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Content may be subject to copyright.
Procedia Computer Science 35 ( 2014 ) 954 – 960
1877-0509 © 2014 The Authors. Published by Elsevier B.V. This is an open access article under the CC BY-NC-ND license
(http://creativecommons.org/licenses/by-nc-nd/3.0/).
Peer-review under responsibility of KES International.
doi: 10.1016/j.procs.2014.08.175
ScienceDirect
Available online at www.sciencedirect.com
18th International Conference on Knowledge-Based and Intelligent
Information & Engineering Systems -KES2014
Discovering design concept for immovable objects
Jun Nakamura*
Kanazawa Institute of Technology, Research Center for Social and Industrial Management Systems, Minato-ku, Tokyo, 105-0002, Japan
Volvo Group Trucks, Sales & Marketng and JVs APAC, Ageo-shi, Saitama, 362-8523, Japan
Abstract
We explore and discuss the possibility of discovering new design conceptsfor existing immovable objects. Existing immovable
objects include such items as buildingsor stadiumsthat are unable to be relocated. By analogy, the positional relationship of
some automotive components,such as a door mirror or front lamp,are also unable to be changed. By introducing a web-based
application,along with the map of a city or adrawing sheet, we propose a flow model for a design concept informed by art and
architectural construction methods. We discuss how the flow model of such a design concept would be applicable for immovable
objects by referring to cases of city design and automotive product design. We suggest that an intermediate level of knowledge is
a key resource for discovering a new design concept based on connecting immovable objects with their surroundings,which, in
this paper, refers to an object’s entire context.
© 2014 The Authors. Published by Elsevier B.V.
Peer-review under responsibility of KES International.
Keywords: design concept; surroundings; immovableness
1. Introduction
How can design be applied to a city concept? Cities cannot be transformed physically by readjusting land or
rebuilding. Helsinki, the capital of Finland, was awarded the title World Design Capital in 20121. That city has
invested 18 million Euros to drive its program involving 550 projects, 2,800 events, 290 organizations, and 14,500
networks and is now known as a design-driven city2. The design concept consists of design education, user-oriented
* Corresponding author. Tel.: +81-90-2557-9800; fax: +81-3-3702-1239.
E-mail address: jyulis@gmail.com
© 2014 The Authors. Published by Elsevier B.V. This is an open access article under the CC BY-NC-ND license
(http://creativecommons.org/licenses/by-nc-nd/3.0/).
Peer-review under responsibility of KES International.
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Jun Nakamura / Procedia Computer Science 35 ( 2014 ) 954 – 960
services and comprehensive solutions utilizing methods inherent in design. Although land adjustment or rebuilding
is not realistic for renovation, a number of program management activities can stimulate the image of a city, and the
design concept involved becomes important as a vital and powerful function for rediscovering and refreshing
existing objects. In this regard, addressing how to stimulate a design concept, how to express a design concept, and
how to connect with different immovable objects are essential factors for rediscovery.
In this study, we explore and discuss the possibility of discovering a new design concept for existing immovable
objects by introducing a web application developed using art and architectural construction methods. The next
section introduces these methods, along with previous research. Section 3 proposes a flow model for discovering a
new design concept for immovable objects based on relevant construction methods. Section 4 shows examples that
can be applied to the flow model to re-design existing objects such as a city or a vehicle, and discusses relevant
issues for implementation. Section 5 concludes with further research.
2. Construction method
Here we introduce three types of construction method that can be used to inspire the design concept, connect with
different immovable objects and express the design concept.
2.1. Landscape montage technique as an inspiration for a new design concept
The landscape montage technique (LMT) is a construction method in the area of psychotherapy that can be an
effective tool to assess patients3-4. LMT is also a method used to construct a landscape, which may include rivers,
mountains, rice fields, roads, houses, trees, pedestrians, flowers, animals, stones or rocks (Figure 1) on a white
canvas. Additional objects can be drawn, one after the other, and colours painted on those objects at the end,
according to the instructions.
Fig. 1. Landscape Montage Technique
What is important here is for the drawer to construct an entire space with their mind including, possibly, such
formations as a plateau or horizon, which are not mentioned by the instructor. In addition, as the canvas is not
editable, the drawer cannot move the drawn mountain or river so that the individual feels some distortion when the
instructor mentions a rice field or road, which seems to be drawn in the same space (area) as the mountain or river
that has already been drawn on the canvas. This is the objective of LMT. Let the drawer come up with a new design
concept to overcome the distortion in their mind by reconsidering the construction and providing a new
interpretation of immovable objects.
2.2. Surroundings connect different immovable objects
One architectural construction method focuses on the surroundings of several buildings that are located in a
certain block as a set space5. Figure 2 shows the surroundings painted black.
This idea can be extended to connecting buildings into a cluster, to which, in turn, are applied different objectives.
It could be applied to a public space with a promenade, or a riverbed. The city of Helsinki proposed a domed chapel
as a symbol of retreat and the public square that constitutes its surroundings as a place for people to gather in the
central part of the city. People tend to pay attention to the fashionable dome, but the public space around it, which is
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non-descript, can be the sort of surrounding that connects different immovable objects. Thus, attention to
surroundings is worthy of consideration6.
Fig. 2. Surroundings coloured black
2.3. A web application for expressing a design concept
Games are tools that can inform the future character of a design interface7. Analogy can sometimes be used to
inspire new concepts8. A web application called Analogy9was developed as both a game and an analogy, whereby
the categorization of words has implications for human concept creation skills. The role of words has been discussed
in terms of the design process10. The Analogy game helps players enjoy the categorization of words by considering
not only similarities but also analogies so as to make a new concept from a batch of words. The created concept type,
which takes the form of a structural pattern or making sense of a scenario in terms of a story line, depends on
whether external hints are given11. The interface is shown in Figure 3.
The player is initially presented with 20 randomly placed words, each on a small square card with no objective
relevance (A). Players begin considering the structure by relocating word cards on the screen to obtain a wider
outlook. Players then categorize the words into clusters by freely dragging word cards, based on the players’
subjective awareness of analogies. For example, if a player tries to combine the word card “SUSHI” with another
word card “BASEBALL”, a connection between a sushi restaurant in your country and the Japanese baseball player
Mr. Masahiro Tanaka, who was transferred this spring from a Japanese local team to the New York Yankees, may
be made. The combined concept is revealed as “Advance abroad”. Hence, four clusters are formed with one item left
aside (B). The player is forced to review their interpreted meaning of the card left aside to include it with other
clusters. Thus, players are forced to reconstruct combinations of word cards. This can be considered as a distortion,
similar to that mentioned in relation to the LMT, which can be used to stimulate new ideas. By reconstructing the
combinations, all items are categorized into three clusters by means of a new concept, which is formed by players
who were not aware of it at the beginning of the game (C).
Fig. 3. Process view of the analogy game
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3. Flow model of a design concept
The previous section introduced the roles of distortion, connection and analogy, from different research domains,
as ways to formulate design concepts for immovable objects. By referring to these outcomes, we have built a flow
model of a design concept, as shown in Figure 4.
Fig. 4. Flow model of design concept
Looking at Figure 4, the flow from (i) to (ii) is the same as a concept creation model11 shown in the screen image
in Figure 3, where the model contains the effect of distortion. Twenty words relevant to the city (or immovable
objects) are selected and set on a card on the screen. Once three concepts have been created by playing the Analogy
game, according to the process mentioned in the previous section, these concepts then constitute sub-concepts for
the city. The higher-level concept that covers three concepts as a whole can be called a “catch phrase” for the entire
city.
Next, the plan for a city is prepared (iii), and the nodes in the left side cluster (A), produced by the Analogy game,
are mapped onto the plan by comparing the meaning of the words with the relevant place (iv). The nodes in the
middle cluster B are also mapped onto the plan in the same manner as (v).
There are possible nodes, coloured blue, that are commonly related with both A and B, taking into consideration
the meaning of an immovable place, and depending on what the concept of the clustering word cards is determined
to be. The Analogy game was originally considered to be based on hard clustering. However, to apply nodes for
immovable objects this time, soft clustering is reasonable, as an immovable place could have multiple meanings,
such as a historical or famous place, or an important point of traffic. For example, the chapel in Helsinki has
multiple meanings, among others, as a holy place, as a unique design object, and as the focal point of the public
plaza. The node (or place) that is covered by several clusters is an important factor contributing to the sub-concept
for the city design. This contribution of the said nodes might support problem solving in relation to the distortion.
4. Discussion
Here, we discuss the relationship between the flow model of the design concept and possible applications to city
and automotive design. Then, the relevant issues in this research are also discussed.
4.1. City design
In Japan, the Urban Design Centre, an agent of the Ministry of Land, Infrastructure, Transport and Tourism,
sponsors an open competition for the purpose of stimulating citizen’s interest in urban development and making the
landscape more vital and beautiful12. The competition has called for proposals once per year in June since 1993.
Here, we briefly introduce the awarded proposal and discuss how the flow model could be applied to city design.
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In the 2005 competition for the west side block of the city of Kamakura, in Kanagawa Prefecture, a proposal
presented by Mr. Tetsutaro Kawaguchi, of Reiach and Hall Architects, was awarded with the minister prize13. As
depicted in Figure 5, you can see on the mid-right side three plans abstracted from the awarded proposal, shown on
the left hand side, where historical places as one cluster in addition to a busy spot with people as another cluster are
combined and mapped onto one plan of west Kamakura, resulting in the elucidation of a higher order concept, which
is, celebrating historical character with festivity.
Fig. 5. City (Kamakura) design concept awarded as the Minister’s prize, which is abstracted by author
Comparing the above case with the flow model, this case suggests that the flow model could function as part of
the city design project with regard to clustering and conceptualization. Even though distortion may be experienced
when trying to relate word cards that are distributed in different locations on the plan, the flow model would support
the creation of a new concept by means of clustering, depending on the provided word cards. Some specific word
cards occur solely in the historical place or busy spot, but some other specific word cards overlap in these two
clusters. However, even though the word cards are overlapping two clusters, a conceptualization connecting the two
clusters can come into effect through higher order cognition, which is the aim of the flow model.
4.2. Automotive product design
City design focuses on conceptualizations in line with immovable positions on a map. The layout and position of
each automobile component or part are immovable artefacts. For example, a side-mirror should be on both sides of a
car body, a front lamp should be at the front of the car and the front windscreen is placed behind bonnet, which
means many positioning constraints are unavoidable as in LMT.
Nissan Motors developed an electric vehicle called the LEAF. It was obvious to product developers that air
resistance against door mirrors impacts directly on consumption of electricity, which is to be minimized. One idea
was that wind against the door mirror, as a source of air resistance, should be controlled by a head-lamp, the shape
of which is relatively prominent, as shown in Figure 6. The new line of air flow was affected by the prominent front
lamp, and air resistance against the door mirrors decreased along with wind noise, according to the Nissan
webpage14. How did they work out the solution to this problem?
Another example was introduced in a previous study examining a steering wheel that attracts your attention, i.e.,
the steering wheel reminds drivers with a vibration on the left side, which indicates a left turn, whereas vibration on
the right side indicates a right turn, to improve driving performance and driver experience15. How did they come up
with the idea of connecting the steering wheel with vibration?
Let us discuss how to apply the flow model to the above product design on LEAF. The flow model forces players
to consider the entire context so as to involve all word cards as part of a cluster, and this entire context is what is
meant as the aforementioned ‘surroundings’ as an integral factor in design concepts. Suppose that a supplier of a
side mirror focused on developing its own product functionality, such as the connection with the door. Suppose too,
that suppliers of front lamps also focused on their product’s functionality, such as the effectiveness of the lighting
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system. However, there is a limitation to designing based on the scale of the entire surroundings. The flow model
facilitates the discovery of some latent knowledge, commonly related to both front lamps and door mirrors. During
this process, the flow model should include word cards that are relevant not only to immovable objects (front lamp
or door mirrors) but also to user-oriented motivations, e.g., longer distance with low cost and comfort, which may
lead, by induction, to a solution, as illustrated in the above-mentioned Nissan case.
Fig. 6. Line of air flow on Nissan Leaf (c.f., Nissan motor web page)
4.3. Attention to surroundings suggest the use of possible word cards, as in the analogy game
The flow model involves conceptualization through word cards and stimulation of new ideas through distortion to
formulate a design concept that involves packaging the Analogy game with a plan of a city or a drawing sheet.
However, both city and automotive design depend on which word cards are appropriate in the context of the flow
model, as the numbers of word cards are limited in the Analogy game.
Touristic monuments or famous restaurants can be easily used as word cards in the case of city design. However,
what vocabulary is appropriate to evoke a concept for expressing how it feels to be a citizen in Kamakura? Door
mirrors or front lamps can be easily used as word cards in the case of automotive design. But what words are
appropriate in relation to concepts like “line of air flow” or “air resistance”?
For these issues, higher order deduction might be needed, e.g., how you might want the city to be, or what you
might want cars to offer, and to whom, because those ideas may be relevant, not so much directly to the immovable
objects but to one’s attention to surroundings. Here surroundings might not refer to buildings or stadiums but to
what would help people feel happy about being in the city through interaction with tangible pervasive media in the
city. Paying attention to surroundings with regard to automotive design is not for the purpose of decreasing air
resistance, which is part of the product design, but is, rather, for understanding what one wants from a car. For
example, you might want to visit your friends by eco-car, without creating pollution or noise, in comfort, without
having to worry about fuel cost, and with peace of mind etc. Those are all factors associated with surroundings,
which would become key words in the Analogy game. It is helpful to induce “intermediate level knowledge”16, as
constituting important knowledge in design, especially functions (e.g., line of air flow, air resistance), to connect
physical immovable objects with surroundings, as shown in Figure 7.
Fig. 7. Relation between surroundings and immovable objects
960 Jun Nakamura / Procedia Computer Science 35 ( 2014 ) 954 – 960
5. Conclusion
We have discussed city and automotive design and both can be related to each other with regard to surroundings.
The city becomes a vital space for rediscovering surroundings. Automotive design requires consideration of three
networks, i.e., traffic networks, telecommunication networks and energy (electric) networks17, which are part of the
wider surroundings. Urbanism now taps into technological design thinking, as the time has come to build street level
apps and environmental big data for a rapidly urbanizing world6. Therefore, it is expected that design concepts
involving different objects in concert with relevant data availability will emerge in the near future.
Again, design concepts will be identified in terms of how they incorporate data from surroundings. The proposed
model is positioned to induce an intermediate level of knowledge to connect immovable objects with context and to
incorporate our motivation to discover new design concepts. This paper, however, does not cover how to validate
the effectiveness of such methods; that will be a topic for future research.
Acknowledgements
This study was supported by JST and CREST. Thanks to Masahiko Teramoto, ex-Senior Engineer at Nissan
Motor,for helpful comments and suggestions.
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