Requirements capture for colour information for design professionals

The intersection of housing affordability, climate change, and social inequity in the mature years of the digital age raises a series of critical questions concerning the design professions. How can building designers adapt the urban environment to improve access to affordable housing? What opportunities exist for the integration of digital technologies throughout the design and construction process? How can these adaptations be applied in historic urban centers to reduce material consumption and preserve existing morphology? Most importantly, who benefits from these processes and how? In this paper, we address these questions by outlining a multiyear, interdisciplinary research and design project that uses Baltimore as a case study. While the specific nature of the built environment in Baltimore dictates much of the research and design process, the purpose of working with digital tools is to promote a wider application of our findings in broader and more diverse contexts. The project builds on a growing catalog of research regarding the integration of digital technology in the design professions, and while we aspire to contribute to this catalog with novel methods and new insights, our motivations remain guided by philosopherOlúfẹ́mi O. Táíwò’s critically important question, clearly articulated: “what to build and rebuild, whom to protect?”

240 Children, Youth and Environments Vol. 20 No. 2 (Fall 2010) ISSN: 1546-2250 Linking Architecture and Education: Sustainable Design for Learning Environments Taylor, Anne (2009). Albuquerque: University of New Mexico Press; 451 pages. $100. ISBN 9780826334077. In Linking Architecture and Education, Anne Taylor has compiled a career of research into an extensive resource for architects, administrators, educators, and anyone else involved in the design of learning environments. Dr. Taylor founded and served as director of the Institute for Environmental Education in the School of Architecture and Planning at the University of New Mexico, where she directed research that examined the effects of the built environment on children. In this book she advocates for a series of design principles developed through years of teaching, research, and professional consultancy on the design of learning environments. The book places primary emphasis on the design of schools and schoolyards, with consideration also given to informal learning spaces such as museums and playgrounds. Aimed at providing a common language for design professionals and educators, Taylorattempts to link educational goals and learning theories to design principles through the use of numerous charts and graphics woven throughout the volume. The book is loosely organized around five key themes: philosophical foundations, organizational strategies, the building as a teaching tool or “threedimensional textbook,” future trends, and fostering ecological stewardship. The first four themes serve as the topics for the book sections, providing a sequential organization and unifying structure to the extensive literature. Stewardship is addressed in four separate chapters—one for each section of the book. The organization of the book is driven by Taylor’s aspirations to transform the educational built environment through a series of holistic-design guidelines including: design criteria that is informed by the users’ developmental needs; architectural form that evolves from curriculum and learning theory; educational spaces that are 241 flexible and modeled after the design studio; learning landscapes; community engagement through co-location, multi-use design, and the community as living laboratory; and post-occupancy user guides and evaluation. Along the way she incorporates supplemental information in the form of case studies, photographs, charts, and visual and verbal commentary from colleagues. These are organized in a brilliantly colored and graphically coded format of sidebar information, design tools, designer perspectives, and stewardship forums. At times this rich array of resources and varied perspectives disrupts the flow of the book—obscuring the points presented instead of punctuating them. But, perhaps more significantly, they also create the possibility for an alternative, nonlinear, reading of the book. Students, design and education professionals, parents, and community members may find this secondary organization helpful in using the text as a sourcebook of examples and best practices both to inform the design of new learning spaces as well as to identify opportunities to make more effective use of existing spaces. The link between pedagogy and architectural design is made clear throughout the book, with related concepts often introduced through charts and diagrams and further reinforced by case examples. In section one, for example,Taylor links philosophical theories to the roles of the learner and teacher, the curriculum, and instructional strategies. She also links these theories to the role of the architect, the design process, and the form of the physical environment. A case study of Reggio Emilia preschools inItaly then demonstrates how aspects of the building design can support the educational philosophy of the school. Stakeholders in design processes may benefit from understanding how philosophy informs practice, and Taylorjustifies combining this information into a single chart as a starting point for design discussion between disciplines. Often such diagrams in the book successfully illustrate key relationships between architecture and education, but at times the format is problematic. For example, the chart could easily be misinterpreted by the reader as a prescription for a particular design process or architectural style based on the educational philosophy of the client. In general, however, Taylor successfully relates educational and architectural concepts in clear and meaningful 242 ways. Design students and practitioners may appreciate the succinct overview of major educational theories in section two, whereas educators may find section three particularly useful for the long list of suggestions about how to use the educational facility...

Purpose This paper aims to establish a notion of speculation in the design process in architecture studios as a way to invent new ways of thinking and making beyond narrow pedagogical approaches in the service of designing buildings. The notion of speculation is formulated on the basis of the concept of practical judgment, and articulated as a way of going beyond habitual ways of teaching architecture. The article discusses a design studio process where different cultural artifacts are juxtaposed on each other in an iterative process that sets out a hermeneutical horizon for new possibilities of seeing and understanding to emerge. Design/methodology/approach Unrelated to each other, a filmic narrative and a cityscape are combined in collage studies to initiate imaginative readings of both. These initial studies are followed by other constructs in various media, to form the history of a thinking process where the constructed objects open up in iterative reverberations to establish a sense of place in the design process. A tectonic and spatial emphasis on lived experience underlines the speculative and improvisational aspects of this iterative/generative procedure. Combined through certain experiential threads, the design studio project emerges as the culmination of this history of thinking and making. Findings The design studio shows the effectiveness of using different cultural artifacts to establish a conceptual/poetic framework in the design process where the constructs are infused with creative narratives in the pursuit of meaningful places. It also shows the viability of an iterative/generative design sequence that moves between various scales and media, from hand drawings to physical models to digital makings and reflections. A key discussion in the process is the complementary modalities of physical and digital productions where each step not only reflects back on the previous but also projects further experiential possibilities. Originality/value This study is an attempt to bring cultural disciplinary reflection into the design studios at a time when the mainstream cultural narratives and practices that shape our lives continually diminish the range of meaningful human experiences. Architecture today is consumerized on Instagram, Pinterest and TikTok with its sleek forms. The profession of architecture more and more sees itself as a service provider to developers, authority and power, comfortably sustaining an image of individuality projected by consumer and social media. Where more and more students join architectural schools for an architecture degree itself rather than a well-rounded architectural education, and where academia is also being restructured on corporate business models, to encourage the professional degrees over disciplinary thinking, this study brings in a critical voice to architectural pedagogy and shows ways of pursuing architectural design as a creative reflection on human existence.

To support the introduction of magic in product interaction design, magic effects together with technical clues is shown to be effective inspirations for ‘creative and practical’ products in novice designers. In this paper, we aim to develop a guideline to use the magic-based inspiration cards effectively for novice designers. To do this, six professional designers with three levels of design experiences were invited: junior (2 years), intermediate (7 years), and senior (more than 12 years). The verbal protocol analysis revealed that when providfed with the cards, the designers produced more ideas and concerned more about expected behavior of products. On the other hand, design experience negatively impact fluidity of ideas. Our findings suggested that design process is correlated with fluidity and elaboration, but not originality and feasibility. Finally, a guideline on how to use the magic-based tool effectively is developed based on the approaches carried by professional designers.

Identification of design solutions for a built environment that caters to the human needs at all levels, and more specifically, to the needs of the clients and the society, is the main task addressed by architectural design. Architectural design is a prime example of a design task that is characterized by a high degree of complexity. Architectural design problems by definition entail relationships between decisions and objectives that are all but transparent. For the decision-maker to be able to guide design towards fulfilling objectives, a ‘closed-loop’ approach where variations in design solutions are generated and evaluated in an iterative process is employed. Due to the sheer number of alternative solutions to problems of even a moderate scale (due to combinatorial explosion), it is only feasible to iterate over a minuscule fraction of possible solutions. Design intuition of the professionals involved in design is a strong driving force behind the identification of design direction, in which alternatives are explored as part of the preliminary design process. This is an approach that depends on the human cognitive capabilities to navigate the design space and identify potentially promising solutions. Regardless, the complexity associated with architectural design often poses significant challenges to human cognition. Human cognition, while formidable in its ability to flexibly and efficiently navigate challenging environments, is faced with difficulties in addressing the complexity factors outlined previously, namely: the excessive (combinatorially explosive) number of potential solutions to architectural problems, the complex and non-linear relations between objects and their properties and the conflicting nature of design goals that architectural design entails. Thus, design professionals are often faced with the real threat that their decisions may be biased due to the natural limitations of human cognition acting in complex environments.<br/><br/>Due to the reasons highlighted above, a systematic approach to design space exploration must be undertaken, to maximize the potential for discovering optimal solutions to design problems. Due to the nature of such problems that entail multiple conflicting objectives, a single best solution is generally not attainable. Nonetheless, best-tradeoff solutions are distinguished and highly desirable for such multi-objective design problems. The field of Computational Intelligence, and within that in particular Evolutionary Computation-based (EC) intelligent approaches, offer a lucrative option as decision-support tools in design, as they are able to efficiently address the aforementioned proponents of design complexity. EC approaches are able to navigate the design space efficiently and systematically, considering multiple conflicting objectives and hard constraints, and being able to deal with arbitrary relations between design decision variables and design objectives. <br/><br/>In today's setting, products of architecture must lead the way to a sustainable and environmentally friendlier society. As such, the performance of buildings has become the main driving force behind the design process, being referred to as ``performance-driven design''. This initiative emphasizes the quantitative evaluation of a design's function in accordance with established design objectives, related to aspects such as energy performance, visual and thermal comfort, cost and environmental footprint, etc. Simulation-based tools that enable accurate design evaluation are gaining ground and offering valuable insight into the performance of buildings. Nonetheless, making decisions in this multi-objective environment is not trivial, and, as stipulated above, may be challenging to human cognition. Thus, in today’s setting where the quantitative performance of buildings keeps gaining ground, the research on the application of EC in architectural design is high on the scientific agenda.<br/><br/>Recognizing the impact design complexity has on architectural design and the potential that EC-based approaches offer in addressing it, this thesis proposes a comprehensive computational intelligence decision support system that combines components based on intelligence with ones based on cognition, with the ultimate aim of enabling decision-makers manage design complexity and improve decision making. In particular, this thesis adopts the theoretical standpoint that efficient navigation of an unknown environment assumes a fusion of intelligence and cognition. In this sense, and given the already widespread adoption of intelligent approaches (such as EC mentioned above), the main contribution of this thesis is to endow the intelligent approach with cognitive facilities, so as to improve its efficiency to the point that it is readily applicable to the early stages of the architectural design process.<br/><br/>Fusion of intelligent with cognitive approaches, as outlined in the approach proposed by this thesis, offers the unique advantage of a decision support approach that is both powerful, owing to the extensive capabilities of intelligent search algorithms, and flexible, owing to the extensive knowledge modeling capabilities of cognitive approaches. As such, it is uniquely suited to the early conceptual design stage where the need to explore large design spaces, flexibly redefine the design problem, and satisfy preferences that are not included in the primary design goals, are all paramount.<br/><br/>Thus, the word ``comprehensive'' as it appears on this thesis' title obtains a twofold meaning: On one hand comprehension as in the combination of computational intelligence and cognition in a single approach; on the other hand, as in \\textit{comprehension} of the environment, the result of an intelligent and cognitive approach to understanding.<br/><br/>Firstly, it seeks to address the excessive computational burden associated with the use of modern high-fidelity simulation software in architecture, to render computational optimization more approachable. There is a clear trend in modern design practice to employ accurate simulation-based performance assessment tools from the very early stages of design. The use of such tools provides a valuable advantage to the decision-maker, in endowing objective awareness regarding the performance of a design solution. On the other hand, such tools are associated with a heavy computational burden, which may limit their application to the conceptual design stage. There exist methods to alleviate the computational burden through the use of computational cognitive machine learning tools, also known as surrogate modeling. However, training of surrogate models can be time-consuming itself, thus limiting the application. This thesis proposes a surrogate model that is modular in that it considers each space of the building in question as a separate entity, encoded through generic variables, and as such promotes model reuse in different design cases.<br/><br/>Secondly, it seeks to advance the state of the art on post-Pareto decision support by proposing a cognitive machine-learning based approach that enables the decision-maker to combine near-optimality with preferences regarding concrete features of the design solution. Post-Pareto decision making is an important step of the decision-making process, that seeks to identify a best-tradeoff solution among the possible ones that best matches the decision-maker's preferences in terms of performance. Such preferences are termed second-order because they follow design objectives in terms of importance. Nonetheless, it is often in architectural design that preferences are expressed in terms of design properties and not performance. Due to the non-linearity between the objective function space and the decision variable space that dictates object properties, it is challenging to exercise decision making using second-order preferences. Here the contribution of this thesis is a machine cognitive approach that learns the underlying relationships between object properties, distinguishing those that are relevant when the object is optimal with respect to design objectives. In other words, only imposing relations that are relevant to achieve optimality, it enables the expression of preferences by the decision-maker that are minimally constrained.<br/><br/>The main output of this thesis is a comprehensive decision support framework; it is a framework, in the sense that it comprises a set of methods and implemented tools that seek to augment decision making in architectural design; it is termed comprehensive in that it employs computational cognition and machine learning to augment the intelligent decision support capabilities throughout the design decision support process. It is also generic and applicable as-is to a wide spectrum of architectural design problems. In the context of this thesis, validation of the proposed approach is performed mainly in case studies relevant to facade design, recognizing this design topic as a complexity-exhibiting exemplar in architectural design practice.

Senior Design capstone programs are intended to help students develop engineering knowledge and talent that they can successfully apply after leaving academia. These programs are typically project-based courses where student teams work to address customer provided problems and develop real working solutions. As a result of collaboration between an industry-based instructor and an academic-based instructor, the 2022-23 University of Denver senior design program was refreshed to address two reoccurring themes hindering previous student cohorts: (1) The academic vs. post-academic student mindset: Up until their capstone design experience, students practice an academic mindset and trust that the instructor-chosen cadence for deliverables will get them to the finish line. During the capstone design experience, some students take full advantage of the course and use it as an opportunity to practice a post-academic mindset, leaving behind the notion that the instructor knows the answer. Other students perceive capstone as the final course requirement on the path towards earning a degree and are essentially "stuck" in the academic mindset. (2) The disconnect between the design process and documentation: For many students, senior design becomes the highlight of their educational journey apart from one major complaint - the administrative paperwork and documentation required. It seems to catch them off guard and is perceived as additional unnecessary busy work. In the post-academic world, it is well understood that a big component of any engineer's work is documentation. However, students in courses struggle to understand its importance and/or relevance. If student perception of documentation and the design process is disjointed and incohesive, it becomes difficult for instructors to support student development of a post-academic mindset. The class was restructured as an imaginary firm where the instructors acted as the CEOs and the students acted as the associates. The firm introduced 3 pillars of operation to reinforce the three dimensions of project delivery: Project Management, Design Control, and Risk Management. The pillars were scaffolded throughout the course's content to create organization and relevance for the "associates" based on these three dimensions. The authors hypothesize that the degree to which a student's perception of the usefulness of the 3 pillars of operation is linked to their degree of post-academic mindset. To address this hypothesis, the authors polled this year's capstone students to assess whether they: (1) perceive senior design as a course or a project; (2) perceive the 3 pillars of operation as useful/relevant to the capstone course; (2) perceive the 3 pillars of operation as useful/relevant to their future career; and (4) feel confident that senior design will prepare them to be a working engineering when they graduate.

During the three decades since Ivan Sutherland introduced the Sketchpad system [7], there has been an outpouring of computer graphics systems for use in architecture [3, 5]. In response to this development, most of the major architectural firms around the world have embraced the idea that computer literacy is mandatory for success. We would argue, however, that most of these recent developments have failed to tap the potential of the computer as a design tool. Instead, computers have been relegated largely to the status of drafting instruments, so that the "D" in CAD stands for drafting rather than design. It is important that future architectural design systems consider design as a continuous process rather than an eventual outcome.The advent of computer graphics technology has had an impact on the architectural profession. Computer graphics has revolutionized the drafting process, enabling the rapid entry and modification of designs (see Figure 1). In addition, modeling and rendering systems have proven to be invaluable aids in the visualization process, allowing designers to walk through their designs with photorealistic imagery (see Figure 2) [6, 2, 3]. Computer graphics systems have also demonstrated utility for capturing engineering information, greatly simplifying the analysis and construction of proposed designs. However, it is important to consider that all of these tasks occur near the conclusion of a larger design process. In fact, most of the artistic and intellectual challenges of an architectural design have already been resolved by the time the designer sits down in front of a computer. In seeking insight into the design process, it is generally of little use to revisit the various computer archives and backups. Instead, it is best to explore the reams of sketches and crude balsa models that fill the trash cans of any architectural studio.In architecture, as in most other fields, the initial success of computerization has been in areas where it frees humans from tedious and mundane tasks. This includes the redrawing of floor plans after minor modifications, the generation of largely redundant, yet subtly different engineering drawings and the generation of perspective renderings.We believe that there is a largely untapped potential for computer graphics as a tool in the earlier phases of the design process. In this essay, we argue that computer graphics might play a larger role via applications that aid and amplify the creative process.

Background : As service design was enhanced and the movement combining services in various industrial fields was expanded, the research·development of the ‘Product Service System (PSS)’ was started. In South Korea, although the movement of research·development os a recent happening, it is still in the early stage. Therefore, the maturation of the sympathy of the Product Service System, the actual method of introduction and systematical methodology are not sufficient. Also, in the process and methodology of existing product-service design, the experiences of people who actually use product-service design are not treated deeply. Considering this background, this thesis conducted a research on ‘The process and methodology of product-service design focusing on users’ experiences’ and the purpose is to manufacture it by toolkit form so as to spread and apply it to the related academic world and industrial world. Methods : The 1st stage discovered the necessity to emphasize UX in the field of product-service design based on the literature and case research. In the 2nd stage, a study on the roles of UX Design and Service Design and their relations in the field of PSS Design was conducted. In the 3rd stage, an actual PSS Toolkit was developed considering the case research of an existing toolkit. Finally, in the 4th stage, the problems of the toolkit were identified by expert evaluation·verification and study items for its improvement were assigned. Results : The prototype for the ‘PSS Design process and Toolkit which focus on the UX viewpoint’ was manufactured. And, according to the result of expert evaluation, its value could be confirmed from the aspect of strengthening methodology which can grasp users experiences deeply. Specifically, its value is in providing a systematic guide which can be helpful for the actual practice of methodology and in developing a tool which can actually be helpful for the spread of PSS Design’s concept. Conclusion : the toolkit developed in this study will be applied as tools to realize education and distribution regarding the concept and the necessity of PSS Design. Also, the toolkit may be employed in small and medium companies still without professional designers and/or systematic design processes related to manufacturing and service areas. Also, large corporations may use the toolkit as a communication tool to enhance the understanding of and reach consensuses for PSS Design processes among various development departments or in collaborative projects.

More and more industrial products have begun to adopt iterative design modes. Opinions collected from all sides in each round of iterations are used as bases to make products that are able to capture the changes of customer demand dynamically and to respond to these changes in a timely manner. In this context, it becomes important for product designers and manufacturers to study the evolution of opinions as well as the product scheme along with design iteration to determine its regularity. This paper integrates the Hegselmann–Krause model into product improvement process, and develops a dynamic model from the view of opinion dynamics. The dynamic model simultaneously converges the evolution of customers’ opinions, professional designers’ opinions and the product scheme. The paper also analyses the interaction mechanism among different opinions as well as the mechanism between opinions and the product scheme. The experimental results determine that the product scheme, customers’ opinions and professional designers’ opinions can demonstrate differently but regular evolution patterns along with the design iteration according to the difference in confidence intervals or the difference caused by tending to adopt a more customer-driven design strategy or a more professional designer-driven design strategy. Finally, reasonable suggestions are provided to help manufacturers make product design strategies.

Nowadays, the use of RGB-D sensors have focused a lot of research in computer vision and robotics. These kinds of sensors, like Kinect, allow to obtain 3D data together with color information. However, their working range is limited to less than 10 meters, making them useless in some robotics applications, like outdoor mapping. In these environments, 3D lasers, working in ranges of 20-80 meters, are better. But 3D lasers do not usually provide color information. A simple 2D camera can be used to provide color information to the point cloud, but a calibration process between camera and laser must be done. In this paper we present a portable calibration system to calibrate any traditional camera with a 3D laser in order to assign color information to the 3D points obtained. Thus, we can use laser precision and simultaneously make use of color information. Unlike other techniques that make use of a three-dimensional body of known dimensions in the calibration process, this system is highly portable because it makes use of small catadioptrics that can be placed in a simple manner in the environment. We use our calibration system in a 3D mapping system, including Simultaneous Location and Mapping (SLAM), in order to get a 3D colored map which can be used in different tasks. We show that an additional problem arises: 2D cameras information is different when lighting conditions change. So when we merge 3D point clouds from two different views, several points in a given neighborhood could have different color information. A new method for color fusion is presented, obtaining correct colored maps. The system will be tested by applying it to 3D reconstruction.

The design profession is responding to the complex systems represented by architecture and planning by increasingly incorporating the power of computer technology into the design process. This represents a paradigm shift, and requires that designers rise to the challenge of both embracing modern technologies to perform increasingly sophisticated tasks without compromising their objective to create meaningful and environmentally sensitive architecture. This dissertation investigated computer-based fractal tools applied within a traditional architectural charette towards a design process with the potential to address the complex issues architects and planners face today. We developed and presented an algorithm that draws heavily from fractal mathematics and fractal theory. Fractals offer a quantitative and qualitative relation between nature, the built environment and computational mechanics and in this dissertation serve as a bridge between these realms. We investigated how qualitative/quantitative fractal tools may inform an architectural design process both in terms of generative formal solutions as well as a metric for assessing the complexity of designs and historic architecture. The primary research objective was to develop a compelling cybernetic design process and apply it to a real-world and multi-faceted case study project within a formal architectural critique. Jurors were provided a platform for evaluating design work and weighing in as practicing professional architects. Jurors' comments were documented and discussed and presented as part of the dissertation. Our intention was to open up the discussion and document the effectiveness or ineffectiveness of the process we presented. First we discussed the history of generative and algorithmic design and fractals in architecture. We begin with examples in ancient Hindu temple architecture as well as Middle Eastern architecture and Gothic as well as Art Nouveau. We end this section with a discussion of fractals in the contemporary architecture of Frank Lloyd Wright and the Organic school. Next we developed a cybernetic design process incorporating a computer-based tool termed DBVgen within a closed loop designer/algorithm back and forth. The tool we developed incorporated a genetic algorithm that used fractal dimension as the primary fitness criterion. We applied our design process with mixed results as discussed by the jurors whose feedback was chunked into ten categories and assessed along with the author/designer's feedback. Generally we found that compelling designs tended to have a higher FD, whereas, the converse was not true that higher FD consistently led to more compelling designs. Finally, we further developed fractal theory towards an appropriate consideration of the

This thesis proposes a framework to address the design process in design education. Building upon the assumption that teachers, being professional designers, do not discuss the design process in the architectural design studio and do not have a vocabulary to do so, five generic elements or anchor points are defined which represent the basic design skills. The validity of the framework and the assumption is tested respectively in interviews with a variety of designers and in observations of dialogues between teachers and students. In the final test the design process is addressed in the design studio: the first experiences show that students’ understanding and self-efficacy may increase. The five elements enable teachers and students to address the designerly attitude. The way designers reason consist of: (1) experimentation; an experimentation-based way of thinking; how to explore and reflect, (2) the frame of reference; a knowledge-based way of thinking; how to work with common and proven ‘professional’ knowledge, and (3) the guiding theme; a value-based way of thinking; how to take a position in the design process. Next to that, (4) the laboratory is the (visual) language or set of means designers use to think designerly, and (5) the domains are the playing field of the designer, the product aspects s/he should address.

This thesis proposes a framework to address the design process in design education. Building upon the assumption that teachers, being professional designers, do not discuss the design process in the architectural design studio and do not have a vocabulary to do so, five generic elements or anchor points are defined which represent the basic design skills. The validity of the framework and the assumption is tested respectively in interviews with a variety of designers and in observations of dialogues between teachers and students. In the final test the design process is addressed in the design studio: the first experiences show that students’ understanding and self-efficacy may increase. The five elements enable teachers and students to address the designerly attitude. The way designers reason consist of: (1) experimentation; an experimentation-based way of thinking; how to explore and reflect, (2) the frame of reference; a knowledge-based way of thinking; how to work with common and proven ‘professional’ knowledge, and (3) the guiding theme; a value-based way of thinking; how to take a position in the design process. Next to that, (4) the laboratory is the (visual) language or set of means designers use to think designerly, and (5) the domains are the playing field of the designer, the product aspects s/he should address.

With the ever increasing complexity of today's IC packaging designs and new packaging technologies of tomorrow, coupled with the increasingly global nature of design and manufacturing / assembly, traditional 2-D EDA packaging tools and design collaboration capabilities do not have the required feature subsets nor controlled and seamless design sharing integration needed to support 3-D design technologies. These current solutions cannot adequately meet advanced packaging's current and future needs. New generation 3-D EDA tools and design collaboration systems that integrate 3-D design and global data collaboration are required to meet these expanding technologies. The conventional 2-D IC package design process flow begins with top-down design and layout, and utilize software tools that only have the ability to verify 2-D design rule checks (DRC). These limited rules, while sufficient for lead frame, single tier Ball Grid Array (BGA), and other single level package types, do not take into consideration advanced System in Package (SiP) stacked die configurations with multi-die advanced bond wire and other connection technologies with accompanying manufacturing variables and tolerances. The lack of tools that accurately model these 3-D manufacturing parameters result in substantial trial and error in the assembly set up process, increasingly poor yields as complexity increases, and in some cases, eventual package / substrate redesign after costly time and resources in manufacturing have already been expended. In addition, the design and manufacturing and assembly departments tend to be organizationally as well as geographically separated with little or no real data transfer or feedback between the departments. The result is evident in current package designs that are completed according to basic rules without the benefit of, nor the ability to incorporate optimal manufacturing data. These designs are completed “successfully” (from a 2-D design standpoint) and then sent to manufacturing and assembly. These “successful” designs are then evaluated from a manufacturing and assembly viewpoint, and real world manufacturing parameters are utilized to “redesign” the assembly of the package to attempt to make the package manufacturable. The optimization of the design for manufacturing can take days or weeks to accomplish through a long process of trial and error. Many iterations of the assembly prototype are made until it is deemed manufacturable, or if not, the design is sent back to the design department for re-design. In order to increase reliability, increase yields, and decrease time to market for advanced SiP and other stacked technologies, a 3-D design collaboration system is required to integrate the design, verification, manufacturing, and assembly processes into a seamless system that is globally accessible in real time by all departments. This system must provide data access to the designer from all related departments, including engineering, simulation, manufacturing, assembly, etc. in order for the designer to be able to optimize the design for maximum performance as well as the highest yield and shortest time-to-market. This system will accurately verify 3-D assembly parameters during the design process. Manufacturing, engineering, and assembly departments will be able to input manufacturing parameters into the design, thereby eliminating much of the trial and error prone in the package design and assembly process today, and the design can be shared by multiple users and departments for true collaboration. This paper explains the role and manufacturing benefits of a 3-D package design and global data collaboration system.

The increased need to consider sustainability in the field of apparel is gaining awareness among designers, producers, marketers, and consumers who are currently considering their next moves in the arena of apparel products, design, and innovation. The paradox of fast fashion and the pursuit of modernity, alongside the need to care for the earth’s resources in a sustainable manner that includes social, economic, and environmental impacts, is a difficult dilemma. Many researchers have been looking at the problem from different perspectives; the focus here is on how we educate our students as soon-to-become design professionals. Up-cycling is one good strategy to protect ecosystems, because the goal of up-cycling is to prevent wasting potentially useful materials by making use of existing ones. In the process of up-cycling garments for sustainability the article considers what impact this has on the apparel design process and how students learn and must learn differently based upon this need. Participants including students and design professionals who undertake a project of up-cycling are surveyed about the differences they perceive in their design process. Results indicate that there are some opportunities that arise that need to be incorporated into our educational system.