-
Ergo
Rebuilding a product design process (PDP) with creativity
techniques can effectively assist designers in encouraging
1. Introduction management, research and development,
produc-tion, marketing, and decision-making, and re-
ARTICLE IN PRESSNew product development (NPD) is a complexarea
of ideas and innovations, involving strategy,
quires linking science and technology/inventionor innovation
with the marketplace. The success ofnew products mostly depends on
new productdevelopment process and management (Chaturve-di and
Rajan, 2000), including effective attainment
Corresponding author. Tel.: +886-6-275-7575; fax:
+886-6-274-6088
0169-8141/$ - see front matter r 2004 Elsevier B.V. All rights
reserved.doi:10.1016/j.ergodesign creativity, further improving the
overall performance of innovative product design. Accordingly, this
research
provides a new approach to the design process for industries by
taking advantage of a creativity-based design process to
achieve the goals of innovative product design.
r 2004 Elsevier B.V. All rights reserved.
Keywords: Creativity; Design process; Product design;
Decision-making model; Systematic approachIn todays highly
competitive and uncertain market environment with short product
life cycles, product development
must not only satisfy the quality and speed of production, but
it must ensure that products themselves have included
innovative values. As creativity plays an important role in new
product development (NPD), it can be utilized in search
of novel ideas for innovative product design, and also can be
regarded as a helpful tool in advancing NPD output.
In this paper, we developed a creativity method based on the
naturally sensuous ability of human beings. We also
proposed a creativity-based design process integrating some
systematic design methodologies with a developed
creativity tool. The essence of this proposed design process is
not the sole performance of the creativity tool but the
coherent efforts among each involved process technique.
To prove the practicability of this design process, a case study
was conducted according to various procedures that
were followed. By applying evolutionary thinking, the sensuous
association method, and other systematic approaches
to the design process, a number of concept solutions were
produced. An optimal solution was then determined by using
an operative decision-making model based on the weighted
generalized mean method.
Relevance to industryAbstractShih-Wen Hsiao, Jyh-Rong
ChouDepartment of Industrial Design, National Cheng Kung
University, Tainan, Taiwan 70101, ROC
Received 21 February 2003; accepted 10 May 2004
Available online 12 August 2004A creativity-based design process
for innovative product designInternational Journal of
Industrialn.2004.05.005nomics 34 (2004) 421443
-
ARTICLE IN PRESS
nal oof knowledge and using it as part of the productdesign
process (Poolton et al., 2000). Cooper(1996) indicated that new
product development isa vital endeavor for modern industries.
Companiesmust learn how to innovate effectively, over-hauling their
new product processesfrom ideato launchand incorporating winning
ideas forsuccessful new products. However, Grifn (1997)reported
that, despite widespread acceptance in theliterature, almost 40% of
rms surveyed still useno formalized product development
process.Product design is a goal-directed problem-solving
activity that relies heavily on human experience,creative
thinking, and related knowledge; it shouldbe done by integrating
creativity and innovationtools with axiomatic design methodology
for durableproduct development (Goel and Singh, 1998). Villa(1998)
indicated that continuing innovation inindustries is dened as:
promoting a frequent re-design of offered products as well as of
theproduction processes required. Also, he proposedan innovation
loop concept and introduced aconceptual model of multi-resolution
design process.Majaro (1988) suggested the rst step in
theinnovation process is the generation of ideas orcreativity, but
an important minority of pioneeringdesign theorists has implied
that the most valuablepart of the design process is that which
occurs insidethe designers head and partly out of reach of
hisconscious control (Jones, 1992, pp. 4647). Unfortu-nately, the
black-box view of designing can not beclearly expressed in
contemporary design theoriesbased on rational analytics. In fact,
design work notonly consists of logical rules dealing with
distinctprocedures but also innovative thinking producingintricate
creativity.Product design process (PDP) is an essential
factor during the early phase of new productdevelopment, which
can be considered a complexset of integrated efforts, including
generatingideas, developing concepts, modifying details,and
evaluating proper solutions. An inappropriateproduct design process
not only affects productlife-cycle phases but also increases the
possibilityof failure in new product development. Since the1960s,
some design scholars, such as Hall (1968),Archer (1971), French
(1971), Pahl and Beitz
S.-W. Hsiao, J.-R. Chou / International Jour422(1984), Hubka
(1989), etc. have successivelydeveloped many design processes,
taking advan-tage of denite methodology to eliminate theillusion of
Designer as black boxes. Theconventional design process can offer
designers ahelpful tool to product design and thus increasesNPD
output. However, Stevens and Burley (1997)indicated that about 3000
raw ideas are required toproduce one substantially new commercially
suc-cessful industrial product. They also found thatNPD requires
breakthrough creativity because therst ideas for commercialization
are almost nevercommercially viable until they have been
substan-tially revised through a thought process involvingbranching
(Stevens et al., 1999).Bullinger et al. (2000) once stated: the
new
millennium has fostered a look towards the future,accompanied by
both hopes and fears. Facingtodays global information society,
companies mustfocus on the task of meeting competition
andchallenges. A high level of complexity, dynamismand uncertainty
characterizes the economic situationfor industry and its production
facilities. In todayshighly competitive and uncertain market
environ-ment with short product life cycles, product designmust not
only satisfy the quality and speed ofproduction, but it must ensure
that productsthemselves have included innovative values. Stevenset
al. (1999) demonstrated that positive correlationswere found
between prots resulting from NPDproject analyses and the degree of
creativity of theanalysts evaluating those projects. McAdam
andMcClelland (2002) also documented the perfor-mance results using
new product ideas and creativitypractices in the UK textile
industry. Therefore, thisresearch focuses on the integration of a
creativitymethod and systematic design approaches, andproposes a
creativity-based design process forinnovative product design. The
proposed processcan effectively assist designers in encouraging
designcreativity, further improving the overall perfor-mance of
innovative product design.
2. Theoretical background
2.1. The use of creativity techniques
Creativity is still one of the most mysterious
f Industrial Ergonomics 34 (2004) 421443elements in human
thinking. Behavior involves
-
oneare
(2)
(3)
(4)
listening and feelingcatalysis and outburstcourse.
The SAM is used for refreshment of sensuous-ness and association
of inspiration, and it can beregarded as a creativity tool for
encouragingdesigners potential to produce innovative ideasquickly.
The operation of the SAM is describedbelow:
(1) Put together a design team from a group ofcarefully selected
people for a product designproject.
(2) Before the SAM is performed, team membersmust be gathered
into a discussion room, so
ARTICLE IN PRESS
Fig
nal of Indtwo different levels of creativity, namely personaland
social-cultural (Liu, 2000). Heap (1989)explained that creativity
is the synthesis of newideas and concepts through the radical
restructur-ing and re-association of existing ones,
whereasinnovation is the implementation of the results
ofcreativity. Although creativity in the designprocess is regarded
as a powerful tool, it is oftencharacterized by the occurrence of a
creative leap,which is not easy to be described in logical rules
ofconventional design theory. Research in creativitytechniques has
been done in the past. For example,Geschka (1996) reviewed three
creativity techni-ques: brainstorming, visual confrontation,
andmorphological techniques, which were developedand have been used
in Germany or German-speaking countries since the 1960s. Krohe
(1996)presented a view on managing creativity as well asa summary
of 22 creativity stimulating techniques,such as bug listing,
goal/wish, manipulative verbs,nominal group technique, wildest
idea, wishfulthinking, etc. Cross (1997) constructed a proce-dure
based on a creative-leap example andgeneric descriptive models of
creative design toprovide further insight into the example.
Lugt(2000) described four creative problem solvingexperiments
involving meetings in which graphicvariations on brainstorming
technique were ex-plored. Dorst and Cross (2001) proposed
rene-ments to the co-evolution model, and alsosuggested that
creativity in the design processcan validly be compared to burst of
develop-ment. These techniques are universally employedfor
encouraging creativity and assisting people inproducing a wide
variety of novel ideas.
2.2. Sensuous association method
Referring to the applicably existing creativitytechniques, we
developed a creativity methodbased on the naturally sensuous
ability of humanbeings. This method is what we call the
SensuousAssociation Method (SAM), whose main aim isto produce
creative ideas by both a designersindividual association and
surrounding stimula-tion. As shown in Fig. 1, the method contains
four
S.-W. Hsiao, J.-R. Chou / International Jourpersonal behaviors
of human sensuousness andtive inspiration is increased through
teaminteraction and surrounding atmosphere,which are also
considered an input source of(5)
creativity output course.Stimulation: furthermore, the designers
crea-structuring course.Describing: describe your mental
imageformed after extraction and restructuringcourse.Comparing:
compare what you look at andwhat you think aboutextraction and
re-mation input course.Thinking: think about their origins and
evolu-tionary trendsinference and re-association(1)extrinsic
inuence of the environment. Theyexpressed as follows:
Looking: look at the involved thingsinfor-
. 1. Diagram of the sensuous association method (SAM).ustrial
Ergonomics 34 (2004) 421443 423arranged that a large number of
categorized
-
(4) During the SAM operation, the participant
(6)
Sofand
sphcanqua
3. O
Sprothecrea
nottoothe
lation matrix, interaction matrix/net, SAM in the
ARTICLE IN PRESS
nal o. The essence of this design process isthe sole performance
of the creativity
l but the coherence among involved stages ofsomSAMutline of the
creativity-based design process
ince creativity plays an important role in newduct development,
it has to be integrated intoproduct design process. Hence, we
propose ativity-based design process integratinge systematic design
methodologies with theused. In such a natural and interactive
atmo-ere, not only team members creative abilitiesbe enhanced, but
a great deal of practical andlity ideas can be produced as
well.ingaropotential hidden in each members mind.
ince the SAM includes four natural behaviorshuman beings:
looking, thinking, comparingdescribing, as well as advantageous
surround-stimulation, design creativity can be easilywritten down
by the recorder.Consequently, members interactions will sti-mulate
each others creative inspirations in ahighly conducive environment.
The environ-ment is conducive to opening up the creativehas to
compare his/her associations withinformation/pictures observation
and contem-plation, extracting novel ideas regarding crea-tive
concepts.
(5) While creative images appear in ones mindafter the
comparison and extraction, they mustbe described in a sensuous
phrase (e.g., lovelyand pliant like a little bird, slender waist of
abeauty, as sharp-sighted as an eagle, etc.),
andinformation/pictures are stuck on the wall-board to make a very
creative environment.
(3) When discussion begins, one member shouldbe assigned as a
recorder, the other membersshould look quietly at a section of
productphotos on the wall-board. The sensuousassociating can be
done by the design teammembers to help them think logically
aboutthe origins and evolutionary trends of thetarget product.
S.-W. Hsiao, J.-R. Chou / International Jour424process.divergent
stage, morphological analysis, analysisof interconnected decision
areas (AIDA) in thetransforming stage, and then a
decision-makingmodel based on the weighted generalized meanmethod
used to evaluate an optimal designsolution in the convergent stage.
The frameworkof this creativity-based design process is shown
inFig. 2, and the detailed procedural method ofimplementation is
illustrated step by step inSection 4.
4. Implementation methods
To illustrate the detailed procedure and to provethe
practicability of the proposed design process,methods of
implementation were used and a casestudy of appearance design for
an electric scooterwas conducted in this section. According to
thethree essential stages and framework of thiscreativity-based
design process shown in Fig. 2,the procedures of implementation are
described inthe following subsections.
4.1. Description of the target product
Electric scooters are considered a new greentechnology for the
21st century. They are alsoThe proposed design process includes
threeessential stages: (1) divergence, (2) transformation,and (3)
convergence (Jones, 1992, pp. 6369). Thedivergent stage is an
analytic process for searchingthe problem space, which can be
described asbreaking the design problem into pieces.
Thetransformation stage is a synthetic process forgenerating the
solution space, characterized asputting the pieces together in new
ways. Theconvergent stage is an integration and evaluationprocess
for nding applicable sub-solutions andoptimal design solutions,
described as testing todiscover the results of putting the new
arrange-ment into practice.There are many design methods and
techniques
employed in the overall design process: evolution-ary thinking,
systematic structure analysis, corre-
f Industrial Ergonomics 34 (2004) 421443regarded as a viable
niche market and a potential
-
ARTICLE IN PRESS
y thin
arts tr
nal oSystematic structure analysis
Data collection & classification
Evolutionary thinking Evolutionar
Partial p
S.-W. Hsiao, J.-R. Chou / International Jourindustry for many
countries, especially in Asianareas (Colella, 2000; Tso and Chang,
2003).In order to formulate product development
policy and establish intended goals of designing,related product
information (e.g., product speci-cations, design regulations,
technical documents,photos, patterns, etc.) should be collected
rst, andthen categorized based on its characteristics
andattributes.
(Convergent stage)
Evaluation for an optimal solution
Conclusive design
Integration for concept solutions
FFiinnddiinngg aapppplliiccaabbllee
ssuubb--ssoolluuttiioonnss
Determining the dimension parameters
Developing fundamental concept solutions
Defining the boundary conditions
Integration
Decision-
SSeeaarrcchhiinngg tthhee pprroobblleemm ssppaaccee
Sensuou
Building
Constru
Fig. 2. Framework of the creati(Divergent stage)Target
product
king diagram
ee
f Industrial Ergonomics 34 (2004) 421443 4254.2. Divergent stage
of the design process
As product design is considered a problem-solving activity, the
problem spacethe locus inwhich problem solving activities take
place (Gold-schmidt, 1997), should be dened by expandingthe
boundary of design criteria so as to have alarge and fruitful
search space in which to look forproblem solutions.
(Transforming stage)
New product
GGeenneerraattiinngg tthhee ssoolluuttiioonn ssppaaccee
Defining dimension parameters
Developing analogous shape parameters
Assembly/Layout analysis
of the sub-solutions among each subsystem
making model based on the weighted generalized means
s association & conceptual description
a correlation matrix
cting an interaction matrix and an interaction net
vity-based design process.
-
4.2.1. Evolutionary thinking of the target product
Basically, the wheel was a vital invention forhuman civilization
that changed the way ofmoving on land and expanded the domain
ofhuman activity. To understand the developmentalhistory and
evolutionary pathway toward thetarget product, as well as
anticipating its possibledevelopment in the future, we collected a
large
number of related product photos and arrangedthem in an
evolutionary thinking diagram asshown in Fig. 3. By contemplating
the diagram,various kinds of two-wheel vehicles were
distin-guished, including the bicycle, motorcycle, motorbike,
electric bike, scooter, and electric scooter. Wesubsequently
assumed the position of electricscooters is different from
traditional fuel scooters.
ARTICLE IN PRESS
S.-W. Hsiao, J.-R. Chou / International Journal of Industrial
Ergonomics 34 (2004) 421443426Fig. 3. Evolutionary thinking diagram
for the target product.
-
ARTICLE IN PRESS
derl
nal oA. Basic framework
(Un
(Subsystem )
(System )
S.-W. Hsiao, J.-R. Chou / International JourElectrically powered
two-wheel scooters howeverwill become a signicant means of
transportationfor many urban areas. Moreover, we also identi-ed
some design objectives for developing anelegant, harmonious, and
humanistically designedelectric scooter.
4.2.2. Systematic structure analysis of the products
components
For reducing complex processes of designactivity and simplifying
design objects, the targetproduct should be analyzed based on a
systematicstructure. In this appearance design case, anelectric
scooter was separated into three subsys-tems: the basic framework,
the outer covering, andfunctional accessories, and their involved
compo-
Appearance design of an electric scooter B. Outer covering
C. Functional accessories
Fig. 4. Partial parts tree for appearana.Handlebars (p1)b.Front
absorber (p2)c.Main frame (p3)
d.Rear absorber (p4)e.Kick stand (p5) f.Back holder (p6) g.Front
wheel (p7)h.Rear wheel (p8)
a.Headset (p9) b.Front fender (p10)
ying part of subsystems )
f Industrial Ergonomics 34 (2004) 421443 427nents were grouped
into a partial parts tree asshown in Fig. 4. Due to the
underlyingparts of subsystems being more subject to appear-ance
designing, they should be consideredmajor units in the partial
parts tree of this case.The subsystem component set can be
expressed asbelow:
P fp1; p2; p3;y; png; 1
where pj is an underlying part of subsystems,j 1; 2; 3;y; n:
4.2.3. Searching the problem space
Following procedures of evolutionary thinkingand systematic
structure analysis, critical problemssuch as product evolution,
design objectives, and
c.Mudguard (p11)d.Footrest board (p12)e.Body-board (p13)f.Seat
(p14)
a.Rear view mirror (p15)b.Instrument panel (p16) c.Headlight
(p17)d.Taillight (p18) e.Front turn signal (p19)f.Rear turn signal
(p20)
Speedometer
Odometer
Remaining energy indicator
Power/Charge indicator
Turn indicator
Lamps indicator
ce design of an electric scooter.
-
paronsear
(1)
ARTICLE IN PRESS
Tabl
List
Item I
s1s2
nal of Ind428phrases can be produced. By deleting thesimilar,
preposterous, or indeterminatephrases, the selected conceptual
descriptionS
wheIn
theboa22 ccreaitem
(2)ts analysis and grouping were identied. Basedinitial
identication, the problem space can beched as follows.
Sensuous association and conceptualdescription.Using the SAM
described in Section 2.2 toexpand the boundary of design
creativity, alarge number of conceptual descriptions5 A bald-headed
guy
s6 To obstruct or hinder in the middle
s7 To be deeply attached to each other
s8 To turn upward
s9 Flimsy wings, stacked up
s10 Looking for a needle in a haystack
s11 No need to cover withs3s4e 1
of the conceptual description phrases
no. Conceptual description phrase
Bulging front and raised rear
Round rear end, like a semi-sphere
Incline at 45
A at platereal level
S.-W. Hsiao, J.-R. Chou / International Jourphrases can be
arranged into a set as below:
fs1; s2; s3;y; sqg; 2
re si is a single phrase, i 1; 2; 3;y; q:this case study, nearly
100 photos relevant to
scooters were classied and stuck on the wall-rd. Through the use
of the SAM, we chose theonceptual description phrases characterized
astive ideas of the problem space. They areized as shown in Table
1.
Building a correlation matrix between con-ceptual description
phrases and underlyingparts.In order to properly apply the creative
ideas tothe development of subsystem components, apracticable
correlation between conceptualdescription phrases and each
subsystem partshould be identied.Based on Eqs. (1) and (2), the
correlationmatrix, R; can be represented as
R ST P s1; s2; s3;y; sqT p1; p2; p3;y; pn
rijqn; 3
where i=1,2,3,y,q; j=1,2,3,y,n.The entries rij are dened by the
following entry
rules:Rule 1: If si correlates with pj ; then rij 1; i.e.,
the conceptual description phrase is able to applyto the
subsystem part(s).
s13 A drop of tears
s14 To promote step by step
s15 To treat another as ones equal
s16 An unemployed locksmith
s17 To have edges and corners of view
s18 A drooping buttock
s19 A partial lunar eclipse
s20 A guy with big feet
s21 Round as pearls and smooth as jade
s22 Slender waist of a beautys1R
rij theeachU
casewhiandThedescthedesi
(3)tem no. Conceptual description phrase
2 A y with a huge head
ustrial Ergonomics 34 (2004) 421443ule 2: If si does not
correlate with pj ; then0; i.e., the conceptual description phrase
andsubsystem part(s) are icompatible withother.sing Eq. (3), a
correlation matrix for thestudy was constructed as shown in Table
2,
ch helps us to clarify which pairs of partsphrases are
compatible with each other.question of how to turn the
conceptualription phrases into real design elements forsubsystem
parts was the problem space in thisgn case.
Constructing an interaction matrix and aninteraction net.An
interaction matrix is similar to that of acorrelation matrix, which
helps us toanalyze the interaction between any two partswithin the
underlying parts. The interaction
-
ARTIC
LEIN
PRESS
Table 2
The correlation matrix between conceptual description phrases
and underlying parts for the design
Description
phrases
Basic frameworks Outer covering Functional accessories
Others
Handle-
bars
Front
absorber
Main
frame
Rear
absorber
Kick
stand
Back
holder
Front
wheel
Rear
wheel
Headset Front
fender
Mudguard Footrest
board
Body-
board
Seat Rear
view
mirror
Instrument
panel
Headlight Taillight Front
turn
signal
Rear
turn
signal
p1 p2 p3 p4 p5 p6 p7 p8 p9 p10 p11 p12 p13 p14 p15 p16 p17 p18
p19 p20
s1 0 0 0 0 0 0 0 0 0 1 0 0 1 0 0 0 0 0 0 0
s2 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 1 0 0
s3 0 0 0 0 0 0 0 0 0 1 0 0 1 0 0 0 0 0 0 0
s4 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0
s5 1 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 1 0 0 0
s6 0 0 0 0 0 0 0 0 0 1 0 1 0 0 0 0 0 0 0 0
s7 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0
s8 1 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0
s9 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0
s10 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0
s11 0 0 0 0 0 0 0 0 1 1 1 0 0 0 0 0 0 0 0 0
s12 0 0 0 0 0 0 0 0 1 0 0 0 0 0 1 0 1 0 0 0
s13 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 1 1
s14 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0
s15 0 0 0 0 0 0 0 0 0 0 0 1 0 1 0 0 0 0 0 0
s16 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1
s17 0 0 0 0 0 0 0 0 0 1 1 0 1 0 0 0 0 0 0 0
s18 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0
s19 0 0 0 0 0 0 0 0 0 0 1 0 1 0 0 0 0 0 0 0
s20 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0
s21 0 0 0 0 0 0 0 0 1 1 0 0 1 0 0 0 1 1 0 1
s22 0 0 0 0 0 0 0 0 0 1 1 0 1 0 0 0 0 0 0 0
S.-W
.H
siao
,J
.-R.
Ch
ou
/In
terna
tion
al
Jo
urn
al
of
Ind
ustria
lE
rgo
no
mics
34
(2
00
4)
42
1
44
3429
-
B
wheT
beloR
1:R
bij R
bij R
comU
scooF
searactishointethepair
ARTICLE IN PRESS
ying
Bb
1
1
0
0
0
0
1
0
1
nal omatrix, B; can also be presented asTable 3
The interaction matrix between any two parts within the
underl
Aa Ab Ac Ad Ae Af Ag Ah Ba
Aa 1 1 0 0 0 1 0 1
Ab 1 1 0 0 1 0 0Ac 1 1 1 1 1 0Ad 0 0 1 1 0Ae 0 1 1 0
Af 0 0 0
Ag 1 0
Ah 0
Ba
Bb
Bc
Bd
Be
Bf
Ca
Cb
Cc
Cd
Ce
Cf
S.-W. Hsiao, J.-R. Chou / International Jour430PT P p1; p2;
p3;y; pnT p1; p2; p3;y; pn
bijnn 4
re i 1; 2; 3;y; n; j 1; 2; 3;y; nhe entry rules of entries bij
are dened asw:ule 1: If pi directly interacts with pj ; then
bij
ule 2: If pi indirectly interacts with pj ; then1:
ule 3: If pi has no interaction with pj ; then0:
ule 4: pi and pi itself (i.e. i j) no need to bepared.sing Eq.
(4), an interaction matrix for theter design was carried out as
shown in Table 3.or extending the use of interaction matrix
andching the problem space concerning the inter-ons of underlying
parts, an interaction netuld be constructed based on the result of
theraction matrix operation. As shown in Fig. 5,constructed network
shows not only whichs of parts are connected, but also
distinctlyillustrates the relative importance or interdepen-
parts
Bc Bd Be Bf Ca Cb Cc Cd Ce Cf
0 0 0 0 1 0 0 0 0 01 0 0 0 0 0 0 0 0 00 1 1 1 0 0 0 0 0 00 0 1 0
0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 1 1 0 0 0 0 0 01 0 0 0 0 0 0 0 0 0
0 0 1 0 0 0 0 0 0 0
0 0 0 0 1 1 1 0 1 01 1 1 0 0 0 1 0 1 0
0 0 0 0 0 0 0 0 0
1 1 0 0 0 0 0 01 0 0 0 1 0 1
0 0 0 0 0 0
0 0 0 0 0
1 0 0 0
0 1 0
0 1
1
f Industrial Ergonomics 34 (2004) 421443dence among the
underlying parts.Analyzing Fig. 5, we found that interaction
was
closer between the basic framework and the outercovering,
whereas the functional accessories weremore independent than the
other subsystems.Considering all parts, the main frame of
thescooter (Ac(6+4)) interacted with 10 parts, includ-ing six
direct interactions and four indirectinteractions. The body-board
(Be(6+3)) interactedwith nine parts, including six direct
interactionsand three indirect interactions. The front
fender(Bb(4+5)) interacted with nine parts, including fourdirect
interactions and ve indirect interactions.The analysis demonstrates
the appearance designof an electric scooter should focus on the
mainframe for the basic framework design, and thebody-board and the
front fender for the outercover design. Most of the functional
accessoriesdirectly interacted with the headset (Ba(5+1)),including
the rear view mirror (Ca(2+0)), theinstrument panel (Cb(1+1)), the
headlight(Cc(2+2)), and the front turn signal (Ce(2+2));hence, they
could be considered for collocationwith the headset in the
design.
-
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6+3)
(5+1)
(2+3)d
among the
nal of Ind(6+4)
(1+3) ((3+1)
(1+4)
(1+7)
(2+1)
(1+2) Ac
AAe
Ag
Bd
AfAh
Bf Be
Fig. 5. Interaction net4.3.
Mprodesisolubetakimak
4.3.
Fticamussub
(1)(1+2)
(2+2)
(1+1)
(4+5)
Cd
BbCf
Ce
S.-W. Hsiao, J.-R. Chou / International JourTransforming stage
of the design process
any design concepts were created from theblem space through the
divergent process. Thegn concepts regarded as radical problemtions
are not concrete enough. They shouldtransformed into a denite
solution space,ng advantage of positive design elements toe the
concepts a reality.
1. Generating the solution space
or converting the design concepts into prac-l design elements,
the denite solution spacet be generated corresponding to the
threesystems we designated before.
Dening dimension parameters for the basicframework
design.According to the analysis of Fig. 5, the basicframework
design should be based on themain frame, whose key points are not
only toensure the structural strength but also to meetthe
dimensional parameters, such as center-of-gravity position (CG),
wheelbase, overall
(2): Direct relation between parts : Indirect relation between
parts
(4+2)Ab
underlying parts.(1+1)(2+2)
(2+0)
(2+1)(3+3)
Ba Ca
Cc Cb
BcAa
ustrial Ergonomics 34 (2004) 421443 431length, overall width,
overall height, etc. Sincethe CG position of an electric scooter
isdifferent from that of a conventional fuelscooter (Lai et al.,
2003), it must be preciselydetermined. In this design, over-sized
and no-inner-tube tires with front-disc and rear-drumtype of brakes
were used. The signicantdimension parameters of the basic
frameworkdesign are shown in Fig. 6, and they can beconsidered a
solution space in teams of thebasic framework subsystem.Developing
analogous shape parameters forthe outer cover design.Since outer
covering is the most importantfactor in appearance design of an
electricscooter, it must be considerably well-thought-out. Based on
the result of Table 2,if a conceptual description phrase
correlateswith any underlying part (i.e. rij 1), itshould be turned
into an analogous shapeparameter by image outlining of the
phraseand parts feature, and the image outlines alsoshould be
represented in a morphologicalchart.
-
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nal o432Aconideachaof tlogiparfendtwobodThedesipermpar
(3)S.-W. Hsiao, J.-R. Chou / International Jours shown in Table
4, the morphological charttains some concrete design elements of
creatives originating from the SAM operation. Thert can be
considered a solution space in teamshe outer covering subsystem. In
the morpho-cal chart, we have four pieces of shapeameters for the
headset (Ba), six for the fronter (Bb), four for the mudguard
(Bc),for the footrest board (Bd), six for the
y-board (Be), and three for the seat (Bf).oretically, there are
3456 sets of conceptualgn possibilities in the solution space
byuting and composing these pieces of shape
ameters.
Assembly/layout analysis of the functionalaccessories.
Acleasetstion
Fig. 6. The signicant dimension parameters of Industrial
Ergonomics 34 (2004) 421443As we found in Fig. 5, the
functionalaccessories are more independent of butnecessary for
driving safety because they mustbe appropriately collocated with
the othercomponents. The analysis of interconnecteddecision areas
(AIDA), an analyticalmethod for dealing with the determinationsof
related decision-making concerning designproblems (Luckman, 1967),
can be applied tofacilitate layout design of the
functionalaccessories.
s shown in Fig. 7, the AIDA method canrly help us to understand
all the compatibleregarding the layout conditions of the func-al
accessories. There are 15 total pairs of
f the basic framework design.
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ARTICLE IN PRESS
r des
nal oTable 4
Morphological chart of the shape parameters for the outer
cove
B 1 2 3
S.-W. Hsiao, J.-R. Chou / International Jourcompatible solutions
shown in Table 5, which wereidentied by the analysis of the
decision areas.These solutions also can be considered a
solutionspace in terms of the functional accessory sub-system.
a. Headset
s5 s11 s12
b. Front fender
s21 s3 s1
c. Mudguard
s17 s19 s11
d. Footrest board
s15 s 6
e. Body-board
s1 s13 s18 s19 s3 s22` ` `
f. Seat
s 7 s15 s14ign
4 5 6
f Industrial Ergonomics 34 (2004) 421443 4334.4. Convergent
stage of the design process
Because of a large number of problem solutionswithin the
solution space, they must be convergedand integrated into formal
solutions, not only for
s 21
s 4 s 6 s 11 s17 s22
s 22
s 2 s 18 s 21 s17 s 9` ` `
s 21
` `
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Ceurn signal
Bbront fender
tiona
nal of Ind434Cb Instrument panel
Cc Headlight
Fig. 7. AIDA for the funcndan o
4.4.
Capp
(1)
Tabl
The
Func
Rear
Instr
Head
Taill
Fron
RearCa (Rear view mirror ) Front t
Ba (Headset) (F
Aa(Handlebar)
S.-W. Hsiao, J.-R. Chou / International Jouring applicable
sub-solutions but for evaluatingptimal design solution as well.
1. Finding applicable sub-solutions
orresponding to the transforming process, thelicable
sub-solutions can be found as follows.
Determining the dimension parameters for thebasic framework
design. One vital purpose ofproduct design is production. Thus,
theinvolved dimension parameters must be deter-mined. According to
the dened dimensionparameters shown in Fig. 6, the
signicantdimensions of the basic framework designwere determined as
follows: L1=1200mm,L2=1240mm, H1=235mm, H2=520mm,H3=645mm,
H4=610mm, H5=745mm,H6=870mm, H7=1020mm, W1=120mm
(2)
(3)
e 5
compatible solutions identied by the analysis of the decision
areas
tional accessory Pair(s)
view mirror 3
ument panel 2
light 3
ight 1
t turn signal 4
turn signal 2l acce Taillight
Be(Body-board)
)
ssory layout design.Cd
Cf(Rea r turn signal)
ustrial Ergonomics 34 (2004) 421443(rear wheel width: 130mm),
W2=555mm,W3=320mm, u=28, and v=38.Developing fundamental concept
solutions forthe outer cover design.Based on morphological analysis
shown inTable 4, we can theoretically produce 3,456sets of
conceptual possibilities; however, sub-sequent to concept
assessment, there were justsix sets of fundamental solutions chosen
byrudimentary evaluation of 102 idea sketches.The six sets of
fundamental concept solutionsare shown in Fig. 8.Dening the
boundary conditions for thefunctional accessory layout design.For
rational and practical options, boundaryconditions of the
compatible solutionsshould be dened. As shown in Table 6,
thedenition of boundary conditions can help us
Compatible sets
CaAa, CaBa, CaBb
CbAa, CbBa
CcAa, CcBa, CcBb
CdBe
CeAa, CeBa, CeBb, CeCa
CfBe, CfCd
-
4.4.
con
Bcon
ARTICLE IN PRESS
nal oS.-W. Hsiao, J.-R. Chou / International Jourto clarify the
layout condition of each compa-tible solution, as well as to make
an appro-priate selection within the compatible sets.
2. Integration of sub-solutions for developing
cept solutions
ased on the six sets of fundamentalcept solutions shown in Fig.
8, the concept
Fig. 8. Six sets of fundamental concepf Industrial Ergonomics 34
(2004) 421443 435design for the electric scooter must befurther
developed by integrating the involvedsub-solutions of the basic
framework and thefunctional accessory subsystems.
Throughcomprehensive evaluation and integration,we developed three
sets of concept solutionsfor the electric scooter design as shown
inFig. 9.
t solutions in outer cover design.
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Table 6
Denition of boundary conditions for the functional accessory
layout design
C Compatible solution Compatible
set
Description of the condition
Rear view mirror (Ca) To set on the Handlebar (CaAa) If the
shape parameter of Headset is Ba1
or Ba2, the Rear view mirror can be
directly set on the Handlebar.
To set on the Headset (CaBa) If the shape parameter of Headset
is Ba3
or Ba4, the Rear view mirror can be
easily set on the Headset.
To set on the Front fender (CaBb) It seems untting for our
target product
due to ergonomic considerations, but it
can be considered to be used in a larger
type of electric scooter design.
Instrument panel (Cb) To set alone on the Handlebar (CbAa) If
the shape parameter of Headset is
Ba2, the Instrument panel can be
independently attached to the
Handlebar.
To integrate with the Headset (CbBa) If the shape parameter of
Headset is
Ba1, Ba3 or Ba4, the Instrument panel
can be integrated into the Headset.
Headlight (Cc) To set alone on the Handlebar (CcAa) If the shape
parameter of Headset is Ba1
or Ba2, the Headlight can be set alone
on the Handlebar.
To integrate into the Headset (CcBa) If the shape parameter of
Headset is Ba3
or Ba4, the Headlight can be integrated
into the Headset.
To combine with the Front fender (CcBb) If the shape parameter
of Headset is
Ba2, Ba4 or the Front fender shape is
Bb2, Bb3 or Bb5, the Headlight can be
combined with the Front fender.
Taillight (Cd) To set alone on the Body-board (CdBe) This is a
common use in current design.
Besides, it also can be set on the Seat
(CdBf) or the Back holder (CdAf),
but both of the locations are not
considered feasible because of their
impracticality for mass production.
Front turn signal (Ce) To x on both sides of Handlebar (CeAa)
This position provides for good signal
visibility because both sides of the
Handlebar represent the maximum
width of the electric scooter frame.
To attach to the Headset/combine with
the Front fender
(CeBa) /
(CeBb)
This is a common design for todays
fuel-powered scooters.
To integrate into the Rear view mirror (CeCa) The pair of CeCa
provides more
signal visibility than CeAa, but the
design may be expensive because of the
need for standardization of parts.
Rear turn signal (Cf) To integrate in the Body-board (CfBe) This
design gives a smooth and aesthetic
look.
To be combined with the Taillight (CfCd) This is an easy
assembly but provides
poor functional performance.
S.-W. Hsiao, J.-R. Chou / International Journal of Industrial
Ergonomics 34 (2004) 421443436
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ARTICLE IN PRESS
nal oS.-W. Hsiao, J.-R. Chou / International Jour4.4.3.
Evaluation of concept solutions for an
optimal solution
For further conclusive design, an optimalsolution must be
determined among the three setsof concept solutions. In this study,
we developedan operative decision-making model based on theweighted
generalized mean method. The formulaof the weighted generalized
means is dened asbelow (Klir and Folger, 1988, pp. 5861):
haa; w Xni1
wi aai
!1=a; 5
Fig. 9. Three sets of concept solutionf Industrial Ergonomics 34
(2004) 421443 437where wi is the parameter weight; wiX0;Pni1 wi 1;
ai the relative value of evaluation
factors, the a the variable parameter, NoaoN:The major
difference between the weighted
generalized means and the conventional weightedmeans is the
involvement of a parameter. By varyingthe a parameter within the
interval of N;N; wecan derive a homologous ha value based on a
multi-factor analysis, and then draw the a ha curves.The a ha
curves can be used to rank thealternatives harmoniously so as to
accuratelyidentify an optimal solution among them.
s for the electric scooter design.
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ARTICLE IN PRESS
A
6
9
7
6
7
9
7
4
7
9
6
8
Inn
nal oTable 7
Statistical results of the quantitative judgments
Alternative Evaluation factor Good (0.5)
Solution 1 Humanistic 51
Innovative 80
Stylish 62
Aesthetic 58
Solution 2 Humanistic 69
Innovative 87
Stylish 66
Aesthetic 50
Solution 3 Humanistic 66
Innovative 84
Stylish 56
Aesthetic 70
Table 8
The weighted parameters of the evaluation factors
Score Factor
Humanistic
S.-W. Hsiao, J.-R. Chou / International Jour438The
decision-making model for evaluating anoptimal concept solution was
developed andillustrated in the following steps:
Step 1: Establishing evaluation parametersIn accordance with
product design objectives,
we identied four evaluation factors: humanistic,innovative,
stylish, and aesthetic, and threeevaluation grades: good (score:
0.5), acceptable(score: 0.3), and ordinary (score: 0.2). Based
onquantitative judgments by design team members,the statistical
results are shown in Table 7.The relative values for each
evaluation factor
involved in the design solutions are summarized ina matrix
below:
A aji
340:52 0:83 0:64 0:59
0:68 0:88 0:67 0:50
0:67 0:85 0:58 0:71
264
375Solution 1
Solution 2
Solution 3
:
6
Step 2: Setting up the weighted function
Sum 174 168
Average 4.35 4.2
Naturalization 0.29 0.2cceptable (0.3) Ordinary (0.2) Relative
value
2 40 0.52
2 77 0.83
5 53 0.64
3 55 0.59
6 54 0.68
5 80 0.88
0 65 0.67
8 53 0.50
5 58 0.67
3 75 0.85
2 57 0.58
1 58 0.71
ovative Stylish Aesthetic
f Industrial Ergonomics 34 (2004) 421443In order to distinguish
the relative importanceof the evaluation factors, we dened the
weightedfunction as follows:
wi I1=humanistic I2=innovative I3=stylish
I4=aesthetic; 7
where Ii is the weight for each evaluation factor;P4i1 Ii
1:Further, we used an interaction matrix to
analyze the relatively important degree amongeach pair of
evaluation factors, and arranged theminto a weighted parameter list
shown in Table 8.With the results, we constructed the weighted
function and converted it into a matrix as below:
wi 0:29=humanistic 0:28=innovative
0:26=stylish 0:17=aesthetic; 8
wi 0:29 0:28 0:26 0:17 : 9
Step 3: The operation of weighted generalizedmeans
156 102
0 3.90 2.55
8 0.26 0.17
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0.5
1.0
nal oh
S.-W. Hsiao, J.-R. Chou / International JourLet i 4;
substituting the data of matrixes (6)and (9) into formula
(5),i.e.
hja w1aaj1 w2aaj2 w3a
aj3 w4a
aj4
1=a;
NoaoN; j 1; 2; 3; 10
where j represents the jth solution.After calculation, we
obtained an a ha relation
diagram as shown in Fig. 10.Step 4: Analysis of the results
-50-100 - 0
SSS
Fig. 10. The a ha relation diagram of the
Y
f(c)
X1 X2X0 a X
0
Fig. 11. Using Simpsons rule and the mean vaf Industrial
Ergonomics 34 (2004) 421443 439As shown in Fig. 10, if a > 0;
the maximum of hais Solution 2; but if ao0; the maximum of ha
isSolution 3. For a more precise comparison, theaverage ha of each
solution must be solved.
Step 5: Solving the averages of ha:It can be observed in Fig. 10
that the curve
a ha levels out as the curve approacheseither side of positive
innity and negativeinnity. Hence, we applied Simpsons rule andthe
mean value theorem (see Fig. 11) to solve theaverages of ha:
10050
olution 1olution 2olution 3
weighted generalized mean solutions.
X
f(x)
iX Xi-1 Xi+1 X2nb
lue theorem to obtain the averages of ha:
-
Simpsons rule:Z ba
f x dxDDxff x0 4f x1 2f x2
? 2f x2n2 4f x2n1 f x2ng=3: 11
Let a=100, b=100; f x hj a w1aaj1 w2a
aj2 w3a
aj3 w4a
aj4
1=a:Z
characteristics: (see Fig. 13)
new
ARTICLE IN PRESS
S.-W. Hsiao, J.-R. Chou / International Journal o440Areaj
100
100hja da
Dhj100 4hj99 2hj98
? 2hj98 4hj99 hj100=3: 12
Mean value theorem:
_Z b
a
f x dx f c b a; 13
Z 100100
hja da hja100 100; 14
i.e.
hja Areaj=200; 15
where hja represents the ha of the jth solution, j
1; 2; 3:By applying formulas (12) and (15), we obtained
results as shown in Table 9.Step 6: Determining the optimal
solutionAccording to the comparison of Table 9, we
found that Solution 3 was superior to Solution 2 interms of the
conventional weighted means, buttheir averages were very close. For
a more credibleevaluation, the weighted generalized means
wasdetermined, and the result showed that Solution 3was better than
Solution 2. Accordingly, we choseSolution 3 as the optimal solution
in this casestudy.
Table 9
Operational results of the decision-making model
Area ha E
Solution 1 134 0.67 0.6499
Solution 2 138 0.69 0.7028
Solution 3 142 0.71 0.7038
E Pn
wi ai; wiX0;Pn
wi 1i1 i16. Conclusions
Creativity as a tool plays an important role innew product
development. It should be integratedinto a product design process.
In this research, wedeveloped a creativity method called the
sensuousassociation method (SAM), which can be em-ployed to
encourage designers potential to pro-duce innovative ideas quickly.
Subsequently, weproposed a creativity-based design process
inte-Flyidesigratwan, R.O.C. in 2002. We have authorized theng
electric motor company to use the patentedgn in future
production.ertyTaihown in Fig. 14. In addition, we patented
thisstyling design through the Intellectual Prop-Ofce of Ministry
of Economic Affairs,desias sased on engineering drawings of the
conclusivegn, a prototype of the electric scooter was builtBand
detachable battery module provides foroperational
stability.(5)metal accessories in chromate cladding revealits
modern technical aesthetics.The combination of a one-piece
running-board(1) No front fender design gives people a
newimpression of an electric scooter.
(2) The body outline designed with the goldensection proportion
yields a scooter with aclassical and elegant appearance.
(3) A rounded and smooth conguration gives thelook of harmony
and gracefulness.
(4) The digital luminescent instrument panel and5. Results and
discussions
With the determination of the optimal solution,we made a 1/20
scale mock-up of the scooter frompolyurethane foam for previewing
the 3D appear-ance. Additionally, the conclusive design
wascompleted by constructing and modifying thedetailed contours
according to the aestheticprinciple of golden section proportion
(Elam,2001, pp. 542). The outcome of the appearancedesign is shown
in Fig. 12, and has the following
f Industrial Ergonomics 34 (2004) 421443ing various systematic
design methodologies
-
ARTICLE IN PRESS
nal oS.-W. Hsiao, J.-R. Chou / International Jourwith the SAM.
The proposed design processincludes three essential stages:
divergence, trans-formation, and convergence, whose essence is
notthe sole performance of the stages and thedeveloped creativity
tool but the coherent effortsamong each involved technique of the
process.
Fig. 13. Illustration of the conclu
Fig. 12. Appearance design according to the aesthf Industrial
Ergonomics 34 (2004) 421443 441To illustrate the procedures of
implementingand verifying the practicality of the proposeddesign
process, a case studyappearance designfor an electric scooterwas
conducted step bystep. By applying evolutionary thinking,
systema-tic structure analysis, the sensuous association
sive design characteristics.
etic principle of golden section proportion.
-
ARTICLE IN PRESS
w elec
nal omethod, and other systematic approaches to the
Fig. 14. The prototype of the ne
S.-W. Hsiao, J.-R. Chou / International Jour442design process,
not only the problem space wassearched and identied, but also a
large number ofsub-solutions involved in the solution space
weregenerated, particularly the six sets of fundamentalconcept
solutions in outer cover design.By integrating the applicable
sub-solutions
among each subsystem, three sets of conceptsolutions for the
electric scooter design weredeveloped, and then an optimal solution
wasdetermined by using the decision-making modelbased on the
weighted generalized mean method.With the determination of the
optimal solution,the conclusive design was completed by
construct-ing and modifying the detailed contours accordingto the
aesthetic principle of golden sectionproportion. A prototype of the
electric scooterwas also built.In conclusion, the nal work of the
electric
scooter design has met our initial product devel-opment
objectives. We hope that the research canprovide a new approach to
the design process forindustries, and allow companies to take
advantageof the creativity-based design process to achievethe goals
of innovative product design.Acknowledgements
tric scooter for this design case.f Industrial Ergonomics 34
(2004) 421443The authors are graceful to the editor andreviewers
for their helpful suggestions on revisingthis paper.
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A creativity-based design process for innovative product
designRelevance to industryIntroductionTheoretical backgroundThe
use of creativity techniquesSensuous association method
Outline of the creativity-based design processImplementation
methodsDescription of the target productDivergent stage of the
design processEvolutionary thinking of the target productSystematic
structure analysis of the products componentsSearching the problem
space
Transforming stage of the design processGenerating the solution
space
Convergent stage of the design processFinding applicable
sub-solutionsIntegration of sub-solutions for developing concept
solutionsEvaluation of concept solutions for an optimal
solution
Results and discussionsConclusionsAcknowledgementsReferences