Design

The observation, analysis and construction of cities and forms of mobility are not always in step with the complexity of urban systems and changes in contemporary societies. It is possible to use time as a key to reading the functioning and dysfunctions of cities and as a springboard for new mobilitiesand sustainable urban development policies. This "chronotopic" perspective makes it possible to approach the complexity of urban systems and reflect on ways of "indwelling" times and mobilities. The researcher, the urban planner, the builder and the citizen are invited to change their outlooks, to think, design and manage the city by simultaneously taking into account urban physicality, flows and timetables in order to imagine, together a "malleable city", a more human, accessible and hospitable one.

The design of interior space encompasses cognition of many factors such as site conditions, functional and behavioural relationships, structural form, symbolic meaning, and sensory responses. These factors influence materiality, and have been influenced by materials, forming a central principle in design. The narrative that we establish in the design of our spaces has to begin with material as a starting point of the story. Materiality within an interior sits within a nexus of the context and the body. The user who dominates the analysis of the program of use is not an abstract entity, but predominately a human being that relates to the concrete conditions of their world — a material world that is in constant flux and demands innovation.

Designers are change agents, as we are charged with the task to encourage and direct change. Design deals with the responsibility of releasing or reducing tensions in the network of social practices. These social practices ultimately involve the user and their relationship with materials. Materiality becomes the driver for a user-centered view of innovation. This paper builds upon Ilkka Tuomi’s analysis of innovation, in which he comments on the systematic relationship of innovation to other elements of society and not just an outcome of a single business or individual.

Using theoretical frameworks of innovation and materiality as a foundation, this paper will examine the material/space/form continuum as explored in an intensive studio experience. This experience was aimed at providing the design student with an alternative strategy to dealing with innovative idea generation in a user-centered social system in which material, form, and space all play vital roles.

By using the increasingly varied and exciting new developments in new material technology, this educational experience reported here – in the form of a design studio and a masterclass, examined how the junction of materials could develop a strategy for form development. The students explored the various paradigms of joining as proposed by Warren Wake. Using this knowledge, further exploration was undertaken based on the work of Eskild Tjalve in a clear and systematic manner through a microanalysis of form, and was later extrapolated towards a generation of spatial experiences for the human body. These methodologies, usually associated with industrial design, but now transferred to the discipline of interior design will be outlined here.

The amalgamation of these methods into a new approach to conceiving interior space will then be proposed. The mapping of this alternative method for innovative thought, supported by case studies from the studio experiences, will provide design students and designers with an alternative strategy to the usual spatial precedents, natural forms, and linguistic constructs that are commonly used as instigators for innovative design ideas.

The exploration in this new model of a studio, an alternative understanding of the relationship of material and form to space and how they are all part of a design continuum. Future designers will now have a rich, varied, and versatile methodology for dealing with form-making.

ABSTRACT Lean Six Sigma Executive Overview (Case Study) Templates are a guide to Lean Six Sigma Green Belt, Lean Six Sigma Black Belt, and Lean Six Sigma Master Black Belt Projects. Lean Six Sigma Practitioners use the DMAIC (Define, Measure, Analyze, Improve, and Control) Phases. The Lean Six Sigma Executive Overview (Case Study) include the most common tools used in the DMAIC Phases. There are Backup Slides that include the tools and templates of Optional or less often tools. There are guidelines in the notes section. These templates are used to document Lean Six Sigma Projects as they are executed. I wish you well on your projects. Steven Bonacorsi, Lean Six Sigma Master Black Belt.

Kelingkan is a unique handicraft that uses metal strips gilt with gold or silver that is embroidered onto the surface of a soft fabric. The intricacy of this type of embroidery requires a high degree of detail and expertise. In Malaysia, kelingkan embroidery is practised on a small scale and sold for a high sum. However, how far is kelingkan embroidery known today and can it become a catalyst for the development of the creative industry? This study is conducted in the descriptive qualitative method via field work, namely observational interviews with embroiderers and studies of collections. As a result, this study has found that there are 3 states with active embroiderers that are still able to sell their kelingkan shawls or selayah for more than RM1000 per piece. In addition, the beauty and creativity of kelingkan embroidery has continued to attract even more members of the community to purchase kelingkan items, as they are used in important official ceremonies. This study has also concluded that an increase in the number of embroiderers will help to generate revenue and increase the production of kelingkan products to aid in the development of the creative industry. As an implication, this study can be used a source of knowledge and income, so that this art form will be sustained and be a source of income for the Malay community.

Este artigo pretende instigar reflexões acerca do ensino de design da informação na atualidade, tendocomo principal referencial teórico os questionamentos expostos pelo filósofo sul-coreano Byung-Chul Han.Abordando o esgotamento da sociedade do século XXI, bem como a temporalidade do processo decriação digital ao qual os alunos e alunas estão submetidos, este trabalho tece conexões entre as ideiasde Han e de teóricos do campo do design — ou próximos a ele —, a fim de se pensar o estímulo aoequilíbrio entre as habilidades técnicas e o pensamento visual destes estudantes. Nesse sentido, apontatambém para a necessidade de se reconsiderar os processos pedagógicos e avaliativos, enraizados nasnoções de desempenho, urgência, controle e rigidez, com o intuito de conduzir a outras relações deensino-aprendizagem e possibilitar — através da priorização da subjetividade, da observação minuciosada informação e da criação lenta — a produção de novas mensagens e significados.

This article intends to instigate reflections about the teaching of information design today, having as main theoretical reference the questions raised by the South Korean philosopher Byung-Chul Han. Addressing the exhaustion of 21st century society, as well as the temporality of the digital creation process to which students are subjected, this work weaves connections between the ideas of Han and theorists in the field of design — or close to him —, in order to think about stimulating the balance between the technical skills and the visual thinking of these students in pedagogical practices. In this sense, it also points to the need to reconsider the pedagogical and evaluative processes, rooted in the notions of performance, urgency, control and rigidity, in order to lead to other teaching-learning relationships and to enable — through the prioritization of subjectivity, of minute observation of information and slow creation — the production of new messages and meanings.

To cite this paper:  Ford, Chris. (2012). “The Found Object in Design,” Forward 112: Process. AIA National Associates Committee, American Institute of Architects, July 2012. p38-51.

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While artists have an established record of scholarship about the role of found objects in their work, there is a disappointing lack of scholarship that considers the role of found objects in design. Perhaps this can first be attributed to the different motivations by which an artist and a designer choose to incorporate a found object.  This difference in motivations illuminates that primary reasons for selection are rooted in the source disciplines themselves. The found object in art has no responsibility to perform beyond its aesthetic affect, and the found object in design has no further responsibility beyond its pragmatic (i.e. mechanical, structural) affect.  Because the incorporation of found objects is non-essential to all design solutions, then as designers, there is a need to explicitly understand the benefit of incorporating found objects, the criteria for their selection, their impact on design thinking, and their ramifications for use.  This paper will articulate four generative strategies for how found objects are / can be used within the design discipline: Resource Availability, Political Heuristics, Creative Heuristics and Aesthetic Heuristics.  Design solutions from both architectural design and industrial design are used in support of the formation of these categories, which include work by Michael Rotondi, Phoenix Commotion, Baker + Hesseldenz Design, and LOT-EK.  Ultimately, this paper showcases the finished design work of students for an assignment titled “FOCO: The Found-Object Craft-Object,” in which each author must answer the question of how ought a found object be used in design.  Student work featured emerged from a three credit hour graduate-level elective titled “Modern Craft” offered by the author while faculty at the University of Nebraska, College of Architecture.

There might be nothing new or interesting in saying that creativity fuels both humor and design. But is it possible to reverse this equation? Can humor or rather the thought structure and method of humor fuel creative thinking or more specifically design thinking?

This paper attempts to study the innate structure of humor, and the method used in its construction. Some of these methods used to construct humor will be explored further to create frameworks that can be valuable in the design process as an alternative system of structuring information to create interesting insights and solutions.  It is important at this point to clarify that this paper is not aimed at providing a method to infuse humor in the final output of the design process. This study is aimed solely at understanding the thought process used in the construction of humor and analyzing how such a thought structure could be valuable as a creative stimulus in the design process. To this point, this paper also examines the structure of creative thought briefly as a bridge mechanism between humor and design thinking.

A collaborative UK government-funded research project drawing on the design and sustainability expertise of the Department of Design and Technology at Loughborough University and the sustainability and product bank functions at The Boots Company set out to investigate the potential that refillable packaging systems can offer the consumer and the environment. In the past, refills have generally been categorized under one general heading and often branded as a failure. However, early in the project, the team identified that by taking a creative approach to interpreting refills, there are actually a wide range of different types of refills that can be differentiated with respect to their delivery approach and level of consumer/business interaction. Once these had been identified, collated and categorized, the team set out to investigate the consumer perceptions, and the business barriers and drivers found to influence the adoption and success of a number of different types of refillable packaging. This paper reports on those findings. It concludes that differentiating between refill types holds the key to developing more suitable and more successful refillable packaging systems as positive and negative attributes can be more accurately identified and responded to. Copyright © 2009 John Wiley & Sons, Ltd.

Design fiction is a design approach emerging out of the formal disciplines of Industrial Design and ubiquitous computing (Dourish and Bell 2008, Bleecker 2009a, Grand and Wiedmer 2010, DiSalvo 2012, and Sterling 2013b, 2016). Other design fields are starting to consider the value of this approach, including architecture and urban design (Knutz et al 2014). However, it might be claimed that both architecture and urban design have long involved the production of fiction and fictional environments in their pursuit of novel or aspirational project outcomes. The architectural design ideas competition can be traced back as far as the documented history of architecture-at least two and a half thousand years (Kreiner 2010, Lipstadt 1989)-and has been focused on reimagining our built context through visionary futures. Architectural environments are a staple in media representations of future-orientated imaginings. All design can be defined as exploring possible futures through formal outcomes as the products of a design process do not yet exist but will possibly come into being. This begs the question of a more precise understanding of design fiction and its role as both a positioning approach as well as a methodology for its use in architectural design. As such, this paper examines the nature of design fiction and reveals its close relation to a group of design approaches related to future-forecasting but also the growing consolidation of its definition through a design research structure, recurrent method frameworks, the translation of literary tactics and focus of diegetic environments.

This volume has been prepared under the auspices of the project entitled, ‘Competition Reforms in Key Markets for Enhancing Social & Economic Welfare in Developing Countries’ (CREW Project). This project was implemented by CUTS in four countries: Ghana, India, Philippines and Zambia, and across two common sectors: Staple Food and Bus Transport with the support from DFID (UK) and BMZ (Germany) facilitated by GIZ (Germany). The aim of the project was to highlight the relevance of competition reforms for social and economic welfare in developing countries, and motivate other countries, governments and development partners to accord greater attention to the subject of competition reforms. In view of this overall aim of the project, with inputs from the project advisers CUTS designed the final conference of the CREW project on a broader theme to talk about ‘Relevance of Competition & Regulatory Reforms in Pursuing Sustainable Development Goals (SDGs) in Developing Countries’. The theme was thought to be both contemporary and relevant in view of the adoption of the SDGs a couple of months before this final conference. In addition to the support it received from DFID (UK), BMZ (Germany) and GIZ (Germany), the conference also received support from the World Bank, G-77 Secretariat and the OECD. CUTS is grateful to all the above organisations for supporting the conference, and indeed also the production of this volume. We acknowledge the support from the members of the Project Advisory Committee of the CREW project, who contributed to make this conference a grand success. Special thanks to Clement Onyango and colleagues at CUTS Nairobi for their support and tireless efforts in the run-up and during the conference. We gratefully acknowledge the hard work and patience of all the paper authors for contributing extremely interesting individual chapters to this volume. We are also thankful to those friends of CUTS who reviewed the draft papers – Eleanor Fox, Tania Begazo/Martha Licetti (World Bank), Rafaelita Aldaba, R S Khemani, Frederic Jenny, Payal Malik, Allan Fels, David Ong’olo, Ashwini Swain, Peter Holmes and John Davies/Lynn Robertson (OECD). We are indebted to Mukhisa Kituyi, Secretary General, UNCTAD for writing an encouraging Foreword – and we hope to continue to receive his and UNCTAD’s support. We greatly appreciate the diligence of Madhuri Vasnani and Garima Shrivastava for editing and Mukesh Tyagi for preparing the layout of this report. Special thanks are due to Ashutosh Soni for his excellent coordination of communication with authors and reviewers of papers of this volume. We acknowledge the efforts of all the members of the CREW team, especially Cornelius Dube, Shreya Kaushik and Neha Tomar. Last but not the least, this report would not have seen the light of the day without the skillful direction, and overall guidance of Pradeep S Mehta, Secretary General, CUTS. He took special interest in this volume and went through each and every paper carefully himself. Words alone cannot convey our sincere gratitude to each and every individual who have contributed in every small way towards bringing out this volume. But it is only words that this world thrives on. We express our sincere gratefulness to all such individuals, without whom the publication of this volume would not have been possible.

This article explores the role of design in Ladakh, a remote region in northwestern
India that was opened to tourism and trade only 35 years ago. The shift in the prevailing
socio-economic structure is manifested within the region’s forms of visual communication, spanning a continuum from photographic advertising to hand-painted wayfinding systems. One questions the cumulative effects these graphic artifacts have on local people’s perception of the region and their identities integrated with it. Workshops were conducted in which participants were introduced to the abstract visual
language of maps then sketched their home villages. Content analysis of these externalized cognitive maps reveals a consistency of visual representation strategies across all participants. References to natural and manmade features reflect reverence for the land and an understanding of agrarian systems. Currently graphic design in Ladakh is in service to profit outside interests. The author seeks a role for design that values the local constituency as well.

Long considered as an exotic weave, in the eyes of designer’s and consumers alike, Ikat in its Bandha avatar in Odisha has really grown into the gold standard. The design expertise and finesse of work here has rendered it as a veritable classic. And now designers are looking at it in a whole different light. Today it is used as a mainstream high fashion textile. But it has still a lot of ground to cover to become an indomitable force. Opportunities have also brought forth the challenges that need to be addressed first. For long, this weave had been seen as a heritage textile by the weavers, who pass on the knowhow from one generation to another, leaning closer to be used in classic style Indian attire like saris. Those who feel a little less adventurous are taking the design ethos of the fabric and turning it on its head. Engineered combinations of two or more motif/pattern styles come into play to shed the old-school single ideology weave. In recent memory, a lot of fashion shows by reputed designers were focused on Ikat.This paper will highlight the areas related to contemporary styling and how the traditional motif/pattern style  are manupulated by different desiners throughout the world.Looking at the enourmus potential of Ikat application there is need to have an eye towards adressing the issue of productivity also by which we can asses the socioeconomic growth and able to provde better solutions to ikkat weavers community.
Key Words: Bandha,Ikat,Motif, Pattern,Weave,Community

In order to obtain an optimal design of composite offshore wind turbine blade, take into account all the structural properties and the limiting conditions applied as close as possible to real cases. This work is divided into two stages: the aerodynamic design and the structural design. The optimal blade structural configuration was determined through a parametric study by using a finite element method. The skin thickness, thickness and width of the spar flange, and thickness, location, and length of the front and rear spar web were varied until design criteria were satisfied. The purpose of this article is to provide the designer with all the tools required to model and optimize the blades. The aerodynamic performance has been covered in this study using blade element momentum (BEM) method to calculate the loads applied to the turbine blade during service and extreme stormy conditions, and the finite element analysis was performed by using abaqus code to predict the most critical da...

The increase in pipeline manufacturing for process industries calls automation of welding system (AWS) in tune with today's demand for accuracy in welding, increased productivity with lesser resources and enhanced profit. Manual welding results in more manpower requirement, low productivity, and low weld quality etc. Automatic welding removes all above problems thus making system itself superior to manual welding system. In this paper, automatic welding system is designed and developed for welding of 'V' Groove in Pipes. AWS based on Embedded / Microcontroller with mechanized output control system is developed for Gas Metal Arc Welding (GMAW) technique. Moreover, system is simple and economical.

The representation of Mexico in France through three exhibitions since 2014, is the subject of
this memory. The exhibitions studied are: "Maya: revelation of an endless time", (Museum
Quai Branly, October 2014-February 2015); "Mexico: Living it to believe it" (La Villette,
July 2015) and "Mexico (1900-1950): Diego Rivera, Frida Kahlo, Jose Clemente Orozco
and the avant-gardes "(Grand Palais, October 2016-January 2017).
The body of this memoir is a comparison between three exhibitions, three commissioners, three
different exhibition venues, three scenographers, different target audiences, and three visions
different from the same country. Similarly, the thesis focuses on understanding interculturality
between Mexico and France, and the strategy of each commissioner to show a Mexico
real.
The result of this thesis is to highlight the different challenges for the professionals of the
museum, specifically, the scenographers, for the creation of an exhibition that represents the
Mexico in France, through stereotypes or prejudices.

*Winner of the Peter C. Rollins Prize for Best Book of the Year from the Northeast Popular Culture Association*
An investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures.

The Bauhaus (1919–1933) is one of the twentieth century's most influential art schools, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories.

The Bauhaus is most often associated with a handful of famous artists, architects, and designers―notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities in design; the “queer hauntology” of certain Bauhaus works; and the school's communist period (1928–1932), when Bauhäusler put their skills into the service of the revolution―even as Nazism emerged and entered the Bauhaus itself.

With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew.

The Museum of Industry and Technology founded in Cracow in 1868 by Adrian Baraniecki was a unique cultural institution in 19th century Poland occupied by invading powers. Its founder, a physician and philanthropist from the Ukraine, forced to emigrate from the Russian sector of Poland due to his involvement in the January Uprising of 1963, decided to create a modern educational institution which would foster development of industry in Poland.

This article introduces how one can design for product longevity through eliciting consumer-product attachment in order to restrain the rate of product replacement. The research disclosed the design tool ”Contexts of Experience” (COE) which combines strategies of consumer–product attachment and associated psychological phenomenon. The COE was disclosed and analyzed through case study.

Precarity Pilot is an online platform and a series of nomadic workshops that aim at addressing in inventive ways issues faced by precarious designers.

Shaken by the concerns that emerged from our earlier investigations, namely Designers’ Inquiry (2012-2013) and Designing Economic Cultures (2011-2013), Precarity Pilot wants to support designers in re-shaping, re-orienting and taking ownership of the course their working lives.

In collaboration with Caterina Giuliani. The website has been funded by Akademie Schlos Solitude.

Behavioural design has emerged as a critical new area of research and practice. However, despite the development of extensive lists of possible problem features and suggested solution principles there is little guidance on how these should be connected. Therefore, in this work we systematically examine interactions between major problem features and solution principles, based on an analysis of 218 behavioural design interventions drawn from 139 cases across design domains and foci. This forms the basis for a number of contributions. First, we bring together behavioural and designerly perspectives on problem characterisation via two proposed problem features: change demand and behavioural constraint, related in a two-by-two framework. Second, we synthesised recommendations from across domains and foci to operationalise a list of 23 solution principles relevant to designers. Third, we link these insights in a proposed Behavioural Problem/Solution (BPS) matrix. Further, we identify a n...

The general purpose of railway transition curves is to ensure a continuous and uniform variation of the centrifugal force along the alignment and to insure that change of track bank angle with distance does not cause objectionable disturbance. This paper presents the railway transition curves requirements, and the methodology for defining and for comparing various types of transition curves when the vehicle is considered a material point travelling along the track centre line.

An estimated 1.5% of the world’s population, approximately 120 million individuals, exist somewhere on the broad spectrum of autism. For far too long this spectrum, despite its diversity and nuance, was viewed as a monolithic, pathologized condition, to be cured or treated, rather than better understood or even celebrated as an identity and an alternative, but equally valid perceptual model of the world around us. This position has since shifted to a more strength based identity first position, and as the peak cohort of individuals first diagnosed when awareness was growing in the early 2000s are now reaching adulthood, self-advocacy has become an important and increasingly heard voice in the community. But architecture must listen.
I believe no one has the right to exist more comfortably, safely or effectively in space than anyone else, and it is our responsibility as architects to create the built landscape that affords this comfort, safety and efficacy to everyone- the entire spectrum of the human condition. The small collection of works included here strive to present design pathways to achieving that goal, and hopefully shift that perspective to stretch our understanding of the human condition- to be more inclusive, honest and reflective of the reality of our diverse and rich humanity.
#IQDMagazine https://iqd.it/en/

Alvar Aalto’s career – his perspectives as seen in his writings and in his architecture - progressed from being initially influenced by classicism (which he applied in a playful manner aligned with Nordic Romanticism), on to modernist functionalism and rationalist attitudes (through his contact with the International Congresses of Modern Architecture (CIAM) and its prominent members), which he later developed further into his own ‘humane architecture’ encompassing the psychophysical field.

Bu kitap; duygusal ve davranışsal bozukluklara sahip öğrenciler hakkında bilgi sahibi olmak isteyen sınıf öğretmenleri, özel eğitim öğretmenleri ve alanda çalışan uzmanlar için hazırlanmış giriş niteliğinde bir uygulama kitabıdır. Her bir bozukluğun nedeni, tanımlanması, güncel araştırmalar ışığında verilmeye çalışılmış ve okul ortamındaki pratik uygulamalarla da anlatım zenginleştirilmiştir. Bunlara ek olarak belirli bir bozukluğun tüm yönlerine ilişkin temel yaklaşımla birlikte bilimsel olarak geliştirilmiş müdahele yöntemleri de verilmeye çalışılmıştır.

Bu kitabın alanda yeni çalışmaya başlayan öğretmenler kadar güncel verilerle desteklenen tanı koyma ve müdahele stratejilrine önem vermesi nedeniyle alanda uzun süredir çalışmakta olan öğretmenlere ve uzmanlara da yararlı olacağını düşünmekteyiz.