An examination of the forces that generate a style

Chan, Chiu-Shui

doi:10.1016/s0142-694x(00)00045-4

Cited by 31 publications

(12 citation statements)

References 22 publications

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“…This aspect has also been studied and corroborated by others [28,29]. Other aspects of design cognition studied include: Chan's study on the formation of architectural style [30,31], Liikkanen and Perttula's evaluation of problem decomposition modes [32], and Khaidzir and Lawson's analysis of cognitive actions that take place through conversations between tutors and students [33]. Gero et al [34] used protocol analysis to study the effect of "structuredness" of three ideation methods on design cognition.…”

Section: Protocol Studiesmentioning

confidence: 82%

Empirical Studies of Designer Thinking: Past, Present, and Future

Dinar

Shah

Cagan

et al. 2015

Journal of Mechanical Design

121

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Understanding how designers think is core to advancing design methods, tools, and outcomes. Engineering researchers have effectively turned to cognitive science approaches to studying the engineering design process. Empirical methods used for studying designer thinking have included verbal protocols, case studies, and controlled experiments. Studies have looked at the role of design methods, strategies, tools, environment, experience, and group dynamics. Early empirical studies were casual and exploratory with loosely defined objectives and informal analysis methods. Current studies have become more formal, factor controlled, aiming at hypothesis testing, using statistical design of experiments (DOE) and analysis methods such as analysis of variations (ANOVA). Popular pursuits include comparison of experts and novices, identifying and overcoming fixation, role of analogies, effectiveness of ideation methods, and other various tools. This paper first reviews a snapshot of the different approaches to study designers and their processes. Once the current basis is established, the paper explores directions for future or expanded research in this rich and critical area of designer thinking. A variety of data may be collected, and related to both the process and the outcome (designs). But there are still no standards for designing, collecting and analyzing data, partly due to the lack of cognitive models and theories of designer thinking. Data analysis is tedious and the rate of discoveries has been slow. Future studies may need to develop computer based data collection and automated analyses, which may facilitate collection of massive amounts of data with the potential of rapid advancement of the rate of discoveries and development of designer thinking cognitive models. The purpose of this paper is to provide a roadmap to the vast literature for the benefit of new researchers, and also a retrospective for the community.

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Section: Protocol Studiesmentioning

confidence: 82%

Empirical Studies of Designer Thinking: Past, Present, and Future

Dinar

Shah

Cagan

et al. 2015

Journal of Mechanical Design

121

View full text Add to dashboard Cite

show abstract

“…In one group of studies, Chen and Owen [17] developed a generative system that can produce block-based structures with stylized transitions between the blocks. Chan [18] attempted to quantify style by comparing the similarities between repeating geometric features, then studied architectural structures [19] to embed artistic preferences within a form language. These studies are tailored toward repetitive geometric features, and hence may not be readily extendable non-repetetive aesthetic features.…”

Section: Related Workmentioning

confidence: 99%

Shape Spirit: Deciphering Form Characteristics and Emotional Associations Through Geometric Abstraction

Orbay

Kara

2013

Volume 5: 25th International Conference on Design Theory and Methodology; ASME 2013 Power Transmission and Gearing Conference

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Understanding and tailoring the visual elements of a developing product to evoke a desired emotional response and aesthetic perception is a key challenge in industrial design. To date, computational approaches to assist this process have either relied on stiff geometric representations, or focused on superficial features that exclude often elusive shape characteristics. In this work, we aim to study the relationship between product form and consumer emotions through a visual deconstruction and abstraction of existing final products. In particular, we attempt to answer three questions: (1) Do observers’ aesthetic judgments rely on the product as a whole, including fine geometric details, superficial surface features, and brand-revealing icons, or are large, prominent shape characteristics sufficient to make this determination? (2) Is it possible to isolate shape features that give rise to specific emotional responses? (3) Is there a relationship between consumers’ ability to recognize a brand and the emotional attributes they associate with that brand. At the heart of our investigation is a shape analysis method that produces a spectrum of abstractions for a given 3D computer model. This produces a hierarchical simplification of an end product, whereby consumer response to geometric elements can be statistically studied across different products, as well as across the different abstractions of one particular product. The results of our study show that emotional responses evoked by coarse product “impressions” are strongly correlated with those evoked by final production models. This, in turn, highlights the importance of early aesthetic assessment and exploration before committing to detail design efforts.

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“…Described by psychological studies done in the field of architectural design (Akin, 1986;Rowe, 1987;Chan, 1990), the design processes have the following characteristics: designers would stylistically choose (Chan, 2001a) the required design information given by the clients or information gathered through research on architectural functionalities suitable for the project. These pieces of information ultimately become design constraints for developing design strategically and for creating tectonic elements, which signify the first layer of design information.…”

Section: Layers Of Organizing Information In the Design Processesmentioning

confidence: 99%

Collaborative Design in Virtual Environments

Wang¹,

Tsai²

2011

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PrefaceCollaborative Virtual Environments (CVEs) are multi-user virtual realities that actively support communication, collaboration, and coordination. All of the academic books in this area are more focused on the theory, user-centred design, realisation and evaluation of Collaborative Virtual Environments in general. In contrast, the emphasis on studying designers' behaviours/actions/patterns in CVEs distinguishes this book from many general books which more deal with the design and development of CVEs. As more researchers in design and related areas progressively employ CVEs as their base of enquiry, we see a need for a reference guide bringing the existing status of CVEs into awareness and expanding on recent research.This book offers a comprehensive reference volume to the state-of-the-art in the area of design studies in CVEs. This book is an excellent mix of over 16 leading researcher/experts in multiple disciplines from academia and industry. All authors are experts and/or top researchers in their respective areas and each of the chapters has been rigorously reviewed for intellectual content by the editorial team to ensure a high quality. This book provides up-to-date insight into the current research topics in this field as well as the latest technological advancements and the best working examples. Many of these results and ideas are also applicable to other areas such as CVE for design education. Predominantly, the chapters introduce most recent research projects on theories, applications and solutions of CVEs for design purpose. More specifically, the central focus is on the manner in which they can be applied to influence practices in design and design related industries.Overall, this book offers an excellent reference for the postgraduate students, the researchers and the practitioners who need a comprehensive approach to study the design behaviours in CVEs. This book is a useful and informative source of materials for those interested in learning more on using/developing CVEs to support design and design collaboration. The target audiences of the book are practitioners, academics, researchers, and graduate students at universities, and industrial research that work with CVEs and digital media in a wide range of design areas.The book has 5 sections and 16 chapters totally. The sections are listed as follows and more information can be found in the Garcia reviews different types of virtual environments and discusses the major advantages that these environments can offer in the domain of visual-spatial performance. The first part is then followed by the following four parts in which there are chapters relating to more specific aspects of collaborative design in virtual environments. Part II. Representation and Embodiments in Collaborative VirtualEnvironments: Objects, Users, and PresenceThis part highlights issues with the representation of objects and embodiments of users by avatars in CVEs. This part develops an understanding of the nature of presence in CVEs from real-world investigation of the me...

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An examination of the forces that generate a style

Cited by 31 publications

References 22 publications

Empirical Studies of Designer Thinking: Past, Present, and Future

Empirical Studies of Designer Thinking: Past, Present, and Future

Shape Spirit: Deciphering Form Characteristics and Emotional Associations Through Geometric Abstraction

Collaborative Design in Virtual Environments

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