LEE- Endüstri Ürünleri Tasarımı Lisansüstü Programı - Doktora
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Sustainable Development Goal "Goal 9: Industry, Innovation and Infrastructure" ile LEE- Endüstri Ürünleri Tasarımı Lisansüstü Programı - Doktora'a göz atma
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ÖgeAn action research on the integration of virtual reality into industrial design education(Graduate School, 2021-10-13) Hamurcu, Ahmet ; Öğüt, Şebnem ; Rızvanoğlu, Kerem ; 502142901 ; Industrial Product DesignIndustrial designers have always tended to use computers and computer-based technologies that they believe will help them do their works better and easier, and thereby, they quickly adopted them. Also, these technologies adopted by professionals have usually been used by industrial design students and/or educators and they were integrated into industrial design education shortly after their adoptions because it is conducted as a simulation of professional life. However, although Virtual Reality (VR) technology that is one of the computer-based technologies has become economically available for designers with the release of VR headsets such as HTC Vive and Oculus Rift in 2016, and has already been adopted by professionals, how it can be integrated into industrial design education is still unclear. Moving from this point of view, this thesis explores how VR technology can be integrated into industrial design education. For this purpose, an action research was conducted by trying to use it under the real conditions of an industrial design studio course. In the first step of the research, a systematic literature review on related works in addition to the general literature review and a preliminary study with prospective users (industrial design students and instructors) were carried out to reveal (i) what the former studies regarding the use of VR technology in industrial design education are; (ii) what these studies say about this issue; and (iii) what the opinions of potential users, who are industrial design students and instructors, about the use of VR technology in industrial design education are. The systematic literature review showed that VR technology was tried to be used before in the professional practices of industrial design as: a usability evaluation tool; an ergonomic evaluation tool; a visualization tool; a product demonstration tool; a presentation tool; an interactive prototyping tool; an immersive mood board; a sketching tool; and a collaboration tool. However, none of these types of use was tried to be employed before under the real conditions of the educational setting of an industrial design studio course. The preliminary study was conducted with industrial design students and instructors who came from 10 universities in Turkey. In this preliminary study, first, VR technology was introduced to the participants. Then, it was experienced by the participants. And then, both quantitative and qualitative data based on their opinions were collected and analyzed. The results of the preliminary study revealed that: (i) potential users are eager to use VR technology; (ii) however, they have reservations as well as their positive opinions about using it in industrial design studio courses; and (iii) almost all these reservations are related to its usability. In the second step, an in-studio study was planned based on the findings of these studies, and with a focus on getting started by eliminating or by minimizing these reservations as much as possible. In the third step, in line with this planning, VR technology was tried to be used in the studio-based practices of an industrial design studio course. This in-studio study was carried out in the course "EUT 320E Industrial Product Design III" with the project issue "Smart Electric Minibus Design for Anadolu Isuzu". This course was the 3rd year industrial design studio course of Istanbul Technical University (ITU) Department of Industrial Design, which was conducted in the 2017-2018 spring semester. In this process where the course process and the research process merged, the researcher worked: as one of the instructors of the course; as an operator who is responsible for installing and running the VR system properly, and responsible for its being used easily and hygienically; as an educator who will meet the learning need for VR. In the in-studio study, (i) how VR technology can be integrated into the jury practices of industrial design education was questioned by making the use of it mandatory by students for design representation and presentation purposes, and then, by trying to use it in the jury sessions; and (ii) how it can be integrated into other studio-based practices of industrial design education was questioned by making it available for use during the studio hours of the course, and then, by observing whether it will be used for/in other studio-based practices. Throughout the project process of the course, it was attempted three times to integrate VR technology into the jury practices of the course. In the last attempt, this was achieved. Each attempt was scrutinized with the observations recorded during the jury sessions and the interviews with the user groups after the jury sessions. The interviews with the students were held as group interviews, whereas the interviews with the instructor-jurors were held one-to-one. Since it was not possible to hold face-to-face interviews with the invited jury members, their opinions were tried to be gotten via e-mail. These attempts and examinations show step-by-step how VR technology can be integrated into the jury practice of industrial design education by developing solutions in line with the needs and demands of students and instructors. On the other hand, it was observed that (i) making VR available for use during the studio hours and giving a short training on how to use its hardware and software opened the way of using it as a design evaluation tool by students; and (ii) neither students nor instructors demanded or attempted to use VR in other practices and activities where students and instructors got involved together. In the last step, considering the results of the in-studio study, (i) the usability level of the proposed way for using VR technology in the final jury session was measured with the help of the System Usability Scale (SUS); (ii) the final assessments of students and instructors on the VR technology they used during the project process and its use in the educational practice of industrial design were revealed with the help of the interviews with students and instructors and the questionnaire items adapted from the scale items of the Extended Unified Theory of Acceptance and Use of Technology (UTAUT2) and the Net Promoter Score (NPS); and (iii) the reasons why VR technology was not used in other practices and activities where students and instructors got involved together were questioned with the help of interviews with students and instructors. The SUS score was calculated as 71.3. This score indicates that the usability of the last proposal for using VR technology in the jury practices of industrial design education is OK but can be improved. Besides, the final assessments of students and instructors on the VR technology they used during the project process and its use in the educational practice of industrial design revealed that although they found VR technology useful in various aspects and easy to use at various degrees, they still had some reservations in their minds. However, this time, these reservations were based upon (i) whether the facilitating conditions about the frequent or the continuous use of VR technology were sufficiently present; and (ii) the thought that using it for evaluating designs of small products will not be so useful. On the other hand, it was seen that the reasons why VR technology was not used in other practices and activities where students and instructors got involved together were related to (i) not having yet sufficient familiarity and mastery of its use in such activities and practices; (ii) perceiving VR as a technology that would only enable to evaluate and/or present the whole – not the parts – of a design over a finished model; and (iii) not being its set-up ready for use when needed. In addition to all these, participants stated that for the use of VR technology in industrial design education to be sustainable, (i) it should be easily accessible and usable for both students and instructors with a permanent installation in the studio environment; (ii) it should be led/managed by at least one instructor/executive; and (iii) the requirements of the technology such as installation/setup, learning, operating, and maintenance requirements should be met by at least one technical person/expert/operator. As a result, this thesis study contributes to the relevant literature (i) by showing, step-by-step, one of the ways of integrating VR technology into the jury practice of industrial design education; (ii) by revealing the clues of how it can be integrated into other studio-based practices of industrial design education; and (iii) by outlining what might be the possible attitudes of industrial design students and instructors towards the use of VR technology in industrial design studio courses before and after the actual use of it in those courses. This thesis study is one of the first attempts in the literature to integrate VR technology into industrial design education by trying to use it under the real conditions of an industrial design studio course. Hence, its outcomes need to be verified and/or improved with similar studies. Besides, how it can be integrated into other studio-based practices of industrial design education is still not clear enough because the relevant part of the study has been conducted with an unstructured intervention. Therefore, it should be noted that there is also need for further studies to be carried out with structured interventions on this issue.
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ÖgeAssessment of using kansei engineering results on the product design processes of novice designers(Graduate School, 2021-11-15) Erol, Ayşe ; Başar Leblebici, Deniz ; 502152901 ; Industrial DesignThe thesis was completed in two parts. In the first part, a Kansei Engineering study was carried out using the Turkish traditional tulip-shaped tea glass which was chosen as a widely used and culturally valued product for Turkish people. In the second part, the results of the Kansei Engineering study were presented to one of the two groups of novice designers in an experimental setup to investigate the following two research questions: "What is the role of using the results of Kansei Engineering methodology on the products of novice designers regarding the perceived quality in terms of user preferences?" and "How do the design processes of novice designers differ when they are exposed to the results of the Kansei Engineering methodology?".
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ÖgeBeden ürün diyaloğu: Beden odaklı analiz ve tasarımda yeni olanaklar(Lisansüstü Eğitim Enstitüsü, 2023-10-13) Özdemir Gürgün, Ayşe Asya ; Turan, Gülname ; 502162908 ; Endüstriyel TasarımBu çalışma kapsamında endüstrinin ve endüstrinin ürettiği ürünlerin kullanıcı bedeni ile kurdukları ilişki beden odağı üzerinden incelenecektir. Çalışma kapsamında endüstriyel ürünlerin beden deneyiminin analiz edilmesi, bu analize dair veriler oluşturmak ve bu verileri yazılı ve görsel kayıtlar ile elde etmek çalışmanın temel motivasyonudur. Çalışma kapsamında kullanıcıların endüstriyel ürünlere dair beden deneyimini incelemek ve bu deneyimi kayıt altına almak hedeflenmiştir. Bu hedef ile tasarım literatürüne ürün kullanıcı ilişkileri, kullanıcı deneyimi ve ürün tasarım süreci açılarından beden odaklı bir inceleme ile katkı sunulacaktır. Böylelikle araştırma tasarım alan yazını bakımından nesne ve beden arasında var olan diyalog biçimlerini ve ortak fiziksel alanı yeniden değerlendirilebilme, yoruma açabilme olanağını da işaret eder. Çalışma endüstrinin ürettiği ürünlerin insan bedeni ile kurduğu fiziksel diyaloğun analizini araştırma amacındadır. Bu amaçla temsilci olarak belirlenen nesne kümeleri üzerinden nesne ve beden diyalog olasılıklarının araştırılmasını hedefler. Çalışmanın hedeflediği araştırmanın amacı birinci yönü tasarım ürünlerinin kullanıcı bedeni ile kurduğu diyaloğun beden odaklı bir bakış ile analizi iken, ikinci yönü kullanıcı bedeni ile diyalog halinde olan endüstri ürünlerinin beden diyaloğunun analizidir. Her iki analizin de çalışmaya katkıları alan literatürü bakımından farklı değerleri işaret eder. Beden odaklı bir analiz kullanıcı bedenine dair alanı sorgulama, tartışmaya açma ve yeniden yorumlama imkânı sunarken, endüstri ürünlerinin kullanıcı bedeni ile kurduğu diyaloğu analiz etmek geleceğe dair yeni tasarım ürünlerinde yeni tasarım kriterlerinin aranmasına, kurgulanmasına imkân sağlar. Kullanıcı bedeni ile endüstriyel ürün arasında kurulan diyaloğun beden odağı ile analiz edilmesi, söz konusu diyaloğun geliştirilebilmesi, değiştirilebilmesi ve bu sayede yeni nesil ürünlerin tasarım biçiminin, kullanım pratiklerinin ve ürün dilinin güncellenmesine olanak sağlama potansiyeli taşır. Ürün tasarımında kullanıcıların Beden deneyiminin örtük bir veriden açık ve okunması kolay bir veriye aktarılmış olması tasarımcıya nesneye dair beden deneyimi yakalama ve yeniden kurgulama imkanını sunar. Bu olanak farklı amaç ve farklı kullanım pratiklerine ait nesnelere tasarım yoluyla yeni beden deneyimleri atayabilme potansiyelidir. Ürünlere dair beden deneyimini bir diyalog olarak yakalamak ve verilerle tartışmaya sunmak bu deneyimi yeniden kurgulayabilme imkanını da yoruma açar. Tasarım nesnelerinin beden ile çalışma biçimlerini, beden ile ortak kullandıkları alanı, temas yüzeylerini ve eylem pratiklerini araştırarak bu pratikleri diyalog biçimi olarak diyagramlar ile ortaya çıkaran çalışma, endüstriyel tasarım disiplini içerisinde beden ve nesne iletişimi /etkileşimini tartışmaya açmak hedefindedir. Çalışma bu amaçla beden odaklı bir araştırma yürüterek ürünlerin beden ile çalışma biçimlerini dört diyalog alanı altında tartışmaya sunar. Araştırmanın yöntem çoklu nitel verilerin analiz edilmesine olanak sağlayan beden haritalama yöntemidir. Beden haritalama kullanıcıların beden deneyimlerini nicel veriler olarak yoruma açmaya imkân sağlayan beden deneyimi odaklı bir araştırma yöntemidir. Belirtilen dört diyalog alanı içerisine atanan sekizer temsilci nesne olmak üzere deney içerisinde toplam otuziki temsilci nesne kullanılmıştır. Ek olarak literatür içerisinden kullanımına karar verilen onaltı beden parçası seçilerek araştırma seti içerisine eklenmiştir. Temsilci nesne ve beden parçalarının çoklu eşleştirilmesine dayalı bir test tasarlanarak uzman kullanıcıların katılımı ile araştırma yürütülmüştür. Araştırma belirtilen ürünlerin kullanıcı bedeni ile kurdukları diyaloğun adört diyalog alanını ve atanan temsilci nesnelerin sağlamasını yaparak diyalog kavramının tartışmaya sunulmasını hedefler. Elde edilen bulgular bar grafikler ve radar diyagramlar ile görselleştirilerek analiz edilmiştir. Sonuç olarak çalışmanın ortaya koyduğu diyagramlar tezin hipotezi olan kullanıcı bedeni ve tasarım ürünü diyaloğunun dört ana grupta incelenebileceği fikrini verilerle görünür kılmıştır. Elde edilen verilere göre beden ve ürün arasındaki diyalog beden ile bütün, beden işlevinden bağımsız, beden ile işlevlenen ve bedenin devamında başlıkları altında özetlenen gruplara indirgenebilir. Bu indirgeme beden ve ürün diyaloğunu incelemek, tartışmak ve yeniden yorumlamak adına çeşitli okumalara imkân sağlamıştır.
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ÖgeBeyond the product: Expanding orders of design and its implications for industrial design education in Turkey(Graduate School, 2021-07-27) Duman, Seda ; Timur, Şebnem ; 502132904 ; Industrial Product DesignThis dissertation explores the expanding field of the industrial design discipline and its implications for undergraduate industrial design education in Turkey. Even with the most cursory review of the recent literature, one can easily see that the scope of the industrial design discipline is getting broader, and both the design profession and discipline are going through a radical change. This thesis study portrays this evolution throughout the key historical movements and investigates correlations with the current status of industrial design education in Turkey. The main argument is that we need a new educational framework to assist future designers to find their ways and roles amid the ambiguity of the 21st century's complex problems and act responsibly for sustainable change. The whole research consists of three main stages that follow and support each other. At the first stage, a broad range of literature was reviewed to create a landscape for the reader providing an overall understanding of the disciplinary and professional evolution of the field. Different taxonomy models systematically portraying the expanded field of design were collected. They were analyzed to extract patterns and content to develop a specific framework for exploring and informing industrial design programs. As an outcome of the literature review and synthesis, an integrated model– Orders of Design Education (ODE) was developed. The proposed model- with its supplements- was utilized as a research tool and an organizing schema for the whole content of this thesis. ODE was specifically designed for evaluating and developing industrial design curricula and projects from the synthesis of the related ordering frameworks in the literature. This framework is the first contribution of this research to the design education literature. It can be used as a diagnostic or exploratory tool to analyze a complete program, as well as can provide a basis for constituting independent design courses or projects. The second stage was for exploring the current status and scope of industrial design education in Turkey. The exploratory research was carried out by mutual evaluation of the content analysis of the program curricula with the survey study. The primary purpose of the survey study was to obtain embedded information about the qualities of studio projects and the coverage of competencies. The second purpose was distilling exemplary educational practices and projects from the answers for further investigation. To support and elaborate the gathered information through survey study, the curricula of the participating departments and their course contents were examined within the scope of content analysis. The third and last stage was a focused one. It presents the identified exemplary curricular structures and projects in detail. Following the exploratory phases of the research, case studies were undertaken in five industrial departments in Turkey. The main purpose of the evaluation of these cases was to reveal exemplary educational practices at industrial design departments in Turkey and accordingly to nourish the future developments of design education. The final stages of this research were written in a critical transition period in education and other social settings. It was during the global Covid-19 outbreak and when educational institutions switched to online education. Virus outbreak suspended in-person lectures and forced design schools, studios, and events to switch digital learning platforms. New norms are being built in design education, and this is reshaping many conventional processes of designing, producing, communicating, and teaching. The case studies presented in this thesis, collocate pioneer experiences so far in industrial design education. It includes alternative pedagogical practices carried out in different spaces and time intervals, in different networks (virtual, in-house, external networks) with the participation of various actors. It is predicted that the information and experiences gathered from case studies and the Orders of Design Education framework which was designed within the scope of this thesis will contribute to the research and development activities in the field of industrial design education.
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ÖgeBridging the GAP between product and user: A design framework to establish a free relationship with tehnology(Graduate School, 2023-07-17) Tatlısu, Enver ; Turan, Gülname ; 502152906 ; Industrial DesignIn a world dominated by technology, the way we interact with products and built environment has a significant impact on our lifestyle, mental health, social interactions, and more fundamentally our relationship with nature. The thesis "Bridging the GAP Between Product and User: A Design Framework to Establish a Free Relationship with Technology" acknowledges this impact and seeks to enhance the quality of human life by suggesting ways of bridging the GAP between product and user. A fundamental assumption in this work is that design can influence our behavior, our habits, and the very fabric of our society. When a product is designed thoughtfully, it not only serves a functional purpose but also cultivates a more virtuous life. This involves designs that promote wellbeing, facilitate meaningful relationships, encourage sustainable practices, and foster gratitude towards nature's gifts. The core argument of the thesis calls for a transformation in our understanding and interaction with technology, shifting from an instrumental view towards acknowledging it as "techne-logos". The essence of this argument is the necessity for a design framework that nurtures a more organic, holistic, and interconnected interaction with technology, thereby bridging the GAP between users and products. This shift is paramount in an era where technology is an integral part of our daily lives and not merely a luxury or a tool. It permeates every facet of our existence, from communication and work to education, entertainment, and healthcare. Seeing technology as "techne-logos" invites us to consider it not merely as an instrument, but as a combination of art, craft, and understanding. It is about recognizing technology as an embodiment of human creativity and rationality that intertwines with our lives. In this perspective, technology becomes an extension of human intent, a harmonious interaction that enhances human capacities, and an avenue for expressing human values and aspirations. It allows for a symbiotic relationship where we shape technology, and technology shapes us, in a cycle that promotes growth, understanding, and a higher quality of life. This transformative view of technology, as proposed in this thesis, encourages us to reconsider our relationship with technology and nature, thus opening new pathways for a more integrated and humane technological future. Recognizing and respecting nature's offerings forms an integral part of leading a virtuous life. Our position here is to elevate design beyond mere materialistic goals – utilizing sustainable materials or reducing waste – and deeply permeating in the very ontology of the design process, embodying a more profound, phenomenological understanding of our relationship with nature. This thesis emphasizes the importance of 'being-in-the-world' and our interconnectedness with our environment. We argue that recognizing our existence is not separate from nature, but deeply rooted within it, helps us understanding and integrating nature into our design process. This may transform design into a reflective process where the design itself mirrors the rhythm of nature, where design learns from nature's efficiency, resilience, and interconnectedness, where encourages us to empathetically understand nature, not as an object to be used, but as a partner to co-exist with. In this regard, the design framework presented in the thesis seeks to bridge the GAP between products and users. It aims to foster a more holistic, symbiotic, and empathetic relationship with technology and nature. It incorporates various contemporary initiations towards this end which respect human dignity, nature's bounty, and the wider ecological system including design approaches and methodological tools. The objective is not just to create functional and efficient products, but to enable a harmonious relationship between users, products, and nature. Chapter 1 sets the stage by presenting the purpose, significance, scope, and limitations of the study. The thesis is driven by the necessity to comprehend the current relationship between products and users and to develop a holistic framework that encourages a more symbiotic connection. The research design is outlined to elucidate the study's trajectory, and the research objectives and questions emphasize on exploring, understanding, and bridging the GAP between product and user. In Chapter 2, a comprehensive literature research is presented to explore the concept of the "GAP". By discussing cognitive, behavioral, and embodied approaches, the study investigates various aspects of product-user relations. This chapter reveals that this GAP is a complex product of Cartesian dichotomies, instrumentalization of technology, and linear models of innovation, all of which have influenced the evolution of products from hand-crafted items to the current era of digital products. It also explores the conceptual positioning of the product and user, shedding light on how the 'blackbox' nature of finished products and the passive persona of users contribute to the GAP. Furthermore, the chapter scrutinizes the role of the market as a reckless organizer of complex networks of relations, leading to a widening of this GAP. The chapter then moves towards strategies and approaches for bridging the GAP. It explores contemporary design approaches like inclusive and user-centered design, sustainable and ethical design, and innovative design strategies. Further, it delves into user-driven innovation and development strategies such as the Prosumer/Prosumption strategy, social innovation, and responsible innovation. This segment also includes a discussion on education and empowerment strategies like promoting digital citizenship and lifelong learning, community-driven development, policy and regulation for sustainable development, and interdisciplinary collaboration for sustainability. The chapter concludes with a discussion on Heidegger's philosophy and its implications for design emphasizing that Heidegger's philosophy forms the backbone of the HOOME design framework proposed in this thesis. Chapter 3 presents the research methodology of the study. The strategy of the study is outlined, along with the theory construction method. The crux of the thesis, a new design framework titled "Holistic Overarching Design Framework from Ontology to Methodology – HOOME" is introduced. Its layered structure and dimensions are explained in detail, including its ontological layers (Being and Understanding) and methodological layers (Constructing and Sustaining). HOOME Design Framework aims to facilitate a free relationship with technology, free from the constraints of traditional industrial methods, and to allow the realization of alternative technological possibilities. This is demonstrated through its application in several industrial design studio projects. Each project's design process and outcomes are analyzed, providing practical insight into the implementation of the framework. The evaluation of the proposed framework's effectiveness forms a crucial part of the study. This was achieved through a two-stage expert evaluation process, applying both binary and Likert scale evaluations. Chapter 4 presents results and discusses the expert evaluation of the HOOME framework and its applications in the design projects, providing a thorough breakdown of the results from two stages of expert evaluation, both for individual projects and for the overall design process and framework. The rich dataset revelaed by the expert evaluation validates the effectiveness of the HOOME Design Framework and demonstrates its potential in addressing the GAP between product and user in design. Chapter 5 concludes the thesis, encapsulating the research journey and underlining the implications of the study. How the study contributes to current design knowledge, shedding light on the existing GAP between products and users and proposing a novel, holistic, overarching design framework to bridge this GAP is presented. The HOOME framework, in essence, is argued to redefine the user-product relationship, laying a foundation for more user-centric, ethical, sustainable, and responsible product design and use. Through this comprehensive journey, the thesis calls for a reorientation of our perspective towards product design and user interaction. By developing a holistic framework, it provides a robust platform to bridge the GAP between users and technology, fundamentally shifting the way we interact with and perceive technology in our everyday lives.
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ÖgeCraft knowledge as a catalyst in new product development: Collaborative work of designers and craftspeople in companies(Graduate School, 2021-09-07) Temeltaş, Handan ; Kaya Pazarbaşı, Çiğdem ; 502142908 ; Industrial DesignThis thesis investigates how the knowledge and skills of craftsmen are evaluated in the new product development (NPD) process in companies through the collaboration between craftsmen and designers. This thesis's primary research question is how craftsmen's knowledge is transferred to product design and new product development. This thesis focuses on the following elements of craftsmanship: First, material and production possibilities are used to define types of craftsmanship. The environmental conditions in which craftsmen work change depending on the materials used. While a glass master or metal master needs a high degree of heat, a master producing leather and shoes work in a different environment. Second, craft is formed with knowledge of the past as well as interact with today's forms of production. Therefore, it is necessary to understand this historical process so that today's forms of industrial production do not break with craftsmanship. The relationship of the master with the industry and the continuation of this relationship makes it necessary to question with whom the master collaborates. The designer is the person who collaborates with the craftsman in the NPD process. The use of the craftsman's knowledge and skills in the companies discussed in this thesis is the result of collaboration with the designer. Craft production and industrial production seem to be separated in the 21st century. However, in some sectors, it is impossible to fully industrialise. In craft-based or craft-related industries, manufacturing processes are still influenced by craft. Today, there are individual craftspeople, craftsmen as employees working in manufacturing, craftsmen in the industry or craftsmen cooperating with the industry. Even though the industry has automated production systems, it is very important why the industry still needs the knowledge and support of the craftsman. Even in industries that are fully automated, it is useful to cooperate with craftsmen to understand the material behaviour more economically and quickly during the prototyping process. Craft knowledge and experience are also useful in semi-automatic production systems. For instance, this knowledge can be used during the moulding and prototyping process. Knowledge is the most valuable input and output feature for businesses and industry. Since craft knowledge is tacit knowledge that is transmitted through experience, transforming, and using this knowledge can be valuable and strategically important for companies. According to the craft and NPD literature in the fields of design, crafts, creative industries and management, the transfer of craft knowledge to new products or processes is possible through collaboration. This research uses a multi-case study method. One of the main reasons for the choice of this method is to understand the similarities and differences between the cases by evaluating each process in detail. In this study, the companies selected as cases are from the glassware, leather and furniture sectors that develop new products and employ or collaborate with craftsmen. In determining the companies, the presence of industrial designers and craftsmen in the NPD process were taken into consideration. In addition, the employment of industrial designers in the company was used to indicate the value they give to design and NPD. The data obtained in this study consist of the researcher's observations, field notes, semi-structured in-depth interview records and transcribed texts. The interviews were generally completed in two or three parts spread over different days. Following an in-depth interview during the first visit to the companies, any areas of uncertainty that emerged during the preliminary interview were discussed in more detail in the secondary interviews. The semi-structured in-depth interview questions are presented in the appendices at the end of this report and are divided into the following topics: (1) general information about the company, (2) information about the interviewee, (3) craftsmen's position in the company and the collaboration capabilities of the company, (4) NPD and innovation processes in the company, (5) contribution of craftsmen to NPD, (6) factors that facilitate the contribution of craftsmen and incorporate the views of stakeholders and (7) sectoral assessment and competition. Through thematic analysis, codes were created and grouped to identity and describe the themes. In the next step, the classified data were associated by comparing and demonstrating similarities. Maxqda, a computer-aided qualitative data analysis tool, was used throughout these analysis processes. As a result of the interviews, a total of 168 different codes were created. These codes were grouped into seven themes: craftsmen's features, NPD, manufacturing, collaboration with craftsmen, craftsmen's contribution to NPD, knowledge, and management/strategy. The craftsman's holistic approach to the product, combined with her/his experience in mass production in the sector, enables her/him to identify the problems encountered in the product design and production stages and find solutions to these problems. Prototyping, which is the most fundamental support that the craftsman can provide to the industry, results from this knowledge. The craftsman is also tasked with sharing her/his ideas about making and materials during the product development phase. Craftsmen's contributions to NPD are related to idea development, problem identification and problem solving through their knowledge of materials and construction methods and their contributions during the prototype stage. In both small-scale and large-scale companies, the most important contribution of craftsmen to NPD is making prototypes. A prototype enables the NPD team to discuss, develop and test the producibility of a product based on a three-dimensional object. The prototype made during product design allows the team to see the product in three dimensions and to make changes to it. In addition to their contribution to prototype creation, craft masters can also offer solutions for problems encountered during product development. In areas where craft knowledge feeds the development of new products, these collaborations occurred in three main ways in this thesis study. In the first type, craftsmen worked as employees within a large-scale company. In the second form, craftsmen supported production and NPD as outside labourers and stakeholders. In the third form, craftsmen established their own enterprise company in which they directly oversaw manufacturing. There are two essential conditions for a company to benefit from craftsmen's knowledge during the NPD process. First, the collaborating company must have a goal to develop and design new products. Second, the industry must have an ongoing need for craft knowledge and experience that craftsmen can fulfil. The craftsman supports the existence of craft by presenting his production power as a flexible model for companies that outsource production. In this way, the craftsman gains access to an environment where she/he can sell his products. In addition, craftsmen producing for different companies offer companies an opportunity to measure the trends and pulse of the market. Although companies do not always see craftsmanship as a factor that creates innovation, they understand the importance of craftsmen in their industry. The craftsman is consulted for her/his specialised knowledge in materials and construction methods in the fields of production and prototyping. This contribution, which allows the craftsman to identify and solve problems with the prototype, is critical for product development. Consequently, to continue collaboration with craftsmen in the future, companies must need or prefer to use craft knowledge. This is possible through factors such as the continuation of the need for tacit knowledge in the relevant sectors, the continuity of the importance of craftsmanship to provide rapid prototyping with real material and the value of handmade products in the market.
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ÖgeDeveloping student performance in industrial design studios through self-regulated learning strategies(Graduate School, 2022-02) Akdeniz Ateş, Aysun ; Turan, Gülname ; 502142906 ; Industrial DesignPerpetual changes in the world require individuals with deep knowledge and skills to navigate the economy and society, and as a result, the twenty-first century necessitates agency, awareness, and the ability of learners to deal with complex problems. Providing learners with these skills is important at all education levels. Industrial design (ID) studios in universities can facilitate these abilities as they provide students with essential skills and experiences to cope with complex real-world problems that are accepted as key characteristics of design practice. Along with the changing target competencies, self-regulated learning encompassing metacognitive, motivational, and behavioral strategies has attracted much attention in the last four decades due to its contribution to academic skills. These academic skills promote future competencies related to learning strategies. The value of self-regulated learning skills for academic achievement has been shown in different domains. However, the role they play in design studio education has been understudied. This thesis investigated the self-regulated learning strategies in the 3rd-year industrial design studio to improve the design learning process of the industrial design students in the studio regarding self-regulation. Underpinned by the social-cognitive view of self-regulated learning, this study used a two-phase mixed-method research design in which both quantitative and qualitative data collection and analysis methods were utilized. In each step of the research, several research questions were examined, which eventually influenced the overarching research question: How can an efficient design learning environment be designed in terms of SRL strategies to improve students' design performance? In the first research phase of this thesis, an exploratory research design was conducted to uncover the differences in the use of self-regulated learning strategies and motivational factors between high and low-achieving industrial design students in the 3rd-year industrial design studio course. We applied a convergent mixed methods design with Scale on Self-regulation in Learning (i.e., self-report questionnaire) and semi-structured interviews to gain a comprehensive understanding of students' strategy use. The integrated analysis of quantitative data from 47 industrial design students and qualitative data from 16 industrial design students demonstrated differences between high and low achieving design students' self-regulated learning skills in relation to the use of metacognitive, motivational, and behavioral strategies. Building on the first phase, in the second research phase of this thesis, an experimental research study was conducted. An intervention study that was developed based on the findings of the first phase was conducted to promote self-regulated learning strategies in an industrial design studio. Similar to the first phase, a convergent mixed-method research design was applied while collecting data from the intervention study through both quantitative (i.e., pre and post-test self-report questionaries, grades of the students, and feedback questionary) and qualitative methods (i.e., semi-structured interviews). The analysis of this phase aimed to explore the impact of the intervention study on students' design learning process in a design studio, particularly on gaining self-regulated learning skills and design performances of the students. The integrated analysis of the quantitative and qualitative data on self-regulated strategy changes revealed that design students who engaged with an intervention that is aimed at supporting self-regulated learning strategies demonstrate increases in metacognitive strategies (i.e., goal planning, self-monitoring, and self-evaluation); motivational strategies (i.e., self-efficacy, goal orientation, and task value), and behavioral strategies (i.e., seeking information and seeking help). Besides, the quantitative analysis (i.e., grade comparisons) demonstrated that design students who engaged with an intervention that is aimed at supporting self-regulated learning strategies demonstrate increased grades compared to the students who did not engage with the intervention in the same studio class. In brief, the intervention study supporting self-regulated learning strategies in industrial design studios had a developmental effect on students' engagements with some of the self-regulated learning strategies and on their design performances. Questioning the claims of the learner-centered and constructivist approach to studio education, this study has moved the focus to learner autonomy using a self-regulation approach. The findings helped to understand the variability of students' learning styles and delineate areas of self-regulated learning strategies that should be strengthened to support students – especially underachievers. The explanatory and experimental studies that were conducted in this dissertation aimed to provide design educators, students, and researchers with a foundation to understand the self-regulated learning strategies in the industrial design studio. Instead of providing instructions with generalizable conclusions, the findings of this dissertation should be read in the light of the research context. The implications are shared to assist with design educators and learners with regards to several facets of teaching, learning, and searching in industrial design education. Besides, with the guidance of the findings, and based on the self-regulated learning theory, a model for the self-regulated learning process regarding the relationship between and within the three design studio actors (i.e., design learner, design project, and design studio) could be proposed. This model suggests that the communication between the actors of the design studio can be regulated through self-regulated learning strategies. In this sense, experience sharing as a motivational activity to develop social self-efficacy, watching self-recordings as a metacognitive strategy for self-realization of deficiencies, and meta-studio activities as a behavioral strategy to strengthen the accessibility of the studio environment were proposed as self-regulated learning activities which can be engaged in the studio process. To the best of our knowledge, this study is known to be the first to examine SRL strategies quantitatively and qualitatively through SRL intervention in an industrial design studio. Hence, through this study, we anticipate our contribution in two levels. First, by providing insights from design studio education, which is a creativity-focused learning environment with natural learning conditions and simulation of real-life, this study contributes to the education literature. Second, regarding the ongoing deep changes in both educational, theoretical, and practical aspects of design -which is signifying a new order of design and a new generation of designers who tend to become decision-makers- this study fills a gap within the existing body of design pedagogy and instruction in industrial design relative to self-regulated learning. It highlights the importance of students' self-awareness, learning strategy preferences, and motivational aspects in the studio education process. Design studios will not fulfill their potential to foster SRL skills through the signature pedagogy unless individual student differences are paid attention to. Studio education needs improvement to encourage students to develop their learning skills. The implementation of SRL strategies based on individual differences in design learning environments can help to improve the design performance, especially, of less accomplished students.
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ÖgeFormation of a multiperspective approach to use sharing service system design in Turkey(Graduate School, 2021-08-16) Yüksel Uçkan, Can ; Kaya Pazarbaşı, Çiğdem ; 502132906 ; Industrial DesignThe planetary boundaries were exceeded in the Anthropocene, as the scale of the crisis started to be visible. Some societies seem untouched by the crisis due to their material prosperity and wealth, while others experience it with floods, massive drought, and fires threatening their homes and lives. Demographic trends do not reflect a positive picture either; the two largest countries by population are preparing 3 billion middle-class consumers to emerge by 2030. They are ready to consume – as Western civilization has already- tons of mass-produced, cheap commodities half of which will end up in landfills if nothing more sustainable is offered. Scientists search for ways that are an alternative to ill-planned production and consumption models. In the last three decades, the insufficiency of ameliorating only the production methods was understood. Efforts to develop alternative paths for our mainstream consumption system gained impetus in society. With that motivation and drive of technological substructure developments, alternative production and consumption methods emerged rapidly. The ancient term, sharing, became the term for the fastest growing economy in the last 20 years. Use-sharing systems became a substantial and engaging part of that massive economy. Millions of people stayed at each other's homes, drove to work together with people they have never met before, or utilized the cars that were parked in their street without owning them. Thousands went the weekend camping with the tents and tools they rented from their neighbour or the local sharing hub; they experienced the joy of creating their DIY projects with the tools they rented and with the help of their skilled neighbour. In Turkey however, the majority still do not utilize these systems because in some countries, they are still under-developed, and the number of successful examples is very limited. Researchers from several domains investigate the factors of success and failures, the motivations of users, the drivers, and the barriers affecting the sustainability of the service systems. There are several explicit and implicit distinctions between use-sharing systems, such as substructure, features of the service, transaction mediums, operational details, and socio-cultural assets, which make their task difficult and broad. In this research, the reasons for acceptance and barriers of use-sharing systems in Turkey were investigated via three cases from different fields. The first one of these cases, the Library of Things, was a web platform for item sharing between members. Yolyola was a ride-sharing system running on a web platform for members. The face-to-face use-sharing model of communal launderettes in Izmir was the last case of interest within the scope of the research. These three disparate fields offered extensive data regarding various aspects of use-sharing and analysed similarities and differences among the different models. The literature research included the socio-psychological dimensions of sharing, ownership, and societal relations through the services from the lens of value-belief- norm (VBN), motivation, and social practice theories. The affects of motivation theory and VBN theory on our decision-making and actions provided insights to understanding the participants' reactions towards the selected use-sharing systems. With the lens of social practice theory, sharing cases were approached as social events requiring reciprocity, a context, and the societal and individual image of the shared object. In the explorative phase of the research, the participants and founders were interviewed, and physical conditions were examined. The action flow on websites, the touchpoints, the relations of members with platforms, and peer-to-peer connections were scrutinized with appropriate service design tools for explaining the execution of services. The service blueprints highlighted the areas with the deficiency or potential to develop. In the second phase, the complementary aspects of VBN, motivation, and social practice theories provided new dimensions from sociology and psychology domains. A theoretical framework proposal for intervention was structured. This delivered insights to create flexible and resilient propositions within the lens of service design from several aspects. Different service propositions were made at variable complexity levels to reflect how the proposed framework for intervention would be practiced in real-life cases. The value propositions of each service addressed the findings from the exploration phases of the study. These propositions were made considering the participants' knowledge, consciousness, societal norms, and the interconnectedness of participant's habits with these new practices. The contribution to the knowledge of the thesis is explained with its practical and theoretical dimensions. As for the practical aspect, the study constitutes a documentary basis about the use-sharing cases in Turkey, which is a fragmental field for the service design domain. The major theoretical contribution is the formation of a framework for intervention for service design, which is a prerequisite for use-sharing services as they have both social and individual aspects. Three focal multiperspective lens is proposed to develop several business models for each case with several complexity and temporal clause. The micro level proposals are incremental enhancements, which supply quick and feasible solutions to each system. The complemantary perspective was employed with the service tools while drawing new blueprints for each case and reconfiguring the details according to the social needs and technical substructure. The meso level proposals are more complex with their stakeholder arrangements. These proposals carry full capacity application of the models and their outcomes are expected to be visible in longer period. In both web platform cases, different key partners and key activities are offered with different value propositions. The macro level proposals are generated with the expectation of triggering social norm changes with the exposed business models. These business models are configurated with the evaluation of social changes international arena in the last two decades and their reflections on the Turkish context. The interaction between international markets is fast enough to affect each other in short time. The youth responds to the market changes and react in several ways, which signal the changes in norms of the society in long term. Sharing is a reciprocal, peer to peer and interactive action; the changes through sharing action affects the whole society through time. Sharing the products, washing machines, and vehicles requires and creates several business models and each of these models are designed with the contextual differences of the society. However, they slightly change the society that they were designed for with every sharing action took place through them. Because both the societies and systems designed within these societies' regulations are dynamic constructions. It is a fact that Turkey needs the benedictions of these systems. The applicability and compatibility of the systems to the economic and social context are the main arguments. The acceptance of the use-sharing systems by a community is the precondition for their success and viability. These systems would be efficient and long-lasting with the help of the extensive multi-perspective approach proposed in this research. This research was aimed to be a source for either private initiatives or community services creating new collaborations with different stakeholder groups to realize new use-sharing systems.
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ÖgeGiyilebilir teknolojilerde kullanıcı deneyimi: Giyme biçimleri üzerine karşılaştırmalı bir analiz(Lisansüstü Eğitim Enstitüsü, 2023-05-11) Başkan, Ahmet ; Berk Göncü, Gözde ; 502162909 ; Endüstriyel TasarımGiyilebilir teknolojiler, bilgisayar ve elektronik teknolojilerindeki son yıllarda yaşanan gelişmeler ile ortaya çıkan bir kavramdır. Günümüzde ise artık giyilebilir teknolojiler ile hayatımızın birçok alanında karşılaşmaktayız. Sağlık, iyi yaşam, spor ve eğlence gibi birçok alanda ürünler hayatımıza dahil olmaktadır. Giyilebilir teknoloji alanında hem akademik hem de sektörel birçok araştırma ve gelişme gerçekleşmektedir. Bu araştırma ve geliştirmeler biyoloji, fizyoloji, tıp, malzeme bilimleri, bilgisayar, tekstil, moda, tasarım, elektronik ve mühendislik gibi alanları kapsayan disiplinlerarası süreçtir. Bu gelişmeler sonucunda ise birçok farklı formda giyilebilir teknoloji ürünü üretilmektedir. En bilinen örnekler akıllı saatler, akıllı bileklikler, akıllı gözlükler olsa da bu ürünler haricinde aksesuar, tekstil, dövme (yamalanabilir) ve implant olarak tasarlanan farklı birçok ürün de mevcuttur. Zamansal olarak giyilebilir teknoloji ürünlerini incelediğimizde de aksesuar olarak takılabilen ürünlerden zamanla giyilebilen, yamalanabilen ve implante edilebilen giyilebilir teknoloji ürünlerine doğru bir ilerleme gözlemlenmektedir. Giyilebilir teknolojiler üzerine yapılan çalışmalar giyilebilir teknolojilerin gelecek yıllarda ürün çeşitliliğin, satış rakamlarının, kullanım oranlarının hızla artacağını göstermektedir. Hayatımızda çok daha fazla yer alacak olan bu giyilebilir teknolojilerin için ise en büyük sorun kullanıcıların ürün terk etme süresidir. Yapılan çalışmalar göstermektedir ki giyilebilir teknoloji kullanıcıları ürünleri kullanmayı kısa bir sürede bırakmaktadırlar. Bu yüksek terk etme oranının en önemli nedenlerinden birisi de olumsuz kullanıcı deneyimleridir. Özellikle vücudumuza temas etmekte olan ve uzun süreler kullanılan bu ürünler için kullanıcı deneyimi dikkate alınarak tasarımlar gerçekleştirilmelidir. Kullanıcı deneyimi, bir ürün, sistem veya hizmet ile kullanıcı arasında bir bağlam çerçevesinde gerçekleşen algı ve tepkilerdir. Ürün, kullanıcı ve bağlam olarak bu üç bileşenin haricinde kullanıcı deneyimini etkileyen bir diğer önemli etkende zamandır. Kullanıcı deneyimi zaman içerisinde değişmekte ve gelişmektedir. Bu süreç kullanıcının ürün kullanımından önce sahip olduğu ihtiyaç ve beklentileri ile başlamakta ve kullanım anında yaşadığı deneyimler ve kullanım sonrasında ürün hakkında oluşturduğu düşünceler olarak devam etmektedir. Bu nedenle ürün kullanıcı deneyimi araştırmalarında uzun süreli araştırmalar hem gerekli hem de oldukça zordur. Kullanıcı deneyiminin niteliklerini incelendiğinde ise kullanıcı deneyiminin verimlilik, kullanılabilirlik, yararlılık gibi araçsal olan pragmatik özelliklerinin yanı sıra duygular, zevk, memnuniyet gibi öznel olan hedonik özelliklere sahip oldukları görülmektedir. Giyilebilir teknolojilerde yaşanmakta olan evrimsel süreç dikkate alındığında bu tez çalışmasında giyilebilir teknolojilerdeki yüksek terk etme problemi kullanıcı deneyimi çerçevesinde ele alınacaktır. Gerçekleştirilecek olan bu araştırmada aksesuar temelli giyilebilir teknolojiler ve tekstil temelli giyilebilir teknolojilerin kullanıcı deneyimi karşılaştırılması amaçlanmaktadır. Bu karşılaştırma sonucunda ise giyilebilir teknolojiler olumlu ve olumsuz deneyimler olarak kullanıcı deneyiminin zamansallığı ve kullanıcı deneyiminde pragmatik ve hedonik nitelikler olarak tartışılacaktır. Bu tartışma sonucunda ise giyilebilir teknolojilerdeki uzun süreli kullanılmama problemleri tasarım açısından incelenecektir. Bu hedefler doğrultusunda araştırma yöntemi olarak nitel ve nicel yöntemler birlikte kurgulanarak karma araştırma yöntemi tercih edilmiştir. Bu tez çalışması için planlanan araştırma yöntemi üç aşamadan oluşmaktadır. Bu üç aşama giyilebilir teknolojilerde kullanım öncesi, kullanım anı ve kullanım sonrası deneyimleri araştırmak olarak kurgulanmıştır.
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ÖgeTasarım alanının yerel bilgiyle ilişkisi: Karşıyaka köyü'ndeki iş birliğine dayalı dokuma uygulamasından öğrenmek(Lisansüstü Eğitim Enstitüsü, 2022-02-17) Öz, Gizem ; Timur, Şebnem ; 502152904 ; Endüstri Ürünleri TasarımıBu tez, tasarımın yerel ile olan ilişkisini yerelden öğrenme şeklinde yeniden formüle ederek bunu Karşıyaka Köyü'ndeki dokuma uygulaması üzerinden anlamayı, belgelemeyi ve elde ettiği bilgiyi tasarım alanına aktarmanın olanaklarını araştırmayı amaçlamaktadır. Bunun için tezde üç ana parçadan oluşan bir yapı kurgulanmıştır. İlk bölümde tasarım disiplininin yerel bağlam ile ilişkisi meselesi tarihsel kökenleriyle literatürde ele alındığı şekliyle tartışılmıştır. İkinci bölümde tasarımda yerel bilgi konusu irdelenmiş ve tasarımda epistemolojik çeşitliliği sağlamanın yöntemleri aranmıştır. Son bölümde ise Karşıyaka Köyü'ndeki dokuma uygulamasının oluş, akış, işleyiş, aktarılış yolları ve biçimleri katılımcı gözlem yoluyla not edilmiştir. Dolayısıyla Karşıyaka dokuma uygulaması üzerinden yereldeki insanların nasıl bildiği ve ürettiği ve bu biçimlerin tasarım yapma ve bilme kanallarına nasıl dönüştürülebileceği konuları, bu tezin temel sorularını oluşturmaktadır.
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ÖgeTasarım sürecinde yaratıcılığı geliştiren bir yaklaşım olarak -mış gibi yapma(Lisansüstü Eğitim Enstitüsü, 2021-11-26) Gürcan, Derya ; 502142903 ; Endüstriyel TasarımBilişsel psikoloji literatürüne göre, tasarlama süreci yaygın olarak yaratıcı problem çözme süreci olarak tanımlanmaktadır. Bu süreç, yaratıcı dönüştürme süreci olarak, problemleri, çözüm olasılıklarıyla yeniden hayal etmeyi, böylece problem alanına yenilikçi bakış açısı getirmeyi ifade eder. Kavramsal tasarım sürecinde belirsizliklerle uğraşırken, tasarımcıların var olan tutum ve alışkanlıkların ötesinde düşünebilmesi, yeni fikirler üretmesi ve alternatifleri değerlendirerek problemlere en uygun çözümleri oluşturması beklenmektedir. Bu çalışmada, tasarımcıların kavramsal tasarım sürecinde yeni olası fikirler ile "-mış gibi" görebilme ve davranabilme süreçleri bilişsel psikoloji araştırmalarında yetişkinlik döneminde yaratıcılığın kaynağı olarak görülen çocukların -mış gibi oyunları ile ilişkilendirilmektedir. -Mış gibi yapma/oyunlar, nesne yada durum aslında öyle değilken öyleymiş gibi olma halini ifade eder. Çocukların –mış gibi yapma süreci eylem olasılıklarını ifade eden "karşılama kavramı" ile açıklanmaktadır (Rucińska, 2014, 2015). Bu ilişkiye göre, çocuklar oyun sırasında nesnelerdeki eylem olasılıklarını –mış gibi görebilmektedir. –mış gibi oyunlar, gelişim teorilerine göre, erken çocukluk dönemi ile sınırlıdır. Bu çalışma, "-mış gibi" yapma/ görme sürecinin yetişkinlik döneminde kavramsal tasarım sürecinde nasıl devam ettiğini açıklamayı hedeflemektedir. Bu kapsamda çalışma, çocukların –mış gibi yapma süreçleri ile tasarımcıların kavramsal tasarım evresinde form oluşturma süreçleri arasındaki benzerlikleri, yaratıcı bilişsel süreçler ve "karşılama" kavramı çerçevesinde inceleyerek bilişsel tasarım çalışmalarına katkı sağlamayı hedefleyen teorik ve deneysel nitelikte bir temel araştırma örneğidir. Çalışma, teorik çerçevenin oluşturulduğu literatür taraması ve teorik şemanın deneysel olarak test edildiği ön-deneysel ve deneysel çalışmaları içeren bölümlerden oluşmaktadır. Araştırmanın teorik kısmında öncelikle, çocukların –mış gibi yapma süreçleri ile kavramsal tasarım evresinde form oluşturma süreci arasındaki benzerlikleri tanımlamak için derinlemesine bir literatür taraması ile karşılaştırmalı bir kavramsal şema oluşturulmuş ve sunulmuştur. Daha sonra bu ilişkiyi deneysel ortamda test etmek için çocukların –mış gibi yapma süreci, "zihinsel sentez görevi" ile simüle edilmiştir. Örneklem olarak tasarım alanından ve tasarım alanı dışından öğrencilerle iki aşamalı yaratıcılık ölçeği olarak alternatif kullanım testi ve yaratıcı zihinsel sentez testi ardışık olarak uygulanarak, nicel araştırma yöntemiyle istatistiksel verilere dönüştürülmüştür. Devamında elde edilen sonuçlar, karşılama-temelli –mış gibi yapma süreci ve yaratıcılık bağlamında karşılaştırılarak yorumlanmıştır. Öncelikle, tasarım alanından ve tasarım alanı dışından sınırlı sayıda öğrenci ile kontrol ve deney gruplarından oluşan bir ön-deneysel çalışma yapılmıştır. Tasarım alanından ve tasarım alanı dışından öğrenciler, alternatif kullanım testi ile eşit olarak kontrol ve deney gruplarına ayrıldıktan sonra, "oturma birimi" kategorisinin verildiği bir seri geometrik cisimin kombinasyonuna dayalı zihinsel sentez görevini tamamlamışlardır. Tasarım alanından ve tasarım alanı dışından öğrencilerin çizdikleri formlarda "oturma" karşılamasını arama ve -mış gibi yapma süreçleri yaratıcılık bağlamında karşılaştırılmıştır. Ön çalışmanın sonucunda, tasarım deney grubu öğrencilerinin diğer gruplara göre, zihinsel sentez görevinde–mış gibi yapma yetenekleri ile en yaratıcı performansı gösterdikleri görülmüştür. Ön-deneysel çalışmanın bulguları ana deneysel çalışmanın tasarlanmasına katkıda bulunmuştur. Ana deneysel çalışmaya katılan toplamda 264 öğrenci, alternatif kullanım testi ve yaratıcı zihinsel sentez görevini içeren deneysel görevleri tamamlamıştır. Ön-deneysel çalışmanın revize edilmesiyle geliştirilen ana deney süreci iki bölümden oluşmaktadır. Deneyin ilk bölümünde hem tasarım alanından hem de tasarım alanı dışından öğrenciler, alternatif kullanım testi ile yaratıcılık puanlarına göre eşit olarak kontrol ve deney gruplarına ayrılmıştır ve gruplar zihinsel sentez görevinde farklı zihinsel süreçlerden geçerek verilen geometrik cisimlerle "sandalye" formu oluşturmuşlardır. Sonuçta katılımcılar tarafından oluşturulan formlar birbirinden bağımsız üç jüri tarafından "kullanışlılık" ve "orijinallik" kriterlerinde yaratıcılıklarına göre puanlanmış ve gruplar birbiriyle –mış gibi yapma yeteneği bağlamında karşılaştırılmıştır. Deneyin ikinci bölümünde ise, bütün katılımcılar sandalye formlarını farklı işlevde nesneler olarak yorumlamıştır ve farklı eylem olasılıklarını -mış gibi görmeye çalışmışlardır, sonra "en yaratıcı olduğunu düşündükleri bir tanesini seçmişlerdir. Katılımcıların sandalyeden farklı işlevde yorumladıkları nesne, yedi ayrı kriterde birbirinden bağımsız üç jüri üyesi tarafından değerlendirilmiştir ve "karşılama-görme esneklik puanı" elde edilmiştir. İstatistiksel analizler sonucunda gruplar karşılaştırıldığında, tasarım deney grubunun, deneyin ilk bölümünde en yüksek yaratıcılık puanlarını, ikinci bölümünde de en yüksek karşılama-görme esneklik puanlarını aldığı tespit edilmiştir. Ayrıca, tasarım dışı deney grubu tasarım dışı kontrol grubundan her iki bölümde de daha yüksek puanlar almıştır. İstatistiksel sonuçlar, öğrencilerin yaratıcı zihinsel sentez görevinde aldıkları yaratıcılık puanları ve karşılamaları/eylem olasılıklarını –mış gibi görme yetenekleri arasında anlamlı ilişki olduğunu göstermiştir. Bulgular değerlendirildiğinde, tasarım deney grubunun diğer gruplardan daha yüksek puanlar alarak karşılama-temelli –mış gibi yapma sürecinde en başarılı grup olduğu görülmüştür. Literatür ışığında yorumlanan sonuçlar, -mış gibi yapma sürecinin, ilk akla gelen bilindik cevaplar yerine, alışılmadık, orijinal fikirleri seçmek gibi yaratıcılıkla ilgili önemli pek çok bilişsel kapasiteyi destekleyerek yeni fikirlerin oluşmasını desteklediğini göstermektedir. Bu çalışma, çocukların –mış gibi yapma süreçleri ile tasarımcıların erken tasarım sürecindeki form oluşturma yaklaşımları arasındaki benzerlikleri yaratıcılıkla ilişkili olarak kavramsal çerçevede inceleyen ilk araştırma olarak diğer bilişsel tasarım araştırmaları için yeni bir perspektif açmaktadır. Çalışma ayrıca, kavramsal tasarım evresinde tasarımcıların form oluştururken yeni yapıları keşfetmesini karşılama temelli-mış gibi yapma süreci olarak örneklemektedir. Tasarımcılar da çocukların –mış gibi oyunlarındaki esnek düşünme biçimlerine benzer şekilde nesnelerin bilindik kullanımlarının ötesini görmeye çalışırlar. Çocuklar için doğal olarak oyunlarla gelişen bu süreç, tasarımcılar için tasarlarken öğrenilen tasarım sürecinin bir parçasıdır. Bu nedenle, yaratıcı düşünmeyi desteklemek ve tasarım sürecinde yeni yaklaşımlar geliştirebilmek için tasarım düşüncesini ve tasarımcıların zihinsel süreçlerini anlamak önemlidir. Günümüzde, yaratıcılığı geliştiren süreçleri anlamaya yönelik yeni yaklaşımlar tek bir disipline bağlı kalmaktan ziyade interdisipliner anlayışla ilerlemeyi gerektirmektedir. Bu çalışma, yaratıcılıkla ilgili alanların ve eğitim alanlarının faydalanabileceği disiplinlerarası araştırma olarak önem kazanmaktadır. Bilişsel alanda yaratıcı süreçler hala güncelliğini koruyarak farklı perspektiflerden araştırılmaktadır. Gelecekteki çalışmalarda -mış gibi yapma süreci, insan zihninin diğer yaratıcı süreçleri ile ilişkili olarak tasarım sürecinin diğer evrelerinde zihin-beden ve çevre sistemi bütününde ele alınmalıdır. Aynı zamanda, tasarım sürecindeki etkilerini daha kapsamlı olarak değerlendirebilmek için karşılama-temelli -mış gibi yapma süreci ve tasarım yaratıcılığı ilişkisi profesyonel tasarımcılarla da incelenmelidir. Bu çalışma, bir temel araştırma örneği olarak gelecekte ilgili araştırmalara, pratik uygulamalara ve tasarım eğitimine, elde edilen bulgularla zemin hazırlayacaktır.
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ÖgeÜrün tasarımında biyofilik boyutlar ve kullanıcıtercihleri ile ilişkisi(Lisansüstü Eğitim Enstitüsü, 2022-06-17) Boğa, Miray ; Turan, Gülname ; 502132901 ; Endüstri Ürünleri TasarımıÜrünlerin kullanıcı tercihi üzerindeki etkilerinin belirlenmesi endüstriyel tasarımcılar için büyük öneme sahiptir. Bu tez çalışması, kullanıcı tercihleri üzerinde etkili olabilecek birçok faktörden birisinin de ürünün biyofilik karakteri olabileceği üzerine temellenmiştir. Öte yandan, ürünlerin biyofilik özelliklerini betimleyen bir çalışmaya literatürde rastlanmamıştır. Ürünlerin biyofilik karakterini tanımlayamadan biyofilinin kullanıcı tercihlerine etkisini ölçmek de mümkün görünmemektedir. Bu bakımdan, sunulan çalışmanın amaçları ürün kullanım tercihleri bağlamında biyofilik boyutların neler olduğunun belirlenmesi ve bu boyutların kullanıcı tercihi üzerindeki etkilerinin incelenmesidir. Bu doğrultuda tezin araştırma sorusu "Bir ürünün biyofilik olarak betimlenmesinde rol oynayan boyutlar nelerdir? Ürünlerin biyofilik boyutlarının kullanıcıların ürün kullanım tercihleri üzerinde nasıl bir etkisi vardır?" olarak belirlenmiştir. Biyofili hipotezi canlıların doğaya, diğer canlılara ve canlılık ifade eden süreçlere karşı doğuştan gelen bir eğilimi olduğunu öne sürer. Bu eğilim, Seyirlik ve Sığınak Teorisi, Savan Hipotezi, Habitat Seçim Teorisi, Dikkat Onarım Teorisi ve doğanın fraktal yapısı gibi yaklaşımlara da konu edilmiş; çevresel psikoloji ve evrimsel psikoloji bağlamında da ele alınmıştır. Biyofilik eğilimin insanların günümüz tercihlerinde örtük veya açık biçimde etkili olduğunu gösteren ve doğrulayan çalışmalar mevcuttur. Yoğunlukla mimari ve kentsel tasarım alanlarında olmak üzere, bu eğilimin temel alındığı biyofilik tasarım yaklaşımı gittikçe yaygınlaşmaktadır. Doğanın sağaltıcı ve onarıcı etkisini ve biyofilik eğilimleri temel alarak yapılı çevrenin olumsuz etkilerini azaltmayı veya tersine çevirmeyi hedefleyen biyofilik tasarımın çevre tasarımındaki genişleyen alanı düşünüldüğünde, çevrenin önemli bileşenleri olan ürünler ile ilgili biyofilik eğilimleri konu alan bir çalışmaya duyulan ihtiyaç da daha görünür hale gelmektedir. Çalışmaya başlarken, biyofilinin üründe aranabileceği boyutlar belirlenerek hipotetik bir biyofilik ürün tanımı yapılmıştır. Ürünlere ilişkin zihinsel temsillerin oluşturulması bireyin içinde yaşadığı mekana uyumu açısından önemlidir. Öte yandan, bu zihinsel temsiller, tümüyle keyfi bir kriter temelinde olmaktan çok, nesnelerin sahip oldukları nitelikleri kategorileyen bir dizi boyut marifetiyle gerçekleşir. İlgili literatür incelendiğinde nesnelere ilişkin değerlendirmelerin anlamsal, biçimsel, duyusal, işlevsel, malzeme, psikolojik ve tutum özellikleri olmak üzere 7 boyut çevresinde yoğunlaştığı görülmektedir. Bu sebeple, tez çalışmasında biyofilik veya biyofilik olmayan biçiminde ikili bir değerlendirme yerine, ürünleri çok boyutlu biçimde ele almak tercih edilmiştir. Böylece çalışma, iki temel aşamada gerçekleşecek bir yapıda kurgulanmıştır: birinci aşamada, ürünün biyofilik boyutlarının araştırılıp hipotetik biyofilik ürün tanımının doğrulamasının yapılması amaçlanmıştır; ikinci aşamada ise ilk aşamada elde edilen biyofilik ürün boyutlarının kullanıcı tercihleri üzerindeki etkisi araştırılmıştır.