Abstract The developing trend toward the integreation of many function in application market of semiconductor, makes the original business model of IC design industry to change. From open structure (named ¡§Wintel¡¨ structure) till today, what we can see it shows as transition stage. It will be end in the situation the all devices can interlink to each other. All of us don¡¦t know how long we will overcome this transition stage. But it really challenges the orginal business model of IC design industry. The business model of IC design industry changes along with the changing in product application market. In this study, we do analysis of IC design industry¡¦s business model by four dimensions¡Xmarket strategies, capabilities of technology, the types of organization, financial resources. We will discuss the differents between Taiwan and American IC design industry In market strategy dimension, there are more and more difficults to distinguish between past strategy model including niche and volume strategies. Because the revolution of electronics application market, the better ways for Taiwan IC design industry to develop its market strategy are depending on capability focusing and the capture of market demend. When mentioning about the IC design skill, Taiwan IC design industry can choose several ways to cumulate its design capabilities according to the market strategy it chose. About types of the organization, the combination of fabless and fabless is the trend. Also 1¡¦st tier IDM will be the key roles who dominate the future IC industry. More than all, fabless who belong to system assembly factory or fabless who belong to foundry will be the mainstream in the IC industry and in electronics application market, too. Depending on what kinds of organzation IC design companies chose, it will affect the ability when they rising money. These four factors interaction built the business model of the Taiwan IC design industry.

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Environmental degradation and concepts of 'sustainability' have recently become a focus of political, commercial and social concern. This thesis addresses one of the issues concerning human impact on the environment, namely the environmental awareness and action of those involved with design and development. This project provides an overview of designers' current attitudes to environmentally responsible design and investigates design that is perceived to be more environmentally responsible. The research was exploratory and qualitative in nature. The postal and telephone pilot surveys and the main study of 20 in-depth interviews were carried out with individuals involved in design and development in design consultancies and a range of design-based manufacturing companies within the UK. It was found that most designers were unaware of many of the issues surrounding environmentally responsible design. Few companies were including environmental criteria within design and development processes, the exceptions generally responding to legislative or market demands. Three main levels of environmentally responsible design are discussed in this project; <i>green design</i> addresses a focus on one or two environmental impacts of a product, <i>ecodesign</i> refers to a comprehensive product lifecycle design strategy, and <i>sustainable design </i> describes a move beyond the current context of design and questions, for example, the need, value, and ethics of a product's development. The significant qualitative data gathered during the project led to the development of a visual analysis method, the 'Environmental footprint'. Different types of business approach (proactive, reactive and cynical) to incorporating environmental issues within product development emerged from this analysis. These were further developed into a hierarchy of environmental business strategies which aided the identification of approaches that relied on 'bottom-up' action (e.g., action of an individual 'environmental champion' within the company), and those which tended to be a result of 'top-down' action (e.g., a company's strategic environmental policy). The research showed that to achieve effective, long-term environmentally responsible design and development the following are desirable: (a) design-specific information on environmentally responsible design, (b) effective communication channels within companies and throughout the supply chain, and (c) greater understanding of the qualities and scope of design by senior management. The research also questions how a design profession focused almost entirely on increasing the production and consumption of goods can re-evaluate its role in society and move towards a more responsible and environmentally sustainable existence. 'Sustainable design' is discussed as a concept which moves beyond 'green design' and 'ecodesign', and hence the remit of the designer, to one which can only be successfully addressed by a change in the political and economic global development system.

No one will question that computers are revolutionizing the design industry. It is pointed out in [Bezier84] that before CAD/CAM, a surface was defined by tracing cross sections on a drawing and then carving these sections in wood, plastic or metal. The final model was determined by someone interpolating between the sections. This labor intensive art is being replaced by techniques of computer aided geometric design.

Industry 4.0 (I4.0) productions are complex environments driven by production data to make informed decisions affecting the events and items on the production line. This complexity can have a negative effect on the factory workers’ adoption rate of the new technology. More specifically, it can lead to the factory workers feeling passive and lacking influence over the tools used. Therefore, new UX methods and increased UX maturity are called for, to better suit the ever changing environments of I4.0 organizations. To ensure adoption, positive attitudes and intentions regarding user ownership, expertise and knowledge sharing are required. In this thesis project, participatory design (PD) methods are used to evaluate, whether PD has a positive effect on such attitudes and intentions toward new tools introduced on the production line. Five participants, employees from the I4.0 company Northvolt, were recruited to take part in a PD workshop to design a human-machine interface (HMI). The participants attitudes and intentions towards the tool were measured and explored through the PD workshop, surveys and user interviews. The outcome was also compared to the survey results on the tools already in use on the production line. The study resulted in increased positive attitudes and intentions towards user ownership, knowledge sharing and expertise concerning the HMI. Thus, the application of PD in I4.0 environments had an overall positive impact. Researchers are called to assess these effects in the long term, by allowing the participants to use the tool in a practical context overtime. / Industry 4.0 (4.0) produktioner är komplexa miljöer drivna av produktionsdata för att kunna göra informerade beslut som påverkar händelserna och produkterna på produktionslinjen. Denna komplexitet kan ha en negativ effekt på fabriksarbetarnas adoptionsfrekvens av den nya teknologin. Mer specifikt, kan det leda till att fabriksarbetarna känner passivitet och att de saknar inflytande över de digitala verktygen som används. För att bättre passa de föränderliga miljöerna i I4.0 organisationer, behövs nya User Experience (UX) metoder och ökad UX mognad. För att säkerställa adoption, positiva attityder och avsikter angående ”user ownership”, behövs expertis och kunskapsdelning. I detta examensprojekt, används ”participatory design” (PD) metoder för att evaluera om PD har en positiv effekt på sådana attityder och avsikter gentemot nya digitala verktyg introducerade på produktionslinjen. Fem deltagare, anställda från I4.0 företaget Northvolt, rekryterades för att ta del av en PD workshop för att designa ett ”human-machine interface” (HMI). Deltagarnas attityder och avsikter gentemot verktyget mättes och utforskades genom PD workshopen, enkäter och användarintervjuer. Utfallet blev jämfört med enkätresultat gällande digitala verktyg som redan används på produktionslinjen. Projektet resulterade i ökade positiva attityder och avsikter rörande user ownership, kunskapsdelning och expertis gentemot HMIt. Således, appliceringen av PD i I4.0 miljöer hade en övergripande positiv påverkan. Forskare uppmanas att bedöma dessa effekter långsiktigt, genom att tillåta deltagarna att använda det digitala verktyget i en praktiken över tid.

This research is a formative evaluation of personal learning networks to determine their applicability for professional development in the architecture and design industry. The researcher seeks to find a catalyst toward discipline-wide realization of integrated design practices. This research initiative was spurred by leaders in the field who indicate that a swift transformation to integrated design practice is required in the discipline in order for the practice of architecture to remain effective in today's global economy. The AIA knowledge community has designated this issue a primary focus for professional development, yet innovative solutions for timely and effective knowledge transfer at a discipline-wide scale do not currently exist. Concurrently, there is active research in computer-based organizational learning within the social sciences, education and the human computer interaction disciplines, indicating its potential as an effective method for the dissemination of knowledge. The research strategy draws upon the human computer interaction discipline's user-centered design philosophy to harness the disciplines knowledge by actively engaging experts in a formative evaluation of personal learning networks using the Delphi method. / Ph. D.

Our understanding of the effects that human production and consumption has on our planet and its resources has challenged us to think differently when developing new products. In response to these problems, Eco Design has been developed over the last few decades. Eco Design is a process integrated into product and engineering design that aims to lower the environmental impact of products across their life cycle, whilst not hindering design brief criteria such as function, price, performance, and quality. Research in Eco Design has focused mainly on the development of new tools and ways to implement Eco Design in industry. However, there is still little empirical knowledge today regarding the state of Eco Design implementation and practices in industry; in addition to the prerequisite needs and factors to successfully implement Eco Design. The aim of this research has been to review the level and type of Eco Design in the British Product Design industry and to identify recurrent themes helping or hindering implementation. This was achieved through the use of a pilot study followed by a two stage case study design, involving 20 cases and 57 participants across 65 interviews. The investigation and its analysis produced 12 confirmed themes, each generating their own drivers and barriers to Eco Design implementation. This research into Eco Design implementation provides a unique contribution and a timely insight into the Eco Design practices of the British Product Design industry today. The research also provides the novel contribution of identifying the drivers and barriers to implementing and sustaining Eco Design, as well as an understanding of the strengths and shortfalls of the current Eco Design processes and tools. These contributions to knowledge in the field of Eco Design will help future research formulate better solutions to implement Eco Design processes in the Product Design industry.

台灣的IC設計產業總產值全球僅次於美國，自從九零年代中期成為我國極受矚目的產業。因此本研究所探討的主題為全球IC設計產業的生產效率分析，以2003年全球營收前卅大IC設計廠商為樣本。透過資料包絡法(Data Envelopment Analysis，DEA)，針對不同地區與個別廠商進行2000年至2002年的效率分析，最後進行Tobit迴歸分析，求得影響廠商生產績效的因子，提供本國廠商改善效率的參考，實證結果為： 1.DEA跨國比較的結果顯示，在2000年至2002年整體技術效率值最高的地區為美國，在2000年與2001年為台灣整體技術效率值僅次於美國，但在2002年卻落居第三。觀察個別廠商績效，Qualcomm、MediaTek、Marvell、ICS、Lattice、Pmc-Sierra與DSP Group等廠商績效最好，其整體技術效率值為1。 2.Malmquist生產力指數(MPI)跨國比較的結果顯示，臺、美、加三國總要素生產力均呈現退步的情形，2001至2002年，臺、加總要素生產力呈現進步，美國呈現退步。就個別廠商而言，在2000年至2001年間有四家廠商總要素生產力進步，在2001至2002年年則有十五家廠商總要素生產力呈現進步的狀況。 3.Tobit迴歸分析的結論為：存貨週轉率inventory turnover對整體技術效率有顯著的正向影響；負債比率與平均收帳期間均對整體技術效率有顯著的負面影響。研發費用率、經營年限與整體技術效率呈現正向關係，至於每人配備率則呈現負相關。 / The total output value of Taiwanese IC design industry is the globally second following United States. It had become the domestic gazed industry since mid 90s. Therefore, this research studies the production efficiency of global IC design industry and chooses the firms which sales globally ranked top 30 as samples. Through DEA, this thesis analyzes the efficiency focused on different regions and individual firms from 2000 to 2002. And finally, the Tobit regression model is proposed to find out the factors that influenced performances of firms and it could be reference for the domestic firms to improve their production efficiency and productivity. The results display: 1. By comparison with regions, the DEA results display that U.S.A. United States has the highest overall technical efficiency(TE) value during 2000 to 2002. Taiwan ranked behind U.S. both in 2000 and 2001 but dropped to the 3rd position in 2003. Observing performances of individual firms, Qualcomm, MediaTek, Marvell, ICS, Lattice, Pmc-Sierra and DSP Group performed as the best and their efficiency value is 1. 2. By comparison with regions, Malmquist Productivity Index(MPI) results display that the U.S.., Taiwan and Canada showed their Total Factors Productivity (TFP) to degenerate from 2000 to 2001. However, Taiwan and Canada showed their progressive TFP, progress in TFP but U.S.A. had a regressive TFP from 2001 to 2002. For one individual firm, there were only 4 firms’ TFP being aggressive from 2000 to 2001 and there are 15 firms’ TFP aggressive from 2001 to 2002. 3. The result from running Tobit regression models display that Inventory Turnover has significant positive effect to TE; Debate Ratio and Average Collection Period have significant negative effect to TE; R&D Ratio and Incorporated Period have direct relation with TFE and Equipment Per Employee has negative relation with TE.

This thesis aims to identify and explain how, through the consumption of the wireless as a modern consumer durable, modernism was brought to society. To understand this process, the study will map how social change during the period responded to wider intellectual and aesthetic currents and trends but was driven by emergent commercial, cultural and political economies of a newly mediated society. Furthermore, it seeks to establish that this happened not as a result of social engineering through model housing schemes but as a result of consumer-led demand. This investigation considers how, as part of that newly mediated social environment, the wireless developed following its arrival on the domestic market without having adopted a single stylistic form. It addresses how that form, both stylistically and technically, evolved over a relatively short period to address the economic and cultural requirements and expectations of a new electrically powered domestic entertainment technology. In so doing, a discourse will be established considering these expectations and requirements related to how the wireless in Britain adopted and adapted the Modernist design idiom. It will further consider how the language of Modernism was propagated as the accepted version of what a radio could or should look like, so developing the modernist paradigm in a broader sense. To gain an appreciation of this it is necessary to understand the contemporary public conception of what the modern was in a more general sense. To decipher this public perception of modernity the project aims to extrapolate that public conception through examining other popular forms and products. Although this suggests that Radio was not alone in adopting the language of the moderne, as a product it is notable for its widespread commercial success and as such can be identified as a significant carrier of the coded message of what was modern. Design historians such as Yagou and Forty have attempted to incorporate radio into various strands of historical perception but the typologies they have devised to describe and understand wireless fall short in addressing the relationship between modernity and the wireless and instead see the wireless in terms of being an independent consumer product, a quasi-scientific instrument or else a furnishing form, rather than creating categories which accommodate the wireless and its position as a design type in its own right. To overcome this shortcoming a strand of this thesis seeks to argue that the wireless was itself a proto-modernist device during the early years of market expansion. That device then developed along a natural stylistic course embracing contemporary decorative ideas. By assessing the response of radio manufacturers to the socio-economic conditions of their market, this study has highlighted how through producing a product which addressed contemporary ideas of glamour, ease of use and functionality, the wireless entered a wide range of homes during the 1920s and 1930s. For the public, the immediate appeal of the wireless was that it provided access to the international experience of listening in while simultaneously it provided a template for the consumer to base their understanding of the modern World, both in its mediated form and stylistic appearance. This thesis seeks to demonstrate that during the period 1925 to 1939, the wireless established itself as an unashamedly modern device which appealed to a broad socio economic cross section of the public. By consuming the wireless, the British public accepted a significant technological and stylistic aspect of modernity into their homes. This was achieved despite the privations of the era because of the perceived desirability of wireless broadcasts and the perception of listening in as a popular leisure activity. As a result of that consumer demand, the British public was given access to a range of stylistic versions of modernity through the design of radio cabinetry. These modern styles were readily consumed throughout the social spectrum in preference to historicist alternatives. This demonstrates that the wireless was instrumental in introducing the modernist aesthetic to the British domestic environment.