Categorization... Natural Language and Design

Athavankar, Uday

doi:10.2307/1511517

Cited by 16 publications

(6 citation statements)

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“…The work that is reported incorporates the critical design theory of Athavankar [6], who highlights the importance for product designers of designing products whose form shows its "belongingness" to the intended category of product so that it may be recognized as a legitimate member of that group. Furthermore, work by Labov [7], illustrates the connection between the variations in product form and in conceptual meaning.…”

Section: Methodsmentioning

confidence: 99%

Concept design assessment from specified user needs

Rodgers

Patterson²,

Wilson³

1995

Integrated Manufacturing Systems

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The actual success or failure of a product is measurable partially in terms of the commercial success of the organization producing it. Addresses how to estimate that success at the concept stage of the design process, prior to detailed design, when there is not yet a physical artefact, and no definite knowledge of how the market will respond to it, but simply some representation of it, for example, design drawings and 3‐D models. Describes a method for approaching this problem by establishing attributes (in “user terms”) which a product must have to enable it to achieve success. Presents an example of a toothbrush, determines the measurable attributes required from this product and describes methods for their evaluation.

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Section: Methodsmentioning

confidence: 99%

Concept design assessment from specified user needs

Rodgers

Patterson²,

Wilson³

1995

Integrated Manufacturing Systems

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“…The theories suggest that people have conceptual and categorical beliefs about the objects that they experience, which they refer to when they encounter other objects (Norman, 2013;Athavankar, 1989). Through experiences with real objects in everyday life, a person will establish and hold some presupposed beliefs about properties that do and do not co-occur (Anderson, 2015;Schifferstein and Hekkert, 2008). The person will build mental models of concepts upon existing beliefs as well as inferences from information identified in the product itself (Norman, 2013;Burnston and Cohen, 2012).…”

Section: Coherence Is Perceptualmentioning

confidence: 99%

The Effects of Representation Mode on Conceptual Coherence in the Design of Physical Products

Trinh¹,

Elverum²

2019

Proc. Int. Conf. Eng. Des.

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Coherence is important in the design of products, because it makes them easier to understand for their users. Designers can use different representation modes to express ideas about coherence. However, perception of a representation can be influenced by its mode. Therefore, designers must be aware of the influences that different representation modes can have on perception of coherence.The aim of the present study was to investigate the effects of experienced modality on perception of conceptual coherence. In the study, participants were divided into two conditions for two representation modes: written word and physical object, both representing the same concepts. Each participant was presented with the concepts as words or objects and asked to list the properties of each concept. The results showed that between the two conditions, frequencies of responses were similar while frequencies of response contents were dissimilar and sometimes contrary. The main findings suggest that the effects of the modalities, written word and physical object, do not differ significantly for mental activity, but do differ considerably for semantic processing in ways that has implications for design.

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“…We recognise meaningful objects from meaningless lowlevel features of information through forming patterns in both bottom-up and top-down strategies of our cognition (Ware, 2008). Evidence also shows it is possible to imagine an object's semantic property in archetypal categories of existing objects effortlessly, even if only very small portions of the object are seen (Athavankar, 1989). These facts imply that we are inherently capable of finding out more meaning in incomplete information of an object.…”

Section: Introductionmentioning

confidence: 99%

Reductionism as a Tool for Creative Exploration

Inoue¹

2016

11th EAD Conference Proceedings: The Value of Design Research

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This paper reports on research that investigates how qualitative reduction of elements of an object might stimulate creativity amongst design practitioners.As humans, we have the ability to generate a complete image of an object as a representation even when parts of the three-dimensional object are missing, as long as appropriate visual clues are given. If reduced elements of an object describe the complete state of the object, element reduction might be utilised as a trigger for further creative imagination. In other words, designing the way to reduce elements of an object might be an opportunity to stimulate a design practitioner's imagination. In order to explore the possibilities of reductionism in design, the authors conducted an experiment wherein design students were given varying levels of reduced information in a design representation and asked to complete the design using simple 3D materials. We observed the ways in which the design students approached the original image of an object using images whose quality were reduced in a variety of ways. The results indicate that even if the design students saw a visually-reduced image of an object, they develop their imagination relying on three factors: materiality, composition and prior-knowledge. The authors suggest that reducing these informative elements could possibly be the key to stimulating their imagination.

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Categorization... Natural Language and Design

Cited by 16 publications

References 0 publications

Concept design assessment from specified user needs

Concept design assessment from specified user needs

The Effects of Representation Mode on Conceptual Coherence in the Design of Physical Products

Reductionism as a Tool for Creative Exploration

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