TRENDS: A Content-Based Information Retrieval System for Designers

Bouchard, Carole; Omhover, Jean-François; Mougenot, Céline; Aoussat, Améziane; Westerman, S. J.

doi:10.1007/978-1-4020-8728-8_31

Cited by 25 publications

(28 citation statements)

References 12 publications

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“…Designers tend to develop digital design databases, and these are becoming an increasingly important part of their work (Yamamoto and Nakakoji, 2005;Keller, 2005;Bouchard et al, 2008). However, even if the detailed design phases are well covered by computational support tools (such as Computer-aided Design (CAD), Computer-aided Manufacturing (CAM), etc.…”

Section: Emergence Of the Creativity Support Tool For Designersmentioning

confidence: 99%

“…Several studies have been pioneered to support designers' sketching activity, particularly in the generative phase of interior and architectural design (Goldschmidt, 1994;Bilda and Gero 2007;Prats et al, 2008). To date, little research has addressed designers' inspirational sources in the informative phase (Pasman, 2003;Restrepo, 2004;Keller, 2005;Bouchard et al, 2008).…”

Section: Emergence Of the Creativity Support Tool For Designersmentioning

confidence: 99%

“…The results were appreciated by end-users in terms of the quality of the interface and also the utility of the functionalities. Due to limitations of space, we have not outlined all of the functionalities in complete detail, but an evaluation of the utility of the functionalities and the descriptions can be found in the paper of Bouchard et al(2008). Specifically, Mougenot et al (2008) and Bonnardel and Zenasni (2010) have conducted several empirical experimentations to explore the impact of the TRENDS system in terms of a creativity support tool.…”

Section: Figure 12 Evolution Of Conception and Evaluation Processmentioning

confidence: 99%

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Designing a graphical interface for creativity support tools for designers: a case study

Kim

Bouchard

Omhover

et al. 2012

IJWET

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Abstract:This study proposes a co-designing, iterative methodology to design graphical user interface for creativity support tools for designers. Given the high level of expectation from designers, the interface quality was one of the most challenging aspects of the work, in conjunction with the utility of the functionalities. An iterative design and evaluation process was used to create the icon-based interface, during which the needs of the designers and the functionalities of the system were integrated until a complete operational prototype emerged. This process provided three sequential prototypes. In order to achieve this, we derived qualitative and quantitative results from various methods: creative sessions, semantic and emotional evaluations, questionnaires, semidirective interviews, subjective performance assessments, longitudinal tests, and focus group assessments. Finally, our iterative design and evaluation process can be considered to be a very efficient means of integrating end users' spontaneous feedback about icon redesigns in the early phases of development. The design outcome enabled the end users to ensure that key features of the creativity support tool were both usable and appealing.Keywords: case study; creativity support tool; applied creative method; icon design; Graphical User Interfaces (GUIs); co-designing Reference to this paper should be made as follows: Kim, J., Bouchard, C., Omhover, J.F., and Aoussat, A (20xx) 'Designing a graphical interface for creativity support tools for designers: a case study', Int. J.Web Engineering and Technology, Vol. x, No. x, pp.xx-xx. AuthorCarole Bouchard is an assistant professor at Arts et Metiers ParisTech. Her research interests are design methodologies, creativity, kansei engineering and emotional design. Based on several studies with design practitioners, she developed design methodologies integrating designers' cognitive activity.Jean-François Omhover is an assistant professor at Arts et Métiers ParisTech. He works on the optimization of the design process by means of artificial intelligence techniques. More specifically, his research are focused on the elaboration of specific image processing techniques for supporting the early phases of the design process.Ameziane Aoussat is a full-time professor at Arts et Metiers ParisTech, and head of LCPI Design Lab. His area of research is the optimisation of the design process. In the last 18 years, he has advised more than 30 PhD theses and managed industrial collaborations.

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Section: Emergence Of the Creativity Support Tool For Designersmentioning

confidence: 99%

Section: Emergence Of the Creativity Support Tool For Designersmentioning

confidence: 99%

Section: Figure 12 Evolution Of Conception and Evaluation Processmentioning

confidence: 99%

See 1 more Smart Citation

Designing a graphical interface for creativity support tools for designers: a case study

Kim

Bouchard

Omhover

et al. 2012

IJWET

Self Cite

View full text Add to dashboard Cite

show abstract

“…Indeed, the expertise and the cognitive and creative processes of designers during the early stages of design have been acknowledged as important research foci. At the same time, designers have developed digital design databases, which have become increasingly important parts of their work as a result of the dissemination of information technology (IT) [9,13,35,40]. However, the development of computational tools for designers has been limited to prototyping technology such as Computer Aided Design (CAD), Computer-aided Manufacturing (CAM), or Computer-aided Styling (CAS), because the activities of designers are relatively implicit and subjective and involve rich mental representations during the early stages of the design process [45].…”

Section: Introductionmentioning

confidence: 99%

“…In this context, our study was designed to develop new models and tools to be used to digitise this early design process according to the three progressive steps: (1) to identify the design knowledge, rules, and skills that underpin designers' cognitive processes [38]; (2) to translate the design rules into design algorithms; and (3) to develop computational tools for use by designers themselves and by other professionals involved in the early collaborative design process [9]. This paper focuses on the first step in particular, which involves modelling those aspects of a designer's cognitive process that are dedicated to the mental categorisation of the design information used during the generative phase.…”

Section: Introductionmentioning

confidence: 99%