing customer satisfaction and taking users' experience more seriously. In addition to the change in perspective in service design, scholars in this area are paying more attention to service design methodology and process, as well as its theory and real-world case studies. In the case of medical space, there have been few studies in attempting to apply service design methods useful for deriving user-focused results. The author of this paper believes, however, case study-oriented approaches are more needed in this area rather than ones focusing on theoretical aspects. The author hopes thereby to expand the horizon to practical application of spatial design beyond service design methodology. Methods: In order to incorporate the strengths of service design methodology that can reflect a variety of user opinions, this study will introduce diverse tools in the framework of double diamond process. In addition, it will present field cases that successfully brought about best results in medical space design. It will end with summarizing the ideal process of medical space design which is reasonable and comprehensive. Results: Medical service encompasses preventive medicine as well as treatment of existing medical conditions. A study in establishing the platform of medical service design consists of a wide range of trend research, followed by the summary of two-matrix design classification based on results of the trend research. The draft of design process is divided into five stages composed of basic tools for establishing spatial flow lines created by matching service design tools with each stage of space design processes. In all this, most important elements to consider are communication and empathy. When service design is actually applied to space design, one can see that output has reflected the users' needs very well. The service design process for user-oriented medical space can thus be established by interactions on the final outcome and feedback on the results. Implications: One can see that the service design with the hospital at its center produces the result that encompasses the user's needs best. If the user-focused service design process for medical space can be extended to other space designs, the author believes that it would enhance the level of satisfaction for users and minimize trials and errors.

: The integration of cost evaluations into the design process, i.e., making them in situ, requires a strategic cost evaluation framework. This framework must address three key components: (1) the processes by which design and cost evaluations are performed, (2) the methodologies/technologies (M/T) that are needed in order to effectively carry out these processes, and more specifically, (3) the way cost models are used, reused, and managed. In order to design in affordability early in design, engineering tools, including cost assessment tools, must be integrated into the design process and interact with tools that support other types of but related, analyses. Insertion of these technologies requires an understanding of the design, requirements, and cost-estimation processes. Therefore, definition of these key processes, and the relationships among the processes, are essential for defining and developing an integrated support tool to enhance these processes. There are many M/T available and being developed to support cost evaluations during design; however, they are not a part of an overall strategy or plan that considers the needs and requirements of the design trade study process and the relationships among the M/T. Models are an important element in cost estimating; they transform parameters and design variables into estimates of cost performance and risk.

Sound design is increasingly diversifying into many areas beyond its traditional domains in film, television, radio or theatre. This leads to sound designers being confronted with a multitude of design and development processes. The related methodologies have an impact on how problems are framed and what is considered an ideal path to achieve their solutions. From this a need for an educated discourse in sound design education and professional practice arises. This article investigates the creative process from the perspective of an emerging generation of sound designers. The first part of the paper outlines concepts and models of the design process in various fields of practice. The second part is devoted to an interpretive comparative analysis of sound design process visualizations created by sound design students with a professional background. Apart from gaining a better understanding of the creative process of the sound designers, the goal of this work is to contribute to a better integration of the sound design craft into contemporary design process methodologies, ultimately leading to an empowerment of the sound designer in complex, dynamic and interdisciplinary project settings.

Virtual reality (VR) is a computer-generated experience through projection of shapes, objects, and scenic views via headset or helmet device and interpreted as a genuine realistic environment. The interpretation of the highly realistic projection from the eye creates an immersive experience for the user. The use of VR technology is utilized in an array of industry applications as well as learning/training spaces. In particular, when VR is used in an educational setting, studies have shown positive or improved student achievement for a variety of academic disciplines in conjunction with creativity, inspiration, engagement, and motivation. VR used in industry applications, specifically within apparel industries, has been reported to enhance efficiencies in retail, enable virtual garment fitting, and reduction of physical samples in the apparel design and product development process. Regardless of these demonstrated favorable outcomes from education and industry, few research studies have investigated students’ willingness to adopt VR as a tool for use within their desired academic discipline (feeding into their future career path). As use in the apparel design and product development process has been reported, an opportunity exists to explore VR as an educational tool to ideate fashion design ideas in an individual’s apparel design process. Thus, the goal of this study was to provide initial insights into students’ willingness to use VR as a sketching tool, compared to traditional sketching tools, during the apparel design process. A multiple case study design was employed to examine the phenomenon in eight selected undergraduate Apparel Design students. The study was guided through the lens of the Unified Theory of Acceptance and Use of Technology (UTAUT) framework to examine students’ willingness based on performance expectancy, effort expectancy, social influence, and facilitating conditions to use VR. A learning module was developed in a 300-level apparel design course specifically to explore VR as a sketching tool in their design ideation process. Students received a demonstration for how to use the Oculus Quest VR equipment and experimentation/practice time using the equipment in conjunction with the Gravity Sketch (GS) VR application which allowed student users to draw in virtual space on an imported preexisting dress form. Following the practice time, students then completed an apparel design activity using the VR tool. Students then completed a survey in which data was collected through mixed methods by questionary scales and open-ended questions. The findings suggest a relationship between social willingness to adopt VR in their design ideation process while also providing a structure for future researchers to expand the use of this technology in apparel design coursework.

1 Why Study the Design Process? 2 Describing Mechanical Design Problems and Process 3 Designers and Design Teams 4 The Design Process 5 Project Definition and Planning 6 Understanding the Problem and the Development of Engineering Specifications 7 Concept Generation 8 Concept Evaluation 9 The Product Design Phase 10 Product Generation 11 Product Evaluation for Performance and the Effects of Variation 12 Product Evaluation for Cost, Manufacture, Assembly, and other Measures 13 Launching and Supporting the Product Appendixes A Properties of 25 Materials Most Commonly Used in Mechanical Design B Normal Probability C The Factor of Safety as a Design Variable D Human Factors in Design E TRIZ F Belief Map Masters

This paper presents the initial findings of a design cognition study involving two groups of high school juniors: those who have taken pre-engineering courses and those who have not. Equal numbers of dyad teams from both groups engaged in design-only sessions in which they generated solutions in response to the same design challenge. The design sessions were video and audio recorded. The recordings were transcribed and then segmented and coded using the Function-Behavior-Structure (FBS) ontologically-based design issues and design processes coding scheme. The students' design cognition was measured from the distributions of the design issues and design processes. Both the design issues and design processes were compared between the two high school student groups. Additionally, the results of the analyses were compared to baseline undergraduate engineering students. The results of this study did not reveal significant differences in either design issues or processes between the two high school student groups. However, when compared with the baseline undergraduate engineering students, there were significant differences between these groups with respect both to issues and processes and to the cognitive effort in their problem/solutions spaces.

The advancement of positive design in Building Information Modeling (BIM) is limited by several aspects of BIM technology, including the breadth of data, visualization capabilities, dynamic data interaction, and application timelines. This paper seeks to advance the application of positive design in BIM by developing a software suite tailored for road and bridge engineering. The software integrates positive design methodologies and facilitates the generation of design outputs, in accordance with established road and bridge design processes. The integration of BIM and Geographic Information Systems (GIS), in conjunction with oblique photography technology, facilitates the development of digital terrain models, which subsequently support positive design processes. These processes encompass the parametric design of template libraries and component libraries, horizontal and vertical alignment design, the design of bridges, tunnels, and culverts, intersection design, and the design of ancillary facilities along the route. The outputs of the design process include the application of three-dimensional models, estimation of quantities, and the generation of two-dimensional drawings. This paper introduces key technical solutions and the principles of program implementation related to parametric design, planar and vertical-horizontal design, as well as the integration of two-dimensional and three-dimensional designs. Furthermore, it explores the utilization of data interaction functions to effectively integrate models with finite element software, enhancing the overall design and analysis process. The conclusion identifies that the primary cause of cracking in the pavement layer is transverse tensile stress. The most critical load position occurs directly above the trapezoidal stiffener at the mid-span section, where the maximum transverse tensile stress reaches 1.45 MPa. This study aims to advance the forward design of BIM by expanding its application in both breadth and depth. It seeks to provide demonstrative experiences that will facilitate the promotion and further development of forward design practices in BIM.

Since its origins, the discipline of Design has developed in close connection with technological progress, trying to adapt its processes, approaches and methodologies. What we are questioning is how much Design has actually been successful in converging towards a disciplinary model suitable to the most recent technological evolutions such as AI and data-driven approaches, and, first of all, how much the way of thinking of designers has changed in this direction. Through an evaluation of design approaches, methodologies and processes from an historical point of view, the aim of this paper is to surface the misalignment between contemporary design processes logic and the linearity of its common representations, due to recent technological advancements. In fact, the representation of a process affects the epistemology of the process itself. This contribution presents on-going research based on literature review and mapping of contemporary design processes structures and representations, in order to define some good attempts and practices useful for building more reliable representations of design processes able to deal with challenges in a highly-technologically advanced present.

A RFBSE model for capturing engineers’ useful knowledge and experience during the design process

This study examined the processes involved in the design of interior textile products, with emphasis upon processes undertaken by designers’ who are committed to a Design for the Environment (DfE) orientation. Handfield et al. (IEEE TEM 48:189–208, 2001) model of product design and development provided a context by which to explore inclusion of environmental performance criteria within the design process. Data were collected through interviews with twelve professional designers of interior textile products. Analyses revealed six themes or stages in the design process for interior textile products: resources and research, consumer need and trend identification, inspiration, creative exploration, product samples, and design completion. DfE-oriented designers and conventional designers did not differ in their narratives regarding design process however, the focus and scope of decision-making within each theme or stage allowed for an additional component to the DfE-oriented design and development process of interior textile products.

Chapter 2 - The Design and Verification Process