QASSIM SAAD, PHD. INDUSTRIAL DESIGN 1 CURRICULUM VITAE

Abstract: This paper sets out to clarify the relationship between the ‘research process’ and the ‘design process’ in the context of research in postgraduate Arts & Design education. The relationship between these processes is not well understood, and this is further complicated by terms such as ‘research design’ and ‘design thinking’ when applied to planning research activities, including selecting the qualitative and quantitative methods employed as well as applying systems design techniques. In addition, ‘practice-based research’ is still controversial in terms of academic rigour, and in some arts and design schools may lead, unintentionally, to the design process (with, say, only a novel product as the outcome) being interpreted as a research process of sufficient academic depth and originality for a PhD. However, as will be explained, the two processes are not necessarily the same although there are valuable analogous functions which enhance the research outcomes when applied sensibly. This paper will use process modelling tools, diagrams and actual case studies from PhD projects to show how the research and design processes are interrelated leading to better informed research experiences and outcomes for students and supervisors. Biographies: 1. Dr. Elivio Bonollo – Emeritus Professor, Industrial Design University of Canberra Dr. Elivio Bonollo PhD (Melb) is emeritus professor of industrial design, in the Faculty of Arts and Design, at the University of Canberra (UC). He was foundation professor of industrial design at UC (1997-2002) and a Pro Vice-Chancellor (1999-2001): earlier he was Dean of the Faculty of Environmental Design (1997-98). Elivio (Livio) was professor and director of the Centre for Industrial Design at Monash University (1989-96) and before this senior lecturer in charge of industrial design in the Faculty of Art at RMIT (1979-89). He is the founder of the industrial design discipline at Monash University and the principal author of the original industrial design degrees at RMIT (1982) and Monash University (1989). He is a PhD supervisor and currently a member of the Space, Place and Object Research Cluster. 2. Dr. Carlos Alberto Montana-Hoyos, Associate Professor, Industrial Design University of Canberra Dr. Carlos Montana-Hoyos was born in Bogotá, Colombia. He graduated cum laude from an MAID and a PhD from Kobe Design University (Japan Scholarship). As a designer, Carlos has developed multidisciplinary projects related to concept, product, graphics, exhibition and urban design. Several of his projects have received diverse international design awards. As an academic, Carlos was an Adjunct Assistant Professor in the Product Design Engineering course of EAFIT University in his country (2001-03). He was also a Fellow and Assistant Professor (2006-10) in the ID Program of the National University of Singapore. He is currently an Associate Professor in the ID course of the Faculty of Arts and Design, University of Canberra. His main research is in Biomimicry and Design for Sustainability, and he recently published a book on these topics.

The conference proceedings are published by the Design Education Forum of Southern Africa (DEFSA) on the following website: www.defsa.org.za

The Design Journal

When the development of design research is examined, the disciplines interact with each other. These interactions lead to concepts such as crossdiscipline, multidiscipline, interdiscipline and transdiscipline. Industrial design education has also been rapidly affected by these interdisciplinary working methods in recent years. While developing creative problem solving techniques in this study process, aim to increase the usability of future technologies in products and services. Design Labs, which is the development area of developing new technologies, is carrying out many innovations in design researches and practices. This research project has been investigated by examining the current state of affairs on design laboratories in international academic settings and the effects on design education. The main goal of the project is to identify the importance and priority of interdisciplinary studies through the design discipline, and to specify data on design education and design research of innovative and future technologies.

A strange phenomenon is presented when we approach the subject of design and trends when we consider terms of education, since much has been set for the first two terms (design and trends), but what about the education of it, more specifically in Industrial Design? In the brief history of the practice, different trends have been experienced, which have led to changes not only in terms of how are designed objects of the daily lives of people, but also in the way in which Industrial Design is considered, which then undoubtedly affects the education of future designers. Through a retrospective which shows the evolution of the components considered for the configuration of objects, starting from the Industrial Revolution, passing through different movements like Arts & Crafts, Bauhaus, Functionalism, Post-modernism, and concluding with our days, is seen how the dominant vectors, by tradition, as the form and function, have been overcome due to different requirements (for both users and global market), allowing the inclusion of other vectors, such as technology, the generation of experiences, and the value of innovation. Following this trend, and considering others in a globally scale, such as accelerated education and the importance that will represent the creative industries in the future, it is highlighted the need to reconsider the way in which students are formed in design, especially what regards to the design process, the way they approach problems, and how they proceed to provide a solution, embodied in an object or service. Disassociating from any mystical relationship in the generation of ideas, and a linear process that could lead to the same results always, it is proposed a design process in a fluctuating way, which can mutate and is totally dependent on the needs of the project or problem. This will provide the possibility to students to implement a methodology that enables the adaptability, experimentation and rationality needed to develop a successful design process which results in a product with a high design value contribution.

alexmilton.co.uk

The tasks designers will face in the near-to-medium term future will undoubtedly be ever more demanding and complex. The convergence of computing and communications technologies will enable designers to collaborate and share tasks in design and development without ever having to meet physically. Moreover, recent social, cultural and economic shifts throughout the world will demand designers to be ever more flexible in the work that they are asked to undertake. Future designers will, thus, need to be sensitive to the demands from many specific sectors of the global marketplace, be able to exploit fully developing technologies as they evolve, yet be increasingly speculative in synthesising their solutions whilst challenging conventional wisdom. This paper describes a new Interdisciplinary Design programme that aims to provide students with the necessary skills to achieve success in the design world of the future.

Design Philosophy Papers, 2008

The Design Culture Reader edited by Ben Highmore, published by Routledge, 2009, 375 pages. Design Dictionary: Perspectives on Design Terminology edited by Michael Erloff and Tim Marshall, published by Birkhauser and Board of International Research in Design, 2008, 465 pages. " To take account of design as a sprawling and saturating phenomenon is to imagine a fi eld of inquiry that is ludicrously ambitious. It extends design studies beyond the realm of goods (the products of industrial designers, fashion designers, architects and so on)

2014

The rise of the new Designer=Enterprise model [2] is being driven by the emerging manufacturing renaissance [11] and geared by the integration of digital and analogue production processes and technologies. This emerging productive model generates new categories of designers micro/self-producers that act as independent innovators [20] in developing original, autonomous and integrated design-manufacturing-distribution processes. The paper argues that current design education processes and practices could be changed and updated in order to provide these new skills. The first part analyses how designers' capabilities are changing due to the development of experimental makerspaces like Fab Labs. The second and third parts combine literature review and desk research to verify how design schools and universities belonging to Cumulus Networks are (re)designing their makerspaces in order to develop new forms of design education (and vice versa). Finally, the basic knowledge identified is used to define what form this design education could take.

de Vere, I., Melles, G. & Kapoor, A (2010) Product Design Engineering: Interdisciplinary Pedagogy Integrating Engineering Science With "Designerly Ways". 2nd ConnectED International Conference on Design Education, Sydney, Australia, 2010

Product design and development teams are now multidisciplinary environments which require designers and engineers to collaborate harmoniously. This integrated approach enables new synergies and an extension of service provision, which leads engineering into fresh areas of professional activity but challenges traditional engineering education. The characteristics of product design and development have also changed. There is greater focus on sustainable design, socially responsible design and design for ...

Human Factors for Apparel and Textile Engineering

This work arises as a reflection on what it means to be a designer of the future and their greater need for influence and collaboration with the team throughout the product creation cycle. The renewal of a culture of design and business innovation in the area of fashion and textile design is based on the establishment of bridges with different realities that, increasingly dynamic, change the landscape of different products and their creation processes, blurring the boundaries and limits of each area of intervention and its actors. From the small to the big industry we find new needs and professions that project themselves into the future reaching from the past, as in the case of new craft productions that value the identity, artistic and cultural heritage of each geography, supported by new materials and technologies of Industry 5.0. This new dynamic of integrated work, where everyone contributes to enhance the knowledge of each participant, enabling the renewal of knowledge and the...