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Design Studio I: User-Centered Product Design Process
Credits: 4
Prerequisites:
• Fundamentals of Industrial Design II
• Technical Design II
• Human Factors Engineering II
Recommended Readings:
Download:
Week
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Class Activities
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1
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Introduction to User-Centered Design Process - Problem definition
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2
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Gantt chart - Focus group - User Observation - Questionaire
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3
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User Demographics - Customer needs - Sustainability
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4
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Historical Development - Competitor analysis and benchmarking
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5
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Product features and performance - Product system and its structure
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6
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Ergonomics and Universality - Reliability and safety
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7
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Aesthetic, symbolic association and semantic interpretation
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8
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Standards - Materials - Manufacturing process - Assembly
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9
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Packaging - Warehousing - Transportation - Sale and services
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10
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Design criteria and product specification (in hierarchy arrangement)
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11
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Intellectual property, patents and copy right
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12
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Concept generation
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13
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Evaluation and concept selection
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14
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Concept development
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15
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Concept development
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16
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Implementation
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17
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Final presentation
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Design Studio II: Packaging design
Credits: 2
Prerequisites:
• Design Studio I
• Geometry II
Recommended Readings:
Download:
• Packaging Design - part I ; (123 KB)
Week
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Class Activities
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1
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history and description of packaging
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2
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information, usage, attention, differentation, disterbution, environment
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3
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dureable consumer products, fast moving consumer goods
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4
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packaging for cosmetics and health care products
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5
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packaging for foods - assignment 1
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6
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packaging for fashion products and accessories
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7
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packaging for multimedia and cultural products
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8
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materials and technologies - assignment 2
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9
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paper and paperboard technologis
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10
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bottles and jars - glass packaging technologies
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11
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beverage cans - assignment 3
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12
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plastic packaging technologis
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13
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signs, icons, label and tags - assignment 4
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14
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graphic design: color, photography, logo, layout, print
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15
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filling, sealing, testing
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16
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Implementation
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17
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final presentation
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Design Studio IV: Creative Problem Solving
Credits: 3
Prerequisites:
• Design Studio I
Recommended Readings:
Download:
• Trial iMindMap: All rights reserved by Tony Buzan.
Week
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Class Activities
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1
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the brain capabilities, left brain or right brain?
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2
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dictionary technique
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3
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morphological matrix
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4
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idea mapping (mind mapping), Buzan iMindMap
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5
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assignment 1
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6
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inverse brainstorming, brainstorming
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7
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Lotus blossom, Six-Three-Five
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8
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SCAMPER
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9
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assignment 2
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10
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TRIZ (part 1)
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11
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assignment 3
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12
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TRIZ (part 2)
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13
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assignment 4
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14
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six thinking hats
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15
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concept classification tree - concept combination table
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16
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assignment 5
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17
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final presentation
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Design Studio IX: Design in the Manufacturing Firms
Credits: 5
Prerequisites:
• Design Studio I
Recommended Readings:
Week
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Class Activities
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1
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chapter 3: introduction to product planning process
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2
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chapter 3: identifying opportunities, prioritize projects
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3
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chapter 3: mission statement, pre-project planning
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4
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chapter 4: identifying customer needs (step 1)
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5
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chapter 4: identifying customer needs (step 2)
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6
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chapter 4: organize the needs into hierarchy
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7
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chapter 5: establishing target specifications (list of metrics)
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8
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chapter 5: establishing target specifications (target values)
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9
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chapter 6: concept generation
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10
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chapter 6: concept generation
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11
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chapter 6: concept generation
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12
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chapter 7: concept selection, screening and scoring matrix
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13
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concept development (ergonomics, aesthetic, environment)
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14
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concept development (brand, interaction, standards, services)
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15
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concept development (refinement)
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16
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chapter 11: design for manufacturing, BOM
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17
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chapter 12: model making and prototyping
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Design Evaluation: Multi-Criteria Decision Making
Credits: 3
Prerequisites: ----
Recommended Readings:
Download:
• Four Steps to Concept Evaluation (author: David Ullman) ; (1.39 MB)
Only one translated chapter is provided for students.
Week
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Class Activities
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1
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introduction to Design Evaluation: Multi-Criteria Decision Making
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2
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simulation, prototyping, intuitional selection, checklists, spider diagrams
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3
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Multivoting (red dots / green dots), Nominal Group Technique
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4
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Pair Comparison Method
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5
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Quantitative Analysis (weighted matrix)
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6
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Screening Matrix (S. Pugh's method)
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7
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Scoring Matrix (Ulrich and Eppinger)
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8
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Conclusion
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9
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Exam (mid-term)
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10
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4 steps to Decision Making (David Ullman)
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11
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AHP (Analytical Hierarchy Process)
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12
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Product Evaluation for Safety and Reliability
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13
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Cost / Worth Analysis
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14
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Benchmarking projects
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15
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Conclusion
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16
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assignment
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17
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Exam (final)
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Semester
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Courses Taught at Azad University
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2012 Spring
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DS* IV, Model Making and Fabrication II, Final Project
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2011 Fall
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DS I, DS II, Design Evaluation: Multi-Criteria Decision Making, Final Project
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2011 Spring
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DS IV, Model Making and Fabrication II, Final Project
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2010 Fall
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DS II, Multi Criteria Decision Making, DS I, Final Project
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2010 Spring
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DS IV, DS IX, Model Making and Fabrication II, Final Project
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2009 Fall
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DS II, Multi-Criteria Decision Making, Model Making and FabricationII, Final Project
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2009 Spring
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DS IX, DS VII, DS IV, DS V, Model Making and Fabrication II, Final Project
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2008 Fall
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DS I, DS II, DS VIII, Multi-Criteria Decision Making
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2008 Spring
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DS IV, DS V, Model Making and Fabrication II, Form and Space
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2007 Fall
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Multi-Criteria Decision Making, Principles of Industrial Design I, Sketching I
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2007 Spring
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Sketching II (Rendering)
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2006 Fall
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Sketching II, Principles of Visual Arts I
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2006 Spring
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Sketching II (Rendering)
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* DS: Design Studio
DS I: User-Centred Product Design Process - DS II: Packaging Design - DS IV: Creative Problem Solving - DS V: Street Furniture Design - DS VII: Furniture and Interiors - DS VIII: Biomimetic: design inspired by nature - DS IX: Design in the Manufacturing Firms
⇑ Begining
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Interior Architecture - source: Wikipedia.org
Interior Architecture (Latin penitus architectura, esoterikos "interior" and - arkhitekton "chief builder, carpenter, or mason") is truly a marriage of three distinct design disciplines: interior design, architecture, and industrial design. Interior design focuses on the selection of interior materials, finishes, and furnishings; architecture on the design of building forms and systems; and industrial design on the design of manufactured products. Another definition is the specific features of a building's interior. It can also be the initial design and plan for use, the later redesign to accommodate a changed purpose, or a significantly revised design for adaptive reuse of the building shell. The latter is often part of sustainable architecture practices, conserving resources through 'recycling' a structure by adaptive redesign. Generally referred to as the spatial art of environmental design, form and practice, interior architecture is the process through which the interiors of buildings are designed, concerned with all aspects of the human uses of structural spaces. Interior architecture can refer to:
The art and science of designing and erecting building interiors and related physical features.
The practice of an interior architect, where architecture means to offer or render professional services in connection with the design and construction of a building's interior that has as its principal purpose human occupancy or use.
A general term to describe building interiors and related physical features.
A style or method of design and construction of building interiors and related physical features.
Education in interior architecture should include the study of historic architectural and design styles, building codes and safety, preserving and restoring old buildings, drawing plans of original designs, and building physical and virtual (computer-based) models. The field of interior architecture has a lot in common with interior design and decorating; however, it typically focuses on architecture and construction. Students of both fields learn to design comfortable, safe, and useful indoor spaces, from downtown penthouses to high school classrooms. A student of interior architecture will learn about much more than artistic concerns, such as choosing which style of furnishings works well in an open, loft-like apartment. Study will also include information on technical issues, such as seismic retrofitting (making old buildings safe from earthquakes).
The term built environment refers to the human-made surroundings that provide the setting for human activity, ranging in scale from personal shelter and buildings to neighborhoods and cities that can often include their supporting infrastructure, such as water supply or energy networks.The built environment is a material, spatial and cultural product of human labor that combines physical elements and energy in forms necessary for living, working and playing.
In practice, the term is typically used to describe the interdisciplinary field which addresses the design, construction, management and use of these man-made surroundings as an interrelated whole as well as their relationship to human activities over time (rather than a particular element in isolation or at a single moment in time). The field is generally not regarded as a traditional profession or academic discipline in its own right, instead drawing upon areas such as economics, law, public policy, management, design, technology, and environmental sustainability.
In architecture and environmental psychology, the phrase is a useful acknowledgment that the majority of urban environments already exist, that a small fraction of buildings constructed annually, even in the industrialized world, are designed by architects, and that users of the built environment encounter issues that cross the traditional professional boundaries between urban planners, traffic engineers, zoning authorities, architects, interior designers, industrial designers, etc.
Brand identity - Sourcee: Wikipedia.org
The outward expression of a brand, including its name, trademark, communications, and visual appearance. Because the identity is assembled by the brand owner, it reflects how the owner wants the consumer to perceive the brand - and by extension the branded company, organization, product or service. This is in contrast to the brand image, which is a customer's mental picture of a brand. The brand owner will seek to bridge the gap between the brand image and the brand identity.
Effective brand names build a connection between the brand personality as it is perceived by the target audience and the actual product/service. The brand name should be conceptually on target with the product/service (what the company stands for). Furthermore, the brand name should be on target with the brand demographic. Typically, sustainable brand names are easy to remember, transcend trends and have positive connotations. Brand identity is fundamental to consumer recognition and symbolizes the brand's differentiation from competitors.
Brand identity is what the owner wants to communicate to its potential consumers. However, over time, a product's brand identity may acquire (evolve), gaining new attributes from consumer perspective but not necessarily from the marketing communications an owner percolates to targeted consumers. Therefore, brand associations become handy to check the consumer's perception of the brand.
Brand identity needs to focus on authentic qualities - real characteristics of the value and brand promise being provided and sustained by organizational and/or production characteristics.
Visual brand identity
The visual brand identity manual for Mobil Oil (developed by Chermayeff & Geismar), one of the first visual identities to integrate logotype, icon, alphabet, color palette, and station architecture to create a comprehensive consumer brand experience.
The recognition and perception of a brand is highly influenced by its visual presentation. A brand's visual identity is the overall look of its communications. Effective visual brand identity is achieved by the consistent use of particular visual elements to create distinction, such as specific fonts, colors, and graphic elements. At the core of every brand identity is a brand mark, or logo. In the United States, brand identity and logo design naturally grew out of the Modernist movement in the 1950s and greatly drew on the principles of that movement - simplicity (Mies van der Rohe's principle of "Less is more") and geometric abstraction. These principles can be observed in the work of the pioneers of the practice of visual brand identity design, such as Paul Rand, Chermayeff & Geismar and Saul Bass.
Brand parity
Brand parity is the perception of the customers that some brands are equivalent. This means that shoppers will purchase within a group of accepted brands rather than choosing one specific brand. When brand parity is present, quality is often not a major concern because consumers believe that only minor quality differences exist.
Expanding role of brand
it was meant to make identifying and differentiating a product easier. Over time, brands came to embrace a performance or benefit promise, for the product, certainly, but eventually also for the company behind the brand. Today, brand plays a much bigger role. Brands have been co-opted as powerful symbols in larger debates about economics, social issues, and politics. The power of brands to communicate a complex message quickly and with emotional impact and the ability of brands to attract media attention, make them ideal tools in the hands of activists.
Branding approaches
Company name
Often, especially in the ine of the most powerful statements of branding: saying just before the company's downgrading, "No one ever got fired for buying IBM"). This approach has not worked as well for General Motors, which recently overhauled how its corporate brand relates to the product brands. Exactly how the company name relates to product and services names is known as brand architecture. Decisions about company names and product names and their relationship depends on more than a dozen strategic considerations.
In this case a strong brand name (or company name) is made the vehicle for a range of products (for example, Mercedes-Benz or Black & Decker) or a range of subsidiary brands (such as Cadbury Dairy Milk, Cadbury Flake or Cadbury Fingers in the United States).
Individual branding
Main article: Individual branding
Each brand has a separate name (such as Seven-Up, Kool-Aid or Nivea Sun (Beiersdorf)), which may compete against other brands from the same company (for example, Persil, Omo, Surf and Lynx are all owned by Unilever).
Attitude branding and iconic brands
Attitude branding is the choice to represent a larger feeling, which is not necessarily connected with the product or consumption of the product at all. Marketing labeled as attitude branding include that of Nike, Starbucks, The Body Shop, Safeway, and Apple Inc.. In the 2000 book No Logo, Naomi Klein describes attitude branding as a "fetish strategy".
"A great brand raises the bar -- it adds a greater sense of purpose to the experience, whether it's the challenge to do your best in sports and fitness, or the affirmation that the cup of coffee you're drinking really matters." - Howard Schultz (president, CEO, and chairman of Starbucks)
The color, letter font and style of the Coca-Cola and Diet Coca-Cola logos in English were copied into matching Hebrew logos to maintain brand identity in Israel.
Iconic brands are defined as having aspects that contribute to consumer's self-expression and personal identity. Brands whose value to consumers comes primarily from having identity value are said to be "identity brands". Some of these brands have such a strong identity that they become more or less cultural icons which makes them "iconic brands". Examples are: Apple, Nike and Harley Davidson. Many iconic brands include almost ritual-like behaviour in purchasing or consuming the products.
There are four key elements to creating iconic brands (Holt 2004):
"Necessary conditions" - The performance of the product must at least be acceptable, preferably with a reputation of having good quality.
"Myth-making" - A meaningful storytelling fabricated by cultural insiders. These must be seen as legitimate and respected by consumers for stories to be accepted.
"Cultural contradictions" - Some kind of mismatch between prevailing ideology and emergent undercurrents in society. In other words a difference with the way consumers are and how they wish they were.
"The cultural brand management process" - Actively engaging in the myth-making process in making sure the brand maintains its position as an icon.
No-brand branding
Recently a number of companies have successfully pursued "no-brand" strategies by creating packaging that imitates generic brand simplicity. Examples include the Japanese company Muji, which means "No label" in English (Mujirushi Ryohin - literally, "No brand quality goods"), and the Florida company No-Ad Sunscreen. Although there is a distinct Muji brand, Muji products are not branded. This no-brand strategy means that little is spent on advertisement or classical marketing and Muji's success is attributed to the word-of-mouth, a simple shopping experience and the anti-brand movement. "No brand" branding may be construed as a type of branding as the product is made conspicuous through the absence of a brand name. "Tapa Amarilla" or "Yellow Cap" in Venezuela during the 80s is another good example of no-brand strategy. It was simply recognized by the color of the cap of this cleaning products company.
Universal Design - source: http://accessit.nda.ie
The Disability Act 2005 defines Universal Design, or UD, as:
the design and composition of an environment so that it may be accessed, understood and used
to the greatest possible extent,
in the most independent and natural manner possible,
in the widest possible range of situations, and
without the need for adaptation, modification, assistive devices or specialised solutions, by any persons of any age or size or having any particular physical, sensory, mental health or intellectual ability or disability, and
means, in relation to electronic systems, any electronics-based process of creating products, services or systems so that they may be used by any person.
Universal Design should incorporate a two level approach:
User-aware design: pushing the boundaries of 'mainstream' products, services and environments to include as many people as possible.
Customisable design: design to minimise the difficulties of adaptation to particular users.
With both levels in mind, it can also be helpful to view Universal Design at a micro and macro level.
Viewing Universal Design at the Micro level
A single design feature or a simple product, designed so that it can be used by as many people as possible.
At this level, the designer is not expected to find one design solution that accommodates the needs of 100% of the population, as Universal Design is not one size fits all. Rather, designers are urged to explore design solutions that are more inclusive; those designs that push the boundaries as far out as possible without compromising the integrity or quality of the product.
If more than one option is available for a design feature, choose the more inclusive feature. For example, when installing a handle on a door, it is always better to opt for a lever handle, rather than a door knob, as the lever handle can be opened using the elbow or a closed fist, benefiting people carrying shopping bags as well as people with limited strength in their hands.
See examples of products that incorporate simple or basic design features which are inline which improve the product' s Universal Design.
Viewing Universal Design at the Macro level
At this level the designer has the opportunity to combine accessible and usable design features, with customisable or adaptable features, alongside more specialised design solutions that deal with the most extreme usability issues (see levels 1-3 above).
By stepping back from the individual features and looking at the product, service or environment as a whole, designers are in a position to investigate alternatives providing equivalent experiences to users.
Examples include a user-friendly website that meets Web Accessibility Initiative's (WAI) Web Content Accessibility Guidelines 2.0 (WCAG 2.0), has a customisable user interface, and is compatible with assistive technologies. See examples of products that incorporate more sophisticated design features which improve the product's Universal Design.
From micro to macro, Universal Design has implications for the design of any single feature of a product, service or environment, as well as the design of that product, service or environment as a whole.
Accessibility in User-Centered Design: Background
The goal of incorporating accessibility into User-Centered Design is to follow a "process of creating products (devices, environments, systems, and processes) which are usable by people with the widest possible range of abilities, operating within the widest possible range of situations (environments, conditions, and circumstances), as is commercially practical."[1]
While Part II of this book is focused primarily for people who are familiar with User-Centered Design (UCD) and have a basic understanding of accessibility, this chapter provides brief introductions and links to resources for those not familiar with UCD or accessibility.
This chapter does not fully cover UCD or accessibility. It briefly introduces the following topics:
What is Accessibility?
What is User-Centered Design?
Incorporating Accessibility in User-Centered Design
What is Accessibility?
Accessibility basically means that people with disabilities can use a product. More specifically, accessibility is making user interfaces perceivable, operable, and understandable for people with a wide range of abilities. It encompasses all disabilities, or functional limitations, including visual, auditory, physical, speech, cognitive, and neurological disabilities. This includes temporary conditions, such as when you break your arm, or lose your glasses.
Accessibility also makes products more usable by people in a wide range of situations. Situational limitations come from circumstances, environments, and conditions, and can affect anybody-that is, people without disabilities as well. For example, situational limitations include using the Web on a mobile phone when your eyes are busy (such as driving), in bright sunlight, in a dark room, when your hands are full, in a quiet environment (where you don't want it to make noise), in a noisy environment (where you can't hear well), and in an emergency (when you may not be thinking clearly).
Thus, while access to people with disabilities is the primary focus of accessibility, it also benefits people without disabilities and organizations that develop accessible products because designing for functional limitations overlaps with designing for situational limitations.
For a more comprehensive introduction to web accessibility, including specific examples of how web accessibility benefits organizations and individuals, see the Understanding Web Accessibility book chapter.
Industrial Design (ID) - source: wikipedia.org
is the professional service of creating and developing concepts and specifications that optimize the function, value and appearance of products and systems for the mutual benefit of both user and manufacturer."
Design, itself, is often difficult to define to non-designers because the meaning accepted by the design community is not one made of words. Instead, the definition is created as a result of acquiring a critical framework for the analysis and creation of artifacts. One of the many accepted (but intentionally unspecific) definitions of design originates, "Design is the process of taking something from its existing state and moving it to a preferred state."This applies to new artifacts, whose existing state is undefined, and previously created artifacts, whose state stands to be improved.
According to the Chartered Society of Designers, design is a force that delivers innovation that in turn has exploited creativity. Their design framework known as the Design Genetic Matrix determines a set of competences in 4 key genes that are identified to define the make up of designers and communicate to a wide audience what they do. Within these genes the designer demonstrates the core competences of a designer and specific competences determine the designer as an 'industrial designer'. This is normally within the context of delivering innovation in the form of a three dimensional product that is produced in quantity. However the definition also extends to products that have been produced using an industrial process.
According to the ICSID (International Council of Societies of Industrial Design), "Design is a creative activity whose aim is to establish the multi-faceted qualities of objects, processes, services and their systems in whole life-cycles. Therefore, design is the central factor of innovative humanization of technologies and the crucial factor of cultural and economic exchange."
It is critical to the product development process that the industrial design and engineering aspects of a product are considered simultaneously. This can occur via two methods. The most streamlined method is for the product designer to have an education and/or background that encompasses both industrial design and engineering. Unfortunately, there are very few educational establishments (especially in the United States) that embrace this educational ideology. A survey of engineering and industrial design curricula clearly demonstrates this fault. The other method, which is utilized by most U.S. companies, is to employ or contract with separate teams that focus somewhat independently, with occasional meetings to ensure the primary goals of each team are met or exceeded. The difficulty with the latter process is that there is sometimes a vast disconnect behind the skills, education, and understanding of the two groups. This disconnect can sometimes become extremely cumbersome to the design process, and possibly fatal to the ultimate success of the product.
Although the process of design may be considered 'creative', many analytical processes also take place. In fact, many industrial designers often use various design methodologies in their creative process. Some of the processes that are commonly used are user research, sketching, comparative product research, model making, prototyping and testing. These processes are best defined by the designers and/or other team members. Industrial designers often utilize 3D software, computer-aided industrial design and CAD programs to move from concept to production. Also industrial designers may build a protype first and then use industrial CT scanning to test for interior defects and also generate a CAD model. From this the manufacturing process may be modified to make the product better. Product characteristics specified by the industrial designer may include the overall form of the object, the location of details with respect to one another, colors, texture, form, and aspects concerning the use of the product ergonomics. Additionally the industrial designer may specify aspects concerning the production process, choice of materials and the way the product is presented to the consumer at the point of sale. The use of industrial designers in a product development process may lead to added values by improved usability, lowered production costs and more appealing products. However, some classic industrial designs are considered as much works of art as works of engineering: the iPod, the Jeep, the Fender Stratocaster, the Coke bottle, and the VW Beetle are frequently cited examples.
Industrial design also has a focus on technical concepts, products and processes. In addition to considering aesthetics, usability, and ergonomics, it can also encompass the engineering of objects, usefulness as well as usability, market placement, and other concerns such as seduction, psychology, desire, and the emotional attachment of the user to the object. These values and accompanying aspects on which industrial design is based can vary, both between different schools of thought and among practicing designers.
Product design and industrial design can overlap into the fields of user interface design, information design and interaction design. Various schools of industrial design and/or product design may specialize in one of these aspects, ranging from pure art colleges (product styling) to mixed programs of engineering and design, to related disciplines like exhibit design and interior design, to schools where aesthetic design is almost completely subordinated to concerns of function and ergonomics of use (the so-called functionalist school).
Also used to describe a technically competent product designer or industrial designer is the term Industrial Design Engineer. The Cyclone vacuum cleaner inventor James Dyson for example could be considered to be in this category.