递归对象模型在图形设计中的应用

目的对递归对象模型有效性进行分析。方法根据递归对象模型关注设计需求与解决问题方案之间的协同进化关系的原理,将其运用到图形设计当中,以图形设计过程中设计方向的提供、设计流程的设定、设计信息的提炼之间的有效联系为基础,对设计元素在分析结果的制约下图形视觉形态的有效整合过程进行研究。结论通过最终生成的图形设计结果与预期视觉功能的一致性,确认递归对象模型作为一种有效的分析工具,可以应用于图形设计创造性活动,生成一个表达设计理念的图形。在整个图形设计分析过程中,除了明确设计方向和分析设计主题以外,设计信息分析是最为重要的一项内容,同时也表明其作为全新图形设计工具的有效性。递归对象模型也可以应用到艺术设计领域,以其独有的分析问题的方法和流程产生针对任何设计需求的解决方案或结果,并可以预见该工具与艺术设计原理的结合将改变设计师在艺术设计工作中的思维方式,提高设计工作效率。     

工匠精神设计价值论

目的 通过对我国当代设计的发展情况及现状的分析,反思以经济价值为主体,而忽略人文精神、社会价值等问题,引起人们对于当代设计精神缺失的重视,从而进一步加强设计价值对于当代设计的正确导向。方法 从设计价值论这一新的角度对“工匠精神”进行了系统分析,提出了面对当代设计领域实践交错的价值冲突和价值难题等方面呈现的新问题,必须超越传统理论的认知方式。结论 就工匠精神对现代设计发展的价值考量和中国设计价值观的确立进行了详实的论述。     

人性化设计理念在工业设计中的剖析和运用

归纳和概括出人性化设计理念在当今时代背景下包括了4大方面的内容和范畴:为人的物质和精神满足的设计;为不同特征的人群的设计;"形式服从情感"的设计;多学科的交叉、合作性设计.并通过工业设计实例对它们给予了充分的论证和说明,从而使人们对以"人"为中心的人性化设计理念有更清楚和全面的认识并在设计中给予充分的应用和体现.     

论现代产品设计的审美时效性

目的 通过对设计审美时效性的分析,探索现代产品设计审美的构建类型及设计方式。方法 针对现代产品设计审美时效性的构成要素及结构进行分析,总结出现代产品设计审美时效的3种表达形式——短暂型审美、持久型审美、回归型审美,并以此为切入点,通过对其概念及特征进行分类解析,总结出对应产品设计审美时效类型的设计方法及思路。结论 通过对现代产品审美主流形式及消费时代个性化需求细分趋势进行结合分析,得出短暂型审美产品设计需侧重以发掘热点需求及颜值驱动为导向驱动的动态设计方法;提出持久型审美产品设计应明晰产品设计审美理性内涵、强化产品理念叙事构建、厘清设计审美文化立场;总结出回归型审美产品设计以符号化、情感化、文化性为核心的设计审美编码路径。     

车身制件拉延模数字设计研究

为完善车身冲模结构设计的理论体系,提出了制件在冲模设计坐标系中定位的概念,并应用六点定位原理对这一问题进行了研究,探讨了冲压方向的选择原则与工序件的设计方法,根据数字设计的特点对拉延模零件及其特征进行了分类,在此基础上提出了拉延模数字设计的工作策略与方法.结果表明:制件在冲模设计坐标系中的定位是通过设计基准点与冲压方向实现的;拉延模数字设计的工作策略与方法经工程实例验证是可行的.     

设计学学科属性应该回归设计真相

文章围绕艺术门类新学科目录征求意见稿,指出作为交叉学科的设计学,将原来的设计学一斩三段,分属为理论、实践、交叉三个学科,分离了原本处于一体的设计理论、设计实践和技术交叉问题,障蔽了设计学研究的真相。文章论述了新的交叉学科设计学强行分离理论、实践、技术因素,过于强调工业设计中技术前沿对设计技术的影响和交叉融合,不利于设计学研究的整体认知,也肢解了设计学的学科属性。文章阐述了新的学科目录是对广泛设计门类研究的漠视,必然会出现设计学研究的泛技术化,助长对于设计学外延的过度解读,使得设计学迷失了设计专业的真相。进而,文章提出了设计学学科属性如何回归设计真相的路径思考。     

小型制冷装置蒸发器计算机辅助设计

通过小型制冷装置蒸发器的计算机辅助设计，介绍了一种机电产品新颖的现代设计方法。实践证明：计算机辅助设计为机电产品的技术设计和造型设计同时并举，互相渗透，互相制约，提供了良好的环境和条件，并大大加快了设计过程，优化了设计质量；当前，最迫切的问题是如何将ＣＡＤ技术用于生产实践，因为实践应用才能真正推动这一技术的不断发展。     

Engineering Design Thinking,Teaching, and Learning

This paper is based on the premises that the purpose of engineering education is to graduate engineers who can design, and that design thinking is complex. The paper begins by briefly reviewing the history and role of design in the engineering curriculum. Several dimensions of design thinking are then detailed, explaining why design is hard to learn and harder still to teach, and outlining the research available on how well design thinking skills are learned. The currently most‐favored pedagogical model for teaching design, project‐based learning (PBL), is explored next, along with available assessment data on its success. Two contexts for PBL are emphasized: first‐year cornerstone courses and globally dispersed PBL courses. Finally, the paper lists some of the open research questions that must be answered to identify the best pedagogical practices of improving design learning, after which it closes by making recommendations for research aimed at enhancing design learning.     

Why mechanical design cannot be like VLSI design

It is widely agreed that the design methods and computer support of VLSI design are generally more mature than those of mechanical items. Why is this so, and is there any hope of the gap being significantly closed? This paper argues that there are fundamental reasons, that is, reasons based on natural phenomena, that keep mechanical design from approaching the ideal of VLSI design methods. The argument is accompanied by examples and brief histories of the evolution of VLSI design methods and attempts to systemize mechanical design. Brief attention is also given to the paradoxical fact that VLSI design itself is currently receding from the ideal and taking on the flavor and problems of mechanical design. This paper is based on several reports and working papers with limited circulation. The one relied on primarily is Whitney et al. (C.S. Draper Lab Report R-2577, Dec., 1993). The author wishes to acknowledge the contributions of his co-authors of that report. He also acknowledges the many discussions he had with people mentioned in the footnotes who enriched his approach to this topic.     

数字技术推动认知转变的设计研究

目的 数字技术引领日常生活，全面地拥抱数字信息，以一种新的认知方式诠释社会变革。设计作为社会创新工具，必然融入数字化进程，设计有了新的对象、新的内涵，需要再次探索设计的本质。方法 以认知原理解析数字化认知形成的过程，分析事物向数字物转变的内在逻辑，结合设计案例剖析数字化解析和连接的设计认知范式变革，归纳总结数字化设计认知形成的特点。结论 明确了数字技术提升设计认知的精度，将设计对象转变为微粒关系集合，重新构建连接关系，推动认知转变拓展设计边界，为数字化设计创新找到了一个新的切入点，阐释数字化设计认知构建是设计创新的源泉。     

Design Process Optimization Based on Design Process Gene Mapping

The idea of genetic engineering is introduced into the area of product design to improve the design efficiency.A method towards design process optimization based on the design process gene is proposed through analyzing the correlation between the design process gene and characteristics of the design process.The concept of the design process gene is analyzed and categorized into five categories that are the task specification gene,the concept design gene,the overall design gene,the detailed design gene and t...     

感性设计方法的意义和价值

目的感性直觉方法在设计实践中是常见的一种思维方法,但相关的理论研究相对薄弱。在强调现代设计的理性精神和方法的同时,也要认识到感性设计方法的合理性及其价值,明确感性设计方法是理性设计方法的有益补充。旨在探究感性设计方法价值和意义的具体所指。方法以情感体验、直觉感受的艺术设计方法论和设计符号学与产品语义学的视觉文化设计方法论,对感性设计思维方法特征进行梳理,以悦目动心的设计、有意味的形式、创造的进化3个角度与理性设计思维方法的差异进行分析研究。结论感性设计思维与理性设计思维两者之间是此消彼长的对应互补关系;感性设计方法是历史悠久的设计方法,并依然被许多设计师推崇;感性设计方法在"感性消费时代"、"创感时代"以及营造"艺术化生存"方面具有积极意义和价值。     

工业设计创新性生产力特征的研究

基于对工业设计与生产力之间关系的认识,论述了从设计到工业设计的演变,从工业设计是生产力,工业设计是创新性生产力,工业设计是先进生产力等方面,分析了工业设计的生产力属性,以及工业设计的创新性质,提出了工业设计是创新性生产力的命题。意义在于强调要重视工业设计作为创新性生产力亦即先进生产力的发展要求,充分发挥工业设计创新对经济增长的推动作用。     

Efficient organizing of design activities

Concurrent design should result in reduction of the duration of a design project, cost reduction, and better quality of the final design; however, it may increase the complexity of the design process and make it more difficult to manage. In this paper, an algorithm is developed for organizing design activities in order to effectively produce an acceptable design. The relationship among design activities is represented with an incidence matrix and the corresponding directed graph. The design process is simplified by identifying and analysing design activities that are coupled. The algorithm presented in the paper generates a sequence of desigmactivities such that the number of cycles is minimized, i.e. the product development time is reduced, The concepts presented are illustrated with examples.     

美国商业性设计对工业设计的启示

美国商业性设计的本质是形式第一,功能第二,它的核心是"有计划的商品废止制".它的产生有美国社会人文环境的原因,有战争的影响,还有科技发展的促进以及设计师的设计实践的推动.商业性设计对现代工业设计仍存在一定的影响,本文从4个方面讨论了美国商业性设计给当代工业设计带来的启示.     

A new efficient convergence criterion for reducing computational expense in topology optimization: reducible design variable method

A new efficient convergence criterion, named the reducible design variable method (RDVM), is proposed to save computational expense in topology optimization. There are two types of computational costs: one is to calculate the governing equations, and the other is to update the design variables. In conventional topology optimization, the number of design variables is usually fixed during the optimization procedure. Thus, the computational expense linearly increases with respect to the iteration number. Some design variables, however, quickly converge and some other design variables slowly converge. The idea of the proposed method is to adaptively reduce the number of design variables on the basis of the history of each design variable during optimization. Using the RDVM, those design variables that quickly converge are not considered as design variables for the next iterations. This means that the number of design variables can be reduced to save the computational costs of updating design variables. Then, the iteration will repeat until the number of design variables becomes 0. In addition, the proposed method can lead to faster convergence of the optimization procedure, which indeed is a more significant time saving. It is also revealed that the RDVM gives identical optimal solutions as those by conventional methods. We confirmed the numerical efficiency and solution effectiveness of the RDVM with respect to two types of optimization: static linear elastic minimization, and linear vibration problems with the first eigenvalue as the objective function for maximization. Copyright © 2012 John Wiley & Sons, Ltd.     

Design as a socially significant activity: An introduction

In understanding design-society relationships its crucial that we grasp what we are talking about when we use the word ‘design’. Too often the term is used not to denote the activity of designing but either the results of that activity (designed products) or the problems which originate that activity or both. But considered in this way the design process disappears from conceptual view. This lack of reference to design activity as such leads to ambiguities in formulations such as design-and-society as to what is meant in a particular formulation of the term. At the same time the related use of analogical models to explain or account for design prevents real understanding of what design is. The significance of design can only be understood, it is argued, by focusing on design activity. But once we do focus on design activity we find it has a wider social significance than has previously been thought.     

汉字立体化设计的实践探索

目的 探索关于汉字立体化表现的设计方法,打破汉字立体化始终囿于二维平面的现状,使汉字造型艺术真正走向三维,拓宽字体表现的视野和维度.方法 首先对当前立体形式的汉字设计进行调查研究,总结其设计方法及特点.其次基于设计中本能、行为、反思三个层次与符号语义学的对应关系,对立体化汉字进行设计考量,构建两者的对应模型,梳理设计的元素及要点.最后提出从汉字的间架结构出发,通过设计实践解析文字三维立体形态的构建过程及方法,为文字的立体化设计提供一种新思路和新视角.结论 汉字立体化设计在当代多元的审美语境中具有可行性和创新性,在实践的基础上提出汉字立体化的设计方法及要点,有助于丰富字体设计的视觉表现形式和文字情感表达,对汉字设计的创新和发展起到积极的促进作用.     

基于提升产品文化内涵的设计构成要素分析

目的通过产品设计活动对产品文化形成的要点进行解析,从而为现代产品创新设计提供一种新的思维方式。方法从产品设计文化所依托的3个载体,即人、物、境入手,分析能够体现产品文化内涵的表象形式,以产品设计的基本要素为切入点来引导当下产品设计活动的正确导向和理念。结论产品设计不是单一的造物行为,而是一种可以改变人们生活方式以及生活态度的创新活动。合理的产品设计活动一旦使得产品形成了某种文化现象,其自身不仅具备了更加持久的生命力,而且更能正确的引导使用者的生活及工作的方式和态度。