Wheelchairs are the most important mobility-aided device for those who cannot walk independently with moderate or severe physical disabilities, the elder, and the person with chronic diseases in their daily activities. Six-wheel Power Wheelchair has great functions, such as large sphere of actions, has the good capability of traversing step obstacles, great stability, and small radius of gyration. A good chassis mechanism should provide the following characteristics including good support, high stability, easy steering, high comfort for rider, and has the capability of traversing step obstacles. Therefore, the purpose of this paper is to develop the basic theories of analysis and design of six-link chassis mechanism of power wheelchairs, and produce the prototype of some novel chassis mechanisms. First, the kinematic analysis of six-link chassis mechanisms will be derived, and then a computer program will be developed. Next, the structures of six-link chassis mechanisms will be synthesized according to the creative design methodology of mechanism proposed by C. H. Hsu. Then, the structural and kinematic characteristics of chassis mechanisms proposed in patent documentation will be investigated and clarify. The optimization theory will be used to develop a feasible designing program such that the dimensions of the chassis mechanism can be determined. Finally, The results of this designs presents the three-dimension graph. The results of this paper will provide a complete theory for the systematic design of six-link chassis mechanisms for power wheelchairs, and will promote the design competency of the domestic industrial circle.

This project is a result of a master thesis, as well as a conclusion of a three-year artistic master’s degree in graphic design. It might be that this project is the start of something else, something new. A start on a jour- ney in which I hope to engage and inspire others to dare to challenge and raise awareness of issues related to gender equality in the workplace. Furthermore, I hope that this project can show how the choices you as a designer make affect its recipients. In this project, I investigate how graphic and visual design can contribute to counteracting gender norms that lead to inherent attitudes and expectations for how we should be. I also investigate how graphic and visual design can func- tion as an identity marker for gender equality in working life that raises awareness and incre- ases knowledge of the issue. This project shows how all design accommodates relationships between history, tradition, culture and social conditions. Approaching an understanding of how design affects its recipient later means looking at the social and cultural context in which the recipient lives. This project is focused on the area of Luleå municipality. The process throughout this project has not been straightforward, it consisted of an iterative design journey where I alternated between theory, artistic explora- tion, analysis and reflection. The project is also based on norm-creative methods where the core lies in looking at what fits, and why. This has led to investigations in the form of workshops, questionnaires and literature studies to form an understanding of Luleå municipality as a context in relation to social norms – but also to make visible which gender-coded expressions dominate its narrative. Based on my interpretation of these results, the process in this project has wandered through a visual exploration of aesthetic expressions and de- sign language. Design methods such as sketching, prototyping, moodboard and image analysis have been analysed to arrive at the design proposal presented in this project. The project resulted in a the concept Apropå!. The concept is expressed in the form of a website that provides a handbook and a workshop about equality. The concept is based on norm-creative methods where Apro- på! and its handbook aims to create awareness and increase knowledge about gender equality and gender norms, while the workshop contains the method card game Snacka! which aims to go from thought to action. The goal of the concept is to create rings on the water, provoke thoughts, to invite conversation and a discus- sion - to create commitment and inspiration for a more equal workplace.

本研究的目的在：一、辨認校園空間創意設計的特性。二、探尋創 意校園空間設計者的創意來源與發展歷程。三、瞭解創意校園空間設計者的特質。四、解析創意校園空間設計的發生脈絡。 本研究採質性研究方法，以一年的時間，深度訪談四位校園空間創意 設計成果傑出的校長。依據研究目的，擬訂訪談大綱進行半結構式深度訪談，並提出研究者的反省，經資料的整理與分析，得到結論如下： 一、校園空間創意設計產品的特性 （一）四所校園空間創意產品與新、變、精、進、絕、妙等判斷原則 互相呼應。（二）四所校園空間創意產品均展現了某種程度的教育意義。 二、校園空間創意設計者的成長環境及養成教育 （一）多半從小生長在寬廣遼闊的生活空間。（二）專業素養大多不只專精於某一領域。 三、校園空間創意設計者的人格特質 （一）有高度的工作熱忱，態度認真而投入，善於溝通。（二）態度謙和卻也自信從容。（三）有高度的人文素養。（四）重視人文對空間的影響力。（五）對於環境空間敏於觀察。 四、校園空間創意設計的發生脈絡及其歷程 （一）都會地區學校面臨的共同問題是校地狹小。（二）公共藝術成為新建學校的特有文化。（三）參與式的共同創作成就了校園空間的創意設計。（四）專家學者的共同協助。（五）在校園規劃設計時，受訪者所重視的空間特性具有個別差異。（六）以學生為中心是校園空間創意設計最重要的概念。 最後依據結論提出對教育當局、有心校園空間創意設計者的建議，並對未來研究者提出五項建議。 / The purposes of the study are to: 1. Enumerate and distinguish the characteristics of creative design of school space 2. Probe deeply into the origin of creativity and the skills and development potential a school space designer must possess 3. Understand the characteristics of a school space designer and 4. Analyze the process of creative space design. This study adopted a qualitative approach. During the one-year time span of the study, the researcher conducted in-depth interviewing with four outstanding principals who were accomplished in creative school space design. According to the purpose of the study, the researcher created interview outlines on the basis of a semi-structural approach and offered a researcher’s retrospect. The conclusions that were reached are as follows: I. Characteristics of the products of creative design of school space: 1. The products of the four creative designs of school space correspond to the principles of innovation, variety, elegance, improvement, excellence, and delicacy. 2. The four creative designs of school space are meaningful to certain extent in education. II. The environment and upbringing of creative school campus designers in their youths: 1. Most of them were brought up in a spacious environment. 2. Most of them specialized in more than one field during their education. III. The characteristics of a creative school campus designer 1. They all posses high enthusiasm in their work, are devoted, and communicative. 2. They are humble and self-reliant. 3. They are highly and liberally educated. 4. They pay attention to the effect that humanity may have on space design. 5. They are apt to observe space as an environment. IV. The origins and experience of the occurrence of creative school space 1. Schools in the metropolitan areas face a common problem, i.e., limited school area. 2. Public art displays become a special phenomenon in newly built schools. 3. Teamwork accomplishes creative school campus design. 4. With the cooperation and help of experts and scholars, the creative school campus design is successfully completed. 5. In the designing of a school campus, the interviewees pay much attention to individual site differences in terms of school space. 6. Student-centered design for school campuses is the most crucial focus for campus designers. Finally, five suggestions are offered to educational establishments and all those interested in school campus design for further studies.

This thesis addresses creativity in design as a property of systems rather than an attribute of isolated individuals. It focuses on the dynamics between generative and evaluative or ascriptive processes. This is in distinction to conventional approaches to the study of creativity which tend to concentrate on the isolated characteristics of person, process and product. Whilst previous research has advanced insights on potentially creative behaviour and on the general dynamics of innovation in groups, little is known about their interaction. A systems view of creativity in design is adopted in our work to broaden the focus of inquiry to incorporate the link between individual and collective change. The work presented in this thesis investigates the relation between creativity and innovation in computational models of design as a social construct. The aim is to define and implement in computer simulations the different actors and components of a system and the rules that may determine their behaviour and interaction. This allows the systematic study of their likely characteristics and effects when the system is run over simulated time. By manipulating the experimental variables of the system at initial time the experimenter is able to extract patterns from the observed results over time and build an understanding of the different types of determinants of creative design. The experiments and findings presented in this thesis relate to artificial societies composed by software agents and the social structures that emerge from their interaction. Inasmuch as these systems aim to capture some aspects of design activity, understanding them is likely to contribute to the understanding of the target system. The first part of this thesis formulates a series of initial computational explorations on cellular automata of social influence and change agency. This simple modelling framework illustrates a number of factors that facilitate change. The potential for a designer to trigger cycles of collective change is demonstrated to depend on the combination of individual and external or situational characteristics. A more comprehensive simulation framework is then introduced to explore the link between designers and their societies based on a systems model of creativity that includes social and epistemological components. In this framework a number of independent variables are set for experimentation including characteristics of individuals, fields, and domains. The effects of these individual and situational parameters are observed in experimental settings. Aspects of relevance in the definition of creativity included in these studies comprise the role of opinion leaders as gatekeepers of the domain, the effects of social organisation, the consequences of public and private access to domain knowledge by designers, and the relation between imitative behaviour and innovation. A number of factors in a social system are identified that contribute to the emergence of phenomena that are normally associated to creativity and innovation in design. At the individual level the role of differences of abilities, persistence, opportunities, imitative behaviour, peer influence, and design strategies are discussed. At the field level determinants under inspection include group structure, social mobility and organisation, emergence of opinion leaders, established rules and norms, and distribution of adoption and quality assessments. Lastly, domain aspects that influence the interaction between designers and their social groups include the generation and access to knowledge, activities of gatekeeping, domain size and distribution, and artefact structure and representation. These insights are discussed in view of current findings and relevant modelling approaches in the literature. Whilst a number of assumptions and results are validated, others contribute to ongoing debates and suggest specific mechanisms and parameters for future experimentation. The thesis concludes by characterising this approach to the study of creativity in design as an alternative �in silico� method of inquiry that enables simulation with phenomena not amenable to direct manipulation. Lines of development for future work are advanced which promise to contribute to the experimental study of the social dimensions of design.

This thesis addresses creativity in design as a property of systems rather than an attribute of isolated individuals. It focuses on the dynamics between generative and evaluative or ascriptive processes. This is in distinction to conventional approaches to the study of creativity which tend to concentrate on the isolated characteristics of person, process and product. Whilst previous research has advanced insights on potentially creative behaviour and on the general dynamics of innovation in groups, little is known about their interaction. A systems view of creativity in design is adopted in our work to broaden the focus of inquiry to incorporate the link between individual and collective change. The work presented in this thesis investigates the relation between creativity and innovation in computational models of design as a social construct. The aim is to define and implement in computer simulations the different actors and components of a system and the rules that may determine their behaviour and interaction. This allows the systematic study of their likely characteristics and effects when the system is run over simulated time. By manipulating the experimental variables of the system at initial time the experimenter is able to extract patterns from the observed results over time and build an understanding of the different types of determinants of creative design. The experiments and findings presented in this thesis relate to artificial societies composed by software agents and the social structures that emerge from their interaction. Inasmuch as these systems aim to capture some aspects of design activity, understanding them is likely to contribute to the understanding of the target system. The first part of this thesis formulates a series of initial computational explorations on cellular automata of social influence and change agency. This simple modelling framework illustrates a number of factors that facilitate change. The potential for a designer to trigger cycles of collective change is demonstrated to depend on the combination of individual and external or situational characteristics. A more comprehensive simulation framework is then introduced to explore the link between designers and their societies based on a systems model of creativity that includes social and epistemological components. In this framework a number of independent variables are set for experimentation including characteristics of individuals, fields, and domains. The effects of these individual and situational parameters are observed in experimental settings. Aspects of relevance in the definition of creativity included in these studies comprise the role of opinion leaders as gatekeepers of the domain, the effects of social organisation, the consequences of public and private access to domain knowledge by designers, and the relation between imitative behaviour and innovation. A number of factors in a social system are identified that contribute to the emergence of phenomena that are normally associated to creativity and innovation in design. At the individual level the role of differences of abilities, persistence, opportunities, imitative behaviour, peer influence, and design strategies are discussed. At the field level determinants under inspection include group structure, social mobility and organisation, emergence of opinion leaders, established rules and norms, and distribution of adoption and quality assessments. Lastly, domain aspects that influence the interaction between designers and their social groups include the generation and access to knowledge, activities of gatekeeping, domain size and distribution, and artefact structure and representation. These insights are discussed in view of current findings and relevant modelling approaches in the literature. Whilst a number of assumptions and results are validated, others contribute to ongoing debates and suggest specific mechanisms and parameters for future experimentation. The thesis concludes by characterising this approach to the study of creativity in design as an alternative �in silico� method of inquiry that enables simulation with phenomena not amenable to direct manipulation. Lines of development for future work are advanced which promise to contribute to the experimental study of the social dimensions of design.

The purpose of this essay is to explore the importance of muscles about human motion from anatomy. Then, we will be able to establish the mechanism by muscular characteristic. Muscles include agonist muscle and antagonist muscle. The skeletons can only be moved by the contraction of muscles. That unidirectional force characteristic is just like the resistant tensile force of rope. The rope can be just tensioned, it can¡¦t be pressured. The purpose of this essay tries to use unique method to apply the rope to the mechanism. The way is to use the input rod to contact the rope from lateral; then, the move of the input rod will force on the rope, resulting in the deformation and tension of rope. Therefore, the rope of two extremities of output rod will be moved. This above particular method is called direct contact of rope. In order to generate the generalized mechanical device of the rope mechanism, The essay defines the generalized rule of the direct contact of rope; thus, the rope mechanism can use create design of mechanism devices to proceed mechanism synthesis.

本研究使用「臺灣的學校建築」（湯志民，2002a）校園創意設計「求新、求變、求精、求進、求絕及求妙的原則」，應用創意的方法和技巧，建構了十七項特徵指標；藉以實地觀察研究臺中縣市28所高級中學校園創意設計之情形；並訪談每校校長和總務主任計56位行政人員，探討其理念、願景及維護決策情形；輔以訪談每校師生各二位計112人，探討其使用的情形和感受等，作為改建、重建或新建校園的參考。 統計各校符合校園創意設計原則的項數，以加權百分比率來進行分析研究，探討不同背景學校在校園創意設計的表現情形；以皮爾森相關係數（Pearson’s correlations coefficient）分析在校園分類「校舍、庭園、運動場、附屬設施」和「各原則」間的關係等；本研究的結論與發現如下： 一、統計發現：（一）求新原則和附屬設施容易施作，所以項數最多、（二）臺中市高中明顯高於臺中縣高中、（三）求絕原則和求妙原則的項數雖然不多，但設施經費不多，已有學校重視和使用、（四）校園分類的項數與校地大小無關、僅原則分類中求進原則的項數與校地大小，達顯著相關、（五）校齡愈久，總計和求精原則的項數愈多，達到相關；校齡愈久，庭園的項數愈多，達顯著相關、（六）校園附屬設施愈多，庭園的項數愈多，達到相關。 二、在理念與願景方面發現：（一）校園創意設計的理念相當複雜，普遍具有生活機能與教育的功能、（二）各校的願景希望突顯學校特色，朝向永續、具有多功能的設施和空間。 三、在維護管理的決策機制方面發現：（一）國立高中校園的維護與決策機制，在校長等行政人員的規劃中、（二）私立高中校園的維護與決策機制，大部分掌握在董事會。 四、師生使用的情形和感受方面發現：（一）校舍方面，師生較少參與校園的規劃，喜歡校舍創意設計的師生很少、（二）庭園方面，大部分的師生喜歡庭園，庭園的創意設計皆朝向小而美的趨勢，並喜歡與重視環保可再利用的校園設施、（三）運動場的創意設計項數最少，但具有求絕或求妙原則，深受學生喜愛、（四）附屬設施的創意設計項數最多，發現老師和學生喜愛的項目分歧。 根據文獻探討與研究發現，對教育當局、有心校園創意設計的學校及後續研究等，提出十八點建議。 / A Study of Creative Designs in Senior High School of Taichung County and City Abstract The principles of innovation, variety, elegance, improvement, excellence, and delicacy of school creative designs in “School Buildings in Taiwan” (湯志民,2002a) have been applied in this study. There are seventeen features constructed by the principles above as well as creative methods and techniques. In this study, 56 administrators in school, consisted of the principles and the directors of general affairs office of 28 senior high schools in Taichung county and Taichung City, were interviewed and inquired about the concepts, vision, and the policy of maintenances. Meanwhile, 112 teachers and students, two teaches and two students in each school, were also interviewed, and their shared ideas and feelings about how the school facilities are used will be the reference of rebuild, improving a school, or building a new school. The statistics is gathered by calculating the numbers of how each school matches the principle of school creative designs, which is analyzed by the power percentage. Pearson’s correlations coefficient is as well used to analyze the relation between the category in campus－school buildings, schoolyards, play ground, school facilities－and each principles. The conclusion and detection of this study is as followed: 1. From the statistics: (1) The principle of innovation and school facilities are easier to achieve and improve, so the statistics are much higher than any others. (2) The statistics of schools in Taichung City is apparently much higher that that in Taichung County. (3) There are schools value the principle of excellence and delicacy, even though the statistics of which is not high. (4) The statistics of the category of campus is not affected by the extent of school. Among the items in the category, only the principle of improvement is obviously related. (5) The longer the school history is, the more related is the sum and the statistics of the principle of elegance; The longer the school history is, the much higher the statistics of schoolyard is. (6) The more school facilities there are, the higher the statistics of schoolyard is. 2. From the concepts and visions: (1) The concepts of creative school design are rather complicated, which are extensively consisted the functions of living and education. (2) Schools all hopes to feature themselves in their vision and head to have lasting multi-function facilities and space. 3. From the policies of maintenances: (1) In national senior high schools, the authority of maintaining school facilities is often kept to the principle and administrators. (2) In private senior high schools, the board of directors often controls the authority of maintaining school facilities. 4. From the shared ideas and feelings of teachers and students: (1) The teachers and students seldom take part in the process of designing and building campuses. Few of them enjoy the school creative design. (2) The schoolyards is most teachers and students’ preference. The trend of creative design of schoolyard is toward a delicate style. Environment-friendly ideas are often welcome. (3) The statistic of playground is lower than any other. Those designed and matches the principle of excellence and delicacy are often welcome and love by students. (4) The statistics of school facilities is the highest among all. However, the items loved by teachers’ are quite different from students. According to the analysis of literatures and the results of the study, eighteen suggestions are offered to educational authorities, the schools which are interested in school creative design, and those who go further studies.

La mobilité est aujourd’hui au cœur des préoccupations citoyennes et gouvernementales. Une explication possible à cette difficulté à résoudre les problèmes de mobilité est que les besoins réels des usagers des transports ne sont pas (ou sont faiblement) pris en compte dans la conception de nouveaux systèmes de transports. C’est pourquoi la participation des usagers dans des projets de conception se développe depuis quelques décennies. Elle est motivée par l’idée que les usagers ont une meilleure connaissance de leurs propres besoins et peuvent donc contribuer à développer des solutions innovantes. Cependant, il est nécessaire de proposer des outils qui optimisent les contributions des usagers au processus de conception créative et donc, en amont, d’identifier la nature ainsi que les leviers et les freins à la participation des usagers dans ce processus. Dans les trois études que nous avons réalisées, nous observons que les usagers contribuent principalement au processus de co-conception créative en fournissant des informations sur leurs besoins réels et leurs attentes. Mais pour que ces besoins et attentes soient réellement pris en compte, il est nécessaire d’outiller la conception créative en proposant une méthode qui permette de mettre à profit les contributions de chacun et de donner aux usagers un poids décisionnel équivalent à celui des concepteurs. Par ailleurs, le développement de logiciels de réalité virtuelle peut constituer un facilitateur de la co-conception créative, dans la mesure où il stimule la génération d’idées. De plus, la réalité virtuelle permet de créer de nouveaux environnements pouvant développer les capacités des usagers à se projeter dans un futur proche et imaginer des solutions plus créatives. / Mobility is nowadays one of the main concerns of citizens and governments. One possible way to explain these difficulties to solve mobility problems would be that real problems of transportation users would be not (or weakly) accounted in the design of new transportation systems. In this perspective, user participation in design projects is increasingly practiced since a few decades. It is motivated by the idea that users have a better knowledge of their own needs and then may contribute to develop innovative solutions. However it is necessary to propose some tools to optimize the users’ contributions to creative design process, and then necessary to identify the nature as well as the levers and barriers to user participation in this process. In the three studies we conducted, we observe that users mainly contribute to creative co-design process by supplying information about their real needs and expectations. However, in order to really account these needs and expectations, it is necessary to tool up creative design with a method which allows to take advantage of the contributions of each participant and to give users a decision-making power equivalent to that of experts. Furthermore, the development of virtual reality software may constitute a lever for creative co-design, in so far as it stimulates the generation of solutions. Moreover, virtual reality allows creating new environments to develop users’ skills to project themselves in a near future and then imagine more creative solutions.

Orientador: Silvia Aparecida Mikami Gonçalves Pina / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-17T19:16:54Z (GMT). No. of bitstreams: 1 Marangoni_RenataFranca_M.pdf: 70597771 bytes, checksum: 7eb0bde3939ebdb8f44f39bc3e43def7 (MD5) Previous issue date: 2011 / Resumo: A maquete, assim como o desenho, tem papel fundamental no processo de elaboração de projetos de Arquitetura e Urbanismo. A maquete como modelo físico de escala reduzida do que está sendo projetado, seja um edifício ou complexo urbano, é um instrumento de extensão do desenho, com a vantagem de possibilitar a manipulação da terceira dimensão que é real. Durante o processo criativo, são importantes os estudos par meio dos modelos de massa para analisar o conjunto da volumetria e o impacto da sua implantação em relação ao entorno. Esse tipo de maquete alimenta a reflexão do arquiteto e revela-se de grande importância no processo de projeto. Os recentes avanços no processo de projeto tem ocorrido em uma abordagem "de cima para baixo", desprezando os requisitos tanto para abstração como do detalhe que estão envolvidos em um processo de desenvolvimento simultâneo. A maquete, nessa fase, é útil para testar idéias globais e, assim, enriquecer o processo, interagindo com as demais linguagens gráficas. A hipótese deste trabalho supõe que, na formação do arquiteto urbanista, as maquetes de concepção física e manual são fundamentais para treinar a habilidade de mão-olho, sendo importante instrumento para estimular o sensação e a percepção ao espacial e tectônica, contribuindo para o aguçamento do processo criativo na fase inicial do projeto. Assim, o objetivo da pesquisa consistiu em verificar como o uso da maquete de concepção física pode ser suporte criativo nas fases iniciais da forma ao dos arquitetos urbanistas. Para tanto, realizou-se uma pesquisa a ao por meio de oficinas de maquetes junto a alunos no estagio inicial de um curso de Arquitetura e Urbanismo. A partir da analise dos resultados, o trabalho aponta diretrizes gerais para o uso da maquete física manual como instrumento pedagógico de estímulo à criatividade na forma ao projetual dos arquitetos e urbanistas, bem como apresenta contribui 3o para a sistematiza ao e conscientiza ao do processo de projeto a partir da utiliza ao da maquete de concepção manual / Abstract: The model, as well as the drawing, plays a crucial role in developing of architecture and urban design process. The model as a reduced scale physical representation of what is being designed is an instrument that goes beyond the drawing, which includes the advantage of the possibility of manipulating the third dimension view. lt is important whether designing a building or urban complex. In the creative process it is essential to study through a mass model that provides the volume for further volumetric analysis as a whole and its surroundings impact. This kind of model feeds the architect's thinking and showed to be of great importance in the design process. Recent advances in the design process have occurred in a top-down approach, ignoring the requirements for both abstraction and detail involved in a process of simultaneous development. At this stage the model is used to test global ideas and thus enrich the process, interacting with other graphical languages. The hypothesis of this paper assumes that the studies through the conception, physical and handicraft models are fundamental to the of architect's professional constitution, once it practice the ability of hand-eye, being important instrument to stimulate the sense, the spatial perception and tectonics. It contributes to sharpening of the creative process in the initial phase of the project. The main goal of this research is to discover how the conception and physical models can be a creative support in the early stages of architect's education. To support this aim, model's workshops are performed and a research-action is developed along the Architecture and Urban Design students in the early stages of the educational process. The analyses of the results of this work point general guidelines towards the use of the physical and handcraft models as an pedagogical instrument that stimulates the creativity contributing to develop the designs of the Architecture and Urban Designers. Also it showed to contribute to systematization and awareness of the design process though conception model studies / Mestrado / Arquitetura e Construção / Mestre em Engenharia Civil

Background: Women prefer to eat plant-based food more frequently than men. Previous studies show that there is a difference in what we eat depending on which gender we belong to. The experience of food can be influenced by various aspects such as colour, shape, serving, and food information. Objectives: The purpose of the study was to investigate if there were any differences between men and women's attitudes towards vegan desserts. Moreover, four vegan desserts were developed using creative design and molecular gastronomy, to investigate how the colour and shape of vegan desserts affects the experience of taste, flavour and texture. Material and methods: To answer the research question, two focus group interviews were conducted. Moreover, a creative design containing an online cross-sectional survey was performed to develop four vegan desserts using molecular gastronomy. The desserts had the same ingredients in equal quantities, but they differed in colour and shape.These desserts were subsequently tested in a sensory evaluation. Results: The results show that there is a difference between men and women regarding attitudes towards a vegan dessert. Women are more positive and curious, while men are more sceptical whether a vegan dessert tastesgood. There was sometimes a significant difference in taste, but never in flavour and texture. Conclusions: There are differences in men and women's attitudes towards vegan desserts, where women are more positive than men. Shape may affect the experience of taste, but not of flavour and texture in this study.