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Product Experience
Product Experience brings together research that investigates how people experience products: durable, non-durable, or virtual. In contrast to other books, the present book takes a very broad, possibly all-inclusive perspective, on how people experience products. It thereby bridges gaps between several areas within psychology (e.g. perception, cognition, emotion) and links these areas to more applied areas of science, such as product design, human-computer interaction and marketing. The field of product experience research will include some of the research from four areas: Arts, Ergonomics, Technology, and Marketing. Traditionally, each of these four fields seems to have a natural emphasis o...
VIP Vision in Design
The first book about how to formulate a vision for new and appropriate products.
Design and Emotion
There is considerable interest in and growing recognition of the emotional domain in product development. The relationship between the user and the product is paramount in industry, which has led to major research investments in this area. Traditional ergonomic approaches to design have concentrated on the user's physical and cognitive abil
Designing for Society
Our globalised world is encountering problems on an unprecedented scale. Many of the issues we face as societies extend beyond the borders of our nations. Phenomena such as terrorism, climate change, immigration, cybercrime and poverty can no longer be understood without considering the complex socio-technical systems that support our way of living. It is widely acknowledged that to contend with any of the pressing issues of our time, we have to substantially adapt our lifestyles. To adequately counteract the problems of our time, we need interventions that help us actually adopt the behaviours that lead us toward a more sustainable and ethically just future. In Designing for Society, Nynke Tromp and Paul Hekkert provide a hands-on tool for design professionals and students who wish to use design to counteract social issues. Viewing the artefact as a unique means of facilitating behavioural change to realise social impact, this book goes beyond the current trend of applying design thinking to enhancing public services, and beyond the idea of the designer as a facilitator of localised social change.
Materials Experience
If you aim to design a particular user experience, the material properties of the object may play a decisive role in being successful. Would the lightweight car door give you the proper impression of a luxury car? And does a perfectly polished doorknob feel natural? Maybe not. Materials can feel artificial, sound reliable, and (can make a product) look ‘cool’, they can be just pleasant to touch or look at, and cause us to experience disgust, admiration or surprise. In this chapter, we will look into these various ways in which materials can be experienced, ranging from the meanings we attribute to them, the aesthetic pleasure we obtain from perceiving them, and the emotions they may evoke in the context of a designed object. The goal of designing an intended (material) experience must be grounded in an understanding of the processes that underlie people’s material experiences more generally.
Design Research
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Materials Experience
There currently exists an abundance of materials selection advice for designers suited to solving technical product requirements. In contrast, a stark gap can be found in current literature that articulates the very real personal, social, cultural and economic connections between materials and the design of the material world. In Materials Experience: Fundamentals of Materials and Design, thirty-four of the leading academicians and experts, alongside 8 professional designers, have come together for the first time to offer their expertise and insights on a number of topics common to materials and product design. The result is a very readable and varied panorama on the world of materials and p...
The Culture of Craft
Dormer presents a series of lively, clearly argued discussions about the relevance of handicraft in a world whose aesthetics and design are largely determined by technology. The question of computer aided design in craft is also addressed.
Managing New Product Innovation
New product design and development is often the result of personal vision. Harnessing this often requires a special receptiveness and enthusiasm at all levels of an organization, which serves to unlock potential and can turn the entire organizational pyramid upside-down. It is particularly important to understand and develop those aspects of design which can be constructively employed by designers in a strategic alliance with management and research.; The papers in this volume result from the conference of the Design Society held at the University of Central England in September 1998. They show how design-led product development has worked in a range of industries, from engineering through to design and management consultancy.
The Aesthetics of Imagination in Design
A theoretically informed investigation that relates the philosophies of aesthetics and imagination to understanding design practice. In The Aesthetics of Imagination in Design, Mads Folkmann investigates design in both material and immaterial terms. Design objects, Folkmann argues, will always be dual phenomena—material and immaterial, sensual and conceptual, actual and possible. Drawing on formal theories of aesthetics and the phenomenology of imagination, he seeks to answer fundamental questions about what design is and how it works that are often ignored in academic research. Folkmann considers three conditions in design: the possible, the aesthetic, and the imagination. Imagination is ...
