ahad shahhoseini

The study is an exploratory research based on a systematic review conducted qualitatively. It examines recent studies on the growing trends towards design participation in innovation management processes, specifically focusing on one of the main streams of research: design-driven innovation and the innovation of meaning. This research aims to define and introduce the infrastructure of this field. Therefore, the elements of analytical innovation and interpretive innovation are extracted from sources and compared across several parameters. Analytical innovation is characterized by structured and logical approaches, while interpretive innovation involves subjectivity and context. After defining hermeneutics as the science of interpretation, hermeneutic concepts are analyzed and extracted in relation to interpretive innovation in a design workshop. Concepts such as the hermeneutics of discourse, horizon of expectation, fusion of horizons, hermeneutic dialogue, metaphor, and narrative are discussed. To determine the complex relationship between hermeneutic concepts and visual representation design concepts, a bibliographic network of studies in this field was conducted. This included topics like interpretation, communication, phenomenology, design thinking, and human-centered design practice. Looking ahead, hermeneutics is poised to influence cultural inclusiveness, sustainability, ethical considerations, and interdisciplinary collaboration in design. It will also play a fundamental role in shaping digital experiences and fostering responsible innovation. Embracing these possibilities leads to a more holistic and ethically informed approach to design-driven innovation in our evolving world.

Design is defined as the human capacity to build society, on the one hand, to satisfy needs and give meaning to life, and on the other hand, to create a product through empirical and analytical methods. In the process of creating a work, designers respond and shape the world in which they live and form themselves based on their perception of the culture of that world. Today, as the issue of the impact of culture on design is an undeniable debate. Therefore, addressing it can to some extent bridge the gap in this direction. The purpose of this article is an analytical-comparative study of cultural design from the point of view of Stuart Hall and his theory of representation. In this research, we try to select some Iranian handmade packaging as a case study of the effect of culture on product design and how to identify them. Therefore, the questions of the present study are: Design, in which group of definitions of culture? What is the relationship between designer, culture, identity and environment? Could Stuart Hall's theory of representation be a comparative study of culture-based design from the perspective of Christopher and Levy? What is the method and quantity of the identity of Iranian artisan packaging? The present study is an analytical-comparative method with a qualitative approach, which explores the relationships between the designer, culture, identity and the environment from a fundamental point of view. And it was done through the collection of documentary information (library texts) and context. After studying the text of the most important research and works in the field of the effects of culture on design, this research expresses the effect of each society's culture on designer and design, examining the position of design among the practical definitions of culture, comparing the views of Christopher Alexander and Raymond Levy with Stuart Hall's theory of representation. Finally, selecting the target population, which is 233 packaging samples available in the Iranian market, and selecting 79 samples of the target population by stratified and probabilistic sampling with a quantitative approach to investigate the extent and identity of Iranian artisanal packaging. In this perspective, it is therefore a sort of theoretical study and analysis of the visual content, which, according to Hall's theory of representation, deals with the discovery of fundamental meanings in the message and is based on arguments deduced from the data. The result of the research indicates that, based on the definitions of culture and identity that were formulated at the beginning of the research, it can be said that the design and production of the product fall into all four categories of historical, psychological, structural definitions. and descriptive of the culture. In discussing identity, it should be borne in mind that the identity of each product reflects the identity of the designer and the audience community. Therefore, in design, by designing and creating the product, a systematic media and symbolic communication is established. Hall defines the cycle of culture as production, consumption, norms, identity and representation. Finally, a place for design in Hall's theory can be placed in the reference designer-centered approach and in the public-centered structural approach; That his design-oriented approach may be consistent with Alexandria's point of view; These two points should be considered that first, designers subconsciously incorporate culture into their design, then when designing they consciously use cultural symbols in their design to adapt the product as much as possible to the culture of the company. Product. In the public-oriented approach, which can be considered in line with Levy's vision, in designing and producing the product, the public, its culture and society should be considered in order to maintain the meaning and identity that revolve. in the cultural cycle. it should be passed on to the next generation, education should be provided and the culture of that society preserved. Designers in this field, representing the cultural symbols of society in packaging, introduced the identity of Iranian craftsmanship. However, due to the lack of sufficient attention to the field of culture-oriented design and the lack of comprehensive content in this regard, the designers were unable to consciously encode cultural phenomena into a strong structure and use various Iranian cultural symbols in the design .Whereas 57% of the packages available on the market have Iranian identity, but the identification method in 83% of these packages is limited to plant symbols (arabesque, paisley, gilding) and geometric symbols. While the Iranian culture is rich and has many symbols that can be used symbolically in packaging design.

Today, one of the main goals of contemporary education systems is to provide and prepare efficient educational spaces and equipment, in order to improve the educational status of students. One of the most important ways to gain this goal is by providing appropriate and efficient educational spaces and equipment in harmony with the educational system in the world. Carrying overly heavy school bags or backpacks is one of the most common problems that students face. The backpack in school plan is a solution for elementary students that is based on the policies of the Education Organization, but unfortunately in most schools in the country, due to the lack of proper physical infrastructure and lack of personal space for each student, practically the implementation of this plan has failed.  In this regard, it is required to study and create desirable equipments compatible with the educational system in order to prevent many problems such as negative effects on the students' mental and physical health. Therefore, classroom benches should be designed to reduce pressure on the body and support body weight, and the chair should be able to support reading and writing processes. For this purpose, after conducting field studies and research, we found out that upgrading educational furniture according to the interests and needs of the user is a suitable approach for implementing the research objectives. In this research, after studies and field research in the schools of Urmia city was conducted through a questionnaire to obtain the opinions of 60 girls and 60 boys. The obtained data were extracted as educational furniture design parameters, and then formulated and prioritized as design criteria, using standard evaluation principles to design factors. Then in the practical phase of the research, the designs were done based on the criteria and the superior design was finally selected, described and developed. The selected design with a weighting factor of 815 was upgraded considering the features desired by the users. Then, a simulated video sample was provided to the subjects to check and survey the success rate of the components implemented in the final product design and to check the satisfaction level of the users and to implement a semi-experimental plan (pre-test, post-test). The Grice House - Geisser test was used, which was significant at the p < 0.001 level. Finally, the comparison and interpretation of the data showed the pleasantness and satisfaction of the users with the final product design and the effectiveness of the output components and implementation in the final design.

The problem of vandalism has emerged as a phenomenon that plagues modern urban societies. This phenomenon can have irreparable effects on the face of the city and the morale of citizens by destroying urban furniture. Vandalism has different causes and roots in society and psychologythat recognizing each of them and identifying the causes of its occurrence will be helpful to deal with this problem. In this article, library resources have been studied in a descriptive manner; articles, texts and documents have been reviewed. The results show that various areas are involved to prevent or reduce the effects of vandalism. In the field of design there are also design tips that designers can use to prevent vandalism. Improving the social status, promoting the mental health of citizens and applying psychological principles in the design and considering thedesign process as part of the solution could be effective in controlling this phenomenon.

AbstractHandicrafts as the objective manifestation of popular functional arts with their own original designs have always held a special place as an important factor in the economy of Iran. Given its elevated status as the second factor in GNP growth, extensive support and guidance policies have been implemented for its development with a range of significant effects. It can be stated that values in arts and culture, together with high value-added and power to earn foreign currency, have transformed handicrafts into ideal products for exports.The quality of Iranian handicrafts is entirely influenced by its natural and human geography, and anthropological characteristics. This takes on importance because adopting sociocultural approaches to designing and producing handicrafts and examining the intervention of these products in the context of daily life in any natural and human geography can pave the way for sustainable attitudes towards this industry. As such, the arts and crafts can act as components in examining and interpreting their climatic and geographical regions, beliefs, and local customs. Therefore, maintaining local production, craft production methods, as well as form and performance analysis to increase their survival rate and feasibility for exports are vital requirements for the arts and crafts of all regions.Light and soft, and at times coarse and rough, wicker weaves made of natural plant fibers have been used for centuries. Gilan Province, in northern Iran, is one region which has benefitted from this. Regretfully, vulnerability to the extensively humid climate of the northern regions of Iran has meant that few valid documents have remained behind from its nascent days and exploitation. But according to the written sources of the past few decades, it can be said that Mat- weaving in Gilan Province has enjoyed considerable fame and quality. It was produced mainly in the cities of Rasht and Anzali where marsh plants constitute the main raw material for Mat- weaving in this region.Mat- weaving is also the most common handicraft of Hormozgan Province in southern Iran, because palm leaves are also another raw material for this craft and found in abundance in this region. The towns of Minab, Bashagard, and Bandar Lengeh and its outskirts are important regions for mat weaving, which is mainly carried out by women and girls.Therefore, Mat- weaving in two provinces on waterfronts - Gilan and Hormozgan - is one of the oldest and most important handicrafts which are very popular in these regions due to unlimited access to raw materials, providing the basis for a comparative study. This research aims to recognize, analyze, and match the qualities of Mat- weaving in these two regions by considering their natural and human geographies. By paying attention to the local similarities and differences and climatic aspects which have given rise to diverse production methods, forms, and functions of these handicrafts, one may endeavor to find sustainable solutions to safeguard and maintain their continuity and promote exports. Based on this and to evaluate and analyze the background of the Mat- weaving arts and crafts taking shape in Gilan and Hormozgan provinces against the backdrop of their natural and human geography and the said anthropological characteristics, the present research endeavors to answer the question of: What is the quality of Mat- weaving in Gilan and Hormozgan provinces and its related components such as preparation of raw materials, tools, production methods, popular patterns, range of products, and innovations in production?This is a descriptive analytical research. The library method was used for data collection and field interviews were conducted with local producers to assess their products. Data were subsequently compiled in the descriptive-analytical method so that the local geography, human life, and Mat- weaving arts and crafts of Gilan and Hormozgan provinces were initially introduced. In the next stage, research findings were presented by matching the dimensions of this craft in both provinces. These include: production materials, preparation of raw materials, dominant production method, tools used to prepare the raw materials, tools used for weaving, prominent productions, popular patterns, and production innovation.The results suggest that the rawest materials used in Hormozgan Provinces are “Pish”, “Pangash”, “Sis”, and “Kertak”. The rawest materials used in Gilan Province are “Sub”, “Li”, “Koler”, and “Kulus”. The main stages for preparing raw materials include pruning, drying, and soaking in Hormozgan Province, and harvesting, drying, and soaking in Gilan Province. Tools used in Hormozgan Province to prepare the raw materials include sickles, range of knives, saws, planes, pliers, scissors, hooks, awls, beater combs, and oil rocks. Tools used in Gilan Province are mainly sickles, knives, files, awls, scissors, and hooks. In both provinces, weaving is carried out by hand using hooks. In Gilan Province, mats are woven on wooden looms using wooden mat weaver’s combs, “Katal”, and knives. Outstanding Mat- weaving in Hormozgan Province includes “kanduk”, “Takel”, “Sop”, “Tavizeh”, “Savas”, Jar Lids and Mat. Gilan Province produces an array of baskets, hampers, mats, screens, and other similar items.The motifs of woven mat in Gilan and Hormozgan provinces are affected by their natural and social geography, but in Gilan province, the motifs of woven mat are evident in products that are woven using the warp and weft method. However, the common motifs of the woven mat of Hormozgan province can be distinguished depending on whether they are woven in a spiral way or in a warp. In both Gilan and Hormozgan provinces, innovations in Mat- weaving are classified as “Mat- weaving products with modern functions using traditional weaving methods”, “Mat- weaving products with traditional functions and new weaving methods”, and “Mat- weaving products with modern functions and weaving methods”.The results of this research are consistent with the direct effects of climatic and cultural factors on the continuation and disappearance of the arts and crafts of both regions, changes in their form and content, innovations, and product variety. As mentioned above, climate is an important factor contributing to the production of arts and crafts in every region. The two important natural indicators shared by both provinces in this study include their location on the sea and the dominance of a mountainous topography. But we witness different climatic conditions in these regions due to different geographical latitudes, regional factors, and external atmospheric systems. These differences create raw materials with different physical and chemical characteristics.Also, if we consider culture to be a system of shared values, beliefs, and customs in a community through which people give meaning to their world and use it as a means of finding identity, then culture must be considered as another factor affecting the formation of the arts and crafts and all the relevant issues in these two regions.Hence, to create a better landscape for the comparative study of the ancient Mat- weaving arts and crafts of the said provinces in the present research, components such as raw materials, tools and methods, range of products, and design and production innovations in each province (Gilan & Hormozgan) have been studied to reveal how each of these components are dealt with in their respective climatic-social-cultural contexts and the sociocultural approaches taken in designing and producing handicrafts by the designers, while creating sustainable attitudes in the design and production of handicrafts.The results of this study show the direct influence of natural and human geographies and anthropological characteristics on the continuity, disappearance, changes in form and content, innovations, and product variety of the arts and crafts in both regions. Future research can concentrate on the study of the volume of other arts and crafts shared by Hormozgan and Gilan provinces, such as pottery, traditional embroidery, jewelry, maritime crafts, design and production of wooden boats, production of fishing tools, etc., by taking into consideration the climatic conditions and sociocultural backgrounds of the said two provinces.

Due to the gold price increases in the Iranian market, the desired buyers have been attracted to LGJ (Lightweight Gold Jewelry). Meanwhile, because of the strength decreases in structure in LGJ., we investigated a structural solution in this research. The proposed solution was Karbandi as a supporting lattice-ordered structure in Iranian architecture. We used five types of primary Iranian architecture arches and a perfectly logical Karbandi plan to create ring-like structures. Arches and ring-like structures were compared based on maximum mises stress, strain, and weight using FEM analyses. The applied load and approximate area of it in analyses, according to the female mean Tip-pinch and the mean of minimum, thumb, and index finger width were chosen. Based on analyses results, a ring-like Karbandi structure was chosen for construction. The models were constructed in four alloys category based on sterling silver standard with Cu-nanoparticles as an admixture. A practical test was done to investigate the mean deformation time for each alloy's model category. A weight was used to investigate the observable deformation time-based capacity of the models. Results showed that the lowest mises max stress value was observed in the 1st arch, although the 3rd arch had the minimum strain among arches. In ring-like Karbandi structures made from 1st and 3rd arches, the minimum value of mises max stress and strain was related to the Karbandi. In the physical load applying process, the category that did not contain cu-nanoparticles had the highest deformation meantime among all categories.

Nowadays, disposable injection pumps are widely used in hospitals and home care settings to provide various therapies such as chemotherapy, antimicrobial, analgesic, and anesthetic treatments, as well as for postoperative pain control and chronic pain control. Since the accuracy of the injection is very important in infusion pumps based on the flow rate, it is therefore important to reduce the error in this device. In this study, the basic design principles of these pumps and the design problems of the sample appearance available in the market were investigated. Since one of the vital problems of this type of pump is their inaccuracy, because they are unable to inject a certain amount of drug for a certain period of time, so one of the main objectives of this study is to improve the accuracy of the injection. Also, as this device is available to the patient for a long time at the time of injection, ease of use is one of the design goals.  Finally, this paper ends with a design and prototype which is better in the shape of the device and a big improvement in the accuracy.

The mechanisms involved in the operation of the wall-mounted boilers are the primary source of noise pollution, which bothers users while operating. One of the most basic solutions is to control the amount of noise by using insulator materials. The material must have acoustic absorption characteristics and high heat resistance. In this study, four acoustic materials based on polymer resins, glass wool and stone, and jute fabrics that have good degradability in nature have been studied as noise control materials. Based on the physical and chemical properties of the acoustic insulating polymers, high noise absorption is generated and flammability is preserved at high temperatures too. The nature of acoustic absorption and high degradability is also noticeable in jute fabrics. For the shell sound control tests, several wall-mounted boilers have been used in this study, and the sound waves have been measured using a B&K 2260 measuring device. The overall rate of noise reduction in monolayer and blended double-layer insulators has been compared. Although the monolayer or double-layer insulators perform better than jute ones, the acoustic absorption standard of the wall-mounted boilers can also be achieved by using jute. Therefore, due to environmental conditions, the jute is approved as a sound insulator.

The bicycle helmet has a significant role in reducing and preventing impact because of reducing the deceleration of the skull, spreading the area over which the forces of the impact reach them and preventing direct contact between the skull and the impacting object. Honeycomb structure, due to its elastic properties, extends the energy absorption time of the whole structure and also increases the ability of the whole structure to absorb energy. Therefore, it can be used in the liner designing of a helmet to reduce velocity, energy, and acceleration in impacts. In this paper, intending to identify the minimum stress transmitted to the helmet during an impact, we used Rhino software to model a helmet with honeycomb liner and outer shell and then analyzed it in Abaqus software. Due to the fact that the size of various parts of the head is different in people, so for more comfort and safety, the use of customized-helmet is emphasized. To design and make a customized-helmet, the materials used in designing the helmet are ABS and PETg filaments, which can be used in 3D printing. These two materials have been analyzed with four compositions for the liner and the shell of the helmet. The results show that the best combination of the helmet with Minimum stress transmission and appropriate plastic strain due to impact is the helmet case with honeycomb liner of PETg and a shell made of ABS.

Nyctophobia is a kind of phobia that is quite natural. Nyctophobia, in the absence of treatment, will lead to mental health problems and consequently influence the quality of life, especially at the old age. This type of fear is one of the most common types of fear among children of 7 to 12. A lot of research has been done in this area and valid scientific psychological results have been obtained. Various products have been designed to reduce the fear of children of this age. In the current study, after reviewing the articles related to the lighting design for children with Nyctophobia, and investigating the psychological studies on children with this phobia, we try to present the criteria for lighting design to be helpful in reducing and even eliminating this fear. In future researches, we can use the results of this study to improve the lighting design for this problem in order to reduce the effects of Nyctophobia in both childhood and adulthood.