is an open access repository that collects the work of Arts et Métiers ParisTech researchers and makes it freely available over the web where possible.This is an author-deposited version published in: http://sam.ensam.eu Handle ID: .http://hdl.handle.net/10985/7602 To cite this version :Céline MOUGENOT, Carole BOUCHARD, Améziane AOUSSAT, Steve WESTERMANInspiration, images and design : an investigation of designers' information gathering strategiesJournal of Design Research -Vol. 7, n°4, p.331-351 -2008 Any correspondence concerning this service should be sent to the repository Abstract: Computational tools should efficiently support, and even enhance, designers' creativity. As a ground for such developments, design cognition studies aim at describing designers' mental strategies within the design process. So far, most researches have been focused on the idea generation phases, e.g. sketching activity, which is explicit enough to be observed and described. However, the early stages of design remain incompletely understood, while the informational phase is identified as a crucial step of the design process. In this context, our objective is to identify and evaluate inspirational information used by designers before generating ideas, and to describe how inspirational information is used. In this article, we report a two-part study (interviews and experimental protocol) carried out with professional designers. The main outcomes demonstrate that traditional and electronic resources are not used in the same way by designers. We also show that information gathering strategies are strongly influenced by designers' preference.Keywords: creativity; design; design cognition; design computing; images; information retrieval; inspiration; kansei; sectors of influence.Reference to this paper should be made as follows: Mougenot, C., Bouchard, C., Aoussat, A. and Westerman, S. (2008)

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The 'open approach' is rooted in the open-source and free-software movements. Its application has spread to more fields than computer engineering. Product design is impacted as well: we observe new stakeholders and practices challenging current structured design processes and leading to industrial successes. Open-design appears to be promising yet disruptive. Moreover, its distinctive features remain unclear.This paper aims to popularize this new concept, as well as to give both researchers and practitioners an overview of current research on open-design, and its consequences on design. For this, we conducted a systematic quantitative bibliometric analysis of 624 entries corresponding to the keyword 'open-design' in the Scopus database. This supports a qualitative synthesis of scientific literature, enabling us to summarize practices falling under the umbrella term 'open-design' . As such, this paper traces the evolution of product design and the open approach. It also analyzes the impact of open-design on the design process as presented in the scientific literature. Finally, this paper develops a typology of open-design of tangible artifacts that distinguishes among three currently reported varieties of practice: do-it-yourself, meta-design, and industrial ecosystems. As the major contribution of this paper, this typology is developed as a final discussion.

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is an open access repository that collects the work of Arts et Métiers ParisTech researchers and makes it freely available over the web where possible.

Immersive moodboards, a comparative study of industrial design inspiration material A recent trend in our industrial culture has been the gradual emergence of digital tools in various fields of human activity. They aim to reduce development time, cost, or to insure a low error, high quality process. Many fields have been improved thanks to this new computerized approach. This paper is centered on how industrial design could be assisted by virtual reality tools. More specifically it presents a new vision of early design methodologies through immersive technologies. It also presents the results of an experimentation aiming to compare traditional moodboards with a newly developed immersive moodboard. When analyzing and comparing the relationship of the industrial designer to a traditional and an immersive moodboard, our result highlights the fact that immerging the industrial designer in an immersive moodboard induces a high emotional activity without radically modifying the meaning of the represented trend. The moodboard data spatialization stimulates and engages the designer into interacting with the immersive moodboard. The virtual reality system provides the illusion of a potential reality, which can be used by the designer as a reflection basis for his work. We believe that delivering this immersive experience during the early design process will help the industrial designer make style related decisions.

According to an analysis of existing Design For Additive Manufacturing (DFAM) methods, we first highlight that they present limits regarding product innovation. This paper then presents a creative approach to be integrated in the early stages of DFAM methods. Two case studies A and B are presented as the experimental application of the first stage of our creative approach. The results of these case studies highlight that designers need a new kind of Intermediate Representation (IR), especially to represent dynamic features. To address this need, we introduce the concept of AMIO Additive Manufacturing of Intermediate Objects. This new kind of IR is an expected output of the ideas generation stage. These intermediate objects are meant to be manipulated by all the design stakeholders, as an input for the concept generation stage, to enhance the generation of creative concepts for additive manufacturing.