Industrial Product Design

Amid the significant growth of the scooter market in Indonesia, investment considerations have encouraged manufacturers to market more global and regional scooter designs, which may not necessarily suit the preferences of Indonesian consumers. In light of the importance of design as an influential reason for purchasing scooters in Indonesia, this study seeks to enhance the understanding of Indonesian consumer preferences for scooter design by examining the affective preferences of gender and age group towards the design attribute of body character, which was selected as this predominantly shape the overall appearance of scooters.

The project is about developing the user experience of an existing sterilizer aimed at the domestic market. This paper attempts to find the insights and the needs of a small portable household appliance that is relevant to the home context. The results found from the user study suggest criteria for home appliance units in general and 3 main keywords were developed using the results. The paper shows how the results found in the user study are used to generate appropriate concepts for small portable home appliances.

Cordoba International Design Center. When we decided to organize this International Congress never would have imagined the response from colleagues and students. Over eighty paper presentations , posters , special workshops , with over a thousand participants, alumni and students , are only part of this call . The need in our areas of expertise to integrate knowledge and share experience was evident . Long ago we observed the growth of our teachers, students and graduates in the field of design . This manifests itself among other indicators for the number of international and national awards they have achieved in recent years our cloisters. We believe the time to share experiences in the various fields of design and make a cut discipline to analyze the current agenda has come . With these concerns in mind , we wanted this event we serve to create what became the leitmotif of Congress to create a "meeting with working lines " that allow teachers, researchers , students and professionals from various related disciplines , rediscover the value of our praxis. We wanted to promote combined activities between teachers, students and professionals interested in the discipline , to promote increased awareness of the need to strengthen our work. Also believed it important to promote interdisciplinarity debate among all those engaged in racing design . We seek to create an environment for the exchange of ideas to address the educational , pedagogical and professional challenges in the context of the celebration of the four years of the UNC . Also, we found essential to incorporate the experience to students, primary recipients of pedagogical proposals that we intend to analyze and institutions that bring together design professionals in their various disciplinary fields . Many people have worked selflessly in the organization of the 1st International Congress of Design . To all of them we are deeply grateful . The work was arduous but exhilarating in every way. We served to interact with colleagues, chairs , local institutions and from different cities and countries. I do wish to make a special tribute to the work of teachers and students of the FAUD , who put all the effort so that the objectives were achieved . Therefore, if the time taken for the activities initiated arrived, thing go as projected , it will not be for lack of effort . We apologize in advance for the mistakes we may make . We hope that CIDI is a worthy event, which remain in the memory of all those who join us .

RESUMEN. Cuando decidimos organizar este Congreso Internacional nunca imaginamos la respuesta que tendríamos de parte de colegas y alumnos. Más de ciento treinta presentaciones de ponencias, posters, talleres especiales, con más de mil participantes, egresados y estudiantes, son sólo parte de esta convocatoria. Se evidenció la necesidad que existe en nuestras áreas de especialidad por integrar conocimientos y compartir experiencias. Hace tiempo que observamos el crecimiento de nuestros docentes, alumnos y egresados en el campo del diseño. Esto se manifiesta entre otros indicadores por la cantidad de premios internacionales y nacionales que han logrado en los últimos años nuestros claustros. Consideramos que ha llegado el momento de intercambiar experiencias en los diversos campos del diseño y hacer un corte disciplinar para analizar la agenda actual. Con estas inquietudes en mente, quisimos que este evento sirviera para generar lo que se transformó en el Leitmotiv del Congreso, crear un “punto de encuentro con líneas de trabajo”, que permitiera a profesores, investigadores, alumnos y profesionales de distintas disciplinas afines, reencontrar el valor de nuestra praxis. Quisimos propiciar actividades combinadas entre docentes, alumnos y profesionales, interesados en la disciplina, para promover una conciencia creciente sobre la necesidad de fortalecer nuestro quehacer. También creímos importante promover el debate interdiciplinar entre todas aquellas carreras que se dedican al diseño. Procuramos crear el ambiente propicio para el intercambio de ideas que permitan enfrentar los desafíos educativos, pedagógicos y profesionales en el marco de la celebración de de los cuatrocientos años de la UNC. Además, nos pareció fundamental incorporar en la experiencia a los alumnos, destinatarios primordiales de las propuestas pedagógicas que nos proponemos analizar, así como a las instituciones que agrupan a los profesionales del diseño en sus variados campos disciplinares. Muchas personas han colaborado desinteresadamente en la organización de este 1er Congreso Internacional de Diseño. A todos ellos les estamos profundamente agradecidos. El trabajo fue arduo pero estimulante en todo sentido. Nos sirvió para relacionarnos con colegas, cátedras, instituciones locales y de distintas ciudades y países. No quiero dejar de hacer un especial reconocimiento al trabajo de los docentes y alumnos de la F.A.U.D., quienes pusieron todo el empeño para que se alcanzaran los objetivos. Por eso, si llegado el momento de dar por iniciadas las actividades, algo no saliera como lo proyectamos, no será por falta de esfuerzo. Pedimos disculpas anticipadamente por los errores que cometamos. Es nuestro deseo que CIDI sea un evento meritorio, que permanezca en la memoria de todos quienes nos acompañen.

This issue of She Ji opens with reflections on the nature and meaning of the modern research university for the 110th anniversary of Tongji University. The first article considers the work of the late John Heskett on the economic role of design. Cameron Weber applies Heskett’s theory to the 2009 GM bailout in “What Is Good for General Motors Is Bad for America.” Following this nuts-and-bolts examination of design economics, Jordan Beck and Erik Stolterman stake out a theoretical position “Examining the Types of Knowledge Claims Made in Design Research.” University rankings are one of the most prevalent and hotly debated topics in higher education today – this issue of She Ji features two examinations of the theme. Meredith Davis asks “Can College Rankings Be Believed?” and Scott Thompson-Whiteside writes on “Zen and the Art of University Rankings in Art and Design.” Four commentators respond: Peter Murphy on “University Rankings and the Coming of the Auto-Industrial Age,” Pradeep Sharma with “Outstanding in Your Field,” Ninghua Zhong that “University Rankings Need Improvement,” and Carma Gorman with “College Rankings: Can’t Love ’Em, Can’t Leave ’Em.” Finally, Maria Camacho talks with Christian Bason in a conversation on “Design for Public Service.” Design firms, consulting firms, and public agencies use design methods to create more effective services and better systems. Christian Bason was at the cutting edge of this trend as director of Denmark’s MindLab. Now director of the Danish Design Centre, Bason discusses the key issues of design for public service.

This book gathers experiences, reflections and new pedagogical proposals that are being incorporated to the teaching practices, in different levels of the technical education in our countries. The authors' interventions, which cover different perspectives and depth, allow us to understand and evaluate: the trajectories that technical education has had since its origins with the advances and setbacks it has experienced with political, economic and productive changes; the methodologies to incorporate the new models of industrial production; the experiences of education for entrepreneurship; and, technical-professional education in development processes.

RESUMEN. Este libro recoge experiencias, reflexiones y nuevas propuestas pedagógicas que se vienen incorporando a las prácticas docentes, en diferentes niveles de la educación técnica en nuestros países. Las intervenciones de los autores que abarcan diferentes perspectivas y grado de profundidad, nos permiten comprender y evaluar: las trayectorias que la educación técnica ha tenido desde sus orígenes con los avances y retrocesos que ha experimentado con los cambios políticos, económicos y productivos; las metodologías para incorporar los nuevos modelos de producción industrial; las experiencias de educación para el emprendimiento; y, la educación técnico-profesional en los procesos de desarrollo.

Does Design Care...? includes over 25 working papers from researchers based all over the world. During the 2-day design thought and action workshop in Imagination, Lancaster University, UK, we welcomed researchers and practitioners from a wide range of disciplines to to explore what it means to care now. The Does Design Care...? working papers includes researchers from an international community with some attendees travelling from as far as the USA, New Zealand, Australia, China, Israel and Japan. The working papers explore different ways to conceptualise, provoke, contest and disrupt care, and serve as a collection of work for synthesising future visions of care. Does Design Care...? compiles papers from all of the workshop participants.

The paper analyzes the processes involved in the design and development of new products, in different business scales, depending on the approach offering the perspective of industrial design, marketing and engineering, by describing the methodologies proposed by other authors. From the conclusions reached in the analysis of a series of casoss, a methodological approach that integrates the sequence of steps comprising the process of developing products and linking tools proposed by the mentioned disciplines to meet the expectations formulated their field.

RESUMEN. El trabajo analiza los procesos implicados en el diseño y desarrollo de nuevos productos, en distintas escalas empresariales, según el enfoque que ofrecen la perspectiva del diseño industrial, del marketing y de la ingeniería, mediante la descripción de las metodologías propuestas por distintos autores. A partir de las conclusiones alcanzadas en el análisis de una serie de casoss, se formula una propuesta metodológica que integra las secuencias de las etapas que comprende el proceso de desarrollo de productos y que vincula las herramientas que proponen las mencionadas disciplinas para cumplir con las expectativas de su campo.

Research supports the central role cognitive strategies can play in successful concept generation by individual designers. Design heuristics have been shown to facilitate the creation of new design concepts in the early, conceptual stage of the design process, as well as throughout the development of ideas. However, we know relatively little about their use in differing disciplines. This study examined evidence of design heuristic use in a protocol study with 12 mechanical engineers and 12 industrial designers who worked individually to develop multiple concepts. The open-ended design problem was for a novel product, and the designers’ sketches and comments were recorded as they worked on the problem for 25 min and in a retrospective interview. The results showed frequent use of design heuristics in both disciplines and a significant relationship to the rated creativity of the concepts. Though industrial designers used more heuristics in their concepts, there was a high degree of similarity in heuristic use. Some differences between design disciplines were observed in the choice of design heuristics, where industrial designers showed a greater emphasis on user experience, environmental contexts, and added features. These findings demonstrate the prevalence of design heuristics in individual concept generation and their effectiveness in generating creative concepts, across two design domains.