Applying Design Thinking Methodology in Creating Sustainable Designs for Printed Hanging Fabrics | ||
| International Design Journal | ||
| Article 15, Volume 13, Issue 5, September and October 2023, Pages 203-221 PDF (2.22 M) | ||
| Document Type: Original Article | ||
| DOI: 10.21608/idj.2023.312403 | ||
| Authors | ||
| Odette Ameen Awad1; Dina Talaat Youssef2 | ||
| 1Prof. of Design, Department of Textile Printing, Dyeing and Finishing Faculty of Applied Arts - Helwan University | ||
| 2faculty of applied arts | ||
| Abstract | ||
| Design thinking helps structure business and corporate interactions to ensure greater inclusivity, foster creativity, deepen empathy, and align participants around specific, sustainable goals and outcomes. Humanity has achieved success and continuity so far because of working well together, communicating, empathizing, expecting, understanding, and sharing. Design thinking is a reflection of these capabilities. As such, its use in design work has the potential to influence our core values, identities, expectations, and worldviews. But since it comes with a “responsibility to shape the future,” it is critical that every designer understand that they begin by recognizing and acting upon the human need for meaning and connection. Design thinking approaches as an explicit technique because it uses some predictable and iterative processes that can, to some extent, be classified as algorithms. But he can also adopt approaches that rely on the power of intuition. An important issue for discussion that will be clarified in this section; It is the design (thinking) process. Which, fundamentally different from most linear strategies. Prototyping is an indispensable tool in design thinking. It does not describe a completed model that is about to be implemented, but rather a way to make ideas tangible. Prototyping is created during a design project and is part of exploring potential solutions. Prototyping allows you to identify the strengths and weaknesses of an idea and identify new directions that prototypes might take. Prototyping should only take so much time, effort and investment to generate useful and sophisticated feedback. The systematic design approach proposed in this paper is not directed at facilitating innovation design practices and implementation of design interventions capable of incentivizing the cessation of unsustainable changes and sustainable system innovation for printed fabric designs. To aid in such an approach, design – considerations and criteria for sustainable design – must be built into consideration from the very first stage of concept creation: shifting the design challenge from 'how' to design and develop a solution, to the root issue of 'what' makes sense for the design business, industry, society and the environment . Design is a process that transforms the design into a product or a complete design solution. It can be said that the design process includes several stages, and each of these stages requires the presence of design thinking. The design process requires a high degree of creativity, and when this creativity is directed in an exact and guided manner, as required by the process, towards providing a solution to the design issue, where the solution is practical and applicable, and meets the goals contained in sustainable design. Although creativity is an important point in design, design is an activity that serves both economic and creative goals. The design thinking process helps ensure that the design considers the sustainable goals it seeks to achieve. This process seeks to generate a number of possible solutions, and to follow mechanisms or techniques to reach designs that are far from standard in order to reach innovative solutions. The production of designs includes several stages, namely: Common Ground - Human-Consumer/Receiver Center Design With the continuation of the competition in creating countless options, the applications of fabric designs tend to new methods of communication and emotional connection with the consumer, where the human being (the consumer) is placed at the head of the design thinking process, so that the printed designs become irreplaceable in the short term, and a link is established between them and the The consumer or recipient, it is also necessary to set design sustainability standards before construction, and to put sustainability at the heart of the design process. Before starting the design process, several factors must be identified, including consumer requirements such as (colors, materials, the aim and purpose of the design, and the elements to be used, ... etc.), to achieve long-term satisfaction and engagement. The designer seeks to plan the design work in order to meet the expectations of the consumer and fulfill his needs. It is necessary to deepen the communication mechanism between the designer and the recipient, and the communication process is a process of understanding and sharing the meaning of sustainable design, so there must be interaction between the two parties, and therefore we see communication as an exchange of ideas, information and points of view so that this exchange leads to a common understanding and is sometimes influenced by some of this information Through a psychological and social process and different cultural environments. Therefore, some believe that communication depends on two basic ideas, the first means understanding the recipients and interacting with them and abandoning the subjectivity and concepts of the designer, and the second is related to influence, which means what the message (sustainable design) brings in terms of changing the thoughts, behavior, knowledge and feelings of others. The first stage: exploration and research - defining and defining the problem At this point, the research deals with collecting information that will be used to form design decisions towards developing sustainable design solutions for printed design fabrics, as well as setting goals at the heart and beginning of the design process - (which is sustainable design that is implemented for the satisfaction of the recipient - and the recipient is the focus of design and work, which is represents the target audience), and the recipient in the research refers to (the visitor or tourist who will be present and reside in hotels and tourist resorts in the Arab Republic of Egypt, or who acquires the design works of the owners and representatives of hotels and resorts), and this requires the presence of innovative printed design works. The second stage: Interpretation - collecting basic information about the recipient and the designs of the printed fabrics (the subject of the research) At this stage, the designer seeks, once the first stage is defined and agreed on its content, to form the perception by searching and collecting information that can be entered into the process of creating printed fabric designs (the subject of the research). The research focuses on collecting information on: • The tastes of the recipients or their consumption and lifestyle, (because the individuals who spend time differ in their tastes and tendencies, so the research will tend to make a variety of traditional designs and natural elements and in different and varied directions, which satisfies the tendencies and tastes of many of the recipients). And since the implementation of the subject of research (the design of sustainable pendants), it is therefore a sustainable product that will continue to exist and survive for a period of time, so its implementation will require it to have an identity and contemporary. The third stage: thinking - developing possible design solutions (creating a vision) - for printed fabric designs (subject of research) Design recognizes and embodies the intangibles - emotion, context, substance - that matter most to audiences. Therefore, it is necessary to formulate design ideas, in which the designer uses different methods in forming perceptions, and these methods include brainstorming, drawing up preliminary ideas for ideas, and adopting an incremental approach that focuses on the recipient (up to the degree of originality in design that achieves more satisfaction), and this In turn, it requires a different degree of creativity, and creativity reflects a sense of pure innovation and the absence of barriers, and the use of creativity directed towards a specific goal imposed by the requirements of the design brief and the information that preceded it in the previous stages. At this stage, groups of artistic and design currents or intellectual models are prepared and selected. The designs can have a contemporary vision. With the progress of the conceptualization of the design work, it will become clear if there were points of misunderstanding or shortcomings in the previous stages, and if the designer was able to know enough to formulate his vision by defining the real requirements and needs of the recipient, or it is possible to address some design aspects that were not sufficiently defined in previous stages. The fourth stage: experimentation - developing prototypes (prototyping solutions) - for printed fabric designs (research topic) The conceptualization phase yields a number of possible solutions to the design brief. It may be necessary to work more on developing the design solutions offered, and to choose a prototype. In addition, the prototype of the proposed designs depicts the visual aspects of it by presenting it in its final form to the recipient. This stage is important and necessary in a crowded design competition, and it is necessary to think about providing a unique experience that cannot be reproduced, where the compelling experience of the printed design attracts the recipient, and expands their loyalty, as well as the distinctive design experience that is memorable and generates a positive and enjoyable reaction. The fifth stage: development - selection procedure - for printed fabric designs (subject of research) The selection stage in which one of the proposed design solutions is chosen to start working on its modification and development. The main decision criterion here is the suitability of the design for its purpose; and meet consumer needs. The design is developed and other generative ideas are produced from it, with printing materials, design size and final modifications, if any, specified. Stage: implementation (implementation of design) The design must be implemented and produced upon selection. This is the stage in which the design of fabrics turns into a tangible and visual reality, and is completed and ready. The implementation phase marks the end of the design process, and is a stage in which many of the design decisions made in the pre-implementation phase are placed. Such as decisions regarding shape, format, scale, display locations, and use of materials and materials. The aim of this stage is not to work as a guide for the printing and production stage, but rather its role is limited to providing an overview that clarifies the design thinking behind the tangible aspects of the design that become a reality during its printing. Design aspects related to the design may undergo modifications and refinements as the design goes through the stages of the design process, due to changes in the budget, timelines, or the number and sizes of printed designs, and the materials used. What was previously discussed in the research was used to create a number of sustainable designs, which were employed as textile hangings, and Adobe Photoshop and Adobe Illustrator computer programs were used in the implementation of textile hangings, and the following is a presentation of the executed designs with technical analysis thereof. | ||
| Keywords | ||
| Design Thinking; Printed Comments; Printed Sustainable Design | ||
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| References | ||
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