Design drawing: Rapid prototyping through the design process (original) (raw)
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Materializing design: the implications of rapid prototyping in digital design
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The Design Systems group of the Eindhoven University of Technology started a new kind of design studio teaching. With the use of high-end equipment, students use Virtual Reality from the very start of the design process. Virtual Reality technology up to now was primarily used for giving presentations. We use the same technology in the design process itself by means of reducing the time span in which one gets results in Virtual Reality. The method is based on a very brief cycle of modelling in AutoCAD, assigning materials in 3DStudio Viz, and then making a walkthrough in Virtual Reality in a standard landscape. Due to this cycle, which takes about 15 second, the student gets immediate feedback on design decisions which facilitates evaluation of the design in three dimensions much faster than usual. Usually the learning curve of this kind of software is quite steep, but with the use of templates the number of required steps to achieve results is reduced significantly. In this way, the potential of Virtual Reality is not only explored in research projects, but also in education. This paper discusses the general set-up of the design studio and shows how, via short workshops, students acquire knowledge of the cycle in a short time. The paper focuses on the added value of using Virtual Reality technology in this manner: improved spatial reasoning, translation from two-dimensional to three-dimensional representations, and VR feedback on design decisions. It discusses the needs for new design representations in this design environment, and shows how fast feedback in Virtual Reality can improve the spatial design at an early stage of the design process.
New Collaborative Workflows - Immersive Co-Design from Sketching to 3D Cad and Production
DS 117: Proceedings of the 24th International Conference on Engineering and Product Design Education (E&PDE 2022), London South Bank University in London, UK. 8th - 9th September 2022
Digital technologies have enabled design sketching to expand into new applications and domains. Inevitably, these new forms of visualisation require re-evaluating how we use drawing to see, visualise, understand, and fabricate products and services in design education and the profession. This paper presents a selection of discoveries after the authors performed research, made presentations and mediated workshops when face-to-face collaborations and travel were impossible because of the Covid-19 epidemic restrictions. Findings add to work intending to build a modern taxonomy for design sketching and visual knowledge while accounting for immersive virtual collaboration and distributed workflows from sketching to 3D CAD and 3D printing. These are among the first indications of a drive towards synthesising historically demarked design process stages into a singularity of actions that merge and move simultaneously among ideation, design, and production. Participants in two international conference workshops shared ideas and discussed their local circumstances relating to the potential use and acceptance of new technologies already researched and adopted in other disciplines such as computer science and entertainment. A critical consensus was that the challenge of new technologies for our design education and profession is not as much about technology and its tools as the process and steps that enable change. Significantly, conversation pointed towards a strategy that enhances and augments habits in design education and the profession as the means to modify and transform culture and practice.
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This paper presents a formal framework for utilising different digital design and rapid prototyping technologies in design education. The framework has been applied in a studio created for a mixed cohort of tertiary students from architecture and industrial design. A comprehensive survey was conducted at the end of the course as a means for evaluation, and for student self-reflection. This paper reports the experiences in conducting the studio and the student perceptions of their design processes and outcomes whilst confronting these tools. The paper provides insight into the application of digital design and rapid prototyping tools in design education, supported by a qualitative analysis of the survey result.
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The goal of this paper is to introduce themes and approaches in contemporary visualization that engage the imagination of the author and audience to enhance the larger creative process. Analog visual communication, defined as hand-generated sketches, diagrams and narratives, is of especial interest as it can bring powerful perceptual and conceptual processes to bear in making inferences and subsequent decisions. While there is a great deal of interest today in using the capabilities of computers to provide dynamic displays that provide a rapidly changing picture of the subject, many prefer static displays, comparing stationary before-and-after representations to draw inference about change. The forum for this paper precludes comprehensive discourse of the current trends in visualization, the role of technology and the necessary preservation of sketching for the design process; therefore, we only provide a cursory understanding of our approach. Currently, we are working on a compendi...
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The emergence of new networked technologies such as virtual learning environments (VLEs) and digital libraries are providing opportunities for the development of new virtual tools to assist the design researcher in exploring ideas with the aid of visualising and mapping tools and to provide interfaces that support interdisciplinary collaboration between design teams. In 1998 a research project was initiated to evaluate the potential of computer assisted learning within Art and Design. This resulted in the development of a virtual learning environment designed to support Art and Design students and staff (www.studio-space.net). This paper describes the design process used to develop this VLE and the underlying principles based on a constructivist approach to experiential learning. The on-going research uses the metaphor of the ˜design studio to explore a range of technologies that provide generative tools for the representation of design practice and related research, including the d...
Bridging the Design Gap: Towards an Intuitive Design Tool
The stone unhewn and cold becomes a living mould. The more the marble wastes, the more the statue grows." (Michelangelo Buonarroti) Abstract. A main task of industrial designers is the shaping and transformations of ideas or fuzzy notions into abstract or materialized equivalents. These sketches, models or other representations can be described as the sum of form and shape aspects, aesthetics, intuitive qualities as well as technical and sustainable functionalities. The designer must understand the elements involved in this synthesis of form giving and design. Successful designers compose these characteristics carefully and join them together to form and shape artefacts into a harmonious and balanced whole, while simultaneously manoeuvring within implicit and explicit mechanical and functional aspects. With the emergence of 3D computational design, the industrial design process shifted from traditional analogue physical representations of ideas or artefacts to digital virtual realities. This shift is creating pre-dominance of digital design over the idiosyncrasies of analogue craftsmanship of the designer. Loss of control, immediacy, manual dexterity and skills due to constraint in electronic interfaces (keyboard-mouse-monitor) and programmer's directions, gave way to alienation of the physical material world. With every new generation of design students, the widening gap is transforming intuitive design qualities and skills into virtual data processing inertia. We follow two paths in our attempt to bridge this gap. The first is a set of experiments that aim to measure the effectiveness and other qualities of various shaping techniques. Knowledge about learning curves, quality of the design results and the focus of particular methods enables decisions about 'the right' curriculum for Design students.