WHAT USER PRODUCT EXPERIENCES IS IT CURRENTLY POSSIBLE TO INTEGRATE INTO THE DESIGN PROCESS- ICED 2007 (original) (raw)
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What User Product Experiences is It Currently Possible to Integrate Into the Design Process
2007
Nowadays much of the discussion about innovation in products is related to the user's affectivity. Emotions, affection, pleasure, kansei, the senses, etc. generated by the product, are frequently the salient arguments (benefits) of products. There are appropriate theories and methods in existence today for finding these arguments. Nevertheless, within all these theoretical developments, there is no unifying concept existing that allows one to compare concepts and the purpose of the methods. The bibliography of these theories and methods is vast and diverse since they are different phenomena, which are conceptualized and investigated in different ways and which, additionally, sometimes interact. The purpose of this paper is to recognize what types of user product experiences can currently be integrated into the design process. On the one hand, the methods used to integrate user product experiences in 38 projects of innovative design were researched. On the other hand, more than 100 articles on these methods of integration of the user product experiences were reviewed. In both cases content analyses were made to find out which product experiences it is currently possible to integrate into the design processes. In order to implement the contents analysis it was necessary to solve a problem: How to determine what is the product experience faced by the method? Two lists of terms that represent diverse user product experiences integrated in industrial projects, as by the literature methods, were obtained. These lists constitute a summary with which it is possible to know exactly what are the possibilities for integrating different product experiences within the design process. Integrating user product experiences into the design process is important because it has three beneficial impacts: first, it allows one to identify benefits for the user generated by the product; second, it guarantees that the designers arrive at their objectives of design; and third, the designers can seek to deliberately influence the experiential impact of new designs [1].
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.
J. of Design Research, 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.
Lecture Notes in Computer Science, 2013
The literature discusses about the coproduction of value, emphasizing the involvement of consumers in Product Development Processes (PDP). This concept is associated with the interaction of consumers in creating value for the PDP. Thus, this paper discusses the measurement of user experience as an important factor for the coproduction of value through mechanisms that measure the usability of products. Thus, the User Experience can be treated as a core competency in design management within organizations. This study was conducted through literature review of the principles of Design and Management, User Centered Design, User Experience and about the function of the design department market research through mechanisms of consumer involvement. Shows the correlation of these approaches and issues for further research aimed at Measuring the User Experience with results that can enable feedback into the process of developing new products or incremental and radical innovation.
EXPERIENCE PRODUCTS: PRODUCT PROPERTIES THAT ENABLE USER EXPERIENCE
In the Experience Economy, Pine II and Gilmore (1999) advocate that enjoyable experience has been a new motivation of consumption in both production and service industries. This research presumes that products with tangible and intangible properties can also enable users to experience. User experience is beyond pleasures caused by styling, usability and/or functionality. It consists of an individual who participates in a well-staged thematic user-product interaction. This paper demonstrates how 16 " experience products " that possess particular properties enable this kind of user experience. An adapted case study protocol was applied to collect product samples, identify the product properties that enable user experience, and classify the resulting types of user experience. Thus, we regard the relationships between the product properties and the modal experience as causal 1 relationships with effects of design intentions. This is a fundamental design research for developing more rigorous approaches for enabling user experience in product design.
Experiences and Senses an Experimental Based Methodology for the Design Optimization
The proposed methodology adopts a conception of experience design from a user-centered perspective . According to this view, users perceive products according to two main dimensions: pragmatic and hedonic. Pragmatic qualities of a product refer to its ability in accomplishing 'do-goals', which are the purposes for which the object has been created for (for example, a do-goal for a pen is 'write'). Hedonic qualities refer instead to the product's per-
Experience-Based Design: Some Concepts and Issues
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Recently, marketing scholars have emphasized the importance of orchestrating memorable consumer experiences. Product design is a central element of engineering compelling consumer experience. This has resulted in the emergence of experience design as a theoretically significant area of study in disciplines such as design theory. Within marketing there is inadequate research on building theoretical frameworks that explicitly focus on integrating experience design into product development. To address this gap, this paper proposes a conceptual model of new product development that is embedded in an experience-based design approach. The paper contributes by extending current understanding and highlighting future research directions in the domain of new product development.
Understanding and designing pleasant experiences with products
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This thesis reports an investigation to develop new understanding of pleasant experiences resulting from human-product interaction, which is then used to inform the development of a process and tools to support designers. The key argument of this research is that pleasant experiences can be designed. The thesis starts by providing a foundation of user experience. A new framework of user experience is proposed based on the analysis and synthesis of previous literature (Chapter 1). The interest then shifts from user experience to characterising pleasant experi- ences. Four empirical studies are presented focusing on aspects such as experiences with great products and the role of positive emotions in those experiences. The first study, investigating how users experience great products, identifies and characterises pragmatic and significant experiences (Chapter 2). Great products were studied as people understood and experienced them. In the second study, a set of twenty-five positive emotions are ranked by users and designers to understand what emotions they prefer to experience and elicit through their designs (Chapter 3). Highly-pre- ferred emotions by users were: satisfaction, inspiration, confidence, joy, amusement and relaxed. Highly-preferred emotions by designers were: curiosity, joy, surprise, confidence, inspiration, fascination, satisfaction, and pride. In the third study, the twenty-five positive emotions are researched to understand their differences in pleasantness and arousal (Chapter 4). Three levels of arousal and pleasantness of emotions were identified and these are: exciting, neutral and calm emotions, and pleasant, quite pleasant, and very pleasant emotions. In the fourth study, anticipa- tion, confidence, inspiration, and sympathy are investigated in depth to create rich profiles of the emotions (Chapter 5). The profiles focus on the triggers, appraisal structures, thought-action tendencies, and thematic appraisals of the emotions. Building on the understanding of pleasant experiences emerged from the re- search above, the thesis then presents evaluative research. In the fifth study, a design process and tools to support designers in the elicitation of pleasant experiences are proposed and tested. The process shows how emotional profiles can be used by designers as a means to create pleasant experiences through emotions (Chapter 6).