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2019, Proceedings of the Design Society: International Conference on Engineering Design
Materials experience in design involves the meanings that materials convey to users through its expressive characteristics. Such meaning evoking patterns are influenced by parameters such as context, product (e.g.shape) and user. Consequently, there is a need to standardise experiential material characterisation and large-scale data collection, by means of a meaning-less or ‘neutral’ demonstrator to objectively compare materials.This paper explores the conception of this neutrality and proposes two opposing strategies: neutrality through complexity or through simplicity. In a pre-study with 20 designers, six associative pairs are selected as neutrality criteria, and shaped in 240 forms by 20 (non) designers in a main workshop. Following the simplicity strategy, these forms are averaged out in three steps by a team of five designers, based on a consensus on of delicate-rugged, aggressive-calm, futuristic-calm, masculine-feminine, traditional-modern, and toylike-professional, resultin...
Academia Press eBooks, 2022
It has become more and more important to consider the future material selections in product design. The material choices influence on the user perception and hedonic experience qualities, but they affect also product qualities such as recyclability and durability. Understanding the user experience with materials can help us to design for more sustainable transformations. In this paper, we address the topic of material experiences through user research. In our research, we focus on four characteristics in the material experience: arctic, classic, expensive and cheap, and present two user studies investigating the user experience with materials in products. The first study utilized the material probes method, and included a user test in which the participants could explore and feel different materials: glass, metal, leather, plastic, concrete, and wood. The second study consisted of individual interviews of eight (8) people. As salient findings, we report that wood, glass, and leather were perceived to represent classic and arctic, whereas plastic provoked negative reactions. With plastics, an interesting contradiction was found when people still often used plastic products to describe an expensive product category.
Design Issues, 2015
A decade ago, in 2003, Denis Doordan published an article titled "On Materials" in Design Issues. 1 His emphasis was on "how the material employed affects the form, function, and perception of the final design." Accordingly, he suggested a new framework to discuss materials based on the following three terms: fabrication, concerning the preparation of materials for initial use; application, dealing with transformation of materials into artifacts; and appreciation, dealing with the reception of materials by users. During the past decade, the third term appreciation has lured attention in the materials and design domain, which has adopted a broader sense that corresponds with the experiences we have with the materials embodied in the artifacts around us. It refers to the mix of sensory (or aesthetic) appreciations, meanings, feelings, and thoughts that we have toward-or that are triggered by-a material, at any certain time and place. In this essay, we elaborate on the notion of the appreciation of materials and its wider implications. Our starting point is a simple observation: In the material infrastructure of today's world, whether in products, buildings, or other creations, we see such variety of materials, driven largely by advances in technology. The layperson's knowledge of these materials, in the sense that they are recognizable and identifiable, is probably at an all-time low. 2 Similarly, new and emerging materials, along with the increasing demand to seriously adopt a discourse of sustainability, conspire to continually challenge the designer's competence in materials selection. The morphological character of materials-as expressive as they are functional and structural-leads to the proposition of new forms and an experimental approach toward design. 3 Materials are like words: The richer one's vocabulary (in materials), the larger is the number of design solutions that can be seen and expressed. 4 We argue that within the complexity inherent to materials and design-whether driven by technological or sustainability perspectives-users are the ones who determine the ultimate success (or not) of material choices. That is, success is a reflection of how people positively experience and react to the materials chosen by designers. A decade after "On Materials," this essay elaborates on the topic of materials experience. 5
Materials & Design, 2009
Materials get different meanings in various products. Several aspects can be effective in how meanings are attributed to materials. In this current study we focus on sensorial properties of materials (e.g. roughness, glossiness, transparency, etc.) and manufacturing processes (e.g. polishing, joining, molding, etc.) as effective aspects in meaning attribution. 25 participants were asked to select products expressing five given meanings in which materials predominantly play a role: aggressive, nostalgic, professional, sexy and toy-like. Then, they were asked to appraise materials of their products (1) verbally through interviews and (2) on paper through a list of sensorial properties and manufacturing processes presented by fivepoint scales. In total 125 products were collected and analyzed. The most effective properties in the overall evaluation were identified. Certain properties were found to be effective in attributing particular meanings to materials. For instance, while transparency and smoothness were very much used for conveying the meaning of sexy, hardness and dark colors were frequently used for expressing professionalism in materials.
METU JFA, 2010
Art & Perception, 2014
Can a preference for design objects also be achieved automatically? The aim of this study is to examine whether different levels of expertise in industrial design (laypeople versus design experts) can orient the preference towards different styles of design objects (classic chairs versus modern chairs), at both implicit and explicit levels. Implicit and explicit preferences are often mediated by assessor features. The Implicit Association Test (IAT) was used to measure the automaticity of the evaluation. The participants (44 laypeople and 40 experts) performed a categorization task with reference to pictures (five classic and five modern chairs) and words (five positive and five negative aesthetic words). Reaction times were registered. The explicit evaluation of the stimuli was assessed using a seven-point Likert scale referring to the adjectives beautiful, typical, familiar, understandable, complex and interesting in order to appraise overall preferences for both classic and moder...
Environment and Planning B: Planning and Design, 1993
Structural features of everyday objects of industrial design and expressive qualities possibly communicated by the same objects are investigated. The objective may be defined in terms of the following points: (1) communication between designers and users; (2) differences in appraisal between groups of experts and nonexperts; (3) systematic relationships between structural characteristics and expressive qualities of the objects considered. Three groups of subjects were interviewed: four designers responsible for the design of six objects, twenty advanced-level design students (experts), and twenty nonexpert students. All subjects had to fill in a questionnaire based on an open interview with the designers. The questionnaire was divided into two parts: structural characteristics and expressive characteristics. A multifactorial analysis and /-test were performed on the data. The results suggest that (1) communication between designers and users exists in a large number of item appraisals and is not the result of the ambiguity of the physical properties of the objects; (2) specific training in design has a direct influence upon object appraisal, indicating a certain differentiation between the groups of experts and nonexperts; (3) there are no systematic correlations between structural and expressive characteristics except in one very specific case: between the structural characteristic of shape and consistency of material, on the one hand, and the expressive qualities of dynamism, on the other.
Materials & Design, 2015
Designers increasingly have the opportunity to influence the development of materials as they emerge from the laboratory. In order for this to be successful, designers need to be able to communicate effectively with materials scientists so that materials can be developed with desired functionalities and properties. This paper reviews evidence in favour of using isomorphic sets of material stimuli as tools to bridge the disciplinary gap between designers and materials scientists. We show how these isomorphic sets and their accompanying experiments can be used to translate between the two communities, and to systematically explore the relationship between the technical attributes of materials and subjective experiences of their sound, taste and feel. This paper also explores the limitations of psychophysical approaches and other quantitative techniques for elucidating material experience, and suggests new possibilities for interdisciplinary collaborations that draw on ethnographic approaches.
Materials & Design
physical material representations are defined as crucial aspect of multimodal material characterization experiments. • The integration of extensive user aspects is needed to facilitate consumer segmentation within materials experience context. • A gap is defined in longitudinal studies to understand the temporality of materials experience.
The expressive-sensorial dimension of materials is becoming increasingly important in the context of both theoretical and practical design. This has necessitated a corresponding and growing engagement in the field of design education as well: the topic must be included in didactic programs, and tools expressly designed with the aim of transmitting to students an awareness of the management of this important and subjective design dimension. During the educational process the future designer must acquire the skills required to select materials suitable for specific applications, which also implies the awareness that materials have both a technical profile with objective properties and a sensorial profile with subjective characteristics. This article provides an overview of current and past theoretical research, undertaken by the Design Faculty at The Politecnico di Milano, which aims to consider the evaluation of the expressive-sensorial dimension of materials in design education. Following a contextualization of the topic, we will explain the expressive-sensorial atlas of materials: the initial tool which was used to investigate theoretical aspects of the theme in greater depth and which led to further reflections. Then, we will describe the chromatic atlas of materials, a tool designed to examine the relationship between colour, material and process and to underline the significance of this topic in design education. Finally, our most recent research in the ambit of the expressive-sensorial dimension of materials will be illustrated. The two most important studies focus on; firstly, the development of thematic atlases dedicated to specific classes of materials, beginning with textiles; and secondly, further investigation of the relationship between the sensorial and emotional qualities of materials and sustainability.
2006
This paper presents and discusses a method using a range of techniques for assessing sensorial perception of product design and interaction. Collectively denoted ‘Five Senses Testing’, the purpose of the method is to facilitate the assessment of sensory experience related to product design and product use. Furthermore, the outcomes of using the techniques inform product design development by connecting the sensory response to product features and characteristics. A range of explorative activities were undertaken to inform the development of the method and techniques used to elicit sensory feedback from product and use examination and assessment for design purposes. Through trials involving design students and design professionals, the method has been elaborated, tested and evaluated in focus group and industrial workshop sessions with a range of respondents to elicit individual sensory responses and experiences of products. Insights from method use with various products and use cont...
HAL (Le Centre pour la Communication Scientifique Directe), 2012
This article presents a kansei design methodology. It is placed at the very beginning of the design process and aims to influence the following steps in order to improve the user's understanding and experiencing of the designed product. The experimentation combines in a subtle way the design thinking approach of learning by doing and the kansei engineering quantitative approach. The research presented is based on the results of a previous study that defined the semantic and emotional scope of future hybrid cars for European using visual stimuli. Building on this scope this kansei design methodology creates and assesses multisensory atmospheres is order to provide tangible direction composed of vision, touch, hearing and smell stimuli. From the cognitive and affective responses of the 42 participants we were able to detail 3 directions for future cars interiors that aim to enrich the styling design briefs and to influence the design strategies such as the management of the different grades. The research presented here was supported by the Kansei Design department from Toyota Motor Europe (TME-KD). This collaboration also brought an industrial context to it.
HAL (Le Centre pour la Communication Scientifique Directe), 2015
Experience has become the new paradigm of product design. Designers seek to anticipate emotions or associations a user might have when in contact with their design. The factors that influence human product perception are diverse. We firstly show which product dimensions are currently investigated by design researchers. It becomes obvious that besides the usual suspects: form and colour, emotion and associations, there must be many others. We conducted a study to identify these and to estimate their pertinence in actual product conception. Word-based techniques like retrospective verbalization and mind mapping were employed. Semantic descriptors, analogies, and functionalities were highly represented. Sensations and emotions did only appear marginally among the abstract dimensions. The same low occurrence was seen for production procedures among the concrete dimensions. Other interesting dimensions found were interaction gestures, design motifs, and product components. An additional analysis of the participant mind maps on relations between the various dimensions showed many connections between e.g. material and texture or semantics and colour. Yet, these were rarely related to sensations and emotions. The insights widen the perspective on unexploited opportunities for design researchers to develop further conception strategies that allow the anticipation of user experience in product design.
International Journal of Industrial Ergonomics, 2000
This study investigated the di!erences in the product form perception of designers and users. The semantic di!erential (SD) method was employed to examine the relationship between the subjects' evaluation of telephone samples and form design elements. The authors used 14 image-word pairs for the evaluation of telephone design. The format for a measurement scale was constructed by a projection method in order to extract design attributes for an SD test. Twenty-four real telephone samples were presented to 40 subjects (20 designers and 20 users) for subjective evaluation. Multivariate analyses were performed to analyze the subject's perceptions and to build conceptual models for telephone design. The result revealed that many di!erences exist between designers' and users' perceptions of the same real objects and their interpretations of the same image-words. Users are not clear regarding the meaning of the image-words. Moreover, they are very concerned about whether a telephone looks new. Designers tend to value telephone samples with an elegant style while users prefer modern and sleek designs. The conceptual models of the two subject groups are made up of di!erent components. Creative, mature, delicate design images play a greater role in a!ecting the designers' preference while the users' preference is a!ected mainly by images of delicacy. The implications of di!erences in preference and the relationship between image-word and actual design elements for the two subject groups are discussed. Relevance to industry It is the users' needs and preferences, not those of the designers, that should be taken into consideration during the product design process. Due to the fact that many di!erences exist between designers and users, it is a challenge for designers to transfer the consumer's needs into technical and design speci"cations. Quantitative data on the relationship between design elements and user evaluations is useful to product designers and managers in formulating design strategies.
2009
In the early stage of product design, designers make fluid and extensive use of external representations to support their creative process. Sketching and modeling are used to quickly explore a product’s shape and configuration. Material aspects of a product are, in comparison, explored completely different, and are selected rather than created. Colors, textures and graphics, are selected by examples found in existing products, samples, or while browsing magazines or the web. We have developed a creative design technique in which we have designers do exactly the opposite. In a two-hour session designers “create” materials in a quick and playful way, while they "select" the spatial arrangement of the product out of a discrete set of shapes. We report of two workshops in industry where we applied this technique. In each workshop we used the materials designers already had, e.g. their moodboards, models, example products, and collections of visual materials. Based on the consi...
2014
The main purpose of this research consists in developing a pragmatic method, allowing the evaluation and selection of tactile macrotextures associated to subjective user interactions. So, this paper introduces an approach to formalize the relation between emotional values and textures, it is applied in the context of kitchen utensils. At this point we emphasize the importance of the identification and application of the subjective values during the product development by designers, guided by Kansei Engineering process [1]. Indeed, with the evolution of the global industrial sector, many alternatives of materials have been developed throughout decades. It is estimated that there are at least 160.000 different materials available in the world [2]. The development of such a variety has been led for the most diverse products, following the evolution of emerging consumer needs. At the strategic level of the production system, the research and industrial development stand out mainly in a ...
2019
This article presents a kansei design methodology. It is placed at the very beginning of the design process and aims to influence the following steps in order to improve the user’s understanding and experiencing of the designed product. The experimentation combines in a subtle way the design thinking approach of learning by doing and the kansei engineering quantitative approach. The research presented is based on the results of a previous study that defined the semantic and emotional scope of future hybrid cars for European using visual stimuli. Building on this scope this kansei design methodology creates and assesses multisensory atmospheres is order to provide tangible direction composed of vision, touch, hearing and smell stimuli. From the cognitive and affective responses of the 42 participants we were able to detail 3 directions for future cars interiors that aim to enrich the styling design briefs and to influence the design strategies such as the management of the different ...
The analysis of users' experience is indispensable in order to catch the subjectivity. For this reason the industrial designer needs to take into account these new qualitative properties, and translate them in a concrete way during the creative process. Firstly the sensory information acquired need to be coached by the material experience. The user is able to construct his relation with the product primarily interfacing himself with the skin of the object by touch and sight, and after that explore its functionality. The work aims to improve the development of emotional and feeling investigation by the use of an holistic approach that take into account all the product’s aspects. To realise this investigation has been chosen to apply the technique offered by Sensory Metrology discipline and two methods derived from the Classical Sensory Evaluation. In this paper the test experiences done in order to read users’ subjectivity have been described. The different proofs have been structured in three different moments. Results have shown the possibility to use the sensorial sphere as a constructive matter to achieve user’s affection to the products always from an holistic point of view.
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