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A Journey of Taking Industrial Design Students into Uncharted Territories. Designing Crowd-Sourced Playful Interactions for a Public Art Event

机译:将工业设计学生进入未知领土的旅程。为公共艺术活动设计人群生嬉戏互动

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The field of industrial design is finding itself in a highly transitional state. While at its core, the traditional values of teaching visualization techniques, form, design research, human factors, and manufacturing methods remain critical to the creation of innovative artifacts of mostly singular nature, the world around us has changed both in added complexity and increased digitalization. The scope of designing future designers therefore calls for reevaluating better strategies to address a big picture approach of solving complex problems at the intersection of users, behaviors, and interactions, with a plurality of possible artifacts or systems. Traditional models of the underlying design process tend to treat the "Design" as a noun, emphasizing the final outcome (the artifact) as the ultimate goal of the undertaken creative process. In contrast to this approach, there is an increasing recognition towards embracing "design" as a verb, by shifting the focus and design contributions onto the process itself to ultimately leverage the realm of results [1]. Either approach to the "big-D" or "small-d" design process models represents an important learning experience to the students. I tend to treat them as complementary rather than as exclusive to each other. As an industrial design educator, the gamut of my responsibilities towards learners therefore ranges from nurturing the skillset and mindset to embracing design thinking, practice, and understanding user behaviors and interactions at the very core of solving complex problems. One of these challenges presented itself for the 2018 Scottsdale Canal Convergence Event - An art festival along the downtown waterfront of the Arizona Canal drawing scores of internationally renowned artists to exhibit installations featuring light and sound. A grant was extended to the Arizona State University's Design School to participate in an interdisciplinary collaboration between the Scottsdale Arts Commission, Interior Architecture,
机译:工业设计领域在高度过渡状态下发现自己。虽然在其核心,传统的教学可视化技术,形式,设计研究,人类因素和制造方法对创建大多数奇异性的创新文物的创造至关重要,但我们周围的世界在增加复杂性和数字化增加时变化。因此,在设计未来的设计师的范围要求重新评估更好的策略,以应对解决复杂问题的用户,行为和相互作用的路口,有多个可能的假象或系统的一个大图片的方法。传统模式的潜在设计过程倾向于将“设计”作为名词,强调最终结果(文物)作为所承诺的创造性过程的最终目标。与这种方法相比,通过将焦点和设计贡献转移到过程本身来最终利用结果的领域来将焦点和设计贡献改变为动词,越来越难以使用“设计”作为动词。无论是对“大D”或“小D”设计过程模型的方法都是学生的重要学习体验。我倾向于将它们视为互补的互补性,而不是彼此独家。作为一个工业设计教育者,我对学习者的责任的障碍因此根据培养技能组和心态来拥抱设计思维,实践和理解在解决复杂问题的核心中的用户行为和互动。其中一个挑战是2018年斯科特斯代尔运河融合事件 - 沿着亚利桑那州江边的艺术节,亚利桑那州运河绘制了国际知名艺术家的分数,展示了浅色和声音的安装。授予亚利桑那州立大学的设计学院扩展到斯科茨代尔艺术委员会,室内建筑之间的跨学科合作,

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