The research on the use of virtual reality (VR) in the design domain has been conducted in a fragmentary way so far, and some misalignments have emerged among scholars. In particular, the actual support of VR in early design phases and the diffusion of practices involving VR in creative design stages are argued. In the present paper, we reviewed VR applications in design and categorized each of the collected 86 sources into multiple classes. These range from supported design functions to employed VR technologies and the use of systems complementing VR. The identified design functions include not only design activities traditionally supported by VR, such as 3D modelling, virtual prototyping, and product evaluation, but also co-design and design education beyond the early design phases. The possibility to support early design phases by means of VR is mirrored by the attention on products that involve an emotional dimension beyond functional aspects, which are particularly focused on in virtual assemblies and prototypes. Relevant matches between VR technologies and specific design functions have been individuated, although a clear separation between VR devices and supported design tasks cannot be claimed.

The concept of User Experience (UX) dates back to the 1990s, but a shared definition of UX is not available. As design integrates UX, different interpretations thereof can complicate the possibility to build upon previous literature and develop the field autonomously. Indeed, by analysing the literature, UX emerges as a cauldron of related and closely linked concepts. However, it is possible to find recurring attributes that emerge from those definitions, which are ascribable to two foci: the fundamental elements of the interaction (user, system, context) and typologies of experience (ergonomic, cognitive, and emotional). Those are used to build a framework. We have preliminarily investigated how UX is dealt with in design by mapping a sample of UX-related experimental articles published in design journals. We classified UX case studies based on the framework to individuate the UXs that emerge most frequently and the most studied ones in the design field. The two-focus framework allows the mapping of experiments involving UX in design, without highlighting specific favorable combinations. However, comprehensive studies dealing with all elements and UX typologies have not been found.

Additive Manufacturing (AM) has become an established discipline in both research and education. However, to achieve its full potential AM requires a step-change in design thinking, which makes Design for AM (DfAM) education and training crucial. This paper reports results from the first attempt to investigate the uptake of DfAM in higher education. This research required the development and administration of an articulated online survey, in which educators worldwide who teach AM and DfAM have participated. The results show that DfAM is taught in a considerable number of courses. However, the survey revealed that DfAM is seldom recognised as a distinct course or topic and the relevance attributed and proportion of teaching dedicated to DfAM within wider AM is typically marginal. DfAM is being mostly taught in North America and Europe and is also typically taught in institutions that are research active in AM or specifically DfAM, suggesting the subject has not yet reached maturity or diffusion into mainstream design and engineering curricula. It was interesting to find that currently, the contents of courses do not differ significantly between engineering and design programmes.

The term User Experience (UX) was introduced to define the dynamics of the human-product interaction, and it was thought that design would have been a main recipient of UX research. However, it can be claimed that the outcomes of UX studies were not seamlessly transferred into design research and practice. Among the possible reasons, this paper addresses the fragmentary knowledge ascribable to the field of UX. The authors reviewed the literature analyzing the conceptual contributions that interpret UX, proposing definitions and/or a theoretical framework. This allowed the authors to provide an overview of recurring elements of UX, highlighting their relationships and affecting factors. This research aims to clarify the overall understanding of UX, along with its key components (the user, interaction, the system, and context) and dimensions (ergonomic, affective, and the cognitive experiences). The authors built a semantic construction inspired by the structure of a grammatical sentence to highlight the relationship between those components. Therefore, UX is defined by a subject/user who performs an action-interaction towards an object-system. A complement-context better defines the condition(s) where the action-interaction takes place. This work is expected to lay the foundations for the understanding of approaches and methods employed in UX studies, especially in design.

The paper offers insights into people’s exploration of creative products shown on a computer screen within the overall task of capturing artifacts’ original features and functions. In particular, the study presented here analyzes the effects of different forms of representations, i.e., static pictures and videos. While the relevance of changing stimuli’s forms of representation is acknowledged in both engineering design and human-computer interaction, scarce attention has been paid to this issue hitherto when creative products are in play. Six creative products have been presented to twenty-eight subjects through either pictures or videos in an Eye-Tracking-supported experiment. The results show that major attention is paid by people to original product features and functional elements when products are displayed by means of videos. This aspect is of paramount importance, as original shapes, parts, or characteristics of creative products might be inconsistent with people’s habits and cast doubts about their rationale and utility. In this sense, videos seemingly emphasize said original elements and likely lead to their explanation/resolution. Overall, the outcomes of the study strengthen the need to match appropriate forms of representation with different design stages in light of the needs for designs’ evaluation and testing user experience.

Sustainability-related information affects people’s choices and evaluation. The literature has made significant efforts to understand the best ways of delivering this kind of information to shape consumer behavior. However, while most studies have focused on packaged products and direct information provided through eco-labels, preferences could be formed differently in other design domains. The paper investigates the effect of the perceived amount of indirect information on the evaluation of an architectural artefact. A sample of 172 participants visited a locally produced mobile tiny house, made with a considerable amount of sustainable materials. The same participants answered a questionnaire about their perceived knowledge, quality, appropriateness and sustainability of the tiny house. The general level of knowledge of the tiny house was used as a proxy of the amount of indirect information received. Although the knowledge of the tiny house was generally low, ratings regarding the other dimensions were overall extremely positive. In particular, no evident relation was found between knowledge of the tiny house and sustainability, while the latter is significantly linked to quality aspects. These outcomes deviate from the evidence from other studies; this might be due to indirect vs. direct information and the peculiarity of the study carried out in the field of buildings. The gathered demographic and background data of the participants make it possible to highlight the role played by gender and age in affecting the evaluations, but the absence of a significant impact of experience in the field, education and origin. The results are compared with findings related to the evaluation of sustainable products and green buildings in particular.