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presentacion CM Ian Campbell

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presentacion CM Ian Campbell

  1. 1. Unfinished Business: IndustrialDesign in the Consumer-Driven EraIan Campbell,Yuhdi Ariadi and Matt Sinclair (both PhD students)Loughborough Design School
  2. 2. Overview of Presentation Loughborough Design School Arguments for and against consumer design Examples of consumer customisation Enabling consumer design Classification of consumer involvement Pilot study Conclusions and future directions
  3. 3. Main Argument Loughborough Design SchoolAs additive manufacturing technologies becomecheaper and more available, consumers willcustomise, design and make their own products
  4. 4. Counter-argument Loughborough Design SchoolAs additive manufacturing technologies becomecheaper and more available, consumers willcustomise, design and make their own productsdo exactly the same thing theyve always done“A small percentage of consumers may want to choose colours on theirsneakers, or push and pull a few points on a NURBS surface, but yourcomment comes off as pretty ignorant as to what design actually is.”“The rapid protoyping machine in many ways is no different than the hotglue gun, it allows crafters to excercise their wimsy and their perspective,some of which is good, most horrid.”“Myspace is a perfect example of what happens when you put design intothe hands of everyone. A huge percentage of the pages on Myspace areunusable/unreadable. Personal fabrication will be no different… onbalance… a big, ugly mess.”
  5. 5. Counter counter-argument Loughborough Design School Consumer customisation and design is already happening in many areas and is likely to increase in future This will happen whether designers, engineers, corporations and brands like it or not
  6. 6. Examples of Consumer Customisation Loughborough Design SchoolConsumer Customisation ofHarley Davidson motorcyles
  7. 7. Examples of Consumer Customisation Loughborough Design SchoolConsumer Customisation of PCs
  8. 8. Enabling Consumer Design Loughborough Design SchoolConsumerscannot beexpected tomake use ofhighly complex“professional”computer aideddesign systems
  9. 9. Enabling Consumer Design (cont.) Loughborough Design SchoolBut they can use these: Comic Blobs and SketchUp
  10. 10. Enabling Consumer Design (cont.) Loughborough Design SchoolThey can do even better with something like this:Spore Creature Creator
  11. 11. Enabling Consumer Design (cont.) Loughborough Design School Not everything in the product will be designed by the consumer – there will be a central “core” around which they will manipulate the external shape
  12. 12. Classification of Consumer Involvement Loughborough Design SchoolDesigner’s commitment to consumer involvement is ameasure of: consumer’s autonomy how much autonomy the designer ‘hands over’Consumer’s involvement in design is a measure of: the degree of involvement in the conception, specification, design and manufacture of a product the effectiveness of that involvementThis relationship can be plotted on a graph withconsumers involvement on the vertical axis plottedagainst designer commitment on the horizontal axis
  13. 13. Consumer involvement versus designer commitment Loughborough Design SchoolOn the left of the graph, the On the right of the graph, thedesigner retains control of designer gives up controlthe product’s final form, and over the product’s final form,acts as an interpreter of and acts as a facilitator toconsumer needs to arrive at allow the consumer to createa design solution their own design solution
  14. 14. Consumer involvement versus designer commitment Loughborough Design School Direct, deliberate influence on product formConsumers involvement Limited, direct influence onfalls into one of four product formcategories, moving up Limited, indirect influence onthe vertical axis product form No influence on product form
  15. 15. Mapping of existing products onto graph Loughborough Design SchoolExisting examples of consumer involvement weremapped onto the classificationExamples had to be accessible to consumers; academicstudies, in-house trials etc. were excludedOnly three examples are given of conventionallydesigned products, though the majority of all productsare designed this wayNo ‘real world’ examples of co-designed products wereidentifiedSome examples fall into more than one area
  16. 16. Examples of existing products Loughborough Design School OpenmokoHot rod cars World of FreeRunner Warcraft Phone Figureprints Build-a- Bear Materialise hearing aids NikeID trainers Nokia 7610
  17. 17. Openmoko FreeRunner Phone Loughborough Design SchoolA project to create a family of totally open source mobilephones, including the hardware specification and theoperating system
  18. 18. Power relationship between designer and consumer Loughborough Design SchoolIn all design activitiesthere is a powerrelationship between thedesigner and theconsumer. This is a resultof the relative importanceof the designer’s opinionscompared to those of theconsumer.
  19. 19. Impact of Changed Power Relationship Loughborough Design SchoolTraditionally most design activity has occurred in thebottom left of the diagram In an age of mass manufacture, where the barriers to entry to the means of production are high, design has largely been restricted to professional designers and engineers Direct Digital Manufacturing technologies (additive manufacturing, laser cutting etc.) significantly lower these barriersApproaches to design which occur in the top right of thediagram require a new way of working from designers An acceptance of the need to enable consumers to design their own products (if they wish) An acceptance of the need to design “products which are not finished” A recognition that this involves giving up control over the function and aesthetic of the final product
  20. 20. Hypothesis Loughborough Design SchoolIn future, the role of designers will beto design unfinished objects Products which require unique decisions and inputs from consumers Products which are incomplete without the consumer’s expertise
  21. 21. It is already happening! Loughborough Design School
  22. 22. Pilot Study 1 – two dimensional Loughborough Design School
  23. 23. Personalised Input Loughborough Design School
  24. 24. Capturing the Data Loughborough Design School
  25. 25. CAD Modelling Loughborough Design School
  26. 26. Final Design Loughborough Design School
  27. 27. Pilot Study 2 – three dimensional Loughborough Design SchoolPilot Study undertaken to see if Variational ConsumerDesign could be applied to a customised memory stick
  28. 28. Use of Genoform software Loughborough Design SchoolGenoform enables the parameters of CAD modelscreated in SolidWorks to be encoded into a “genome”
  29. 29. Use of Genoform software (continued) Loughborough Design SchoolValues in the genome can be “mutated” (within set limits) tocreate an almost infinite number of variations of the model
  30. 30. Use of Genoform software (continued) Loughborough Design SchoolCertain aspects of the model can be protected from themutation process, in this case the internal components
  31. 31. Original designs created within SolidWorks Loughborough Design School Six alternative concept designs were modelled in SolidWorks and then encoded within Genoform
  32. 32. Variations created by Genoform Loughborough Design SchoolEight participants were asked to select their preferred designwhich was then mutated within GenoformVariations of the design were presented to the participant, apreferred option selected and the process repeated until theywere happy with the design outcome
  33. 33. Some final designs Loughborough Design School
  34. 34. Pilot Study 3 – real-time interaction Loughborough Design School“PenCAD” enables consumers to change the designform in real-time using slider bars in Rhino/Grasshopper
  35. 35. Conclusions and Future Directions Loughborough Design SchoolConsumer design is here and is growingThere are different types of consumer design and somewill require a major change in designer attitudesThere is a tension between consumer desires to designand consumer capabilities for designingUser-friendly method(s) for capturing consumer designintent must be developedThis could take the form of a “customisation toolkit” toenable consumer design but also apply key design rulesDesigners will need to create “unfinished designs” to befinished by the consumer
  36. 36. Thank you … any questions? r.i.campbell@lboro.ac.uk

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