Showing papers in "Design Journal in 2003"
TL;DR: In this article, the authors introduce a theoretical basis for the process that underlies emotional responses to consumer products and discuss five distinct classes of product-evoked emotions, each of which are the outcome of a unique pattern of eliciting conditions.
Abstract: This paper introduces a theoretical basis for the process that underlies emotional responses to consumer products Five distinct classes of product-evoked emotions are discussed, each of which are the outcome of a unique pattern of eliciting conditions The framework for these patterns was drawn from a model that reveals the cognitive basis of product emotions The main proposition of this model is that emotional reactions result from an appraisal process in which the individual appraises a product as (potentially) harming, or favouring one or several of their concerns In this perspective the concern and the appraisal are considered key parameters that determine if a product evokes an emotion and if so what emotion is evoked Because each of the five classes of product emotions (ie instrumental, aesthetic, social, surprise, and interest emotions) is discussed in terms of these key parameters, it can be used to explain the complex and often personal nature of product emotions, and support designers in t
222 citations
TL;DR: In this article, the authors present a set of techniques for representing multiple dimensions of people's experience through modelling tools used to explore design ideas. But they do not discuss how to apply them to the design process.
Abstract: Designers today have opportunities to design much more than simply static objects. We are designing integrated and dynamic interactions with objects, spaces and services and helping companies with more strategic decisions. Expanded opportunities have spawned developments in traditional design practice.First are developments relating to awareness of people's experience. Design- and user-research methods are evolving. Combinations of projective techniques and empathic exercises are more holistic in scope and yield results that can be more viscerally understood.A second development is in representing multiple dimensions of people's experience through modelling tools used to explore design ideas. Video scenarios and enactment enable explorations, in more dynamic ways, of what it will be like to interact with new designs.Finally, both design teams and client groups involve professionals from multiple disciplines and business functions. Tools such as experience prototyping are being developed to promote shared ...
120 citations
TL;DR: This paper presents an approach to emotion and experience that is useful for designers and synthesizes commonalities and differences in this work into a generative framework that is meant to help designers discover product opportunities to stimulate, enhance, or change emotional experience.
Abstract: As people become more sensitive to dimensions of products that go beyond traditional aspects of usability, the need to understand emotion and experience and their implications for product design in...
47 citations
TL;DR: In this paper, the authors discuss the growing need to become more sensitive to emotions in design and use examples from design practice to illustrate an approach that helps us as designers build relationships between members of the design team, build deep personal insight of our own and other people's experiences, and provide a solid foundation that contributes towards crafting shared design visions.
Abstract: How we emotionally experience things in our lives is becoming a topic of increasing importance in design, from the way it is practised in industry to the way it is taught in schools, colleges and universities. The recent demand is for designers to make provision for the full experience of the user whilst creating a broadening strategic offering. This paper discusses the growing need to become more sensitive to emotions in design and uses examples from design practice to illustrate an approach that helps us as designers build relationships between members of the design team, build deep personal insight of our own and other people's experiences, and provide a solid foundation that contributes towards crafting shared design visions.
43 citations
Abstract: The relationship between design and science is examined through the lens of design methodology. The purpose is to foresee the next generation of design methodology and its attributes. Four generati...
34 citations
TL;DR: The authors argued that the vehicle is salient because it is always relatively more concrete than the tenor on the sensory-verbal-symbolic continuum, and the vehicle always modifies the 10or implicitly and spontaneously so that they are experienced as a unity.
Abstract: Creative metaphors in language juxtapose two words which appear quite different on the surface, but share an underlying similarity given a particular context. In the metaphor ‘life is a river,’ the vehicle ‘river’ modifies the tenor ‘life’ and draws our attention to life's meandering and the constant flow of time. Scholars have emphasized a dynamic tension between tenor and vehicle and that the vehicle (‘river’) is always salient modifying the tenor (‘life’) and never vice versa. A central argument of this paper is that: (1) the vehicle is salient because it is always relatively more concrete than the tenor on the sensory-verbal-symbolic continuum, and (2) the vehicle always modifies the tenor implicitly and spontaneously so that they are experienced as a unity. These ideas have been extended to successful art and design metaphors. The surface difference in artworks and design objects is between denotative subject matter and connotative style or function and form respectively. The underlying similarity re...
34 citations
TL;DR: In this paper, a new bespoke industrial design methodology is emerging whereby there will be the ability for individuals to cost effectively control the design and manufacture of individual customized products, through the combination of innovative and emerging design and manufacturing technologies.
Abstract: Through the combination of innovative and emerging design and manufacturing technologies, a new bespoke industrial design methodology is emerging whereby there will be the ability for individuals to cost effectively control the design and manufacture of individual customized products. The use of novel design devices such as haptic modelling systems that can be used to create a customized three-dimensional model of a desired object, and the subsequent ability to three-dimensionally ‘print’ the design via rapid manufacturing technologies, will see the emergence of a breed of bespoke industrial designer. This paper introduces research work being undertaken at Loughborough University that is investigating these technologies and the effects and opportunities that they will have on the design and manufacturing community.
33 citations
Journal Article•
TL;DR: In this paper, the authors argue that real life is complex, dynami cand uncertain, and truth is difficult enough to know, even with the best science, but reality is the domain of human exper...
Abstract: Designis about creating the‘real’ worldaround us. Real life is complex, dynami cand uncertain. Truth is difficult enough to know, even with the best science,but ‘reality’, the domain of human exper ...
26 citations
TL;DR: In this article, a historical narrative is reconstructed by bringing a number of important design movements into dialogue with the different stages of capitalist production as well as the leading philosophical paradigms, and a brief discussion on the vicissitudes of emotionally driven design as it comes into contact with the logic of the market.
Abstract: There has been an increasing emphasis on the concept of emotion and its ramifications in design discussions. Emotional responses to designed products are studied in order to inform the design of new ones. This article is an attempt to cast light on the underlying assumptions and enabling conditions involved in this recent emergence of a concern with emotions in design. To achieve this, a historical narrative is reconstructed by bringing a number of important design movements into dialogue with the different stages of capitalist production as well as the leading philosophical paradigms. The article ends with a brief discussion on the vicissitudes of emotionally driven design as it comes into contact with the logic of the market.
25 citations
TL;DR: It is argued that a better understanding of judgement is needed if the authors want to improve their design ability in an intentional manner, particularly design judgement.
Abstract: Design is about creating the ‘real’ world around us. Real life is complex, dynamic and uncertain. Truth is difficult enough to know, even with the best science, but ‘reality’, the domain of human experience, can be overwhelmingly paralysing and beyond comprehension or understanding. Careful, accurate description, concomitant with clear explanation, is necessary but not sufficient in the quest for enough understanding to allow wise decisions to be made. The value of judgement is that it allows individuals to overcome their paralysis and engage with the messy complexity of life in a way that, when done well, can bring function, beauty, and meaning to human existence. In this paper we will examine judgement, particularly design judgement. We argue that a better understanding of judgement is needed if we want to improve our design ability in an intentional manner. Judgement is a key dimension in the process of design. The ability to make design judgements is what distinguishes a designer as a designer. The ab...
TL;DR: Focus groups, the often maligned market research method, are blamed by many for everything from poorly designed products to the current state of the Labour Party as mentioned in this paper. Although focus group research has...
Abstract: Focus groups, the often maligned market research method, are blamed by many for everything from poorly designed products to the current state of the Labour Party. Although focus group research has ...
TL;DR: The grimace of dislike, the body language of excitement - these are universal, readily elicited and understood across the world as mentioned in this paper. And such is the universal nature of our basic emotions, something that h...
Abstract: The grimace of dislike, the body language of excitement - these are universal, readily elicited and understood across the world. Such is the universal nature of our basic emotions, something that h...
TL;DR: This paper pointed out that the eye may have taken over the hand as the worker's chief tool and pointed out the need for more traditional craft skills to stimulate our senses since time began.
Abstract: Industrial design, through rapid technological developments and an increasing emphasis on aesthetics, has contributed significantly to our consumer culture producing a mass of superficial and transient products. This preoccupation with appearance and technical possibilities has distracted the designer from deeper human needs and from looking ‘beyond aesthetics’ (Walker, 2001).We are witnessing a rapidly increasing interest in the developments of new technologies but we fear at the expense of more traditional craft skills, which have stimulated our senses since time began. There is evidence to support the fact that the eye may have taken over the hand as the worker's chief tool. As academics we are witnessing a great demise of practical skills within design education as CAD continues to be perceived by many as a more useful and cost-effective investment. David Pye over 30 years ago recognized the demise of interest in the craftsman. He stated, ‘In practice the designer hopes the workmanship will be good, b...
TL;DR: In this article, a qualitative research method of grounded theory was used to formulate the underlying design theory of Japanese fashion designers by using qualitative data collected for three weeks for the purpose of data collection.
Abstract: The purpose of this paper is to formulate the underlying design theory of Japanese fashion designers by using the qualitative research method of grounded theory (Glaser, 1992). The researcher stayed in Tokyo for three weeks for the purpose of data collection. The method of data collection included in-depth interviews, questionnaire surveys and participant observations. Constructs for a grounded theory of fashion designers are synthesized. The design theory of the Japanese fashion designers is portrayed through the major constructs, namely, ‘aesthetic presence’ and ‘psychological satisfaction’
TL;DR: Using the writings of design critics and design journalists, the authors suggests that there is a need for a critical discourse in the design community, and that every dominant movement in art has depended upon the development of an accompanying critical discourse.
Abstract: Every dominant movement in art has depended upon the development of an accompanying critical discourse. Using the writings of design critics and design journalists, this paper suggests that there a...
TL;DR: In many ways, Western culture has come to be dominated by audiovisual rather than textual media and one of the most prolific producers of these images and sounds is the advertising industry as discussed by the authors.
Abstract: The world we inhabit is filled with visual images and manufactured sounds which are central to how we represent, make meaning and communicate. In many ways, Western culture has come to be dominated by audiovisual rather than textual media and one of the most prolific producers of these images and sounds is the advertising industry. Despite fluctuations in the economy, advertising still commands the services of perhaps the largest body of designers, artists and writers who, with their attendant managers and advisers, produce images and messages which permeate human consciousness throughout the whole of Western industrial society and beyond.While on the one hand these developments promote a fascination with the presentation of advertising, they also generate certain anxieties about its power and integrity. Its designers clearly have the capacity and the resources to make highly creative use of a variety of media, giving rise to credible cultural and stylistic trends. Yet as a medium, although widely appreci...
TL;DR: In this article, the role of prototypicality in the perception of design character and formulation of product preference was investigated and it was found that prototypical products are preferred over non-prototypical products.
Abstract: This paper describes the use of a quantitative experimental method for assessing perceptual responses to design. It investigates the role of prototypicality in the perception of design character and formulation of product preference. Evidence from a study involving kettles suggests consumers are capable of identifying varying degrees of prototypicality and that the perception of prototypicality is derived from both form and product features. Although no significant correlation between the keyword ‘preferred product’ and ‘prototypical’ is found there is some evidence to suggest that prototypical products are preferred over non-prototypical products. Significantly, presented findings suggest that prototypes are more than just mental pictures of category exemplars; they also carry semantic content which informs the perception of design character.
TL;DR: In this article, the authors explore ways of understanding and expressing the roots of creative design decisions, and argue that it is inappropriate and even impossible to analyse and explain the creative act.
Abstract: The creative expression of the designer is based on two main aspects. The principle focus of the designer's mind during a project (that which is being designed) is the most obvious and the most readily explained. However, there is another aspect that is generally not acknowledged. This is the source from which the designer designs, and this ‘tacit knowledge’ contributes to the particular creative expression of a specific designer (or artist, author or poet).This paper explores ways of understanding and expressing these roots of creative design decisions. It seems that it is inappropriate and even impossible to analyse and explain the creative act. However, it is still important to gain some appreciation of the bases and meanings of our design judgements and aesthetic preferences. Only by doing so can we hope to develop and evolve our ideas and understandings. Therefore, rather than attempting to employ analytical techniques or offer a rational explanation of this more hidden creative aspect, the argument ...