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In late 2010 Professor Sanderson decided to form the Flux ceramics spin-out company at Staffordshire University in order to exploit a significant market gap he had discovered via his KTP research project for Aynsley China Ltd., Stoke-on-Trent. Flux has been able to exploit the market gap discovered in a way that Aynsley China was unwilling to pursue. Flux has produced cutting edge ceramic tableware design that has been successful in terms of both sales and recognition as a valuable contribution to contemporary tableware design. Flux won the Home and Gardens Design Award in 2012.
The i~design research programme, which has been running in the University of Cambridge Department of Engineering (DoEng) since 2000, sought to understand population diversity in order to better inform design decisions for mainstream everyday products and services. Impact from this programme, since 2008, includes: skills embedded in companies through direct training of over 280 designers and design managers from industry; direct involvement in the improved design of more than 10 new products and services that have gone into production; educational resources for teaching Design and Technology trialled in nine secondary schools; over 800 wearable impairment simulators sold; and extensive web-based guidance, methods and tools for inclusive design accessed in over 170 countries.
This case study is based on research and impact of the development of creative systems and creative systems management to enhance professional in-house design capabilities of design and manufacturing companies through the use of new technologies. The research was conducted by Dave Henley and Rob Cooksey over the duration of several years (2008-2012) to develop the transferable application of design systems and management for SMEs. The research included three different Knowledge Transfer Partnerships (KTPs) with Fairfield Displays & Lighting Ltd., China Industries Ltd., and Tough Furniture Ltd. The research evidences impact in the development of the companies' creative capabilities through significant increases in turnover, employment and market penetration and a number of awards, as well as in public benefits such as social inclusion, community health and well-being.
Design thinking has benefited the economic performance of business and particularly the creative industries, changed awareness of design in everyday life, and informed public policy. Users and consumers have benefited from wider understanding of the genesis of products and services and effects on their quality of life. Design thinking research has been instrumental in forming a new business sector that provides design thinking expertise as consultancy. It has changed the processes of designers and design practices, and fed into UK design education policy. Design thinking has crossed discipline boundaries; for example framing new methods and processes in software engineering.
CHAPMAN's research into emotionally durable design has radically shifted the values and practices of global businesses, helping them to cut waste and to enhance product, material and brand value. Through publications, exhibitions, master-classes and films, this research has transformed understanding of sustainable design in professional (Puma, Sony), policy (House of Lords, UN) and cultural (Design Museum, New Scientist) settings, propelling the field beyond its focus on energy and materials, towards deeper engagements that link psychosocial phenomena with ideas about consumption and waste. Furthermore, it has contributed to public debate and policy with the effect that the term `emotional durability' has now entered the international design lexicon, providing valuable shorthand for complex phenomena influencing product longevity.
Professor Martin Charter has directed The Centre for Sustainable Design ® at UCA since 1999. During this time he has developed a body of research concerning sustainable and eco-innovation, and sustainable and eco-design, with a particular focus on organisational implementation within business. This has led to a widespread programme of dissemination and application to SMEs through funded projects, publications, consultancy and training. The specific beneficiaries of this research are the SMEs through these projects, guidance and training.
Since 1989, Birmingham Institute of Art and Design (BIAD) has spearheaded a comprehensive seating design research programme that has resulted in specific and recognisable outputs and impacts.
Key areas of knowledge have been developed through:
The research has resulted in multiple innovations demonstrated through registered designs. All designs have been licensed to UK companies for the purposes of manufacture and distribution. From January 2008 to end June 2013, sales have comprised more than 30,000 seating units across three continents.
Work by Carmona et al has supported the national drive for better design in the built environment, helping to mainstream ideas about the importance of urban design and develop tools for design governance. A major strand of this research has focused on the use and potential of design codes in England, and has been a major contributor to their widespread adoption. As a result, by 2012, some 45% of local authorities and 66% of urban design consultants had used design codes.
Between 1992 and 2002, Loughborough University invented an award-winning approach to planning complex, highly interdependent development projects. Since 2008 the Analytical Design Planning Technique (ADePT) method has resulted in:
A sustained programme of research at the Royal College of Art (RCA) since 1994, led by Coleman, Myerson and Bichard, has played a leading role in the emergence of Inclusive Design within design, industry and education, defining its theoretical principles and developing relevant real-world practice tools and business case studies. This research had made an impact in four key areas: it has influenced the public discourse and the ethics and methods of the design profession; contributed to national policymaking for older and disabled people; enabled economic prosperity through development of new products and services; and supported advances in design education.