scholarly journals Multiple roles and enhancements of makers in the post-industrial design practices: An inquiry for non-expertise in design

2020 ◽  
Vol 17 (2) ◽  
pp. 53-62
Author(s):  
Özgün Dilek ◽  
Çiğdem Kaya Pazarbaşı
Keyword(s):  
Industrial Design ◽  
Multiple Roles ◽  
Design Practices ◽  
Post Industrial

scholarly journals Protecting the Industrial Designs of Today and the Future

2021 ◽  
Author(s):  
◽  
Vladimir Samoylov
Keyword(s):  
Virtual Reality ◽  
New Zealand ◽  
Intellectual Property ◽  
Industrial Design ◽  
Empirical Investigation ◽  
Intellectual Property Protection ◽  
The Public ◽  
Design Practices ◽  
Visual Expression ◽  
The Future

<p>This study examines and critiques New Zealand intellectual property protection for industrial designs, taking into account that many New Zealand industrial design owners outsource manufacture of their designs to China.   Industrial design, which refers to improving the aesthetics of products to increase their marketability, is evolving conceptually and practically. In New Zealand, copyright and registered design laws each protect, respectively, the visual expression and the “eye appeal” of an original design. As design practices evolve with advances in technology however, it is increasingly evident that industrial design is about more than just visual expression or “eye appeal”. Many designers are not focusing solely on product stylisation and decoration, but on the provision of a more holistic product experience for the consumer.  The development process of industrial designs from concept to marketable product is also changing, with many New Zealand industrial design owners employing increasingly efficient design development strategies. The fast-paced, cost-effective infrastructure of China is often utilised by New Zealand businesses for the manufacture of industrial designs.   This study therefore sought to determine how to appropriately protect New Zealand industrial designs, in light of: a. foreseeable advances in technology; and  b. the fact that many New Zealand industrial designs are manufactured in China.   To answer these questions, this study examined and analysed New Zealand’s copyright and registered design laws, taking into account not only existing protections, but also factors that are likely to be of significant relevance in the future, such as the impact on industrial design from developments in 3D printing and virtual reality.   The Chinese intellectual property regime for industrial designs was also examined because China is a major trading partner and often, as noted, the locus of manufacture.   The study included an empirical investigation, in the form of interviews with designers and design academics as well as legal practitioners specialising in intellectual property law. The input of the interviewees, together with the legal analysis, informed a series of suggestions and recommendations for New Zealand policy and its law-makers regarding how industrial design protection can be improved.  A key finding of this study was that existing legal protections do not appropriately protect increasingly holistic designs, as well as new types of designs emerging from developing fields such as virtual reality. In assessing the appropriateness of protection, the interests of industrial design owners were balanced against the public interest in protecting the public domain. It is suggested that to achieve equilibrium copyright law should be expanded to protect design expressions for all senses. Moreover, new categories of copyright protected works should be introduced to accommodate emerging design. The definition of design in registered design law should also be reconceptualised in order to acknowledge new types of designs and evolving design practices.  Industrial design owners who outsource manufacturing to China can protect their designs via copyright as well as design patent. However, enforcement of intellectual property protection is unsatisfactory in many areas of China. Therefore, New Zealand industrial design owners should also employ non-legal protection strategies. Interviews with successful businesses, in the course of the empirical investigation for this study, revealed that the leveraging of existing relationships of those with already established operations in China, and intentionally splitting an industrial design’s component parts for manufacture among several factories in different locations, are useful strategies to employ.</p>

scholarly journals The coming of post-industrial design

1981 ◽  
Vol 2 (1) ◽  
pp. 3-7 ◽  
Author(s):  
Nigel Cross
Keyword(s):  
Industrial Design ◽  
Post Industrial

TRIZ-Based Industrial Design Methodology

2010 ◽  
Vol 102-104 ◽  
pp. 93-97
Author(s):  
Zu Yao Wang ◽  
Mei Jun Chen
Keyword(s):  
Knowledge Base ◽  
Design Methodology ◽  
Industrial Design ◽  
The Core ◽  
Design Practices ◽  
Forecasting Methods ◽  
Core Elements ◽  
Application Methods ◽  
Innovation Knowledge

On the basis of the intersection of TRIZ and industrial design, the paper studies the core elements of TRIZ, including principles, methods, rules, and analyses their significance in guiding industrial design practices, also gives research on the application methods of different cases in industrial design. By investigating the commonness of TRIZ and industrial design in products creating activities, the paper summarizes creativity principles and trends forecasting methods in industrial design, so that to found the structure of products innovation knowledge base which grows from creative science and industrial design.

The Functional Design and Non-Functional Design of Post-Industrial Era

2011 ◽  
Vol 317-319 ◽  
pp. 58-61
Author(s):  
Yan Li Fu ◽  
Wei Ping Hu
Keyword(s):  
Future Development ◽  
Industrial Design ◽  
Development Trend ◽  
Functional Design ◽  
Human Needs ◽  
The Future ◽  
Basic Human Needs ◽  
Post Industrial

The future development trend of industrial design is prospected, and the indispensable status of the function and modeling of the post-industrial era in the industrial design is analyzed. Based on the analysis, some indispensable suggestions on industrial design under the post-industrial era are proposed in this paper. The essence of industrial design is to explore the basic human needs and the omni-directional functionality of the designed products, and to design more innovative creative and interesting products under the premise of meeting these use function.

scholarly journals Protecting the Industrial Designs of Today and the Future

2021 ◽  
Author(s):  
◽  
Vladimir Samoylov
Keyword(s):  
Virtual Reality ◽  
New Zealand ◽  
Intellectual Property ◽  
Industrial Design ◽  
Empirical Investigation ◽  
Intellectual Property Protection ◽  
The Public ◽  
Design Practices ◽  
Visual Expression ◽  
The Future

<p>This study examines and critiques New Zealand intellectual property protection for industrial designs, taking into account that many New Zealand industrial design owners outsource manufacture of their designs to China.   Industrial design, which refers to improving the aesthetics of products to increase their marketability, is evolving conceptually and practically. In New Zealand, copyright and registered design laws each protect, respectively, the visual expression and the “eye appeal” of an original design. As design practices evolve with advances in technology however, it is increasingly evident that industrial design is about more than just visual expression or “eye appeal”. Many designers are not focusing solely on product stylisation and decoration, but on the provision of a more holistic product experience for the consumer.  The development process of industrial designs from concept to marketable product is also changing, with many New Zealand industrial design owners employing increasingly efficient design development strategies. The fast-paced, cost-effective infrastructure of China is often utilised by New Zealand businesses for the manufacture of industrial designs.   This study therefore sought to determine how to appropriately protect New Zealand industrial designs, in light of: a. foreseeable advances in technology; and  b. the fact that many New Zealand industrial designs are manufactured in China.   To answer these questions, this study examined and analysed New Zealand’s copyright and registered design laws, taking into account not only existing protections, but also factors that are likely to be of significant relevance in the future, such as the impact on industrial design from developments in 3D printing and virtual reality.   The Chinese intellectual property regime for industrial designs was also examined because China is a major trading partner and often, as noted, the locus of manufacture.   The study included an empirical investigation, in the form of interviews with designers and design academics as well as legal practitioners specialising in intellectual property law. The input of the interviewees, together with the legal analysis, informed a series of suggestions and recommendations for New Zealand policy and its law-makers regarding how industrial design protection can be improved.  A key finding of this study was that existing legal protections do not appropriately protect increasingly holistic designs, as well as new types of designs emerging from developing fields such as virtual reality. In assessing the appropriateness of protection, the interests of industrial design owners were balanced against the public interest in protecting the public domain. It is suggested that to achieve equilibrium copyright law should be expanded to protect design expressions for all senses. Moreover, new categories of copyright protected works should be introduced to accommodate emerging design. The definition of design in registered design law should also be reconceptualised in order to acknowledge new types of designs and evolving design practices.  Industrial design owners who outsource manufacturing to China can protect their designs via copyright as well as design patent. However, enforcement of intellectual property protection is unsatisfactory in many areas of China. Therefore, New Zealand industrial design owners should also employ non-legal protection strategies. Interviews with successful businesses, in the course of the empirical investigation for this study, revealed that the leveraging of existing relationships of those with already established operations in China, and intentionally splitting an industrial design’s component parts for manufacture among several factories in different locations, are useful strategies to employ.</p>

scholarly journals On Some Narrations in The (Post)Industrial Design Field

2014 ◽  
pp. 116-126
Author(s):  
Paweł Możdżyński
Keyword(s):  
Design Thinking ◽  
Industrial Design ◽  
Social Design ◽  
Jean Baudrillard ◽  
Cultural Design ◽  
Design For All ◽  
The Creation ◽  
Definition Of ◽  
Post Industrial

This text examines main narrations of the socio-cultural design field in the postindustrial period. The author starts from the creation of the definition of postindustriality. Next he explores main trends of contemporary design (DIY; eco/social design; design for all senses; design thinking, design for experience). Finally he tries to apply for the interpretation of this topic sociological categories of Jean Baudrillard and George Ritzer, eg.: ‘madness of production’, ‘immaterial consumption’, ‘hiperreality’, ‘simulacra’.

scholarly journals Prototyping a Useless Design Practice: What, Why & How?

Artifact ◽  
2015 ◽  
Vol 3 (4) ◽  
pp. 5 ◽  
Author(s):  
Søren Rosenbak
Keyword(s):  
Industrial Revolution ◽  
Industrial Design ◽  
Intimate Relationship ◽  
Design Practice ◽  
One Dimensional ◽  
Frame Design ◽  
Urgent Task ◽  
False Dichotomy ◽  
Post Industrial

This essay sets out to rectify the false dichotomy between the notions of uselessness and usefulness in relation to design, in order to argue for a useless design practice. The argument is structured into three main parts.Part I opens with an introduction and goes on to frame design as a hybrid discipline that has been characterized by usefulness since it was born of the Industrial Revolution. The notion of useful design and its continuingly intimate relationship with the neoliberalist growth economy is subsequently unpacked through scrutinizing the basic demands for quantification & acceleration, conflicting use and temporality with special attention paid to the Anthropocene.Part II elucidates the ambiguous relationship between the useless and the useful through the related critical/conformist dichotomy present in Dunne & Raby’s A/B Manifesto as well as through useless and useful design fictions. From here the unuseless chindōgu by Kawakeni and the unfindable objects by Carelman together frame the useless as a “useful overdrive.” Additionally they illustrate the constant risk of assimilation, festishization and spectacle that disruptive useless design artifacts face within the neoliberalist growth economy. In the digital realm The Useless Web accentuate the post-ironic and absurd qualities in useless design.Part III asks: what is useless design, why do we need useless design and how could useless design exist? From five opening propositions, useless design is positioned among related concepts such as Redström’s “design after design” (2011), Hunt’s “tactical formlessness” (2003), Tonkinwise’s “designing things that are not finished” (2005), and Jones’ “pure design” (1984). Useless design is finally argued to find its value from its ability to valuate and actively traverse the growing chasm between the industrial and the post-industrial design paradigm.In essence useless design is an invitation to make useful, here “useful” understood in reappropriated terms, beyond its currently one dimensional, confined state. On that note, the essay concludes by shifting its gaze from the abstract insights gathered throughout the essay towards the concrete urgent task of prototyping a useless design practice.

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