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- All Subjects: 19765
- Creators: Takamura, John
- Creators: Giard, Jacques
Description
The research presented explores traditional Chinese visual design elements with a goal of incorporating them into contemporary design. It seeks to provide insight into how Chinese and non-Chinese designers and non-designers recognize common visual design elements as being associated with Chinese design. As a result, the research explores three characteristics: a) handicraft; b) naturalism; and c) design with meaning, which can be key points in understanding traditional Chinese design. Furthermore, the research explores two sets of design criteria that can guide designers to apply these representative design elements into contemporary design in order to express Chinese culture.
ContributorsRen, Liqi (Author) / Giard, Jacques (Thesis advisor) / Brown, Claudia (Committee member) / Cheung, Patrick (Committee member) / Arizona State University (Publisher)
Created2013
Description
Generally speaking, many programs of interior design have had a gender imbalance in the student population. As a case in point, the interior design program at Arizona State University (ASU) is at present ninety percent female. While other design programs such as architecture or industrial design have achieved gender balance, interior design has not. This research explores the reasons why male students are not enrolling in the interior design program at ASU and to what degree gender influences the selection of a major. The objectives of this research are to determine: 1) what role gender plays in the selection of interior design as a choice of a major at ASU; 2) why might male students be hesitant to join the interior design program; 3) why female students are attracted to interior design; 4) if there are gender differences in design approach; and 5) if curricular differences between interior architecture and interior design impact the gender imbalance. A mixed method approach is used in order to answer the research questions including: a literature review, a visual ethnography, and interviews of interior design students and faculty members at ASU. The results reveal that gender might have an effect on students' decision to join the interior design program. For a male student, people questioned his sexuality because they assumed he would have to be of a certain sexual orientation to study interior design. According to a male faculty member upon visiting a middle school on career day, young boys would be interested in the projects displayed at the interior design booth until they figured out what it was. Even at a young age, the boys seemed to know that interior design was a female's domain. A participant stated that women seemed to be less critical of the men's projects and were more critical of each other. A male respondent stated that on the occasion there were no men in the class the studio culture changed. Another stated that interior design students did not take feedback as well as others and need to be affirmed more often. Gender socialization, the history of interior design as a feminine career, and the title "interior design" itself are all possible factors that could deter male students from joining the program. The insights acquired from this research will provide students and faculty members from The Design School and beyond a better understanding of gender socialization and what the interior design program has to offer.
ContributorsRuff, Charlene (Author) / Giard, Jacques (Thesis advisor) / Heywood, William (Committee member) / Margolis, Eric (Committee member) / Arizona State University (Publisher)
Created2014
Description
In response to the rapid rise of emerging markets, shorter product lifecycles, increasing global exchange and worldwide competition, companies are implementing `sustainable development' as a mechanism by which to maintain competitive global advantage. Sustainable product development approaches used in industry focus mainly on environmental issues, and to a certain extent on social and economic aspects. Unfortunately, companies have often ignored or are unsure of how to deal with the cultural dimensions of sustainable product development. Multi-nationals expanding their business across international boundaries are agents of cultural change and should be cognizant of the impact their products have on local markets. Companies need to develop a deeper understanding of local cultures in order to design and deliver products that are not only economically viable but also culturally appropriate. To demonstrate applicability of cultural appropriate design, this research undertakes a case study of food systems in India specifically focusing on the exchange of fresh fruits and vegetables (FFV). This study focuses on understanding the entire supply chain of FFV exchange, which includes consumer experiences, distribution practices and production processes. This study also compares different distribution channels and exchange practices and analyzes the pattern of authority between different players within the distribution network. The ethnographic methods for data collection included a photo-journal assignment, shop-along visits, semi-structured interviews, a participatory design activity and focus group studies. The study revealed that traditional retail formats like pushcart vendors, street retailers and city retail markets are generally preferred over modern retail stores. For consumers, shopping is a non-choreographed activity often resulting in exercising, socializing and accidental purchases. Informal communication, personal relationships and openness to bargaining were important aspects of the consumer-retailer relationship. This study presents cultural insights into interactions, artifacts and contexts relevant to FFV systems in India. It also presents key implications for the field of design, design research, cultural studies, consumer research and sustainability. The insights gained from this study will act as guidelines for designers, researchers and corporations interested in designing products and services that are culturally appropriate to contexts of production, distribution and consumption.
ContributorsDhadphale, Tejas (Author) / Giard, Jacques (Thesis advisor) / Boradkar, Prasad (Thesis advisor) / Broome, Benjamin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Industrial activities have damaged the natural environment at an unprecedented scale. A number of approaches to environmentally responsible design and sustainability have been developed that are aimed at minimizing negative impacts derived from products on the environment. Environmental assessment methods exist as well to measure these impacts. Major environmentally responsible approaches to design and sustainability were analyzed using content analysis techniques. The results show several recommendations to minimize product impacts through design, and dimensions to which they belong. Two products made by a manufacturing firm with exceptional commitment to environmental responsibility were studied to understand how design approaches and assessment methods were used in their development. The results showed that the company used several strategies for environmentally responsible design as well as assessment methods in product and process machine design, both of which resulted in reduced environmental impacts of their products. Factors that contributed positively to reduce impacts are the use of measurement systems alongside environmentally responsible design, as well as inspiring innovations by observing how natural systems work. From a managerial perspective, positive influencing factors included a commitment to environmental responsibility from the executive level of the company and a clear vision about sustainability that has been instilled from the top through every level of employees. Additionally, a high degree of collaboration between the company and its suppliers and customers was instrumental in making the success possible.
ContributorsHuerta Gajardo, Oscar André (Author) / Giard, Jacques (Thesis advisor) / White, Philip (Committee member) / Dooley, Kevin (Committee member) / Arizona State University (Publisher)
Created2014
Description
Research in design, emotion, and product experience has focused on establishing a connection between the aesthetic qualities of products and emotions. Studies in product expression have demonstrated relevant patterns between aesthetics and spatial reasoning. In design research, fully understanding latent qualities of consumers assists in developing an immersive product experience which in turn can engender a lasting product relationship. This study evaluates how people interpret the emotionality of form in order to establish a veritable method for interpreting emotional variables in 3D objects.
This research assesses the emotional perception of aesthetic values in 2D and 3D teapots. A teapot image collection and taxonomy was constructed with 101 images of teapots across four centuries. Eighty-four participants completed a card sorting task of twenty randomly distributed teapot images (taken from the total 101 image collection) into Plutchik's eight emotion categories. Individual pieces of the teapots were coded according to the base, handle, lid, or spout that was presented in the image. The coded pieces from the card-sorting task were arranged per frequency in the overall set. Through the use of response data from the card sorting task, a network of the images was developed in Pathfinder. The content of these results were compared to images of models gathered during an interview with an interactive co-creation method referred to as Magnetic Modeling. Magnetic Modeling is a methodological tool that allowed participants to manipulate individualized pieces of 3D printed teapots into proposed emotional labels.
The findings of this research establish prototypical associations in aesthetic traits and teapot piece combinations for each emotion category. Participant responses were categorized into 4 personas representing the types of perceptual bias in the studies' participants. A discussion and comparison of the methods for academic and theoretical practice is provided.
This research assesses the emotional perception of aesthetic values in 2D and 3D teapots. A teapot image collection and taxonomy was constructed with 101 images of teapots across four centuries. Eighty-four participants completed a card sorting task of twenty randomly distributed teapot images (taken from the total 101 image collection) into Plutchik's eight emotion categories. Individual pieces of the teapots were coded according to the base, handle, lid, or spout that was presented in the image. The coded pieces from the card-sorting task were arranged per frequency in the overall set. Through the use of response data from the card sorting task, a network of the images was developed in Pathfinder. The content of these results were compared to images of models gathered during an interview with an interactive co-creation method referred to as Magnetic Modeling. Magnetic Modeling is a methodological tool that allowed participants to manipulate individualized pieces of 3D printed teapots into proposed emotional labels.
The findings of this research establish prototypical associations in aesthetic traits and teapot piece combinations for each emotion category. Participant responses were categorized into 4 personas representing the types of perceptual bias in the studies' participants. A discussion and comparison of the methods for academic and theoretical practice is provided.
ContributorsHorner, Candace (Author) / Takamura, John (Thesis advisor) / McDermott, Lauren (Committee member) / Branaghan, Russel; (Committee member) / Arizona State University (Publisher)
Created2014
Description
This research contributes to emergent body of knowledge regarding the understanding of relationship between visual elements and E-learning outcomes. Visual images and texts are the main visual elements within the study.
A literature review was conducted on E-learning situations, and a discussion on the role of visual elements in E-learning. Data collection was also conducted by way of a test, which randomly placed participants into three groups and assigned them to three different E-learning courses. The texts for the three courses were the same font, but the first course had text only, the second course had text and "bad" images, and the third one had text and "good" images. Every time participants finished a short course, they were requested to do a short quiz based on what they had learned. In addition, every participant needed to do a survey based on his or her E-learning experience. Research data was finally collected through the test scores and surveys.
Key findings of this research are: (1) The combination of text and "good" image materials in E-learning can greatly enhance the learning outcomes; (2) the "good" images in learning materials can add to the value of the text content as well as improve the satisfactory level of learners in E-learning; (3) "bad" images do not enhance E-learning outcomes; and (4) E-learners will spend a longer time to complete learning materials containing images, no matter how good or "bad" the images are.
A literature review was conducted on E-learning situations, and a discussion on the role of visual elements in E-learning. Data collection was also conducted by way of a test, which randomly placed participants into three groups and assigned them to three different E-learning courses. The texts for the three courses were the same font, but the first course had text only, the second course had text and "bad" images, and the third one had text and "good" images. Every time participants finished a short course, they were requested to do a short quiz based on what they had learned. In addition, every participant needed to do a survey based on his or her E-learning experience. Research data was finally collected through the test scores and surveys.
Key findings of this research are: (1) The combination of text and "good" image materials in E-learning can greatly enhance the learning outcomes; (2) the "good" images in learning materials can add to the value of the text content as well as improve the satisfactory level of learners in E-learning; (3) "bad" images do not enhance E-learning outcomes; and (4) E-learners will spend a longer time to complete learning materials containing images, no matter how good or "bad" the images are.
ContributorsWang, Yanfei (Author) / Giard, Jacques (Thesis advisor) / Fehler, Michelle (Committee member) / Faria, Rowan De (Committee member) / Arizona State University (Publisher)
Created2015
Description
In this action research, the need for high schools to embrace a pedagogical shift to teaching 21st century computer and online literacy skills is investigated. This study explored areas of secondary and higher education, technology usage, and online pedagogies, 21st century skill frameworks, and brain function as they pertain to learning and decision-making, with the aim of comprehending the differing high school levels of preparedness for college in regards to 21st century skills. Through literature reviews, a research was designed to further explore the specific areas of a discovered gap in high school students' 21st century skills for college. Pre- and post-unit surveys, in combination with student assignment scores, were complied and examined to reveal a weakness in academic habits and computer literacy skills associated with 21st century learning. The study results support literature review findings of a breach between high school 21st century skill levels and collegiate level necessities. With these findings, it is suggested that instructors become choice architects, giving them the unique ability to nudge high school policy makers and students towards identifying the gaps between the analog and digital worlds of academia, generating more successful students as they transition to university online courses.
ContributorsHorn, Timothy (Author) / Patel, Mookesh (Thesis advisor) / Giard, Jacques (Committee member) / Marsh, Josephine (Committee member) / Arizona State University (Publisher)
Created2015
Description
The purpose of the study is to gain a better understanding of baby boomers' attitudes toward video chat applications and software based on their user experiences through the measurement of the level of use, usefulness, usability and aesthetics preferences. 133 participants recruited at a local public library and at three senior centers took the survey and 14 respondents were interviewed. The results of the study indicate: (1) Baby boomers have diverse attitudes and experiences in video chatting, but their attitudes do not present a significant difference from those of older generations; (2) Baby boomers' preferences for interface design are influenced by their psychological characteristics rather than physical changes; (3) Family members and close friends are a great resource for assistance and motivation for boomers. The knowledge of motivational factors and barrier factors could help maintain the existing baby boomer users and encourage potential users by providing an improved video chat experience design for them to connect with younger generations. This research could also lead social services into the telehealth age by bridging the gap between a traditional intervention and modern instant video communication.
ContributorsShi, Ai (Author) / Herring, Donald (Thesis advisor) / Takamura, John (Committee member) / Sun, Fei (Committee member) / Arizona State University (Publisher)
Created2014
Description
Study in user experience design states that there is a considerable gap between users and designers. Collaborative design and empathetic design methods attempt to make a strong relationship between these two. In participatory design activities, projective `make tools' are required for users to show their thoughts. This research is designed to apply an empathetic way of using `make tools' in user experience design for websites clients, users, and designers.
A magnetic wireframe tool has been used as a `make tool', and a sample project has been defined in order to see how the tool can create empathy among stakeholders. In this study fourth year graphic design students at Arizona State University (ASU), USA, are participating as users, faculty members have the role of clients, and Forty, Inc., a design firm in the Phoenix area, is the design team for the study. All of these three groups are cooperating on re-designing the homepage of the Design School in Herberger Institute for Design and Art (HIDA) at ASU.
A method for applying the magnetic tool was designed and used for each group. Results of users and clients' activities were shared with the design team, and they designed a final prototype for the wireframe of the sample project. Observation and interviews were done to see how participants work with the tool. Also, follow up questionnaires were used in order to evaluate all groups' experiences with the magnetic wireframe. Lastly, as a part of questionnaires, a sentence completion method has been used in order to collect the participants' exact thoughts about the magnetic tool.
Observations and results of data analysis in this research show that the tool was a helpful `make tool' for users and clients. They could talk about their ideas and also designers could learn more about people. The entire series of activities caused an empathetic relationship among stakeholders of the sample project. This method of using `make tools' in user experience design for web sites can be useful for collaborative UX design activities and further research in user experience design with empathy.
A magnetic wireframe tool has been used as a `make tool', and a sample project has been defined in order to see how the tool can create empathy among stakeholders. In this study fourth year graphic design students at Arizona State University (ASU), USA, are participating as users, faculty members have the role of clients, and Forty, Inc., a design firm in the Phoenix area, is the design team for the study. All of these three groups are cooperating on re-designing the homepage of the Design School in Herberger Institute for Design and Art (HIDA) at ASU.
A method for applying the magnetic tool was designed and used for each group. Results of users and clients' activities were shared with the design team, and they designed a final prototype for the wireframe of the sample project. Observation and interviews were done to see how participants work with the tool. Also, follow up questionnaires were used in order to evaluate all groups' experiences with the magnetic wireframe. Lastly, as a part of questionnaires, a sentence completion method has been used in order to collect the participants' exact thoughts about the magnetic tool.
Observations and results of data analysis in this research show that the tool was a helpful `make tool' for users and clients. They could talk about their ideas and also designers could learn more about people. The entire series of activities caused an empathetic relationship among stakeholders of the sample project. This method of using `make tools' in user experience design for web sites can be useful for collaborative UX design activities and further research in user experience design with empathy.
ContributorsEslamifar, Ali (Author) / Heywood, William (Thesis advisor) / Walker, Erin (Committee member) / Takamura, John (Committee member) / Arizona State University (Publisher)
Created2014
Description
As digital technology promises immediacy and interactivity in communication, sight and sound in motion graphics has expanded the range of design possibilities in advertising, social networking, and telecommunication beyond the visual realm. The experience of seeing has been greatly enriched by sound as visual solutions become dynamic and multi-dimensional. The ability to record and transfer sight and sound with new media has granted the designer more control in manipulating a viewer's experience of time and space. This control allows time-based form to become the foundation that establishes many interactive, multisensory and interdisciplinary applications. Is conventional design theory for print media adequate to effectively approach time-based form? If not, what is the core element that is required to balance the static and dynamic aspects of time in new media? Should time-related theories and methodologies from other disciplines be adopted into our design principles? If so, how would this knowledge be integrated? How can this experience in time be effectively transferred to paper? Unless the role of the time dimension in sight is operationally deconstructed and retained with sound, it is very challenging to control the design in this fugitive form. Time activation refers to how time and the perception of time can be manipulated for design and communication purposes. Sound, as a shortcut to the active time design element, not only encapsulates the structure of its "invisible" time-based form, but also makes changes in time conspicuously measurable and comparable. Two experiments reflect the influence of sound on imagery, a slideshow and video, as well as how the dynamics in time are represented across all design media. A cyclical time-based model is established to reconnect the conventional design principles learned in print media with time-based media. This knowledge helps expand static images to motion and encapsulate motion in stasis. The findings provide creative methods for approaching visualization, interactivity, and design education.
ContributorsCheung, Hoi Yan Patrick (Author) / Giard, Jacques (Thesis advisor) / Sanft, Alfred C (Committee member) / Aisling, Kelliher (Committee member) / Arizona State University (Publisher)
Created2011