The traditional pen-paper sketching is extensively used in the early stages of product design as it supports creative exploration of product concepts and provides a fluidic mode for the expression of ideas. The Computer Aided Design (CAD) models support the later stages of design and manufacturing process. Faithful conversion of the designer’s ideas from concept sketches to the CAD models is a skill intensive and time consuming exercise which reduces the overall productivity of the organization. Providing computer based support can help the designer, in several ways, by reducing demand on the skill and allow focusing more on creative exploration of the concepts. Towards that, the thesis presents methodologies to understand the product concept sketches, support cognitive activities like perceiving the composition and behaviour, and create and interact with the sketches, directly in 3D. To begin with, traditional 2D sketches of product concepts are studied mainly to explores the psychological (cognitive) and physiological (musculoskeletal) activities of the designer in the context of the product being designed. A sketching application is created for capturing the sketches created using a tablet in digitized form. The captured data is analyzed based on the identified parameters. A grouping methodology is devised to group the stroke based on the observations which are akin to Gestalt laws of perceptual organization. This functional grouping or segmentation is used to identify the mental model of the product concept and the design rationale behind it. In concept sketches, annotations carry information like behaviour, functionality and usage. These wishful declarations need to be verified through simulation! To simulate the behavior of the components identified by the functional segmentation method, a kinematic model is defined where the designers interactively describe the constituents like joints, fixed links, inputs, etc. The interactive simulation changes the underlying kinematic model and makes the sketches to move to show the behavior. This system also provides methods to verify boundary constraints and allows creating patterns. Traditional 2D sketching suffers from several deficiencies. To overcome these, a novel direct 3D sketching methodology is proposed with stereo vision and haptic feedback. Different types of strokes creations like curves, strips and sweep surfaces, directly in 3D space, are demonstrated. Further, to provide control over stroke creation process, visual and haptic feedbacks are studied. Haptic rendering schemes for stroke generation are explored based on mechanics of sketching. Using the curve generation methods, surface generation schemes are devised. Mainly two types of schemes are explored (a) sweep surface and (b) Hatching surfaces. To support constrained concept exploration, two types of haptic constraints are modeled and their application is demonstrated in constraining a sketch within a boundary and outside a boundary. Motion constraints are implemented by simulating the behaviour of identified components’ motions. Two types of motion are implemented (a) Linear translation and (b) Rotation about an axis. Finally, a sketch based distributed collaboration method is presented to enable design interaction in the context of global product development. Several issues related to the realization of a sketch based collaborative conceptual design system are explored and, one such instance is demonstrated through experiments.

The overall purpose of this study was to examine the nature of curriculum in college-level interior design programs, explore computer-aided design’s (CAD) place in these curricula, and examine pedagogy used to teach CAD in these programs. Specifically, the objectives of this study were to better understand (a) the nature of college-level interior design programs with regard to curricular conceptions, (b) how interior design programs integrate CAD into the curriculum, and (c) how interior design instructors adopt and integrate CAD into their teaching practices. A qualitative research methodology using case study design was used. Data at two college-level interior design programs were collected using document analysis and interviews with six interior design instructors, three from each institution. Previous studies (Hill & Anning, 2001b) examined and identified how other design fields such as graphic, engineering, architectural, and apparel design practice the design process. However, there is little research found on how interior designers practice design and their profession, or how they use CAD in design. Therefore, this research contributes to the literature on how interior design professionals design using CAD programs and more specifically how they incorporate AutoCAD software in their professional design practice and in their teaching of interior design curriculum. Findings revealed that participants referred to their own professional practice to conceptualize and teach the design process. The phases of the design process described by each instructor were context-specific to a design project and their use of CAD in the design process depended on their preferences, skills, abilities, and the context of their professional practice. Findings also revealed that CAD is an important tool in the field of interior design. Even though CAD may inhibit an interior design students’ creativity, it can save time, document drawings, and assist in better coordination with other professionals in the workforce. To enhance interior design students’ skills, it is recommended that CAD courses be placed at the early courses of an interior design curriculum concurrently with manual drafting courses. This research provides useful information for future interior design instructors and CAD curriculum planning. / Thesis (Master, Education) -- Queen's University, 2013-04-23 14:18:55.35

Tryckta Texturer – Färgade Floder, är ett lekfullt undersökande i hur man kan skapa mönster med illusioner av struktur på textil. Inspiration till projektet hämtas i vattnets böljande former, dess färgskiftningar och blanka yta. Utifrån temat vatten och vattenföroreningar tillverkas inspirationscollage som blir referens till val av färger och mönster. Stort vikt och tid läggs i det här arbetet på skissande och att hitta passande skisstekniker. Jag arbetar med metoder som ger strukturerade ytor och gör utifrån dem mönster. Genom digitaltryck överförs mönstren foto- identiskt till textil vilket bidrar till att jag kan skapa mönster med djup och liv. I val av material eftersträvar jag att efterlikna vattnets egenskaper och framhäva mönstrens kvaliteter. Arbetet presenteras som en kollektion textilier i metervara.In my bachelor thesis; Printed Textures – Coloured Rivers, I explore how to make textile prints with illusions of texture. I search for inspiration in water; it’s undulating shape, shiny surface and the changing of colour. Pattern ideas and colouration are taken from the pure and clear water as well as the poisonous and polluted. I put time and effort in finding suitable sketching techniques for creating structured surfaces. Out of the sketches I make patterns. By using digital printing I make it possible to transfer them onto fabric without loosing any details or colours. The technique makes it possible to create illusions of depth and make vivid patterns. In terms of choosing fabric I aim to simulate the properties of water and to bring out the qualities of each pattern. The work is presented as a collection of fabric by the metre. / Program: Textildesignutbildningen

This thesis project uses various Industrial design methods to create a concept that will evolve a sandbox into a more versatile and interesting playing area. By using parts that can be attached to the frame of the sandbox many different versions can be built to suit different demands and needs. The concept also uses lights and decorated panels to make the sandbox more interesting and visible in today's colorful playgrounds. The project is based on the meaning different stakeholders could have in the product. Research has shown that products made with the help of stakeholders has a better chance to be realized. The findings from research by interviews, fieldtrips and library studies were used as reference when sketching and building sketch-models. Sketching is used both for ideation and for explanatory pictures and has been a big part of the project. Many of the sketches and photos can be seen in the report and in the attachments.

<p>Designsonder är en så kallad innovativ metod (Hanington, Methods in the Making: A Perspective on the State of Human Research in Design, 2003) som låter deltagarna i studien vara kreativa och delaktiga i designprocessen. Det finns ingen exakt definition av designsonder, men ofta handlar det om ett paket med ett antal uppgifter som delas ut till deltagarna. Exempel på vanliga övningar är att skriva en dagbok om användandet av artefakten som studeras samt att genom en engångskamera låta deltagaren dokumentera sitt användande.</p><p>Denna rapport syftar till att undersöka designsonders potential som inspiration till designprocessen. Samtidigt undersöks hur metoden designsond fungerar på den aktuella målgruppen: studenter som använder Key-husets entrémiljö på Linköpings universitet. Rapporten belyser därmed problematiken med att ta steget från de tidiga faserna i designprocessen, där fokus ligger på att förstå användarna av artefakten som ska designas, till själva designandet av artefakten. En studie med designsonder genomfördes under 3 veckor på 15 deltagare för att undersöka deras känslor, tillstånd och aktiviteter vid användningen av entrémiljön. Materialet användes sedan som material i en workshop för en grupp som hade i uppdrag att ta fram ett nytt koncept på en entrémiljö.</p><p>Både studien med designsonden och workshopen har utvärderats genom observation samt genom att fråga vad deltagarna i de båda momenten tyckte. Utvärderingen har visat att designsonden verkar fungera väl som metod på den aktuella målgruppen, framförallt den snabba feed back som samlades in via så kallade ”känslolappar”. Dock var tiden på 3 veckor alldeles för lite, vilket resulterade i att flera deltagare i studien inte hade tillräckligt mycket tid till att arbeta med uppgifterna.</p><p>I rapporten presenteras bland annat ett brainstormingliknande moment kallat ”speed sketching”. Momentet visade sig vara mycket framgångsrikt även om deltagarna i workshopen påpekade vissa svagheter med upplägget. I det stora hela gav materialet från designsonden mycket bra information om vad som händer i Key-husets entrémiljö. Denna information kunde utnyttjas i designprocessen genom arbetet i workshopen.</p>

This research proposes that design and visual thinking in combination with narrative theory contribute to enhance knowledge of innovation processes and support managers in their work. In particular, the focus is on the use of Storyboarding to support a better definition of a project’s brief. Innovation studies have shown that the initial phases of innovation processes (typically called the “front end of innovation”) are crucial for success. A proper definition of a brief, that occurs at the front of the front end, is therefore one of the most relevant events in innovation. This study investigates the early phases of innovation by developing and evaluating a new method for developing a brief. First, an explorative approach has been used in order to develop knowledge of challenges in the front end of innovation and how design thinking, visual thinking and narratives can bring new insights in teamwork. In this explorative search the use of case studies has been employed. Then, the explorative search has focused onthe use of Storyboarding as a tool for reflection, and in particular for igniting dynamics of framing and reframing of innovation problems. Finally, in order to create a deeper knowledge in the use of storyboarding three hypotheses has been evaluated, four experiments has been conducted with the involvement of more than 60 people defining innovation briefs. In these experiments, storyboarding (visual and narrative) has been used to support “thinking” that leads to the brief. In other words, storyboarding has been seen as a process to enable innovation teams to think differently or more precisely, rather than just a tool to represent or to communicate the brief. The experiments show that using storyboarding has effects that can support innovation management. First, storyboarding is useful if management wants to “stimulate” a reflection on meaning when developing a brief, i.e. when they want an innovation team to consider both utilitarian and emotional/symbolic factors in an innovation process. Second, Storyboarding brings a narrower focus, compared to traditional written briefs, within the “area of interest” brought up by management, which sometimes may be asked for when the organization is in search for reframing the direction of innovation. / Denna avhandling föreslår att design och visuellt tänkande i kombination med narrativ teori kan bidra till en bättre förståelse och ledning av innovationsprocesser. Framför allt med fokus på användningen av storyboarding för att stödja en bättre definition av ett projekts uppdragsbeskrivning, eller som det kallas en ”brief”. Tidigare innovationsforskning har visat att de inledande faserna av innovationsprocesser (vanligen kallad “the front end of innovation”) är av avgörande betydelse för att innovationer skall nå framgång. En ordentligt utformad ”brief”, formulerad tidigt, i de inledande faserna av innovationsprocessen är således en av de mest relevanta händelserna för framgångsrikt innovationsarbete. Denna forskning bidrar till kunskap i de tidiga faserna av innovationsprocessen genom att utveckla och utvärdera en ny metod för att utveckla en ”brief”, storyboarding. Först så har en explorativ metodik använts för att skapa förståelse för de tidiga faserna av innovation och hur metoder och teorier från design, visuellt tänkande och narrativ kan ge nya insikter i teamarbete. I denna explorativa del så har fallstudier använts som forskningsstrategi. Därefter så har mitt sökande efter förståelse fokuserats på användningen av storyboarding som ett verktyg för reflektion, och i synnerhet att formulera och omformulera inramningen av möjligheter för innovation. Slutligen, för att skapa en djupare förståelse av storyboarding, så har tre hypoteser utvärderats med hjälp av ett antal experiment med mer än 60 personers deltagande där team utvecklar en ”brief”. I dessa experiment så har Storyboarding använts för att stödja teamens “tänkande” för att utveckla en ”brief”. Med andra ord så har Storyboarding setts som en process för att möjliggöra för team att tänka annorlunda eller mer exakt, snarare än bara ett verktyg för att representera eller för att kommunicera en ”brief”. Experimenten visar att användningen av Storyboarding har ett antal effekter som kan stödja ledning av innovation. För det första kan vi se att Storyboarding kan vara användbart om man vill “stimulera” reflektion kopplat till innebörd (meaning) när man utvecklar en ”brief”, dvs. när man vill att ett team ska överväga både funktionella så väl som känslomässiga/symboliska faktorer i en innovationsprocess. För det andra så skapar storyboarding en ”smalare” definition, jämfört med traditionella skriftliga ”briefs”, inom det av ledningen valda fokusområde. Detta kan vara önskvärt när ledningen söker efter nya möjligheter för innovation.

My thesis involves studying the nature of chimera through history and how certain aspects of chimeras represent specific features of dualities in human nature. The research was reflected in a series of sketches, where one sketch was finalized into a fully realized 3D model. To aid in this goal, I created a system that will randomly generate chimera based on different characteristics. This system was created using Max 5, and was programmed to place images with alphas on top of each other to create unique chimeras. The variables within this system are derived from the research on chimeras depicted in art and mythology throughout history, and will be used as an inspirational tool to help generate unique combinations of chimeras that may not otherwise have been imagined.

Made available in DSpace on 2016-04-16T00:13:29Z (GMT). No. of bitstreams: 7 Maria Cristina de Barros Rossi1.pdf: 1864085 bytes, checksum: f9208f187696ef0567785fbdbebe3223 (MD5) Maria Cristina de Barros Rossi2.pdf: 1891280 bytes, checksum: a99ab1f27bc608838574077bd0c91b51 (MD5) Maria Cristina de Barros Rossi3.pdf: 1218495 bytes, checksum: 041cc0680ff7776dd6082234d8ea10f8 (MD5) Maria Cristina de Barros Rossi4.pdf: 2083038 bytes, checksum: 90f1a1ca85a9ba241fe7f55408f15447 (MD5) Maria Cristina de Barros Rossi5.pdf: 2009912 bytes, checksum: 67c0b4399c4ed4d77c070ef15e581d43 (MD5) Maria Cristina de Barros Rossi6.pdf: 2846689 bytes, checksum: d7a695a57556459099ea8723856c4743 (MD5) Maria Cristina de Barros Rossi7.pdf: 1762996 bytes, checksum: 3fbe6255eead54bddef17e5e877b7c13 (MD5) Previous issue date: 2008-03-11 / Instituto Presbiteriano Mackenzie / It is noticeable in the circle of academics and professionals the importance of drawing as a fundamental instrument to reflect and elaborate the intention and exploration of space and form of the architect. In a great extend students will acquire line drawing experiences through drawing practice by recognizing forms in the use of representative instruments, and materializing it with the help of techniques. This reflexive thought has an active character which acts in a straight forward manner to the way thinking of the project, acting together with verbal concepts, and by this means establishing the synthesis done by configuration. It is not a matter of passively represent what is perceived or thought but yet an immediate act of thinking the project. Expression drawing, as a drawing that does not possess norms, greatly contributes to this process with its fundamental participation in the early years of the Architecture and Urbanism courses when students bring their expressive liberty and carry with themselves a lessen commitment to constructive techniques. This study intends to question the meaning in time for the drawing term by expressing its validity on the way of thinking of it nowadays. / Nos meios acadêmicos e profissionais verifica-se cotidianamente a importância do desenho enquanto instrumento fundamentalmente adequado para a reflexão e elaboração de intenções projetuais de espaços na formação de um arquiteto; em grande parte é por intermédio dele que os estudantes irão adquirir experiências no traço, no reconhecimento das formas, no uso de instrumentos de representação e, com o auxílio de algumas técnicas, materializá-los. Essa reflexão por intermédio do desenho tem caráter ativo, ou seja, atua de forma decisiva no ato de pensar o projeto, agindo conjuntamente com os conceitos verbais, estabelecendo, dessa forma, uma síntese que se faz em configuração; não se trata de representar passivamente o percebido ou o pensado , mas, sim, imediatamente um ato de pensar o projeto. O desenho de expressão, ou seja, o desenho não normatizado, contribui decisivamente para este processo, com fundamental atuação no início do curso de Arquitetura e Urbanismo quando os estudantes possuem maior liberdade expressiva e, ainda, menor compromisso com as técnicas construtivas.Este estudo pretende questionar o significado do termo desenho no tempo, os principais paradigmas de sua manifestação em culturas distintas e dissertar sobre a validade desse raciocínio nos dias de hoje.

In the fields of Human-Computer Interaction and Interaction Design there is an increased interest in designing for leisure and fun in contrast to an understanding of technology primarily as part of the workplace. Along with this, the relevance of experiential aspects of design is heightened compared to usability in terms of effectiveness, efficiency and satisfaction. At the same time, this created an interest in the relationship between the human body and technology use in research and industry. The starting point for this thesis is the perceived difficulty to combine exploration and technology in early stages of the design process without becoming technology-focused. Instead of picking a technology early in the process and therefore letting the design process be shaped by it, this thesis advocates introducing technology in a way that designers can explore different technologies similar to sketching with different materials. This thesis aims to identify the needs of designers in inter- disciplinary teams when designing with movement-based interactions. This is done by first summarizing important aspects of sketching from the literature. Secondly, the tools that are currently available are reviewed. Finally, an observational study of a design situation is conducted to complete this investigation. The main outcome of this thesis is a set of guidelines for designing a sketching tool for movement-based interactions in interdisciplinary teams. The most important are low transaction costs, overview over sketches, integration into the existing ecosystem, optimization for the team setting and clear articulation of material qualities.

Designsonder är en så kallad innovativ metod (Hanington, Methods in the Making: A Perspective on the State of Human Research in Design, 2003) som låter deltagarna i studien vara kreativa och delaktiga i designprocessen. Det finns ingen exakt definition av designsonder, men ofta handlar det om ett paket med ett antal uppgifter som delas ut till deltagarna. Exempel på vanliga övningar är att skriva en dagbok om användandet av artefakten som studeras samt att genom en engångskamera låta deltagaren dokumentera sitt användande. Denna rapport syftar till att undersöka designsonders potential som inspiration till designprocessen. Samtidigt undersöks hur metoden designsond fungerar på den aktuella målgruppen: studenter som använder Key-husets entrémiljö på Linköpings universitet. Rapporten belyser därmed problematiken med att ta steget från de tidiga faserna i designprocessen, där fokus ligger på att förstå användarna av artefakten som ska designas, till själva designandet av artefakten. En studie med designsonder genomfördes under 3 veckor på 15 deltagare för att undersöka deras känslor, tillstånd och aktiviteter vid användningen av entrémiljön. Materialet användes sedan som material i en workshop för en grupp som hade i uppdrag att ta fram ett nytt koncept på en entrémiljö. Både studien med designsonden och workshopen har utvärderats genom observation samt genom att fråga vad deltagarna i de båda momenten tyckte. Utvärderingen har visat att designsonden verkar fungera väl som metod på den aktuella målgruppen, framförallt den snabba feed back som samlades in via så kallade ”känslolappar”. Dock var tiden på 3 veckor alldeles för lite, vilket resulterade i att flera deltagare i studien inte hade tillräckligt mycket tid till att arbeta med uppgifterna. I rapporten presenteras bland annat ett brainstormingliknande moment kallat ”speed sketching”. Momentet visade sig vara mycket framgångsrikt även om deltagarna i workshopen påpekade vissa svagheter med upplägget. I det stora hela gav materialet från designsonden mycket bra information om vad som händer i Key-husets entrémiljö. Denna information kunde utnyttjas i designprocessen genom arbetet i workshopen.