LEE- Endüstri Ürünleri Tasarımı Lisansüstü Programı

Bu topluluk için Kalıcı Uri

http://hdl.handle.net/11527/19706

Gözat

A framework for the embodiment of empathy in design education: Exploring empathic perspective-taking of design teachers in design conversations

(Graduate School, 2024-07-27) Efilti, Pelin ; Gelmez, Koray ; 502182908 ; Industrial Product Design

The sophisticated and multi-layered phenomenon of empathy has become an essential aspect of design research and design practice. However, the connections of this phenomenon with design education are indirect and ambiguous as well as have not yet been clarified. Thus, the dispersed nature of empathy in design education invites us to explore and address this phenomenon with the context of both conceptual and practical research objectives. This thesis study is prepared in regard to three phases going deeper considering research objectives that are addressed under four different studies. The first phase (scanning horizon) focuses on a systematic identification and analysis of the relevant literature overlapping design education and the concept of empathy. Under this phase, two preliminary studies based on systematic literature review are conducted to map the dimensions of empathy in design education (Chapter 2) and to reveal the impacts on design learning and teaching (Chapter 3). The second phase (deep diving) based on a participant observation study addresses how empathy is embodied in the design studio, so explore the empathic indicators embedded in design conversations (Chapter 4). Lastly, the third phase (mining together) based on a pedagogical probe study centres upon the underlying motives behind empathic perspective-taking of design teachers during design conversations (Chapter 5). In the first study (Chapter 2), a systematic scoping review study is adopted as a technique to map the field of interest. The dataset is analysed via qualitative content analysis method to uncover and map the hidden dimensions of empathy in design education. The analysis reveals three dimensions of empathy, such as educational interventions, aspects and contexts of empathy. Educational interventions are the implementations applied or discussed in the articles with special attention to the learning and teaching activities, connecting with empathy. The aspects of empathy are the materialisation of empathy with specific educational purposes. Finally, the context of empathy represents the distinctive contexts in which learning takes place, induced by empathy. These interwoven dimensions help us to generate an integrative framework of the relevant literature. Based on this integrative framework, particular implications are proposed, such as research-based implications for design education researchers, pedagogical implications for design teachers and institutional implications for decision-makers. This chapter entitled "Mapping three dimensions of empathy in design education: Educational interventions, aspects and contexts" is published in the journal Art, Design & Communication in Higher Education. It is understood that empathy considerably transforms learning processes and teaching activities. Thus, aiming to explore and discuss the impacts of empathy on learning and teaching in the relevant design education literature, the systematic scoping review study is analysed thematically the second study (Chapter 3). Eight themes appear in this study, such as cognitive, affective, interactive, collaborative, operative, perceptive, formative and connective impacts. All these impacts are mostly in relation to design learning; however, the impacts of empathy on teaching activities are relatively limited. Within the context of this study, the research gaps for further studies are also addressed, as well as methodological and pedagogical implications are presented. This chapter entitled "A deep dive into the impacts of empathy on design learning and teaching" is published in the International Journal of Technology and Design Education. The first phase (scanning horizon) helps to scan the relevant literature intensively and unfold the implicit nature of empathy by uncovering the dimensions of empathy in design education and its impacts on design learning and teaching. These studies also illustrate particular research gaps in the relevant literature underlining the less-concentration on in-studio interactions between design teachers and learners as well as the development of empathic ways of teaching. In the following study (Chapter 4), empathy is addressed as an embodied happening in design studio conversations between design teachers and students. In this study, empathy embedded in design studio conversations is highly associated with perspective-taking of design teachers to ensure empathic understanding with design students. In participant observation studies conducted at two universities in Finland and Türkiye how design teachers take the perspective of other agencies and what deliveries are utilised for empathic perspective-taking are traced. The findings of the ethnographic content analysis show that design teachers take the perspectives of both human and non-human agencies during design conversations, such as design students, users, and materials. Moreover, they utilise discursive and performative deliveries, which lead to the identification of design teachers with these agencies. It is understood that design teachers' perspective-taking of design students during design conversations has particular effects on enhancing the learning experiences. Moreover, perspective-taking of design teachers towards users and materials help students to observe and understand the implications of design. This chapter entitled "Eliciting empathy embedded in design conversations: Empathic perspective-taking of design teachers towards design students, users and materials" is published in the International Journal of Art and Design Education. This second phase (deep diving), which is the core study of this thesis, dives deeply into design studio education and teaching activities, starting from the embodiment of the empathy phenomenon. Design conversations are focused, which are the backbone interactions in the design studio. This study exploring the implicit nature of design conversation is an initial step to frame the empathic approaches of design teachers. Aiming to develop an in-depth understanding specific to empathic approaches of design teachers in design conversations, in the last study (Chapter 5), empathic perspective-taking phenomenon in design teaching is addressed. To dig into the motives of design teachers behind empathic perspective-taking in design conversations, a pedagogical probe study based on self-documentation and reflection on design teaching approaches is conducted with the participation of design teachers and supporting teaching staff. A directed approach to qualitative content analysis is used for the data analysis in this study to explore the underlying motives behind perspective-taking. There appear distinctive intentions of design teachers cultivated from personal motivations that have potential impacts on learning processes. This chapter is an in-review process in an international peer-reviewed journal. The third phase (mining together) helps to expand the knowledge around empathic perspective-taking and presents it in all its aspects via a participatory approach. As an empathic approach, allocentric perspective-taking of design teachers in design conversations can serve for the designerly way of thinking and enhancement of learning activities, the motivation and inspiration of design students particularly. In conclusion, both conceptual and practical implications of this thesis are discussed. The conceptualization of design teachers' perspective-taking as an empathic action in design conversations is addressed through the synthesis of the findings. It is understood that design teachers may face multiple traps to fall on the way of taking a perspective in design conversations. Moreover, the development of practical pedagogical tools and exercises at personal, collective and institutional levels are encouraged. Via new pedagogical tools, design teachers and supporting teaching staff can raise their own awareness, ensure their well-being, reflect each other and become empowered in a pedagogical sense. This thesis can be taken as an attempt to bring a new perspective and pedagogical approach to design studio conversations in the quest of empathic design education. Raising awareness of design teachers in this context can make it possible for the development of empathic design teachers and teaching approaches. By this way, more empathic interactions in the design studio education can be established.
A study on understanding potential users' intention to use micro-mobility vehicles: E-scooter systems in İstanbul

(Graduate School, 2024-07-25) Kaplan, Semanur ; Alppay, Ekrem Cem ; 502201928 ; Industrial Design

The word 'Technology' is defined by the Turkish Language Association (TDK); It is defined as all the tools and related information that people have developed to control and change their material environment. When we examine it in this context, we can consider every product designed and made available to people as a technology. Acceptance of these new products by individuals and understanding their usage intentions will ensure both the development of technology and the success of the products. Understanding whether a product will be accepted by potential users and predicting users' future usage intentions with a user-centered design approach is very important in terms of creating more successful and profitable products in the market. UTAUT2 model created to understand users' motivations for using the product; It is examined in the context of performance expectancy, effort expectancy, social influence, facilitating conditions, hedonic motivation, price value, perceived risk, habit, behavioural intention and usage behaviours. With this approach, it is aimed to reveal potential users' intentions to use the product in the future and their reasons for choosing or not choosing the product. Considering the main aim of manufacturers to deliver their products to as many users as possible, it is very important to understand the target audience's perception of the products and their usage intentions in order to produce products that have an important place in the market. In this context, the mission of industrial designers is; The task of designing products acceptable to target users is added. Within the scope of this research, a literature review was conducted on technology acceptance models, urban transportation and shared micro-mobility systems. Urban transportation and product service systems are examined in the context of shared micro-mobility vehicles. Shared micro-mobility systems offer innovative solutions that transform urban transportation, making it more sustainable, accessible and economical. It will have an important place in urban transportation in the future with its features such as reducing traffic congestion, being environmentally friendly, providing accessibility to other public transportation networks, being economical and being healthier because it encourages physical activity. In this context, within the scope of this thesis, a research was conducted on potential users using the 'Unified theory of acceptance and use of technology (UATUT2)' in order to analyze the factors affecting the technology acceptance of shared micro-mobility vehicles in urban transportation. Data collection stages are as follows; It consists of semi-structured interviews, field stud and surveys. The research results were evaluated together with the findings. Based on the findings obtained within the scope of the research, a comprehensive insight was obtained about the intentions of potential users to use shared micro-mobility systems in the future and development suggestions were presented for industrial designers to develop e-scooters.
Aleatoric processes in design education: Investigating students' reflections on play-design relationship

(Graduate School, 2024-06-26) Atacan, Ece ; Gelmez, Koray ; 502201920 ; Industrial Design

Play is a familiar concept for all humanity. On the other hand, it is very difficult to comprehend such a phenomenon. For this reason, many theorists from the play literature try to define and make it more understandable through categories. Similar to the concept of play, the concept of design is also a very difficult concept to define. This reality, which is common for both concepts, provides a basis for establishing a relationship between play and design. When looking at the design literature in this regard, it can be seen that several studies suggest that the design process involves play activities. While some studies express this situation implicitly, some studies explicitly attempt to explore the relationship between play and design. This study investigates the relationship between play and design within the context of design education. In the context of design education, this relationship is established in different ways. First of all, as seen in the play-design relation, students' design processes basically include play activities. In addition, the relationship between play and design is addressed through the interaction between the design educator and the design student. This interaction might create a positive space that fosters play activities in design students' processes. In this context, design critiqs and design juries are considered as important encounters where students' play activities are supported or hindered. In addition, the play-design relation in the context of design education is analyzed through a metaphorical analogy. While a game involves play activities that take place in a certain space, within a limited time and within a framework of certain rules, the design studio in design education provides a similar spatiality. The design studio course provides a space within a period of time and includes rules set by the design instructors through design briefs. Furthermore, while a game creates a simulation of real life, the design studio provides a simulation of professional life and allows students to experience the field of design and familiarize themselves with the field. Based on this theoretical background, this study examines the play-design relationship in design education through the concept of alea from the play literature. The concept of alea is one of the four different forms of playing as defined by Caillois (2001) and it corresponds to the play activities in chance games. The concept of alea can be understood through games played with dice. In this type of play, there is an element of chance that directs the player, limits the player's decisions and overrides his or her ability. In the design literature, Ham (2016) observes the four categories of play, defined by Caillois (2001), in the design processes of designers. While analyzing the concept of alea, Ham (2016) explains the element of chance in design processes through the 'aha moment' and risk-taking experiences of designers. Based on this conceptualization, this research identified the concepts of 'aha moment', risk and also uncertainty as concepts related to alea and examined these concepts in the design literature. In the last part of the literature review, an initial conceptualization of the aleatoric process in design education was presented. According to this proposition, design students experience aha moment, uncertainty and risk in a sequential manner.
An 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 Design

Industrial 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.
Assessment 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 Design

The 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?".
Beden ürün diyaloğu: Beden odaklı analiz ve tasarımda yeni olanaklar

(Lisansüstü Eğitim Enstitüsü, 2023-10-13) Özdemir Gürgün, Ayşe Asya ; Turan, Gülname ; 502162908 ; Endüstriyel Tasarım

Bu 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.
Beyond 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 Design

This 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.
Boyutsal standartlar açısından Türkiye'de üretilen konut oturma ekipmanı tasarımı ve üretim teknolojileri ile ilişkisi

(Fen Bilimleri Enstitüsü, 1992) Tatlısöz, Nilüfer ; Ünügör, Mete ; 39345 ; Endüstri Ürünleri Tasarımı

Bu çalışmada; konut oturma ekipmanı tasarımında etkili olan faktörler içinde, önemli etkinliğe sahip olan, kullanıcının temel ve kritik boyutsal gereksinimleri incelenmiş, Ürünün gerek boyutsal, gerekse fonksiyonel açılardan performansı göz önünde tutularak, Türkiye' de üretilen konut oturma ekipmanlarında, belli bir standartlaşma olup olmadığı; varsa bu standartlaşmanın ne düzeyde olduğu saptanmaya çalışılmıştır. Ayrıca bugün ülkemizde konut oturma ekipmanı üretiminde geçerli olan üretim teknolojileri araştırılarak, bu teknolojilere göre, ürünün niteliksel ve niceliksel değerlendirmeleri yapılmıştır. Çalışmanın birinci bölümünde; mobilyanın çağlar boyunca, toplumların yaşam koşullarına, uygarlık anlayışlarına ve estetik görüşlerine paralel olarak değişik aşamalar gösterdiği, farklı biçimler aldığı; bu farklı biçimleri alırken kullanıcı gereksinimlerine de yanıt vermesi gerektiği vurgulanmaktadır. Buna bağlı olarak, günümüz deki hızlı konut yapımı sonucu, belli standartların ortaya konması zorunluluğunun doğduğu, konutlardaki standartlaşmanın yanı sıra, mekanın boyutlandırılmasına etki eden konut iç donatımında da standartların belirlenmesi gerektiği anlatılmaktadır. İkinci bölümde; günümüze kadar olan gelişimin tarihi perspektif içinde betimlenip, somut olarak sergilenebilmesi için, oturma ekipmanı tasarımına ilişkin tanım ve tarihçesi sistematik biçimde ele alınmaktadır. üçüncü bölümde; oturma ekipmanı tasarımında öncelikle kullanıcının boyutsal gereksinmelerinin belirlenmesi gerektiği, problem alanı olarak ortaya konulmaktadır. Boyutsal gereksinmelerin belirlenmesinde gerekli olan, oturma ile ilgili statik vücut ölçülerinin tanımları ve bu ölçüleri etkileyen genel faktörler ile oturma ekipmanı ta sarımında; anatomik, fizyolojik ve psikolojik prensipler anlatılmakta, belirlenen boyutsal standartlarla üretim teknolojileri arasında iliş ki kurulmaktadır. Dördüncü bölümde; "Türkiye genelinde örnekleme alanı olarak seçilen istanbul'daki üretim yapan firmalara uygulanılan bir anket araştırması yer almaktadır. Bu araştırmada firmalara üretim özellikleri, ürün özellikleri ve ürüne yönelik standartlaşma düzeyinin belirlenme si ile ilgili sorular sorulmakta ve bunların değerlendirmeleri yapıl maktadır. Beşinci bölümde; bu çalışma ile tez amaçlarına ne derecede ulaşıldığı tartışılmakta ve Türkiye'deki standartlaşma hedeflerinin belli bir oranda gerçekleştirilebilmesi doğrultusunda çeşitli öneriler ortaya konulmaktadır.
Bridging 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 Design

In 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.
Co-design approach to raise awareness: A case on fertility

(Graduate School, 2021-06-11) Şaşik, Reşat ; Leblebici Başar, Deniz ; 502171910 ; Industrial Design

Since many societies are affected by taboo topics and every society absorbs them in its own way, changing people's beliefs and behaviors on a taboo topic can be challenging. Fertility, as a taboo issue, has been a hot topic for a long time because there is a trend to delay childbearing in most countries, notably among higher educated individuals. Delaying childbearing is a personal choice; however, it should be taken consciously considering its consequences as aging-related social issues. Most people lack sufficient or accurate information about their reproductive health. Due to the social context based on taboos, when behavioral change is desired through design, it should be within the framework of a co-design and participatory approach. Therefore, the current study took women's fertility as a case and aimed to explore how designed material may create awareness and encourage behavior change compared to underdesigned material on a taboo topic. A mixed method approach was taken as methodology. First, an extensive literature review was held on the key areas including fertility awareness, participatory design, and behavior change. The interdisciplinary nature of the study area enabled design, psychology, and medical subjects to merge in this design research study. In light of the literature, the design of the experiment consisted of pre-post surveys, expert interviews, a co-design workshop, and data analyses. The career goals-associated delayed childbearing among higher educated individuals may occur fertility problems. The selected participant group was higher-educated Turkish university students and academicians aged between 18 to 45 years. Firstly, the pre-survey was completed with 153 participants, 106 of whom gave their e-mail addresses to attend the post-survey. The first findings from the pre-survey showed that even highly educated people had insufficient knowledge about their fertility, which is in line with the literature. After the pre-survey, expert interviews were conducted with four experts to get insights and discover unknown facts. In the co-design workshop, both empathy mapping and brainstorming sessions were organized with twelve shareholders to explore the main features of the behavioral change model in regard to fertility potential. With these co-design sessions, a fear-inducing video was designed to motivate people by reminding them of the aging process and describing how to learn about their fertility potential. The experimental group was informed with a fear-inducing video and the control group was informed with a brief text at the beginning of the post-survey. A comparison-based analysis was performed to determine whether the video-informed participants gained awareness of their fertility or not compared to text-informed ones. The findings showed that both groups gained information; however, fertility awareness of the video-informed ones increased significantly as compared to the text-informed ones. This increased awareness can be considered the first step of behavior change on fertility issues. While almost all of the participants of the video-informed group changed their ranking of the most important factor as "ovarian reserve" contrary to their initial rankings, only half of the text-informed group ranked it as the most important. Furthermore, the video-informed group increased their true statement selections by about 70% and decreased false statement selection by 45% according to comparative analysis between their pre- and post-survey responses. In conclusion, this study showed that a designed material was more effective than an underdesigned material in creating awareness and encouraging behavior change on a taboo topic in the case of fertility. While raising awareness and encouraging behavior change, this study embraced a shift from a "designing for them" approach to a "designing with them" approach. Taken together, this thesis can be considered as one of the first studies to contribute to the literature by studying how a designed material can create awareness and encourage behavior change on taboo topics through a co-design approach. Nevertheless, there were some limitations during the study. The Coronavirus pandemic affected the study plan and decreased the sample size of the participants. All meetings were conducted online because of the pandemic. Also, long-term observation and social impact assessment could not be performed because of the short time schedule of the thesis.
Craft 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 Design

This 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.
Çeşitli fonksiyon alanlarında kullanılması amaçlanan dönel tuvalet masası üzerine bir uygulama çalışması

(Fen Bilimleri Enstitüsü, 1992) Süzer, Didem ; Alphan, Ahmet ; 21842 ; Endüstri Ürünleri Tasarımı

Bu tez kapsamında amaç; "Tuvalet masası" ekipmanının tarih içinde gelişimi, kullanım amaçlarının yanısıra günümüz koşulları içerisinde mevcut teknolojileri kullanmaya çalışarak farklı fonksiyonların kullanıcı yaklaşımları açısından araştırılarak dönel tuvalet masası tasarımının ortaya konmasıdır. I. bölümde ilk olarak; yatak odalarının önemli bir ekipmanı olan tuvalet masasının tanımı yapılarak tarihsel süreç içindeki gelişimi, kullanımı incelenmiştir. Daha sonra tuvalet masası kullanıcısı belirlenip tanımlanarak kullanıcı özellikleri incelenerek tuvalet masasında yapılan eylemlerle günümüz tuvalet masası kullanım yerleri ve şekilleri örneklenmiştir. Bölüm sonunda ise kullanıcı açısından tuvalet masası mobilyasının etkileyen faktörler araştırılmıştır. II. bölümde I. bölüm sonuçlarına dayandırılarak Dönel Tuvalet Masası tasarımı ilk eskiz ve çizimleri ile birlikte anlatılmış ve bu tasarımı etkileyen faktörler belirlenmiştir. Proje aşamasından sonra 1/1 ölçekte, ilk prototip İ.T.Ü. Mimarlık Fakültesi maket atölyesinde imal edilmiştir. III. bölümde Dönel Tuvalet Masası tasarımına kullanıcı yaklaşımını belirleyebilmek amacıyla deney ve anket çalışmaları yapılmıştır. Deneysel çalışmalar gözlemlerle birlikte sürdürülmüştür, anket çalışmaları ile desteklenmiştir. Yaklaşık 100 kullanıcı ile görüşülmüş çalışmaları değerlendirilmesi yapılarak sonuçlar ortaya konmuştur. Sonuçta ise bu çalışma ile tez amaçlarına ne derece ulaşıldığı tartışılmıştır.
Çocukla birlikte gelişen çok amaçlı bebek bakım masası üzerine bir uygulama çalışması

(Fen Bilimleri Enstitüsü, 1992) Baylan, Filiz ; Alphan, Ahmet ; 21841 ; Endüstri Ürünleri Tasarımı

Gelişen teknoloji ve sanayileşme toplumumuzda, düşünce tarzının değişmesi, kültür düzeyinin yükselmesi, yaşma seviyesinin farklılışması gibi olumlu gelişmelere neden olmuştur. Gittikçe küçülen aile yapısı nedeniyle de aile içinde çocuğa verilen önem ve sunulan imkanlar da fazlalaşmıştır. Çocuğun fiziksel ve psikolojik gelişimlerine paralel olarak ihtiyaçları da daha dikkatli incelenmeye başlanmıştır. Dolayısıyla bu ihtiyaçlara cevap verebilen çocuk ekipmanlarının sayısında artış ve farklılaşmalar olmuştur. Ancak piyasada kullanılan ekipmanların içinde çocuğun ve annenin tüm ihtiyaçlarına aynı anda cevap verebilen, çocukla birlikte gelişip büyüyen ve ailelerin ekonomik durumunu zorlamadan alabilecekleri çok fonksiyonel bir ekipman açığı olduğu gözlemlenmiştir. Bu açığa cevap verebilen bir ekipman tasarımına geçilmeden önce, çocuğun fiziksel ve psikolojik gelişimleri, bu gelişimler sırasındaki ihtiyaçları, annenin çocuk bakımı sırasındaki ihtiyaçları boyutları gibi birçok konunun incelenmesi gerekmektedir. Tüm bu araştırmaların tasarımda hedeflenen amaçlara ulaşmak için yardımcı olacağı kararından yola çıkılarak, elde edilen verilerin dikkatlice değerlendirilmesi gerekmektedir. Bu bilgiler ışığında ekipmanın içermesi gereken özellikleri, yapılacak eylemlerin nerede ve nasıl çözümlenmesi gerektiğine karar verilmektedir. Tasarımın çizimleri tamamlandıktan sonra uzman yardımı ile hazırlanan anket formalarının doldurtulması ve maket atelyesinde yaptırılan prototipin denetilmesi ve sonuçların değerlendirilmesine geçilmiştir. Bilgisayar yardımıyla yapılan değerlendirmeler sonucu bu ekipmanın endüstri ürünü tasarımı olabileceğine ve seri üretim sonucu geniş bir kitleye hitap edebileceğine karar verilmiştir.
Design for additive manufacturing for small-volume production: A case study

(Graduate School, 2024-07-09) Keleş, Ahmet Furkan ; Küçüksayraç, Elif ; 502201918 ; Industrial Design

Additive manufacturing (AM), also referred to as 3D printing, is an innovative manufacturing method that constructs objects by adding layers based on digital models. Contrary to conventional subtractive manufacturing, which involves removing material to form shapes, AM involves adding material in precise layers. This method provides enhanced design flexibility and enables the production of intricate geometries while minimizing waste. This technology is employed in diverse industries such as aerospace, medical, automotive, and fashion, to produce prototypes, functional components, and customized designs. The ability to customize products makes efficiently and sustainably is a fundamental aspect of contemporary manufacturing and design innovation. The goal of this research is to find out how AM techniques can be used by people or companies with limited funding to replace conventional production methods, which typically involve expensive machinery, molding, and production line setup. Fused deposition modeling (FDM) and stereolithography (SLA), two 3D printing technologies that stand out from other AM technologies in terms of cost effectiveness and adaptability for home-use applications, are the primary subjects of this study. Case study and expert interviews are the research methods used in this study. An FDMmanufactured outdoor air quality control kit for the ITU campus is the focus of the case study. This kit was created as part of a scientific research project on smart and sustainable campuses. From the pre-production phase through the final form, the design process is assessed qualitatively and quantitatively. The design of the product, the choice of materials and printing technology, and surface quality are the main concerns of the assessment. The case study is supported by expert interviews, which provide a more thorough grasp of AM. Four specialists who work with FDM and SLA technologies development and apply it to different industries and contexts were selected. The experts are a mechanical engineer leading R&D at a company that makes classical mixers, and faucets, an industrial designer employed by a company that manufactures 3D printers; and a designer/owner of a startup company that uses FDM technology in R&D and final-product manufacturing processes. The results clarified the distinctions between the application of FDM and SLA techniques, the potential for material and time savings during product development, and the strategies for minimizing or eliminate support structures completely. The study also shows situations where AM techniques are more advantageous than conventional techniques at specific production volumes. The case study's numerical data demonstrated how alterations in printing and design techniques lower costs and speed up production. This study's conclusion highlights the potential and necessity of AM technology for small-scale, resource-constrained enterprises and low-volume production. The advantages AM providing over conventional production techniques hold great promise for the broad adoption of these technologies and the transformation of the paradigms that drive industrial production.
Design studio learning for developing creative skills in children: Insights from Arkki Türkiye

(Graduate School, 2023-07-07) Divriş, Lara ; Başar Leblebici, Deniz ; 502201910 ; Industrial Design

Engaging in creative problem-solving anticipated through design studio pedagogy for design students is considered beneficial for early ages to gain 21st-century skills. This study aims to explore the outcomes of design studios in terms of creative skills and abilities and to analyze how children can acquire those skills through a design studio- based adopted educational model called Arkki. The study is based on the observations made by the researcher, an Arkki Türkiye facilitator, during design workshops with children. Arkki, School of Architecture for Children and Youth, is a Finnish-based affiliation that organizes architecture and design workshops for children aged 4-19 since 1993. Using a project based education, Arkki's main aim is to teach children the skills of 21st-century involving creativity, with a hands-on approach and using play, where children can learn by doing. Since 2021, Arkki has been operating in Türkiye under the name Arkki Türkiye partnering with Türkiye Design Council. The study's theoretical framework starts by establishing similarities between the workshops conducted by Arkki and design studio pedagogy. To establish a theoretical framework for the study, a literature review was conducted on the design process, design studio learning, creativity, creative problem-solving, and the relation of play with creativity and design education. Additionally, the educational model of Arkki was explained by reviewing related literature, including the similarities with the design studio, how play was included in its workshops, and the skill evaluation made by Arkki Türkiye. After establishing these relationships within the theoretical framework, the aim was to assess the outcomes and processes of the identified Arkki workshops, measuring children's ability outcomes regarding design studio achievements and creative skills. The goal was to highlight the gains of a design studio-focused education in children's creative skills development. The literature review enabled the designing of an assessment tool named the Creative Development Measurement Scale, an outcome of the thesis, to measure children's creative abilities. The five-dimensional creativity model assessment created by the OECD, which was the source of Arkki Turkey's assessment model, was re-designed by refining the Arkki Türkiye Development Map (ATDM) Arkki Türkiye uses. The re-designing process was made in light of the literature review involving creativity and design studio outcomes and the help of a focus-group study conducted with Arkki Türkiye facilitators. The data gathered through workshops were analyzed through the Creative Development Measurement Scale. The findings suggested that the creative skills of children participating in the workshops improved significantly. Furthermore, comparative analyses were conducted to examine the differences between the skill development of children who attended multiple modules of the workshops and those who attended only one module. It was found that skill development in terms of continuity was generally significant. However, when comparing the skill development of two different age groups who received different workshops, no significant difference was observed as expected. This finding indicated that designing an educational model according to age abilities was essential for parallel development in different ages. Secondly, valuable insights were obtained through semi-structured interviews with Arkki Turkey facilitators to explore the impact of play in Arkki-inspired design studio workshops. The findings from these interviews highlighted the importance of incorporating play elements into design studio pedagogies for children, showcasing the positive effects of play on various subjects. The interviews shed light on how play contributes to children's learning experience, creativity, and problem-solving skills. It was revealed that children used play for exploration, imagination, learning, understanding, and critical thinking. The use of play was compatible with design pedagogy and parallel to methods such as peer learning, learning by doing, and creative problem-solving. As a result of this study, it is discussed that design studio models like Arkki may contribute to children's creative problem-solving skills. Additionally, the advantages and examples of providing design studio pedagogy to children through play were presented, emphasizing that play can effectively enhance design studio outcomes for children. As the development of 21st-century skill creativity is considered in high demand across educational fields and the skills of the future, it is essential to investigate further how the design studio insights can contribute to enhancing creativity for children. In conclusion, design learning, supported with play, can support children in developing essential creative skills and abilities needed in the 21st century.
Design thinking in technology startups, an explorative study on design thinking implementations at ITU seed incubation center

(Graduate School, 2022-10-24) Çay, Seyman ; Turan, Gülname ; 502001807 ; Industrial Design

As a professional industrial designer and partner of a design consultancy company we have been always excited to work with new customers in new fields. For this reason, as a design office, providing industrial design services, we were also interested in entrepreneurship ecosystem, and after expanding our business development area here, we had opportunities to meet many technology-based entrepreneurs and develop projects with them. The demand for cooperation with entrepreneurs increased, as expected and we started to devote some of our time to the field of entrepreneurship, in order to stay up-to-date, follow the innovations and improve ourselves on how to advance better project processes and communicate them. When we started to develop more projects with entrepreneurs from different fields, we noticed over time some recurring challenges and realized that some aspects of these challenges differ from those experienced with companies. The need to identify these challenges and thus to better understand entrepreneurs and manage the project processes was clear. Taking this as a starting point, I came to the idea of conducting a case study research on this subject. It can be stated that the subject of this thesis is based on personal experiences gained in the projects developed in cooperation with the entrepreneurs. Since my professional business relations are with entrepreneurs in ITU Seed Incubation Center (ITU Seed), I decided to conduct the research with the startups here. Another important reason for this was that ITU Seed was affiliated with the university I was enrolled in and therefore was open to resource access, and therefore open to resource access, which is one of the most important issues in the research. Thus, while contributing to the literature, I wanted to be able to make this contribution through the university I graduated from. The courses where I shared my professional experiences with students in the ITU industrial design department and the corporate commitment built over the years had an impact on this also. ITU Seed is the incubation mechanism of ITU Arı Teknokent, that supports technology start-ups at any stage and contribute to their success by providing them guidance for government and privet support programs, preparation for investor meetings and presentations, and trainings mentoring program. When we look at these trainings, we see that new entrepreneurs participate in an intensive program that combines the 'Business Model Canvas and Lean Startup' method with the "Design Thinking" method, adapted to ITU Seed. Within this frame, the subject of this study is to reveal how entrepreneurs at ITU Seed Incubation Center use design thinking method. The research aims to focus on design thinking processes of startups and obtain findings about how the stages are fconstructed. To be more specific, we attempt to look at the stages of design thinking and understand how design thinking perceived, applied and implemented by the startups. Since design thinking approach is most valuable in the early stages of the design process when opportunities are being identified and new concepts are being proposed (Postma et al, 2012). Within this regard, such a problem and hypothesis can be understood by investigating how entrepreneurs iterate the early stages in the process and how they implement design thinking in these stages of the project they are developing. Here we found it necessary to emphasize the distinction at on which level design thinking positioned in organizations, since design practices can interface with organisations on different levels (Dorst, 2011). There are two different discourses discussing design thinking. Johansson and Woodilla (2010) clearly point out these two separate discourses and name them as the 'design discourse' and the 'management discourse'. Management discourse focuses on the need to improve managers' design thinking skills for better business success Johansson and (Woodilla, 2010). For a more clear explanation of management discourse, Brown (2009) presents design thinking as a human-centered approach to innovation inspired designer's way of working and thinking, which people with non-design backgrounds can use. In this study we will focus on design discourse and usage of design thinking be the entrepreneur on their projects in terms of design thinking is a catalyst for innovation and bringing new things into the world (Plattner et al, 2011). Now we would like to mention the methods and tools to be used in the research to obtain this data set. The aim of this study is to focus the design thinking processes of startups at ITU Seed and reveal how design thinking perceived, applied and implemented within the project process. Since case studies are pertinent when the research addresses an explanatory question 'How or why did something happen?' (Yin, 2014), in order to investigate this field, a qualitative case study method and explorative approach are best suited for this study. The preparation for data collection is one of the most important stages of the research. Yin (2009) mentions, training for a case study investigation actually begins with the definitions of the questions being addressed and the development of the case study design. We determined the semi-structured interview as the method to be used in the case study research, we aimed to reach more reliable information by directing the people we will meet with this way, and we started by preparing the topics and questions we would talk about. Since we had difficulties in finding suitable sampling in this study, the snowball method was used to determine the interviewees. Except for the three entrepreneurs we reached this way, we conducted interviews with two mentors we met during the study, as the mentors could provide invaluable divergent data that can be included in research and the findings could be useful in terms of understanding other stakeholders of the subject and achieving data triangulation by increasing data diversity. In summary, this study is based on semi constructed interviews conducted with 3 startups in the pre-incubation phase of ITU Seed, and 2 mentors and 1 designer, identified as other stakeholders on the practices of design thinking in startups at ITU Seed. For the analysis and interpretation of all outcomes from the study, we used affinity diagram analysis method. Data obtained from the audio recordings of the interviews used as input for the analysis and were clustered. Three prominent clusters emerged relevant to the research questions, we called 'concepts'. We named the expressions that can be placed under these concepts, which can be considered as the main heading in a sense, as sub-concepts, and we visualized the results by sorting them according to the most emphasis. We now want to present these findings. Three prominent concepts have been already mentioned as perception of design thinking, application of design thinking and implementation of design thinking. Now we would like to explain in what sense they are used in this study an the main characteristics of each startup. We evaluated the answers of startups to the questions, 'What do you understand when it comes to design thinking?' and 'What does design thinking mean to you and to your organization?', under perception of design thinking. We can list the findings that they emphasized clearly and that, in a sense, show their characteristic of perception as follows: Startup A iterative problem solving, startup B design project management and startup C mindset and methodology. For the second concept, we evaluated the answers of startups to the question, 'Why or when do you need design thinking?', under application of design thinking. We can list the findings that they emphasized clearly show their characteristic of application as follows: Startup A understanding customers/users, startup B design development and startup C exploring new opportunities. For the last one, we evaluated the answers of startups to the question, 'What are the methods and tools you use in your design thinking processes?', under implementation of design thinking. We can list the findings that they emphasized clearly show their tool for implementation as follows: Startup A participatory action research, startup B POC field test observation and startup C interview with potential customers. The findings include data on the perception, application and implementation of design thinking of startups, as well as on design thinking structures, key benefit of design thinking for their organization or key success factors. This study is significant in terms of revealing how entrepreneurs operating in ITU Seed Incubation Center use design thinking methods in their projects, collecting data that can also be used in further studies in this field, and making suggestions about how they can use this method more efficiently and effectively. The results to be obtained will not only contribute to the entrepreneurial ecosystem for entrepreneurs to use design thinking more effectively, but also to the value creation of technology-based entrepreneurs by using them, to update the contents of the entrepreneurial trainings given at ITU Seed Incubation Center.
Designing an expert system for non-expert users in oral health: Story of a hybrid design research

(Graduate School, 2023-06-23) Göçhan, Deniz ; Bağlı, Hümanur H. ; 502171903 ; Industrial Design

The subject of this thesis is the research, development, and design process of an expert system that I designed for non-experts in the field of pediatric oral health, which started as an enterprise project and later received the TÜBİTAK 1512 Techno-initiative Capital Support Program grant. In this thesis, you will read about the maturation of my idea that I created as a dentist, its transformation into a mobile application prototype within the scope of the TÜBİTAK project, the testing processes, the difficulties encountered, and how I tried to overcome them. In empirical research, the independence of the researcher and the notion that examines the subject from an outsider's perspective are very important. I, on the other hand, was the leading actor in the three-year enterprise story that I addressed as a researcher in this thesis. At every stage of the product from an idea to a prototype; I spent a lot of time applying to institutions, developing the algorithm, and designing the interfaces and the system. For these reasons, I did not want to write down the research I conducted in the process as if I were an observer. Because that would be quite wrong. Thus, the complexity of the process and my inseparable relationship with the product led to the need to adopt a hybrid approach to the subject. In my approach, I combined the three forms of design research that Frayling described. The "Research through Design" approach allowed me the freedom to convey what I experienced in the process from my perspective, without skipping any steps. Since it is not possible to generalize about entrepreneurship based on my own story, there could not be a more appropriate method in which I would be involved as a subject. The research I conducted to enable non-expert users to use an expert system was exactly in line with the "Research for Design" approach. Because at the end of the day, my goal was to improve the product. The "Research into design" approach enabled me to document data that emerged independently of the product I designed and could contribute to the literature. I am aware that in this approach I have adopted, a portrayal of dissociative identity emerges. I became a "Research through Design" researcher while describing my process, a designer when researching to improve the product, and sometimes a design researcher who intends to contribute to the literature. A researcher can wear these hats in different periods. I wore all these hats during one study. Therefore, in this thesis, you will witness hybridity just like my process. This thesis touches on more than one area. Therefore, what I have told can be evaluated from many different angles. It can be considered as the process of developing an entrepreneur's product, the place of digital products in the field of oral health, a critique of the way dentists handle these products in the literature, the difficulties in developing a medical device, designing of artificial intelligence and human interaction, the effort to bring an expert system closer to the non-expert user, the design's role in all these aspects or as a different method attempt at design.
Developing student performance in industrial design studios through self-regulated learning strategies

(Graduate School, 2022-02) Akdeniz Ateş, Aysun ; Turan, Gülname ; 502142906 ; Industrial Design

Perpetual 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.
Endüstri ürünlerinde tasarımın değerlendirilmesi

(Fen Bilimleri Enstitüsü, 1995) Teker, Murat ; Öke, Altan ; 46608 ; Endüstri Ürünleri Tasarımı

Değerlendirme günümüzde tasarlama sürecinin bölünmez bir parçası haline gelmiştir. Değer verme, değerIendirme ve karar verme tasarımcı için bir yöntem sorunu olarak ortaya çıkmaktadır. Günümüzde 19.YYın el işçiliğine dayanan üretimine yönelik tasarım anlayışından vazgeçilmiş kitlesel üretime yönelik endüstri ürünlerinin tasarımına geçilmiştir. Endüstri tasarımı bugün artık dünya ekonomisinde önemli bir güç olmuştur. Endüstri tasarımının önem kazanması, ürünün ne şekilde değerlendirileceği kavramını gündeme getirmiştir. Endüstri ürününde aranan temel nitelikler işlevsellik, ekonomi ve estetiktir. Tasarımcının amacı insana uygun bir çevre yaratmaktır. Bu yapay çevreyi oluşturan tasarlanmış ürünler olduğuna göre tasarımcıya düşen görev gerek ürünlerin işlevselliğini, kullanışlılığını gerekse görsel niteliklerini geliştirmektir. Bu gelişimi ürünün tasarlanıp, üretilmesi, satılması ve kullanılması aşamalarında yapılacak değerlendirmeler sağlayacaktır. Değerlendirme ürünün özelliklerinin ortaya konması ve bu özelliklerin amaca uygunluğunun araştırılmasıdır. Endüstri tasarımı alanında ortaya konmuş bir ürünün başarısının değerlendirmesi tasarım, üretim ve satışın sağlıklı bir şekilde yapılabilmesi açısından yararlı olabileceği düşüncesi ile bu çalışma hazırlanmıştır.DeğerIendirme ile elde edilecek bilgiler ürünün geliştirilmesinde kullanılabileceği gibi aynı konuda ortaya konulacak başka bir ürünün özelliklerinin amaca daha uygun olmasını sağlayabilir.
Exploring how cultural probe kits are designed: Towards a guide for design researchers

(Graduate School, 2023-06-20) Apak, Gülce ; Çelikoğlu, Özge ; 502201908 ; Industrial Design

User-centered design refers to an approach to design which places emphasis on the needs and expectations of users while developing design ideas and includes users in the design process. To gain an in-depth understanding of the users' needs, values, thoughts, and feelings, user-centered design utilizes research methods that collect, depict, and make sense of data on user experience. In this sense, designers and design researchers utilize diverse user research methods varying from traditional approaches to innovative approaches to obtain user data. Cultural probes, one of the innovative approaches, is considered as a data collection technique that inspires and informs design by adopting a participatory essence. The method is implemented through the cultural probe kits that assist participants to conduct practicing textual, visual, or three-dimensional self-documentations by assigning them predefined tasks that invite them to describe their experiences, actions, thoughts, and feelings through various ways. By completing these tasks, participants provide designers and design researchers with a variety of user data to analyze to develop an empathetic understanding with potential users and generate design ideas. In the prior studies, cultural probes are often included as a method used in research design to gather information about a particular user experience, a particular product, or the characteristics of a community. There are a few examples examining the approach itself by illustrating how the method is applied in detail. Among these, not many studies explored the process of developing a cultural probes kit by focusing on the probe kit components. From this perspective, this thesis intends to gain an in-depth understanding about the process of developing cultural probe kits by taking various aspects of cultural probe materials into account and, as a result, to propose a guide that helps to improve probe design decisions. To that end, two data collection methods, which are document analysis and participant observation, were employed in this thesis. These data collection techniques enabled gaining a broad knowledge on contents and materials consisting of the kits and the process of designing cultural probe kits. Followingly, the collected data sets were analyzed with qualitative content analysis in order to draw out outcomes that will be transformed into a framework to guide careful design of cultural probe kits. The empirical study followed within the scope of this thesis consists of two studies: a main study and a supplementary study. In the main study, which was conducted in three phases, data on contents and materials consisting of the kits and the process of designing cultural probe kits was collected, these data sets are analyzed and explained in detail, and in the third phase, the findings that will be synthesized into the guide content were presented. The supplementary study was conducted with an intent to observe the initial implementation of the guide. Accordingly, the guide was distributed to its first practitioners and after they developed cultural probe kits, their feedback on the guide was received. The main findings of the study were achieved as a result of the main study and synthesized for developing the guide. Initial findings proposed four categories to understand contents and materials constituting the cultural probe kits: kit components, equipment, task types and activities, and task features. The varying sub-components and different properties of these components were illustrated in detail under these categories. With further analysis, more detailed findings which enabled making deeper interpretations were illustrated and consequently, particular instructions that offer strategies to improve probe design decisions were asserted. These instructions were outlined under three main aspects of developing cultural probe kits: preparing cultural probe tasks, arranging tools and equipment, and ensuring relevance with the research focus. All these findings were synthesized for creating a guide which systematically describes the process of developing cultural probe kits and provide guidance to design researchers in order to make effective probe design decisions. Additionally, with the supplementary study, the first implementation of the guide provides a framework to design researchers for organizing the overall process of designing cultural probe kits, making sense of the properties of cultural probes contents and materials, and therefore, utilizing them more effectively and carefully.

Gözat

Başlık ile LEE- Endüstri Ürünleri Tasarımı Lisansüstü Programı'a göz atma

Sayfa başına sonuç

Sıralama Seçenekleri