The influence of design methodology on a designer's emotional parameters and on design results (original) (raw)

Investigating emotions in creative design

2010

Abstract A wealth of research has suggested that emotions play a significant role in the creative problem solving process, but less work has focused on investigating the role of emotions in the design process. This is surprising given that creative problem solving lies at the heart of the design processes. In an exploratory study we interviewed 9 expert designers about their emotions during the design process.

Do emotions matter in creative design?

2010

Abstract A wealth of research has suggested that emotions play a significant role in creative problem solving, but less work has focused on investigating their roles in design. This is surprising given that creative problem solving lies at the heart of the design process. In an exploratory study we interviewed 9 expert designers about their emotions during the design process. We identified several relevant emotions and extended Wallas model of creative problem solving with emotional components for each of its stages.

Designer’s Emotions in the Design Process

DRS2018: Catalyst, 2018

This is a position paper towards the establishment of a research network to address the impact of tacit experiential knowledge, emotion, and cultural perspective on a designer's decision-making during a design process. With this network, we are aiming to start a focused discussion across geographies and cultures regarding the role and impact of designers' emotions within their own design process. The function of this is to foreground the experiential and emotional domain of designers' practice and examine the role of tacit experiential knowledge in design decision-making. The paper sets up the basis and context of discussion, exploring the three key areas to be addressed by the network: designers' emotions as key drivers in decisionmaking; tacit experiential knowledge; and addressing emotion in culturally-situated design practice. This is followed by our proposed methodology and network objectives and expected impact and outcomes.

A Perspective to Understand Emotional Design - Extending of Design Methods with Inherent Knowledge

2019

Most products contain inherent images as well as intended images. While the influence of intended shapes on product evaluation has been well studied, the influence of inherent images remains unexplored. Thus, this study investigated the influence of inherent images on products. There were 20 subjects in two consecutive experimental sessions: 1) evaluation item screening, and 2) affective evaluation. In the first session, the subjects made decisions within the limited time in regards to their preference on the stimuli. In the second session, the subjects evaluated the stimuli with SAM (Self Assessment Manikin), which selected by their preference. SAM (Self Assessment Manikin) is an efficient measurement of emotional responses: valence, arousal, and dominance. In the study, car front images were used as stimuli on the similar disposition towards human face expression. Results showed that: 1) products contain inherent images that trigger affective differences; 2) arousal was the most a...

Mind The Perception And Emotional Response To Design

2019

Design involves constant decision-making. The decision process is influenced by sets of conditions or parameters; some controllable, such as the context, and some unpredictable and uncertain, such as stakeholders’ preference. Design decisions related to user’s perceptions and emotional response to sustainable features (daylight and green space) and aesthetic value (look and feel) are generally hard to evaluate and quantify. Typically, user response is solicited following construction, in post-occupancy evaluation studies. However, decisions with long-term impacts are often irreversible after implementation; therefore, decision-makers must seriously evaluate the design proposals(alternatives) before arriving at a decision. This paper presents an experiment conducted combining an immersive virtual environment and electroencephalogram (EEG) as a promising tool to evaluate design options during the early design stage of a project. More precisely, the objective is to (a) develop a datadr...

The Role of the Designer in the Affective Design Process: the Principle of Accordance

Affective Design is gaining much attention from academic research and companies. In this paper, a research framework for assessing Innovation through Affective Design is presented. Moreover, Affective Design is correlated to Participatory Design through some definitions. The importance of an Affective approach during the earliest phases of design process is motivated. This study introduces Affective Design as a powerful approach in order to manage interactive Virtual Prototyping (iVP) methodology. The paper deals with issues regarding the great variability that iVP offers: the questions raised find answer in the notion of Accordance, which is defined on the basis of Product Semantics. A tool to implement iVP methodology with this approach is here presented. Finally, the results of a pilot study, qualitatively tested to assess the tool usability, are described.

A Series of Recommendations for Industrial Design Conceptualizing Based on Emotional Design

Management and Industrial Engineering, 2018

Emotional design, since its birth in the 70s, has developed into becoming one of the main forces that drive design nowadays. The capability of understanding the user's feelings and emotions is considered to be a pivotal part of the design process. More than ever before, industrial designers need to consider the emotional side of consumers to create meaningful and successful products. The present study created a series of recommendations for Industrial Design Conceptualizing based on Emotional Design. These were developed through the analysis of several design emotion-based methodologies, conceptualization theories, and emotional design itself. The recommendations were developed to be applied in the conceptualization phase, for it is at this stage of the design process when the designer gives shape to the initial concept that will ultimately become a product. After its completion, to validate the recommendations, these were handed to a group of eight industrial design students who applied them on one of their academic projects. The results of their works were subjected to analysis to determine the impact on their projects. Students were also asked their opinion about emotional design and the recommendations they were given. Principal results evidence that only the 15% of the students knew about emotional design before being introduced by the present research. Five out of eight of the resulting projects managed to incorporate values and concepts related to emotional design. It reflects that the resulting ultimate products can be influenced by the capabilities of designers to use the recommendations. It could be concluded that the recommendations could be of great interest for industrial design to transmit emotions to products which could satisfy consumers emotional desires.

TEACHING CREATIVITY: SOME EXPERIENCES IN TEACHING EMOTIONAL DESIGN

This paper presents a set of experiences conducted in teaching Emotional Design, in which students were involved both in learning / applying theoretical aspects and in defining / evaluating procedural methods for stimulating creativity and finding new solutions. Our approach involves two parallel guidelines: the former consists of a set of individual and iterative design steps (being a re-design of the previous one) according to the newly obtained knowledge; the latter consists of a collective evaluation of the results, both as a validity check of the theoretical indications as well as a setup of common practices, considered fruitful by the entire group. The course has been organised in the following steps: a) choice of a specific design field and theme; b) analysis of present solutions; c) sketch of a new artefact proposed by each student; d) lessons on theoretical aspects in Emotional Design; e) improvement of the previous sketch after learning new contents; f) repetition of the steps d) and e) for further information presented throughout lessons; g) production of a collective scientific paper, discussing the content of the lessons and the validity of the method used to foster lateral thinking and creativity in designing artefacts. These experiences were conducted among graduate and undergraduate students of Design; a post-graduation course is described in details, including the disciplinary content of Emotional Design, the subdivision of the content, and the results, both from the point of view of the design results and of the selected good practices, according to the discussions.