Module 1 MCQs

1. Design thinking involves

A. making informed choices in the course of product or service
development
B. decision making with many discussions
C. implemented based on design by a few team members
D. thinking logically to implement just the clients’s requirements

2. Two factors that characterize media models used to share

design information are
A. resolution and abstraction
B. recovery and abstraction
C. resolution and absorption
D. reframing and adaptation

3. Resolution refers to
A. the level of details in the shared representation of a design
B. the degree of reformation of designs shared with the team
C. specification of changes in the design to meet client’s need
D. finding solutions to main problems in a product design
4. Abstraction is
A. extracting specific concepts out of a design context
B. explaining a design in detail in a given design context
C. defining as many deatils in a design as posiible
D. writing an abstract of the planned details of a design

5. Four classes of abstraction are Material, Formal, Functional,

and
A. Mathematical
B. Logical
C. Analytical
D. Rational

6. Abstraction makes
A. a well known thing appear with a new perspective
B. it easy to specify all the details of a design
C. it easy to define all major dimensional measurement
D. a well known thing not distract the goal of the design activity
7. Media-model is
A. any one design representation during the course of a new
product development
B. a model used for giving presentation to media persons
C. a small scale replica of the final product to be manufactured
D. any one design representation given by a client to the design
team
8. Media cascade is
A. a series of design representations during the course of a
development cycle
B. a cascade designs of almost similar details during the course of
a development cycle
C. presentation of a design to different teams in a cascaded
manner
D. a series of progressive simplifications of a design features

9. Which one of the following is not an example of media models:

A. rough sketches
B. manufactured product
C. functional prototype
D. working model
10. CAD models
A. reduce uncertainty in a design
B. encourage thinking beyond basic product features
C. are beneficial in adding new features
D. have higher abstraction and low resolution

11. CAD models are

A. medium in abstraction and high in resolution
B. high in abstraction and low in resolution
C. low in abstraction and low in resolution
D. medium in abstraction and low in resolution

12. Rough sketches and physical prototypes encourage

A. divergent conversations
B. convergent conversations
C. focussing on finer details
D. convergent design decisions
13. Rough sketches
A. exhibit low resolution
B. exhibit high resolution
C. are unnecessay in design thinking
D. are not useful for creativity

14. Rough prototypes show lower levels of

A. resolution
B. abstraction
C. both abstraction and resolution
D. creative content

15. Manufactured products

A. are not abstract
B. are highly abstract
C. have low resolution
D. have medium in abstraction and low in resolution
 16. A prototype
A. presents a profile of incompletness
B. is a complete represenation of a product
C. captures all the functions of a product
D. That need to be designed all over again

17. Mathematized media such a realistics images and maps

encourage
A. convergent conversations
B. divergent conversations
C. creative thinking
D. getting inspiration for new ideas

18. Ambiguous media-models lead to

A. paradigmatic shifts
B. parametric shift
C. improper designs
D. confusion regarding client requirements
19. Mathematized media-models lead to
A. parametric adjustments
B. divergent conversations
C. higher creativity
D. generation of new ideas

20. Media-models that are partly ambiguous and partly

mathematized
A. improve designers’ understanding and help in improving a
design
B. do not help in improving a design
C. generally lead to confusion regarding a design
D. none of the above

21. Translation from one kind of media-model to another

A. improves insight and moves the project forward
B. delays the development unnecessarily
C. creates confusion in the minds of the designers
D. must be discouraged for high-performance design teams
22. Limited types of media-models
A. make a designer to be stuck with the same kind of judgement
B. are desirable for improving designers focus
C. improve creativity by providing deeper understanding
D. are representative of good design teams

23. Cognitive prostheses are media models that

A. help in improving designers’ understanding
B. are required for monodisciplinary teams only
C. are required for multidisciplinary teams only
D. when design teams have members with some sort of handicap

24. Media with different levels of resolution and abstraction

A. improve designers’ insight
B. hindrance to design team performance
C.are to be avoided by good design teams
D. generally confuse design teams during a development cycle
25. Designers’ hand movements
A. enable certain kinds of thinking
B. have nothing to do with improving understanding
C. have no link to the design thinking process
D. are obstructive to their clear thinking

26. Convergent conversations mean

A. parametric changes in a model or the addition of features
B. paradigmatic changes in a model
C. improving creative design aspects by conversations
D. design conversations that lead to paradigmatic shifts

27. Big changes and adding functionality are possible

A. with discussions pertaining to rough prototypes
B. if the team has multidisclinary team members
C. if the client’s product specification is analyzed
D. if an existing product sample is available
28. User scenarios are
A. specific circumstances of usage of a product or utilization of a
service
B. always the same for a given product independent of users
C. always the same for a given product independent of user
culture
D. weakly correlated with product design work
29. Generic assumptions about a class of users are called
A. Use cases
B. User scenarios
C. Use classes
D. User frames

30. Knowledge to Concept Transits

A. enable designers to have new perspectives about a product
B. enable designers to have make parametric changes a product
C. are means of capturing requirements of a client
D. only applicable for conceptualizing new services
31. Tangible Business Process Modeling is about getting
meaningful information about processes from
A. end users
B. team leader
C. as many team members as possible
D. co-designers in the team

32. Design representations are intermediary objects that permit

A. distributed cognition
B. required documentation
C. improvement of a client’s impression
D. cognition by a local design team

33. Role-playing with Legos encourages players to

A. gain empathy and insight with other players
B. think properly
C. find the designing work interesting
D. be relaxed while designing
34. Post-It notes help domain experts
A. to enumerate process steps but not lead to greater depth of
understanding
B.
C.
D.

35. Tangible Business Process Modeling helps getting an

understanding of
A. parallelism and alternatives in a design situation
B. underlying models of a design
C. business process requirements
D. models that capture a clients specification

36. A necessary component of design thinking is

A. paradigmatic shift
B. focusing on details of a design
C. making parametric adjustments to a design
D. planning how fast a design can be delivered to a client
 37. Design thinking is becoming a state-of-the-art
A. innovation method
B. business method
C. thinking method
D. creativity method

38. Design teams must include persons from

A. different departments, and compatible characters and
competences
B. different departments independent of their competences
C. the same department and with compatible competences
D. the same department and with compatible characters

39. Design teams must include persons from

A. different disciplines, academic background and with a positive
communication culture
B. the same discipline, academic background and with a positive
communication culture
C. different disciplines, but from the same department
D. the same discipline and with different cultures
40. Design thinking is characterized by
A. usability, multidisciplinarity, unusualness, and reframing of
original tasks
B. usability, multidisciplinarity, unusualness, and focussing
original tasks
C. usability and meeting exactly what the client wants
D. reframing of original tasks with lower importance to
usefulness
41. In Design Thinking, theory and practice
A. coevolve.
B. coexist
C. are sequential
D. loosely linked

42. Generally non-Design-School teams

A. are better than teams with Design-School experience
B. are worse than teams with Design-School experience
C. fare as well as teams with Design-School experience
D. more creative than teams with Design-School experience
 43. Design-School teams outperform when producing
A. unusual designs
B. useful designs
C. designs that strictly adhere to client needs
D. designs that are very similar to existing designs

44. Generally, it is found that

A. monodisciplinary teams outperform multidisciplinary teams
B. multidisciplinary teams outperform monodisciplinary teams
C. multidisciplinary and monodisciplinary teams are on par
D. monodisciplinary teams produce more creative designs than
multidisciplinary teams

45. Usefulness and unusualness

A. have a strong negative correlation
B. have a strong positive correlation
C. are uncorrelated
D. have a weak positive correlation
 46. Cultural backgrounds
A. shape the design practices
B.
C.
D.

47. In Design Thinking, expectations of clients are called

A. frames
B. forms
C. expects
D. framels

48. North American clients are

A. collaborative
B. conservative
C. uncooperative
D. unfriendly
 49. Asian Designers are required to produce
A. tangible forms of design quickly
B. as many prototypes as possible
C. the best design even if it costs more
D. most creative designs even if it takes more time

50. Asian Designers generally use

A. existing similar products as sources of inspiration.
B. futuristic products as sources of inspiration
C. western products as reference
D. new market potential as the guideline

51. Asian notion of creativity is

A. harmony with existing products
B. break the monotony
C. find a new product different from the old ones
D. be more creative in designing a product
52. Prototypes are objects
A. used to understand the designs and get feedback from others
B. that have a look and feel almost similar to the final product
C. used to market a new design
D. that have to be approved by clients before manufacturing

53. North American clients

A. accept and tolerate unfinished and rough prototypes
B. do not accept and tolerate unfinished and rough prototypes
C. particular about the looks of an intermediary object
D. expect final products without spending on prototypes

54. In product design context, MVP stands for

A. Minimum Viable Product
B. Manufacturable Viable Product
C. Minimum Valuable Product
D. Minimum Variable Product
55. MVP is useful for
A. getting feedback, and validating assumptions about a product
B. selling products with maximum profit
C. mass production
D. capturing large market share

56. MVP is useful for

A. reducing wasted engineering hours
B. impressing the clients with a new design
C. providing all features in a product
D. producing the cheapest product

57. Iterative prototyping helps designers to

A. know unknown issues and opportunities
B. make only parametric changes in a product
C. reduce development cost
D. reduce engineering hours
58. Iterative prototyping involves
A. creative and feedback phases
B. cognitive and documentation phases
C. creative and production phases
D. making small improvements in a designed product

59. Prototyping
A. brings out new information about the design context
B. is unnecessary if client needs are known
C. helps in quickly offering a new product to a client without any
issues
D. does not help in generating new ideas

60. A primary barrier to use of prototypes in industry is

A. cost of required resources
B. delivery deadlines
C. lack of competancy
D. discouragement by clients