Browsing by Subject "suunnittelu"

The aim of the study was to investigate ideas and idea generation of designers in free improvisation tasks at conceptual level in the experiment, planned primarily for the physiological and neurological measurements. My study was a part of the multidisciplinary research project Handling Mind: Embodiment, Creativity and Design which concentrated on studying relations between mind, body and materials combining the fields of psychology, neuroscience and creativity. The neurological study did not reveal what and how participants felt, thought and experienced during the experiment which was the main interest in my study. Previous research has focused on investigating various fields of the design process, as well as the ideation phase, but investigating idea generation in the context of neuroscientific research is a new and interesting chance for the research. The ideation phase represents an iterative and vibrant nature of the design process. Previous studies have brought out the meaning of available sources of inspiration, and designers' competence to adapt the essential parts of the original sources and transform them into design outputs regarding the aspects of novelty and functionality. Therefore, I developed my research questions concerning ideas and idea development in freely improvising tasks in a new design situation. The 30 participants participated in the study as volunteers from the School of Art, Design and Architecture in Aalto University from November 2014 to March 2015. They performed copying, designing or free improvising tasks by drawing or forming clay. I organized the Stimulated Recall (SR) interviews with my colleague to collect data. We selected the 15 out of 30 interviews to represent the data in our studies. I analyzed the transcript data by qualitative content analysis: the classification scheme was both data and theory driven. The analysis revealed that designers had different ideas emerging from internal stimuli, for example, from their mental library or they were impressed by external stimuli, for instance, material, tools and cup images from the experiment. The experiment represented an external design constraint: it confined the problem space and narrowed down the alternative solutions. Designers had concrete and abstract ideas, but also the abstractions of ideas were developed. They relied on familiar topic choices but also were capable of creating analogies. Even this minimalistic design experiment revealed that designers are able to use their mental sources of inspiration and capable of picking profitable stimuli from their surroundings in new and uncertain situations for adapting and developing ideas further. Designers sought meaning for their sketching and experimenting as well.

The aim of the thesis was to compare the correspondence of the outcome a computer assisted program appearance compared to the original image. The aspect of the study was directed to embroidery with household machines. The study was made from the usability point of view with Brother's PE-design 6.0 embroidery design programs two automatic techniques; multicoloured fragment design and multicoloured stitch surface design. The study's subject is very current because of the fast development of machine embroidery. The theory is based on history of household sewing machines, embroidery sewing machines, stitch types in household sewing machines, embroidery design programs as well as PE-design 6.0 embroidery design program's six automatic techniques. Additionally designing of embroidery designs were included: original image, digitizing, punching, applicable sewing threads as well as the connection between embroidery designs and materials used on embroidery. Correspondences of sewn appearances were examined with sewing experimental methods. 18 research samples of five original image were sewn with both techniques. Experiments were divided into four testing stages in design program. Every testing stage was followed by experimental sewing with Brother Super Galaxie 3100D embroidery machine. Experiments were reported into process files and forms made for the techniques. Research samples were analysed on images syntactic bases with sensory perception assessment. Original images and correspondence of the embroidery appearances were analysed with a form made of it. The form was divided into colour and shape assessment in five stage-similarity-scale. Based on this correspondence analysis it can be said that with both automatic techniques the best correspondence of colour and shape was achieved by changing the standard settings and using the makers own thread chart and edited original image. According to the testing made it is impossible to inform where the image editing possibilities of the images are sufficient or does the optimum correspondence need a separate program. When aiming at correspondence between appearances of two images the computer is unable to trace by itself the appearance of the original image. Processing a computer program assisted embroidery image human perception and personal decision making are unavoidable.

The Finnish curriculum encourages schools to include interaction between students in teaching and emphasizes the importance of design and ideation as a part of the handicraft projects. Interaction skills, ideation and design are important 21st century skills that the cur- rent primary school students will need in their working lives. Co-design is defined as a process of design and ideation done in cooperation with others, and it is an activity that combines the most remarkable 21st century skills. The aim of this study is to examine how the students experience the co-design in the context of handicrafts. The previous research has shown that outsourcing of thoughts, further developments and technical design can be challenging for the students. Therefore it is interesting to study the possibilities and challenges of co-design in the context of primary school. The material for the case study was collected in Viikki normal school during the autumn of 2019. A group of 8-graders were selected discretionary as the examinees, for the reason that they studied co-design as part of their handicraft studies. Students answered in three (3) dif- ferent questionnaires about co-design during their study module. The questionnaires were implemented with Google Forms. 16 students took part in the study. The methodology of the study was material-based analysis, where the answers were classified by similarities. This study shows that the definition of co-design is challenging for students to understand in the context of handicraft even though they have practised co-design in other school subjects. In accordance with contradictory expectations towards co-design, students had both positive and negative feelings that affected working. Students felt that cooperation went mainly well, even though it was also the area with the biggest challenges. According to this study co- design is act of multidimensional action where the key points to success are cooperation bet- ween group members, students attitudes and motivation. The challenges of co-design lie in how to make cooperation work properly and how to share resbonsibility between all the group members equally.