Industrial Design

7 Key excerpts on "Industrial Design"

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  eBook - PDF

  Introduction to Design Engineering

  Systematic Creativity and Management

  • W. Ernst Eder, Stanislav Hosnedl(Authors)
  • 2010(Publication Date)
  • CRC Press

    (Publisher)

  Anticipating and analyzing this functioning is the role of the engineering sciences. If a product is to be made, its design for manufac-turability is important – a task which involves production engineering. Other aspects of the life of a tangible product require involvement of different specialists, e.g. for disposal and liquidation at the end of its life, compare figure 1.4. Industrial Design [191, 297, 460, 461], in the English interpretation, tends to be the primary for consumer products and durables, emphasizes the artistic elements , appearance, ergonomics, marketing, customer appeal, satisfaction, and other observ-able properties of a product. This includes color, line, shape, form, pattern, texture, proportion, juxtaposition, emotional reactions [222], etc. The task given to or cho-sen by Industrial Designers is usually specified in rough terms. The mainly intuitive design process with emphasis on ‘creativity’ and judgment, is used in architecture, typographic design, fine art, etc. NOTE: ‘Intuitive’ is used in this book in a wider sense of ‘acting without conscious thought, in a routine and well-rehearsed fashion’. A different interpretation is used for computer-human-interfaces, where it implies recognition of an icon, as distinct from keyboarded computer commands. Figure 1.4 Engineering and designing in societal context. Context of design engineering 13 A major difference between design engineering and Industrial Design is the interpretation of the phase of ‘conceptualizing’. Industrial Designers tend to solve the problems of appearance, desirability, attractiveness and usability – novelty and innovation may be a strong consideration. Their conceptualizing consist mainly of conceptualizing possible future products in preliminary sketches of observ-able possibilities – a direct entry into hardware (the constructional structure) and its representation.

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  Design of Biomedical Devices and Systems, 4th edition

  • Paul H. King, Richard C. Fries, Arthur T. Johnson(Authors)
  • 2018(Publication Date)
  • CRC Press

    (Publisher)

  The Industrial Designer’s unique contribution places emphasis on those aspects of the product or system that relate most directly to human characteristics, needs, and interests. This contribution requires specialized understanding of visual, tactile, safety, and convenience criteria, with concern for the user. Education and experience in anticipating psychological, physiological, and sociological factors that influence and are perceived by the user are essential Industrial Design resources. Industrial Designers also maintain a practical concern for the following:

  • Technical processes and requirements for manufacture
  • Marketing opportunities and economic constraints
  • Distribution sales and servicing processes

  They work to ensure that design recommendations use materials and technology effectively, and comply with all legal and regulatory requirements.

  In addition to supplying concepts for products and systems, Industrial Designers are often retained for consultation on a variety of problems that have to do with a client’s image. Such assignments include product and organization identity systems, development of communication systems, interior space planning and exhibit design, advertising devices, and packaging and other related services. Their expertise is sought in a wide variety of administrative arenas to assist in developing industrial standards, regulatory guidelines, and quality control procedures to improve manufacturing operations and products. Industrial Designers, as professionals, are guided by their awareness of obligations to fulfill contractual responsibilities to clients, to protect the public safety and well-being, to respect the environment, and to observe ethical business practice.

  The term Industrial Design

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  The Role of Design in International Competitiveness

  • D.O. Ughanwa, M.J. Baker(Authors)
  • 2018(Publication Date)
  • Taylor & Francis

    (Publisher)

  Chapter six

  Design: meaning and application

  Introduction

  Design is the lifeline of modern commercially progressive industries and its role in international competitiveness is growing significantly. Yet confusion seems to exist within and among the design profession as to what design really means and/or the benefits designers can bring to industries. Therefore, the objective of this chapter is twofold. First, it attempts to throw more light on the meaning of design with a view to providing a framework for a better understanding of the design concept as well as to add to the existing knowledge in design studies. Second, it focuses on design as a major contributing factor to non-price competitiveness.

  The material is divided into five parts. The first reviews the definitions of design and examines the different interpretations attached. Our empirical findings on the innovators’ perception of design is reported.

  Part two highlights the differences/conflict between two disciplines -- engineering design and Industrial Design (probably introduced by the varying definitions of design). They include gaps in education, status, and product/project presentation. It is concluded that although both disciplines are often perceived as distinct, they are none the less dimensions of the same activity, which calls for a marriage of both disciplines to achieve good results.

  Consequently, the third part devotes itself to exploring ways of integrating engineering design and Industrial Design. The contributions made by the government and its agents, and a number of individuals towards achieving this objective are critically examined. Our research findings on how the skills embodied within the practice of Industrial Design and engineering design can best be integrated are then reported.

  It is felt that the technological impact that computers are having on design can facilitate the integration problem, particularly in the area of communication. This is spelled out in the fourth part, which covers discussions on the major computer aids for design (CAD). Next, the results of our survey on the significant changes made by the Queen’s Award winners to their manufacturing processes are presented. It was found that computer-aided design and computer-aided manufacture (CAD/CAM) was the second most frequently used technique, after automation, for introducing change to manufacturing processes by commercially successful firms.

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  Design of Devices and Systems

  • William H. Middendorf(Author)
  • 2017(Publication Date)
  • CRC Press

    (Publisher)

  16

  THE ART OF DESIGN

  The main purpose of this book has been to develop various techniques that are useful in design. These techniques may be characterized as engineering techniques or scientific approaches. Design, however, involves a considerable amount of art, that is, a body of knowledge that is acquired principally by experience or by observation and for which no engineering rationale can be advanced. In certain senses it is intuitive in nature.

  Placing this discussion in the final chapter should not lead you to infer that the art of design is to be considered only toward the end of a product development project. Like reliability and human factors engineering, it should be considered as the development of the product proceeds, entering into the thinking about the design at the beginning. If a final design is so unacceptable that a major redesign is necessary, the changes needed are almost invariably expensive. Moreover, if product evaluation and test results have been used in the original work, all those results are placed in doubt.

  16.1 DESIGN FOR PRODUCTION

  We cannot emphasize too strongly that design is an iterative process. Figure 1.2 , reproduced as Figure 16.1 , illustrates numerous feedback paths that may be used during the design process. It is important to understand that the feedback paths shown are not intended only for the designer. As the design moves forward, designers must avail themselves of the expertise of others within the organization. These include engineers and technicians, especially those with special training or experience in areas different from that of the designer, and appropriate manufacturing, quality control, purchasing, and marketing personnel. As noted earlier, the term that is now frequently used for the interactive relationship just described is concurrent engineering.

  Figure 16.1 A design procedure.

  New materials and new manufacturing processes are two of the driving forces in design. This reinforces the comments of the previous paragraph as to the relationship among the designer, manufacturing engineers, sales force, purchasing agents, and others. Productivity begins with the design function and ends with the safe delivery of a reliable product to the consumer. There are many seemingly insignificant design decisions, and most are probably insignificant, especially when considered individually. Some, however, can make a difference between a product that is inexpensive to manufacture and one that is not. As each part is designed, ease of manufacture and ease of assembly should be prime considerations, and ease of installation must not be neglected.

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  The Politics of the Artificial

  Essays on Design and Design Studies

  • Victor Margolin(Author)
  • 2018(Publication Date)
  • University of Chicago Press

    (Publisher)

  31 30 than a decade ago showed almost unanimous agreement among users that the most important design value was a product’s ability to function as promised; closely following that were durability and ease of repair. Although attractive de-sign and technological innovation were also seen as important, they were sec-ondary considerations to the basic demand that a product be reliable. 4 Let us now consider several problems that face designers as a result of the accelerated pace of technological innovation and economic competition as well as of rising user demands for quality products. First is the problem of coor-dinating different aspects of the design process, as well as the relation of design and manufacturing within a company. Daniel Whitney addressed this in the Har-vard Business Review as follows: In many large companies, design has become a bureaucratic tangle, a process confounded by fragmentation, overspecialization, power struggles, and delays. An engineering manager responsible for de-signing a single part at an automobile company told me that the de-sign process mandates 350 steps—not 350 engineering calculations or experiments but 350 workups requiring 350 signatures. 5 Whitney identifies numerous problems within the production process as the re-sult of not understanding how or when to involve the various designers—the manufacturing engineers, the repair engineers, or the styling department. When design decisions are not integrated, informed, and balanced, he says, difficul-ties arise. The solution he promotes is multifunctional teams, which may typi-cally include up to twenty members. Among the names given to this team ap-proach are “simultaneous engineering” and “concurrent design.” 6 The team approach emphasizes the necessity within a large company for an overview of the entire production process.

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  An Introduction to Industrial Service Design

  • Satu Miettinen(Author)
  • 2016(Publication Date)
  • Routledge

    (Publisher)

  Part IV is about sharing tools for industrial service design.

  While working on the book, it has become clear that industrial service design faces challenges. Many technology-driven companies are confronting a situation where a competitive advantage is gained based on a good customer-service experience. Industrial service designers are challenged to facilitate cultural and behavioural transformations in technology and engineering-orientated companies, which are changing from technical to human-centred thinking. Industrial companies are required to match production speed with market changes and the changing behaviour of customers. Communication and collaboration within large companies has become difficult. Companies have silos, and departments have individual budgets and strategies, which may conflict. It is hard to manage quality when dealing with the issue of outsourcing from a number of companies. For industrial service designers, this means considerable redesign work to accommodate new technologies, strategies and partners. Effective industrial service design can respond to these challenges.

  This chapter discusses the findings and conclusions of the authors, and highlights some of the central themes that are relevant to industrial service design.

  Service design

  The aim of service design is to create customer- or human-centred solutions that make the service experience feel logical, desired, competitive and unique for the user, and boost innovation and engagement in companies and institutions while developing and delivering services. Services have become multi-channel. They are experienced and consumed in person, online or in interactions with robots, as in autonomous driving.

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  Understanding Users

  Designing Experience through Layers of Meaning

  • Andrew Dillon(Author)
  • 2023(Publication Date)
  • Routledge

    (Publisher)

  2000 . He argues that over time, civilization has progressed by harnessing technological developments through a process of social adaptation, driven by a human desire to engage in what he terms “non-zero sum game” activities that benefit all participants. In his view, humans have slowly learned that collective action in the pursuit of shared goals such as safety, nourishment, and shelter yields more positive results than individual competition, and, in the course of history, we have designed new technical solutions that ultimately serve this aim (obviously with a few backward steps where negotiation and co-operation took a back seat to some baser human motives). According to Wright, as new tools are adopted within a community, they often lead to new social structures which serve further non-zero sum pursuits within the group, community, or society, binding individuals together in a manner that offers shared benefits beyond any one product or user. A common example he uses is the emergence of agrarian practices which allowed for crop production that was stable and sufficiently productive to encourage trade and bartering with other groups who wanted and became reliant on the goods produced. This type of engagement set up a form of economic co-operation between groups that built and extended networks of mutually beneficial relationships, raising the quality of life for all.

  While this theory paints a somewhat rosy picture of social progress on the surface, Wright acknowledges that it's rarely straightforward. When major competing technologies or practices occur a period of instability in the social structure seems inevitable as groups transition to new technologies. Clearly, the industrial revolution was precisely such a period. Nevertheless, for our interests in the emergence of design as a human act, this transition set in motion a broad move from so called “cottage industries” to factories, and with itemerged a conception of design as a form of professional practice that could be decoupled in some meaningful ways from the actual hands-on making of any material object. In due course, the meaning of design shifted from making to planning, from the manipulation of material as epitomized in craft practices, to the representation of a desired, manufactured outcome using such information techniques as drawing, calculating, and modeling to convey the goal to those charged with the building or assembly of a product. In this refining of human abstraction and conveyance of design targets or solutions, we see the emergence of design as a professional practice in a form we consider routine today.

  All of this, however, leaves us still pondering the question of what is happening in the human mind when a person makes that leap from problem situation to potential solution. When we consider design to be a human act and allow for it to be represented abstractly through plans or recipes, we can draw a distinction between processes that are real-time, material-contingent, and emergent to those that allow for conceptual and representational form, offering an instruction-set for others to use in production. Rather than observing designers in action as they shape and form a physical output we recognize, we are forced to examine their thinking and reasoning more than their actions as they deliver a different kind of output. This leads us to ask what are the properties of such a process, are they similar for all designers, or across all domains, and how might we educate or train people to perform or engage well in the act of design? In an era where we find ourselves living out our existence in human-made environments, virtual and physical, better understanding how we design both types of space and how we might improve the outcomes seem to be of vital importance to our collective well-being.

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