形式追随“可持续”:生命周期评价在工业设计中的应用

文章从可持续设计理念出发,对可持续设计的现实意义及设计趋势、生命周期评价的理论框架和基本方法进行了简要阐述;另一方面,从设计形式出发,并着重总结阐释了生命周期评价在材料选择与评价、再设计与评价及设计方案选择评价方面的应用。     

轨道车辆绿色设计研究

本文探讨了轨道车辆绿色设计的内涵,并从物质层面及非物质层面分析了轨道车辆的绿色设计策略。在物质层面,分别从材料选择、照明设计及内装设备设计三方面分析了轨道车辆绿色设计的方法;在非物质层面,提出了便利性设计和舒适性设计方法吸引越来越多的人们选择轨道车辆这一更利于环境保护的"绿色交通",实现绿色环保的目的。在此基础上,总结了轨道车辆绿色设计的原则,即技术先进性原则、功能实用性原则、安全舒适性原则和经济性最佳原则。     

浅谈设计接受的实现

工业设计是商业化的行为,接受是设计的最终目的。文章从创新适度、设计情感和设计评价三方面出发,对设计接受的实现进行了研究,为现代产品设计研究提供理论参考。     

四级阶梯式软件可靠性设计方法研究

介绍了软件错误、软件缺陷、软件故障和软件失效的演变过程,提出了相应的四级阶梯式软件可靠性设计方法,即避错设计、查错设计、纠错设计和容错设计方法。该方法从软件错误的产生到失效的演变过程出发,强调尽早地截断软件错误,使其不向更严重的方向发展。该方法可以从根源上提高应用软件的可靠性。     

工业设计创意点的来源

当我们设计一个产品的时候,都在绞尽脑汁的寻找设计的突破口,也就是寻找设计的创意点,那么这个创意点究竟要从哪里来?怎样才能得来?灵感来了我们怎样才可以抓住它,把它变成实在的产品呢?本文主要从四个方面来阐述创意点的来源,分别为从他人身上吸取经验、从生活中寻找创意点、从其他设计门类中寻找创意点和从与客户沟通中寻找创意点。     

浅谈现代工业产品设计的趋势转变

本文从近年来人们情感需求、生活方式、设计手段等方面的变化出发,探讨了现代工业产品设计的几种转变趋势,分析并阐述为从功能设计到情感设计的转变;从技术设计到理念设计的转变;从单体设计到系统设计的转变;从整体设计到细节设计的转变等方面,进一步开拓设计师的设计思路。     

提高DCS可靠性的工程设计策略

分析了影响DCS可靠性的因子,从DCS可靠性设计准则、DCS选型、冗余设计、抗干扰设计和组态设计介绍了提高DCS可靠性的工程设计的整体思路和策略.     

20世纪后半叶的意大利家具设计

本文初步介绍了20世纪后半叶意大利设计,着重介绍了在这50年的时间内意大利家具设计的发展、特点。说明了形成这种意大利家具设计独特魅力的原因。并且具体的从几件家具的分析入手,说明了其风格在设计造型中如何去表达和具体的体现手法。     

浅谈工业设计的理念

正自从20世纪初叶开始,工业设计经历了从工业时代到后工业时代的飞速变革。这种变革不仅仅包含外在造型特征的进化,更重要的是工业设计理念发生的深刻变化。在短短的100年时间里,工业设计领域出现过纷繁多样的理念。总的来说,工业设计从工业时代对"物"的设计,逐渐转变为后工业社会对"非物"的设计。     

创新设计——联想集团创新设计中心主管姚映佳先生专访

1、从国内工业设计发展的角度讲，工业设计这个概念从最初的引入发展到今天，就您理解它的概念和意义是否发生了变化或者有了进一步拓展？ 设计在中国的历史并不是很长也这二十几年的时间。最早中国工业设计的探索者确实做了很多贡献。     

支持设计环境中学习的多Agent系统

设计是工业生产过程中最能体现人的智能并决定产品性能和成本的重要阶段 .学习可以有效地利用经验知识改进设计者及设计系统的能力 .本文在分析现实世界设计活动的基础上 ,提出了一种支持设计环境中学习的软件设计agent的框架结构 ,并介绍了多 agent系统中设计知识的表示和存储 ,及实现在设计者和多个设计 agent间共享学习的设计环境及方式     

Extending the Ecological Interface Design process—Integrated EID

This article aims to extend the traditional Ecological Interface Design (EID) process. With the rapid pace of digitalization in technological systems, there is a need for a design process that can handle the systemic design goals and the experiential basis of interaction. Currently, the traditional EID is well-positioned to address these challenges. However, methodologically, it needs to be substantiated to make it accessible for designers, designing for novel arenas, such as Industry 4.0. Further, substantiating the design process will help designers, engineers, and human factors researchers with an accessible pathway that links the design brief to the final interface form. Therefore, this article delves into the “design” basis in the work of the Risø group and other prominent EID researchers and practitioners. In addition, it draws from a variety of themes in the discipline of design that addresses methodology. In particular, key insights are drawn from the design methods movement (1960s—); design, communication, and complexity from the Ulm school of design, 1953–1968; cognitive research conducted on designers and design activities; and finally, interaction design and communication design processes and models. All of these insights have been used syncretically to create the new integrated EID (iEID) process. This new design process consists of nine stages divided into three phases of divergence, transformation, and convergence, converting the initial design brief to the final interface. The steps of iEID are demonstrated using the example of interface design for a “digital twin” in the manufacturing sector.     

Designing and assessing everyday objects: Impact of externalisation tools and judges’ backgrounds

Professional designers increasingly rely on IT-based systems in the course of their work. It is therefore crucial to know how such systems, especially computer-aided design (CAD) systems, influence both the design process and the final design, compared with the use of manual design methods. The objective of this paper is twofold: to address this issue and to suggest ways of improving IT-based systems specifically developed to support designers’ activities. In the first phase of a two-phase study, we investigated how the use of different tools can affect the design process. In the second phase, we conducted two complementary analyses to determine how the use of different tools affects the assessment of final designs, as well as the effect of the judges’ backgrounds on their assessments. We began by comparing the activities of two groups of designers: one group working with a CAD system, the other carrying out manual modelling. The results of this first phase revealed significant differences in the designers’ activities (changing the viewpoint, switching tools, correcting errors) according to the design method they used. We then asked judges from four different backgrounds (professional designers, design teachers, retailers and users), to assess the final designs according to specific assessment criteria (aesthetics, originality, functionality, marketability). The results of this second phase revealed a significant preference for objects designed with a CAD system. Furthermore, the judges attributed different levels of importance to each of the assessment criteria, depending on their background. This last result underscored differences in the mental models constructed by different groups of audiences involved in product development and marketing. In addition, it allowed us to identify their specific expectations about final designs. Based on the results of our analyses, we suggest ways of improving IT-based systems with a view to integrating design assessment more fully into CAD environments.     

A quantitative aesthetic measurement method for product appearance design

Product appearance is one of the crucial factors that influence consumers’ purchase decisions. The attractiveness of product appearance is mainly determined by the inherent aesthetics of the design composition related to the arrangement of visual design elements. Hence, it is critical to study and improve the arrangement of visual design elements for product appearance design. Strategies that apply aesthetic design principles to assist designers in effectively arranging visual design elements are widely acknowledged in both academia and industry. However, applying aesthetic design principles relies heavily on the designer’s perception and experience, while it is rather challenging for novice designers. Meanwhile, it is hard to measure and quantify design aesthetics in designing artefacts when designers refer to existing successful designs. In this regard, this study aims to introduce a method that assists designers in applying aesthetic design principles to improve the attractiveness of product appearance. Furthermore, formulas for aesthetic measurement based on aesthetic design principles are also developed, and it makes an early attempt to provide quantified aesthetic measurements of design artefacts. A case study on camera design was conducted to demonstrate the merits of the proposed method where the improved strategies for the camera appearance design offer insights for concept generation in product appearance design based on aesthetic design principles.     

How do instructional designers use automated instructional design tool?

The purpose of this study was to investigate the use of an automated design tool by naive, novice, and expert instructional designers. A talk-aloud protocol, attitude survey, performance assessment, and direct observation were used to gather data. While the expert designers used the tool, they used it as a word processor with a rich database of instructional strategies. The novice designers relied on the tool for advice, guidance, and assistance in completing all the design tasks. Non-designers used the tool for learning about design.     

A distributed collaborative product design environment based on semantic norm model and role-based access control

With the boom of Internet Technology, it becomes possible to combine designers from different disciplines into one team to support product design globally. In this paper, a distributed collaborative product design environment is presented to support top-down process oriented product design. In conceptual design stage, the artifact is managed by semantic norm model (SNM). In SNM, the designers can define virtual components at early design stage and instantiate those components at later detailed design stage. By role-based access control (RBAC), different roles with corresponding permissions could be assigned to distributed designers, and the designers could concurrently modify different components of the product relevant to his or her roles. Based on the SNM and RBAC system, a distributed collaborative product design environment is developed and the top-down oriented product design process is demonstrated.     

设计师,你可以这样作设计

本文从当今设计师的普遍方法讨论开始,提出设计缺乏研究,设计师缺乏对使用者本身的关注。文中引入了人类学的人种志方法,简要介绍给设计师,并提供了一个设计案例的片断供大家了解如何将人种志方法应用到设计研究中。     

产品创新中的人性化设计与个性化设计

文章通过论述产品创新中人性化设计的发展与定位,个性化设计由人性化设计开始及个性化设计可行性以及实现途径,说明创新设计的过程不仅仅是设计师借助技术和发挥想象力的过程,还是设计师与使用者不断沟通表达消费者需求的过程。设计师要充分考虑产品的使用群体的审美心理因素,满足用户的物质与精神需求,并在此前提下将个性和风格融入进去,为产品创新设计起到指导作用,从而提高产品吸引力和企业核心竞争力。     

论工业设计的哲学内涵——唯物辩证法视阈下对工业设计的重新解读与审视

从一次课题为＂订书机的再设计＂的专业设计出发,通过分析此次设计的全过程,运用唯物辩证法对工业设计的本质、意义、产品的价值、用户需求以及设计师与用户的关系等内容进行了重新审视与全面探讨,从不同侧面丰富了唯物辩证法的内涵与外延,最后从设计师的角度提出对于唯物辩证法的看法。     

遗传算法在计算机辅助设计中的应用

本文提出了一个基于遗传算法的计算机辅助设计方法，它可以辅助设计师更好地完成概念设计。本研究提供了一个用户接口，让用户为每一个设计方案赋适应度，所以能反映人的喜好。