Phone: +603 55444070 Address: Industrial Design Department
Faculty of Art & Design
Universiti Teknologi MARA
40450 Shah Alam
Selangor Darul Ehsan
Malaysia
In the near future, the emphasis on product design innovation will be on finding a fit between te... more In the near future, the emphasis on product design innovation will be on finding a fit between technology and human values. However, there is still a limited discussion available on the unconscious human behaviour as well as inadequate literature related to the visceral level of emotional design. The purpose of this study is to manipulate the value of view of multidisciplinary experts. The paper's goal is to provide a new parameter of design thinking with respect to the emotional design, as well as the direction for the development of innovative product design.
This paper evaluates a new perimeter of design
thinking with respect to the value of unconscious ... more This paper evaluates a new perimeter of design thinking with respect to the value of unconscious human behavior, as well as the direction for the development of innovative product design. The paper reviews the literature on the value of unconscious human behavior in the design perspective. Freud’s theory of mind and Bargh’s model of the unconscious behavioral guidance system are being reviewed. Furthermore, four attributions of unconscious everyday human behaviors, which contribute in design concepts and ideation, are also being explored along with the model of obvious needs and latent needs in everyday life, which educate a designer about how unconscious human behavior could indicate user’s implicit needs
The purpose of this paper is to evaluate a new perimeter of design thinking with respect to the v... more The purpose of this paper is to evaluate a new perimeter of design thinking with respect to the value of unconscious human behaviour, as well as the direction for the development of innovative product design. In this study, Verbal Protocol Analysis (VPA) is used as a method to bring out into the open that somewhat mysterious cognitive ability of designers. Designers were asked to sketch a conceptual product design based on given design brief. The design brief consist with four images of interaction between user and products which are categorized into four attributes of unconscious everyday human behaviour. In this session, designers verbalized their thoughts, feelings and beliefs while doing their conceptual sketches. There are two objectives in this study. The first objective of this paper is to find out what words are generally used by designers to describe their perception towards the theory of unconscious human behaviour in product design. The second objective is to determine how designers reflect the theory by generating the innovative concept. This has led to the following implications: 1. The identification of general understanding and perception of the theory of unconscious human behaviour in product design, including the similarities and contradicting elements. 2. The development of an understanding on how these perceptions, expressed as an adjective, influences or can be used as a basis of identifying problem in design. The study has shown that in finding a fit between human values, designers should start to understand critically and look at every tiny factor existing in human unconscious behaviour. It is hoped the study will establish an understanding of the value of unconscious human behaviour, achieve a new knowledge and develop significant information on understanding the user’s implicit needs to design concept of an innovative solution.
Hasbullah, M.S.M., & Abidin, S.Z. (2015). Recognisability of Pictographs on Electrical Consumer Products. Proceedings of i-CADER15, 2nd International Colloquium of Art & Design Education Research 2015, Langkawi, Malaysia, Apr 14, 2015
The growing complexity of technical and electronic products have resulted in the creation of addi... more The growing complexity of technical and electronic products have resulted in the creation of additional pictographs to allow for a visual interaction between the consumer and the product. The emergence of large amounts of different pictographs with the same intended meaning may have resulted in the increase of potentially confusing situations, leading to doubts on the effectiveness of pictographs on electrical equipment. It thus becomes important to know precisely how recognisable pictographs are in order to gauge its effectiveness. This study aims to find out the recognisability of pictographs depicted on electrical consumer products in a Malaysian context. Eighteen selected pictographs representing six meanings (referent) were tested on four hundred and thirteen Malaysian respondents selected using purposive sampling. Each referent contained three pictograph variants that have the same meaning. The data obtained from the recognisability test resulted in the researcher suggesting six pictographs to be chosen as a single pictograph each to represent six different referents. The usage of a single pictograph is expected to increase the probability for it to be seen, used and studied frequently, which may then help with the avoidance of confusion amongst consumers.
Abidin, S.Z., Othman, A., Shamsuddin, Z., Samsudin, Z., Hassan, H., & Mohamed, W.A.W. (2015). Malaysian Product Design Identity: Issues, Transformation and Challenges. Proceedings of i-CADER15, 2nd International Colloquium of Art & Design Education Research 2015, Langkawi, Malaysia, Apr 12, 2015
This paper discusses the issues, transformation and challenges of creating a national product des... more This paper discusses the issues, transformation and challenges of creating a national product design identity in the context of multi-ethnic country. Generally, there is no evidence that the characteristics of product design identity can be generalized based on the agreement of multi-ethnic decision making. In the context of Malaysia, the main issue is about the identification of national identity for local product design. This led to the question that can we establish Malaysian product design identity using multi-ethnic preferences? By looking at the mutual agreement between all ethnic preferences before the formation of Malaysia, it is plausible to use a single dominant of culture and heritage influence from Malay ethnic because the privilege was clearly written in the Social Contract, Reid Commission and Malaysia’s Constitution. The transformation should in line with the sectors of education, research, industry, and government agency. The challenges as of today and future were to take a stand about uniformity of Malaysian product design identity and it should be acceptable for other ethnic group in Malaysia. In conclusion, we propose that more studies about Malay ethnic culture and heritage should be given in the perspective of semantic and syntactic interpretations.
Abidin, S.Z. (2012). Practice-based design thinking for form development and detailing. Trondheim: Norwegian University of Science and Technology., Oct 12, 2012
Automotive design is a specialized discipline in which designers are challenged to create emotion... more Automotive design is a specialized discipline in which designers are challenged to create emotionally appealing designs. From a practice perspective, this requires that designers apply their hermeneutic as well as reflective design thinking skills. However, due to the increasing demand for new car models, it is not always possible to keep generating new car designs without some form of assistive means. Therefore, it is common practice to use Automated Morphing Systems (AMS) to facilitate and accelerate the design process in the automotive industry. However, AMS, which is an efficient algorithmic driven tool for form generation, lacks the emotional knowledge of human beings, as well as the ability to introduce a “creative” and preferably a “winning” design.
The purpose of this research is to study designers' reasoning about product (automotive) form, their form generation activity, and the implications of these. The research objective is to understand how designers generate forms driven by their implicit values, beliefs and attitudes towards designing, and how these are supported by their visualization and representation skills. Four research questions have been formulated in order to get a firm answer posed in this research.
Generation of measurable and testable data – which involved both qualitative and quantitative research to gather and analyze implicit and explicit designer’s knowledge – constituted the main empirical effort for this thesis. A design research methodology framework consisting of three different parts was used in this data gathering exercise. These parts are: descriptive study I, prescriptive study, and descriptive study II. They involved methods such as surveys, observation studies and evaluation studies. Master’s students’ evaluations as well as the designers’ own interpretations of their sketches – which represent the sequence of morphed forms – were considered essential aspects of the empirical studies.
The findings of this study can be summarized as follows:
1. Approaches in form development among designers vary due to their experiences, which affect their sketching abilities, activities, and implicit thinking patterns. In their sketching and form development activities, designers emphasize the most informative views, such as façade and three quarter front views, compared to other views of the car. Rather than adopt a uniform transformation strategy which includes the entire car, they also select what elements to morph.
2. In manual form generation, designers contribute with their personal and creative input in the development of the forms of the overall car, its selected items, and regions that determine the overall character of the car. Major differences in the morphing approaches applied by designers and automated CAD systems reside in the recognition and interpretation of the meaning of form elements.
3. Considering the inability of AMS to morph selectively and inconsistently, as well as to introduce ambiguity and variance, it is suggested here that AMS may be useful only for convergent transformation, which typically occurs during the later stages of the styling process.
4. Although perceptions vary according to how representations are presented in the morphing process, the Perceptual Product Experience (PPE) framework can still be considered a useful tool for establishing familiarity, for understanding quality characteristics and the nature of the product, and, finally, for determining meanings and assessing the values of form elements.
In conclusion, the work presents a descriptive model for practice-based design thinking about form development in automotive design. Manual interpolative morphing has been the focal area of study. The study categorizes meaning with respect to designer perception. Based on the study of manual morphing exercises, a new methodology of analyzing form syntactics, pragmatics and semantics related to design thinking, form development, and automotive design has been developed.
Abidin, S.Z., Christoforidou, D., & Liem, A. (2009). Thinking and re-thinking verbal protocol analysis in design research. Proceedings of ICED 09, 17th International Conference on Engineering Design, California, DS58-9, 1-11., Aug 24, 2009
This paper assesses the appropriateness of verbal protocol analysis (VPA) as a means of analysing... more This paper assesses the appropriateness of verbal protocol analysis (VPA) as a means of analysing design activity. Design activity includes human cognitive abilities such as creativity, synthesis, and problem solving. These can vary depending on the design disciplines and design practices involved such as industrial design, engineering design, etc. In order to find out how these abilities are expressed, a study of VPA was carried out based on interviews with two researchers from different disciplines – product design and machine design – and their experiences were compared. The issues in this paper cover general reflections, positive aspects, negative aspects, evaluation (Meta-VPA), ethics and conclusions. On the basis of the results from the analysis of the interviews on VPA, it seems to be significant to carefully consider the reasons for mapping and analysing design activity and how the results may be put into practice.
Abidin, S.Z., Othman, A., Shamsuddin, Z., Samsudin, Z., & Hassan, H. (2014). The challenges of developing styling DNA design methodologies for car design. Proceedings of E&PDE 14, 16th International Conference on Engineering and Product Design Education, Enschede, DS78-2, 738-743., Sep 4, 2014
This paper discusses the challenges of developing ‘Styling DNA’ for car design. Existing theories... more This paper discusses the challenges of developing ‘Styling DNA’ for car design. Existing theories, models and frameworks towards styling DNA are still fuzzy. Many car industries are still struggling with establishing a novel fact from styling DNA that can be used as a point of reference in supporting design concepts and specifications. There are two research directions towards styling DNA for car design in design methodologies; one is Algorithmic approach and the other is Manual approach. The example of Algorithmic approach is a Genetic Algorithm (GA). GA is an engineering analysis which is based on technology-driven direction. It evolved on the method of calculation which generates each item from some encoded form known as a chromosome that mutated to class new items. Meanwhile, the example of Manual approach is Human Visual Interaction (HVI). HVI refers to the design and implementation of product characters that people interact with. It is a study of design between people and products which are based on user-driven direction. For both approaches, either in academia or industries, it seems that the expectation is more on identifying the character traits and relative attributes of styling DNA a molecule that encodes the genetic instructions employed in the growth and aesthetics appealing of form that can be used as a unified point of reference.
Jamaludin, M.S., Zulkapli, M.F., & Abidin, S.Z. (2013). The characteristics of form in relation to product emotion. Proceedings of E&PDE 13, 15th International Conference on Engineering and Product Design Education – Design Education – Growing Our Future, Dublin, DS76, 716-721., Sep 5, 2013
This study is to investigate the use of visual analogy in design characteristics. The main purpos... more This study is to investigate the use of visual analogy in design characteristics. The main purpose is to provide an understanding of how product design can affect or influence user emotion. Emotion influences how users interact with the product; in the interaction, the feeling accompanies thinking. The success of a product in the marketplace will be determined by its aesthetic appeal, the pleasure it creates, and the satisfaction it brings to the user. In conjunction to a products emotion, the designer designs a product that can satisfy the user needs by using visual analogy and form metamorphosis, to create a product character that relates to user emotion. The study aims to communicate design form, emotion, user influence and application in the design process. This will focus on the element of semantic and syntactic analysis and interpretation of product emotion in design. Product emotion study is based upon the forms origin, which is also the influence of user emotion and product characteristics. It is important to understand the relationship between basic form and the products character so that the designer can achieve the goals of design and target their user by the product emotion. The theory is then investigated with a study of emotional responses to product appearance of a previously designed product. At the end of the research, it is expected to improve the understanding of theory of form analogy towards product emotion and it has important implications on design education as a cognitive strategy in the design process.
In the near future, the emphasis on product design innovation will be on finding a fit between te... more In the near future, the emphasis on product design innovation will be on finding a fit between technology and human values. However, there is still a limited discussion available on the unconscious human behaviour as well as inadequate literature related to the visceral level of emotional design. The purpose of this study is to manipulate the value of view of multidisciplinary experts. The paper's goal is to provide a new parameter of design thinking with respect to the emotional design, as well as the direction for the development of innovative product design.
This paper evaluates a new perimeter of design
thinking with respect to the value of unconscious ... more This paper evaluates a new perimeter of design thinking with respect to the value of unconscious human behavior, as well as the direction for the development of innovative product design. The paper reviews the literature on the value of unconscious human behavior in the design perspective. Freud’s theory of mind and Bargh’s model of the unconscious behavioral guidance system are being reviewed. Furthermore, four attributions of unconscious everyday human behaviors, which contribute in design concepts and ideation, are also being explored along with the model of obvious needs and latent needs in everyday life, which educate a designer about how unconscious human behavior could indicate user’s implicit needs
The purpose of this paper is to evaluate a new perimeter of design thinking with respect to the v... more The purpose of this paper is to evaluate a new perimeter of design thinking with respect to the value of unconscious human behaviour, as well as the direction for the development of innovative product design. In this study, Verbal Protocol Analysis (VPA) is used as a method to bring out into the open that somewhat mysterious cognitive ability of designers. Designers were asked to sketch a conceptual product design based on given design brief. The design brief consist with four images of interaction between user and products which are categorized into four attributes of unconscious everyday human behaviour. In this session, designers verbalized their thoughts, feelings and beliefs while doing their conceptual sketches. There are two objectives in this study. The first objective of this paper is to find out what words are generally used by designers to describe their perception towards the theory of unconscious human behaviour in product design. The second objective is to determine how designers reflect the theory by generating the innovative concept. This has led to the following implications: 1. The identification of general understanding and perception of the theory of unconscious human behaviour in product design, including the similarities and contradicting elements. 2. The development of an understanding on how these perceptions, expressed as an adjective, influences or can be used as a basis of identifying problem in design. The study has shown that in finding a fit between human values, designers should start to understand critically and look at every tiny factor existing in human unconscious behaviour. It is hoped the study will establish an understanding of the value of unconscious human behaviour, achieve a new knowledge and develop significant information on understanding the user’s implicit needs to design concept of an innovative solution.
Hasbullah, M.S.M., & Abidin, S.Z. (2015). Recognisability of Pictographs on Electrical Consumer Products. Proceedings of i-CADER15, 2nd International Colloquium of Art & Design Education Research 2015, Langkawi, Malaysia, Apr 14, 2015
The growing complexity of technical and electronic products have resulted in the creation of addi... more The growing complexity of technical and electronic products have resulted in the creation of additional pictographs to allow for a visual interaction between the consumer and the product. The emergence of large amounts of different pictographs with the same intended meaning may have resulted in the increase of potentially confusing situations, leading to doubts on the effectiveness of pictographs on electrical equipment. It thus becomes important to know precisely how recognisable pictographs are in order to gauge its effectiveness. This study aims to find out the recognisability of pictographs depicted on electrical consumer products in a Malaysian context. Eighteen selected pictographs representing six meanings (referent) were tested on four hundred and thirteen Malaysian respondents selected using purposive sampling. Each referent contained three pictograph variants that have the same meaning. The data obtained from the recognisability test resulted in the researcher suggesting six pictographs to be chosen as a single pictograph each to represent six different referents. The usage of a single pictograph is expected to increase the probability for it to be seen, used and studied frequently, which may then help with the avoidance of confusion amongst consumers.
Abidin, S.Z., Othman, A., Shamsuddin, Z., Samsudin, Z., Hassan, H., & Mohamed, W.A.W. (2015). Malaysian Product Design Identity: Issues, Transformation and Challenges. Proceedings of i-CADER15, 2nd International Colloquium of Art & Design Education Research 2015, Langkawi, Malaysia, Apr 12, 2015
This paper discusses the issues, transformation and challenges of creating a national product des... more This paper discusses the issues, transformation and challenges of creating a national product design identity in the context of multi-ethnic country. Generally, there is no evidence that the characteristics of product design identity can be generalized based on the agreement of multi-ethnic decision making. In the context of Malaysia, the main issue is about the identification of national identity for local product design. This led to the question that can we establish Malaysian product design identity using multi-ethnic preferences? By looking at the mutual agreement between all ethnic preferences before the formation of Malaysia, it is plausible to use a single dominant of culture and heritage influence from Malay ethnic because the privilege was clearly written in the Social Contract, Reid Commission and Malaysia’s Constitution. The transformation should in line with the sectors of education, research, industry, and government agency. The challenges as of today and future were to take a stand about uniformity of Malaysian product design identity and it should be acceptable for other ethnic group in Malaysia. In conclusion, we propose that more studies about Malay ethnic culture and heritage should be given in the perspective of semantic and syntactic interpretations.
Abidin, S.Z. (2012). Practice-based design thinking for form development and detailing. Trondheim: Norwegian University of Science and Technology., Oct 12, 2012
Automotive design is a specialized discipline in which designers are challenged to create emotion... more Automotive design is a specialized discipline in which designers are challenged to create emotionally appealing designs. From a practice perspective, this requires that designers apply their hermeneutic as well as reflective design thinking skills. However, due to the increasing demand for new car models, it is not always possible to keep generating new car designs without some form of assistive means. Therefore, it is common practice to use Automated Morphing Systems (AMS) to facilitate and accelerate the design process in the automotive industry. However, AMS, which is an efficient algorithmic driven tool for form generation, lacks the emotional knowledge of human beings, as well as the ability to introduce a “creative” and preferably a “winning” design.
The purpose of this research is to study designers' reasoning about product (automotive) form, their form generation activity, and the implications of these. The research objective is to understand how designers generate forms driven by their implicit values, beliefs and attitudes towards designing, and how these are supported by their visualization and representation skills. Four research questions have been formulated in order to get a firm answer posed in this research.
Generation of measurable and testable data – which involved both qualitative and quantitative research to gather and analyze implicit and explicit designer’s knowledge – constituted the main empirical effort for this thesis. A design research methodology framework consisting of three different parts was used in this data gathering exercise. These parts are: descriptive study I, prescriptive study, and descriptive study II. They involved methods such as surveys, observation studies and evaluation studies. Master’s students’ evaluations as well as the designers’ own interpretations of their sketches – which represent the sequence of morphed forms – were considered essential aspects of the empirical studies.
The findings of this study can be summarized as follows:
1. Approaches in form development among designers vary due to their experiences, which affect their sketching abilities, activities, and implicit thinking patterns. In their sketching and form development activities, designers emphasize the most informative views, such as façade and three quarter front views, compared to other views of the car. Rather than adopt a uniform transformation strategy which includes the entire car, they also select what elements to morph.
2. In manual form generation, designers contribute with their personal and creative input in the development of the forms of the overall car, its selected items, and regions that determine the overall character of the car. Major differences in the morphing approaches applied by designers and automated CAD systems reside in the recognition and interpretation of the meaning of form elements.
3. Considering the inability of AMS to morph selectively and inconsistently, as well as to introduce ambiguity and variance, it is suggested here that AMS may be useful only for convergent transformation, which typically occurs during the later stages of the styling process.
4. Although perceptions vary according to how representations are presented in the morphing process, the Perceptual Product Experience (PPE) framework can still be considered a useful tool for establishing familiarity, for understanding quality characteristics and the nature of the product, and, finally, for determining meanings and assessing the values of form elements.
In conclusion, the work presents a descriptive model for practice-based design thinking about form development in automotive design. Manual interpolative morphing has been the focal area of study. The study categorizes meaning with respect to designer perception. Based on the study of manual morphing exercises, a new methodology of analyzing form syntactics, pragmatics and semantics related to design thinking, form development, and automotive design has been developed.
Abidin, S.Z., Christoforidou, D., & Liem, A. (2009). Thinking and re-thinking verbal protocol analysis in design research. Proceedings of ICED 09, 17th International Conference on Engineering Design, California, DS58-9, 1-11., Aug 24, 2009
This paper assesses the appropriateness of verbal protocol analysis (VPA) as a means of analysing... more This paper assesses the appropriateness of verbal protocol analysis (VPA) as a means of analysing design activity. Design activity includes human cognitive abilities such as creativity, synthesis, and problem solving. These can vary depending on the design disciplines and design practices involved such as industrial design, engineering design, etc. In order to find out how these abilities are expressed, a study of VPA was carried out based on interviews with two researchers from different disciplines – product design and machine design – and their experiences were compared. The issues in this paper cover general reflections, positive aspects, negative aspects, evaluation (Meta-VPA), ethics and conclusions. On the basis of the results from the analysis of the interviews on VPA, it seems to be significant to carefully consider the reasons for mapping and analysing design activity and how the results may be put into practice.
Abidin, S.Z., Othman, A., Shamsuddin, Z., Samsudin, Z., & Hassan, H. (2014). The challenges of developing styling DNA design methodologies for car design. Proceedings of E&PDE 14, 16th International Conference on Engineering and Product Design Education, Enschede, DS78-2, 738-743., Sep 4, 2014
This paper discusses the challenges of developing ‘Styling DNA’ for car design. Existing theories... more This paper discusses the challenges of developing ‘Styling DNA’ for car design. Existing theories, models and frameworks towards styling DNA are still fuzzy. Many car industries are still struggling with establishing a novel fact from styling DNA that can be used as a point of reference in supporting design concepts and specifications. There are two research directions towards styling DNA for car design in design methodologies; one is Algorithmic approach and the other is Manual approach. The example of Algorithmic approach is a Genetic Algorithm (GA). GA is an engineering analysis which is based on technology-driven direction. It evolved on the method of calculation which generates each item from some encoded form known as a chromosome that mutated to class new items. Meanwhile, the example of Manual approach is Human Visual Interaction (HVI). HVI refers to the design and implementation of product characters that people interact with. It is a study of design between people and products which are based on user-driven direction. For both approaches, either in academia or industries, it seems that the expectation is more on identifying the character traits and relative attributes of styling DNA a molecule that encodes the genetic instructions employed in the growth and aesthetics appealing of form that can be used as a unified point of reference.
Jamaludin, M.S., Zulkapli, M.F., & Abidin, S.Z. (2013). The characteristics of form in relation to product emotion. Proceedings of E&PDE 13, 15th International Conference on Engineering and Product Design Education – Design Education – Growing Our Future, Dublin, DS76, 716-721., Sep 5, 2013
This study is to investigate the use of visual analogy in design characteristics. The main purpos... more This study is to investigate the use of visual analogy in design characteristics. The main purpose is to provide an understanding of how product design can affect or influence user emotion. Emotion influences how users interact with the product; in the interaction, the feeling accompanies thinking. The success of a product in the marketplace will be determined by its aesthetic appeal, the pleasure it creates, and the satisfaction it brings to the user. In conjunction to a products emotion, the designer designs a product that can satisfy the user needs by using visual analogy and form metamorphosis, to create a product character that relates to user emotion. The study aims to communicate design form, emotion, user influence and application in the design process. This will focus on the element of semantic and syntactic analysis and interpretation of product emotion in design. Product emotion study is based upon the forms origin, which is also the influence of user emotion and product characteristics. It is important to understand the relationship between basic form and the products character so that the designer can achieve the goals of design and target their user by the product emotion. The theory is then investigated with a study of emotional responses to product appearance of a previously designed product. At the end of the research, it is expected to improve the understanding of theory of form analogy towards product emotion and it has important implications on design education as a cognitive strategy in the design process.
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values. However, there is still a limited discussion available on the unconscious human behaviour as well as
inadequate literature related to the visceral level of emotional design. The purpose of this study is to manipulate the value of view of multidisciplinary experts. The paper's goal is to provide a new parameter of design thinking with respect to the emotional design, as well as the direction for the development of innovative product design.
thinking with respect to the value of unconscious human
behavior, as well as the direction for the development of innovative product design. The paper reviews the literature on the
value of unconscious human behavior in the design perspective. Freud’s theory of mind and Bargh’s model of the unconscious behavioral guidance system are being reviewed. Furthermore, four attributions of unconscious everyday human behaviors, which contribute in design concepts and ideation, are also being explored along with the model of obvious needs and latent needs in everyday life, which educate a designer about how unconscious human behavior could indicate user’s implicit needs
1. The identification of general understanding and perception of the theory of unconscious human behaviour in product design, including the similarities and contradicting elements.
2. The development of an understanding on how these perceptions, expressed as an adjective, influences or can be used as a basis of identifying problem in design.
The study has shown that in finding a fit between human values, designers should start to understand critically and look at every tiny factor existing in human unconscious behaviour. It is hoped the study will establish an understanding of the value of unconscious human behaviour, achieve a new knowledge and develop significant information on understanding the user’s implicit needs to design concept of an innovative solution.
The purpose of this research is to study designers' reasoning about product (automotive) form, their form generation activity, and the implications of these. The research objective is to understand how designers generate forms driven by their implicit values, beliefs and attitudes towards designing, and how these are supported by their visualization and representation skills. Four research questions have been formulated in order to get a firm answer posed in this research.
Generation of measurable and testable data – which involved both qualitative and quantitative research to gather and analyze implicit and explicit designer’s knowledge – constituted the main empirical effort for this thesis. A design research methodology framework consisting of three different parts was used in this data gathering exercise. These parts are: descriptive study I, prescriptive study, and descriptive study II. They involved methods such as surveys, observation studies and evaluation studies. Master’s students’ evaluations as well as the designers’ own interpretations of their sketches – which represent the sequence of morphed forms – were considered essential aspects of the empirical studies.
The findings of this study can be summarized as follows:
1. Approaches in form development among designers vary due to their experiences, which affect their sketching abilities, activities, and implicit thinking patterns. In their sketching and form development activities, designers emphasize the most informative views, such as façade and three quarter front views, compared to other views of the car. Rather than adopt a uniform transformation strategy which includes the entire car, they also select what elements to morph.
2. In manual form generation, designers contribute with their personal and creative input in the development of the forms of the overall car, its selected items, and regions that determine the overall character of the car. Major differences in the morphing approaches applied by designers and automated CAD systems reside in the recognition and interpretation of the meaning of form elements.
3. Considering the inability of AMS to morph selectively and inconsistently, as well as to introduce ambiguity and variance, it is suggested here that AMS may be useful only for convergent transformation, which typically occurs during the later stages of the styling process.
4. Although perceptions vary according to how representations are presented in the morphing process, the Perceptual Product Experience (PPE) framework can still be considered a useful tool for establishing familiarity, for understanding quality characteristics and the nature of the product, and, finally, for determining meanings and assessing the values of form elements.
In conclusion, the work presents a descriptive model for practice-based design thinking about form development in automotive design. Manual interpolative morphing has been the focal area of study. The study categorizes meaning with respect to designer perception. Based on the study of manual morphing exercises, a new methodology of analyzing form syntactics, pragmatics and semantics related to design thinking, form development, and automotive design has been developed.
values. However, there is still a limited discussion available on the unconscious human behaviour as well as
inadequate literature related to the visceral level of emotional design. The purpose of this study is to manipulate the value of view of multidisciplinary experts. The paper's goal is to provide a new parameter of design thinking with respect to the emotional design, as well as the direction for the development of innovative product design.
thinking with respect to the value of unconscious human
behavior, as well as the direction for the development of innovative product design. The paper reviews the literature on the
value of unconscious human behavior in the design perspective. Freud’s theory of mind and Bargh’s model of the unconscious behavioral guidance system are being reviewed. Furthermore, four attributions of unconscious everyday human behaviors, which contribute in design concepts and ideation, are also being explored along with the model of obvious needs and latent needs in everyday life, which educate a designer about how unconscious human behavior could indicate user’s implicit needs
1. The identification of general understanding and perception of the theory of unconscious human behaviour in product design, including the similarities and contradicting elements.
2. The development of an understanding on how these perceptions, expressed as an adjective, influences or can be used as a basis of identifying problem in design.
The study has shown that in finding a fit between human values, designers should start to understand critically and look at every tiny factor existing in human unconscious behaviour. It is hoped the study will establish an understanding of the value of unconscious human behaviour, achieve a new knowledge and develop significant information on understanding the user’s implicit needs to design concept of an innovative solution.
The purpose of this research is to study designers' reasoning about product (automotive) form, their form generation activity, and the implications of these. The research objective is to understand how designers generate forms driven by their implicit values, beliefs and attitudes towards designing, and how these are supported by their visualization and representation skills. Four research questions have been formulated in order to get a firm answer posed in this research.
Generation of measurable and testable data – which involved both qualitative and quantitative research to gather and analyze implicit and explicit designer’s knowledge – constituted the main empirical effort for this thesis. A design research methodology framework consisting of three different parts was used in this data gathering exercise. These parts are: descriptive study I, prescriptive study, and descriptive study II. They involved methods such as surveys, observation studies and evaluation studies. Master’s students’ evaluations as well as the designers’ own interpretations of their sketches – which represent the sequence of morphed forms – were considered essential aspects of the empirical studies.
The findings of this study can be summarized as follows:
1. Approaches in form development among designers vary due to their experiences, which affect their sketching abilities, activities, and implicit thinking patterns. In their sketching and form development activities, designers emphasize the most informative views, such as façade and three quarter front views, compared to other views of the car. Rather than adopt a uniform transformation strategy which includes the entire car, they also select what elements to morph.
2. In manual form generation, designers contribute with their personal and creative input in the development of the forms of the overall car, its selected items, and regions that determine the overall character of the car. Major differences in the morphing approaches applied by designers and automated CAD systems reside in the recognition and interpretation of the meaning of form elements.
3. Considering the inability of AMS to morph selectively and inconsistently, as well as to introduce ambiguity and variance, it is suggested here that AMS may be useful only for convergent transformation, which typically occurs during the later stages of the styling process.
4. Although perceptions vary according to how representations are presented in the morphing process, the Perceptual Product Experience (PPE) framework can still be considered a useful tool for establishing familiarity, for understanding quality characteristics and the nature of the product, and, finally, for determining meanings and assessing the values of form elements.
In conclusion, the work presents a descriptive model for practice-based design thinking about form development in automotive design. Manual interpolative morphing has been the focal area of study. The study categorizes meaning with respect to designer perception. Based on the study of manual morphing exercises, a new methodology of analyzing form syntactics, pragmatics and semantics related to design thinking, form development, and automotive design has been developed.