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The core modes of perceptual product experience (PPE) with sensorial, cognitive, and affective experiences.
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This paper proposes a cohesive and comprehensive framework for perceptual product experience (PPE). The framework aims at bringing together the variety of perceptual experiences that we may have when encountering products and objects. Apart from the core sensorial, cognitive and affective modes, the framework takes into account that any experience...
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... modes of the perceptual experience The framework regards perceptual product experience as composed of three core modes; the sensorial, the cognitive, and the affective modes of experience (See Figure 1). The three core modalities recognise all possible types of perceptual experience; including (1) initial impression and recognition of product existence and specific perceptual characteristics, (2) making sense of the product, its manifestation, structure, use, origin and purpose, and (3) the affective response, attribution of value to, and judgement of the product. ...
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... In order to allow us getting strong conclusions about cause and effect by directly control the independent variable in a natural situation, Perceptual Product Experience (PPE) framework used as a guide to understand, map, organize and analyze possible user experiences, by means of the sensory, cognitive and affective mode of user-product interactions. The PPE framework ( Figure 3) focuses on how we experience products with all senses, how we process and categorise stimuli and make sense of things; and how we feel and think of things when we experience products (Warell, 2008). For the research explorations, it begins with identifying the problem through observation; collecting the data through ergonomic practices while performing the principle activity required (experimental design as an approach to investigate the ergonomics level achieved by a human through performing wudhu'); evaluating and synthesizing the data through artifact analysis and finally provide results that are reliable and valid through user perceptual. ...
This paper was initiated based on the conceptual framework of Ablution Function Mean Analysis relating to a phenomenon that impacts designer perception in developing new product development for religious-based design. Empirical observation of user-designer exploring the convergent process of ablution design development was set up. The ablution performed, the perceptions verbalized, and the different design principles targeted were analyzed from a qualitative and a quantitative point of view. This study's data were first measured to obtain an appreciation of Muslims performing ablution behaviour. The study focused on the product gestalt, recognising the design act of divergent and convergent transpires in a real context, and identifying the spontaneous control reflection that influences the resulting product perception. Keywords: Design gestalt; ablution; design thinking. eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3783
... Meanwhile, in design science perspective, the activity is defined as the creation and implementation of concepts with requirements leading to the design of the physical form of the product in order to better meet the needs of the customer (Ulrich, 2003). Globally, design plays a crucial role in providing a solution to a specific problem, with a collection of specifications for certain purposes and under certain constraints (Warell, 2008). As the need for products is old as humanity, product design discipline however is a relativity new field of knowledge. ...
... Figure 1 shows an example of product design. Holm, 2006) According to Warell (2008), no distinction can be made between the principle of designing and making the products. Traditional craft-based societies did not familiarise themselves with the drawing or modelling practice before the activity of making the products. ...
... The procedure of making something can only be executed after the process of designing is completed. In this case, the activity of sketch or draw the sword will be first completed before the activity of forging the sword can start (Warell, 2008). Based on this example, the process of making products can only be executed at least after what the process of design has to achieve. ...
Due to the COVID-19 pandemic, most of the schools and universities around the globe, including Malaysia, were compelled to cease their operations and migrate to online teaching and learning environment. Along with this 'forced approach' to learning, the educators were faced with several barriers and challenges that need to be addressed. This paper intends to determine the challenges of teaching and learning Product Design courses in Malaysian universities using the online environment during the COVID-19 pandemic. It also highlights some of the strategies and initiatives adopted and adapted by the lecturers of this course in surmounting those challenges. Using a real-time video interview, data were collected from ten respondents from various faculties of Malaysian higher education institutions offering product design courses. The findings of the study point to a range of difficulties in teaching Product Design courses online, including the need for more delicate interactions to ensure efficiencies in teaching and learning design courses, as well as the evaluation methods to achieve design learning and design outcomes
... For example, a Lamborghini is a car, but it does not look or behave like a Volvo XC90, which is recognised as an SUV, not a sports car. This approach is closely aligned with concepts of iconicity through the use of iconic signs in the PPE model (Warell, 2008) and 'current product sign' (Monö, 1997, pp. 66-72). ...
... The conducted literature reviews conclude that industrial designers need to create a consistent visual recognition of a brand so potential customers can rapidly identify the brand (Loewy, 1951(Loewy, , 2002Monö, 1997, pp. 66-72;Warell, 2008;Karjalainen & Snelders, 2010;Keller et al., 2012, pp. 112-127;Kapferer, 2014). ...
... 112-127;Kapferer, 2014). Simultaneously, industrial designers need to create new designs that are distinct from both competitors' products and existing products in the company's portfolio so customers will view the company's products as new, relevant, and desirable (Hestad, 2013Warell, 2008Karjalainen & Snelders, 2010;Keller et al., 2012, pp.112-127;Kapferer, 2014). ...
... We pushed young designers to explore surfaces (touching, observing, feeling), and let them express referring to their own experiences (Schon, 1984) to allow their design thinking thriving off surface affordances. We have focus the attention on the experience as a result of a multisensorial/cognitive/affective process and its dual nature as a pleasurable as well as a meaningful dimension (Warell, 2008). ...
http://ojs.francoangeli.it/_omp/index.php/oa/catalog/book/641
This present book covers a series of outstanding reputation researchers’ contributions on the topic of ICS Materials: a new class of emerging materials with properties and qualities concerning interactivity, connectivity and intelligence. In the general framework of ICS Materials’ domain, each chapter deals with a specific aspect following the characteristic perspective of each researcher. As result, methods, tools, guidelines emerged that are relevant and applicable to several contexts such as product, interaction design, materials science and many more.
... We pushed young designers to explore surfaces (touching, observing, feeling), and let them express referring to their own experiences (Schon, 1984) to allow their design thinking thriving off surface affordances. We have focus the attention on the experience as a result of a multisensorial/cognitive/affective process and its dual nature as a pleasurable as well as a meaningful dimension (Warell, 2008). ...
The chapter presents the Ultra Surface design vision as the result of design-led research on the new category of Connected, Interactive Smart Materials. The chapter presents the new opportunities of designing surfaces with special power to integrate into products or interior spaces reshaping the intelligence of environments and the smart aesthetic experience of users. Experiencing Ultra Surfaces arouses a variety of emotions as a consequence of a process that involves body and mind in the frame of a specific socio-cultural context. Given a specific context and a beholder, the sensory interaction with the surface actives an intimate touch and an interpretation process that generates the meaning of the space or a product. The chapter presents the Vision and an extensive activity of research through didactic with a new applied method. The scenarios of the envisioned Ultra Surfaces exploit at the maximum the two parallel channels of the interaction, the physical and the digital one.
... We pushed young designers to explore surfaces (touching, observing, feeling), and let them express referring to their own experiences (Schon, 1984) to allow their design thinking thriving off surface affordances. We have focus the attention on the experience as a result of a multisensorial/cognitive/affective process and its dual nature as a pleasurable as well as a meaningful dimension (Warell, 2008). ...
This chapter refers to MaDe (Material Designers), a project co-funded by the Creative Europe Programme of the European Union, which aims at boosting talents towards circular economies across Europe.
The chapter addresses urgent and relevant issues about the current transition toward the Circular Economy. In the first part, after framing the material issues to reduce environmental footprint and the role of design in the manufacturing enterprises, the author addresses the impact of the work of Material Designers across in consolidating manufacturing industry and on the generation of an alternative Creative Industry aiming at circular economies. The following part is dedicated to presenting the new different bioplastics (2nd part section no. 3), including those coming from design research. The last section presents in detail two case studies of Creative Industries based on circular material design. These are Mogu and Sulapac.
... It does not, however, look or drive anything like a Sports Utility Vehicle (SUV), such as a Volvo XC90. This is closely aligned with concepts of iconicity through the use of iconic signs in the comprehension mode of the PPE model (Warell, 2008), and 'current product sign' (Monö, 1997, pp.66-72). ...
... At the same time, the new product [A] needs to have a kinship with the company's existing products [P 1-4 ]. This is accomplished by creating recognition (Warell, 2008) through reusing Point of Difference (POD) design features from products [P 1-4 ] in the current portfolio and merging them into the new product category [A]. An example of the category extension strategy is found in the product portfolio of power tool producer Makita (see Figure 5). ...
... It does not, however, look or drive anything like a Sports Utility Vehicle (SUV), such as a Volvo XC90. This is closely aligned with concepts of iconicity through the use of iconic signs in the comprehension mode of the PPE model (Warell, 2008), and 'current product sign' (Monö, 1997, pp.66-72). ...
... At the same time, the new product [A] needs to have a kinship with the company's existing products [P 1-4 ]. This is accomplished by creating recognition (Warell, 2008) through reusing Point of Difference (POD) design features from products [P 1-4 ] in the current portfolio and merging them into the new product category [A]. An example of the category extension strategy is found in the product portfolio of power tool producer Makita (see Figure 5). ...
... The framework of perceptual product experience (PPE framework) [9,16] considers perceptual product experience as composed of three core modes: the sensorial mode including perceptions of stimuli experienced with any of the receiver senses; the cognitive mode, where we understand, organize, and interpret and make sense of what we perceive; and finally the affective mode concerns itself with experiences that are affective: feelings, emotions and mood states, as a result of product perceptions. ...
The aesthetic and pleasing properties of a product are important and add significantly to the meaning and relevance of a product. Customer sensation and perception are largely about psychological factors. There has been a strong industrial and academic need and interest for methods and tools to quantify and link product properties to the human response but a lack of studies of the impact of surfaces. In this study, affective surface engineering is used to illustrate and model the link between customer expectations and perception to controllable product surface properties. The results highlight the use of the soft metrology concept for linking physical and human factors contributing to the perception of products. Examples of surface applications of the Kansei methodology are presented from sauna bath, health care, architectural and hygiene tissue application areas to illustrate, discuss and confirm the strength of the methodology. In the conclusions of the study, future research in soft metrology is proposed to allow understanding and modelling of product perception and sensations in combination with a development of the Kansei surface engineering methodology and software tools.
... Semiotically, indexical and symbolical signs create references for product comprehension. Fig. 3. Framework of perceptual product experience (PPE), with core modes (centre) and the two dimensions of presentation (left) and representation (right) with sub modes (Warell, 2008). ...
Over the years, the empirical design research methodology has continuously changed and structured. It’s become more popular in investigating a typical design cognitive among industrial design researchers. Whereas, verbal protocol analysis (VPA) with artificial settings and think-aloud instruction was used as design cognition methodology. In principle, the method adapted is a type of qualitative data where the challenge with this VPA is about the standard of recording verbalizations strategy. In which, there is no special instruction to test hypotheses about product design cognition in the real world. To deal with these problems, it is recommended to develop a research guideline on the observation set up procedure. These promises to improve the ecological validity over the empirical design research methodology include with the possible sampling required. The main goal of the analyses is to formulate a methodology of analyzing qualitative data in an objective way.
