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Emotionally durable design: Objects, experiences and empathy
Abstract
In today's unsustainable world of goods, where products are desired, purchased, briefly used and then promptly landfilled to make way for more, consumption and waste are rapidly spiralling out of control with truly devastating ecological consequences. Why do we, as a consumer society, have such short-lived and under-stimulating relationships with the objects that we invest such time, thought and money in acquiring, but that will soon be thoughtlessly discarded? Emotionally Durable Design is a call to arms for professionals, students and academic creatives; proposing the emergence of a new genre of sustainable design that reduces consumption and waste by increasing the durability of relationships established between users and products. In this provocative text, Jonathan Chapman pioneers a radical design about-face to reduce the impact of modern consumption without compromising commercial viability or creative edge. The author explores the essential question, why do users discard products that still work? It transports the reader beyond symptom-focused approaches to sustainable design such as design for recycling, biodegradeability and disassembly, to address the actual causes that underpin the environmental crisis we face. The result is a revealing exploration of consumer psychology and the deep motivations that fuel the human condition, and a rich resource of creative strategies and practical tools that will enable designers from a range of disciplines to explore new ways of thinking and of designing objects capable of supporting deeper and more meaningful relationships with their users. This is fresh thinking for a brave new world of creative, durable and sustainable products, buildings, spaces and designed experiences.
... Currently, some products are designed to be more durable than required for their actual life. In the throwaway society, products are discarded before the product's physical material durability aspect (Chapman, 2005). The products that have reached the end of use by one user could be passed on to another user, who can reuse the object. ...
... The psycho-social natures of user behaviour and consumption patterns are changed with the product's materials, design, and construction (Fletcher, 2012). Elongating the product use life through product material durability has been proven inefficient due to not considering the physical and emotional durability (Chapman, 2005). The value of the product for the user is a combination of emotional (desire, love, and attachment) and physical (materials) durability (Chapman, 2005). ...
... Elongating the product use life through product material durability has been proven inefficient due to not considering the physical and emotional durability (Chapman, 2005). The value of the product for the user is a combination of emotional (desire, love, and attachment) and physical (materials) durability (Chapman, 2005). Therefore, both technical and psychological solutions should be considered by elongating the product use time. ...
The current discussion around sustainability concentrates on concepts of circularity and sustainability from operations, energy, garment-textile choices and innovations, manufacturing processes, and business models. However, the lack of focus in the discourse on garment usability properties, such as fit and suitability for reuse, leaves unexplored aspects of sustainability with substantial potential impact on garment disposal, i.e., reasons why consumers discard garments. In addition, garment technology research on aspects of garment fit (how an item of clothing fits the body of a given consumer) as a sustainability strategy remains insufficiently researched in fashion sustainability studies. This study combines systems thinking with garment technology to view the physical garment route in the fashion system. The thesis uses qualitative research methods such as interviews with different stakeholders involved in various stages of the garment lifecycle. This is reinforced by a review of the literature on sustainable fashion, reasons for clothing disposal, and different sustainable strategies for improving and elongating a garment's lifespan. The thesis makes a case for the importance of the system need to include the concept of garment fit in discussions around sustainability. It considers various factors driving garment disposal to improve the odds of garment longevity through recirculation and reuse. What follows offers a solution for elongating garment lifespan for single and multiuser through analysing leverage points in the fashion ecosystem to identify potential improvements in concern with garment development. This study thus aims to offer a holistic approach and adaptive models for new approaches to sustainability for the fashion industry.
... concepts narrowing, slowing, and closing not solely as material technical principles, but simultaneously as spatial gestures. In this matter, a re-reading of the call for circular transition reveals that a synergetic understanding of the relationship between our individual subjective experience of an object and the physical construct of the object itself is central also from a circular economic point of view (Chapman 2015pp. 21-22, Webster 2017. ...
... It is our idea, that the same quest for a synergetic conception of subject and object is reflected in the task of the Greek tekton in the juxtaposing the disciplines of architecture and engineering as implied in tectonic theory (Semper 1989, Sekler 1965, Frampton 2001. As stated by Designer Jonathan Chapman and Economist Ken Webster, the correspondence between the two is decisive towards managing resources by extending the lifetime of an object, slowing the frequency of recycling already expended resources, and postponing the energy required to do so (Chapman 2015pp. 21-22, Webster 2017. ...
... If summarizing towards a comparative discussion, it appears that whereas picked out as complementary cases, one built on durable specific gestures addressed at individuals, the other on radically flexible gestures addressing a shared collective, the analysis indicates that these seemingly opposing strategies can be combined. Hence, from the cases, it appears that the emotional durability needed for an object to sustain itself over time as called for by (Chapman 2015) and as conceptualized in interior studies as a correspondence between building and life (Postglione & Lupo 2007) can coexist within the flexibility needed in structure from a circular point of view. In this matter, the two cases exemplify two different kinds of nearness of construction each in their way gesturing care, repair, and sharing of architectural space. ...
... When designing sustainable products, all the factors that could possibly have an impact on the environment-such as resource use, end of life impact -and society -such as usability, responsible use -throughout their life-span should be considered (Bhamra & Lofthouse, 2007). In this regard, one way to create sustainable products could be extending their lifetime (Chapman, 2005). ...
... As Walker (2010) suggests, "designing products to last fails to acknowledge the relatively rapid changes that occur in aesthetics and taste" (Walker, 2010, p.815). Chapman (2005) states that desires and tastes of consumers evolve constantly in the developing world. Nevertheless, products cannot keep up with their users in terms of change. ...
... The reason for establishing this 'empathy' between the user and the product is that objects serve more than just their physical functions. They act as signifiers of status, and also provide users means of engagement with the world both rationally and emotionally (Chapman, 2005). Chapman further explains this engagement; "Everyday objects that engage the senses in this way should not be taken for granted; their characteristics are not simply utilitarian or aesthetic. ...
In the age of globalized industrial production, traditional crafts have the potential to
contribute to sustainable development through offering local approaches with potential
social, environmental, and economic benefits. Nevertheless, all over the world, crafts
are in decline due to reasons mainly led by industrialization. This study explores
the existing traditional crafts at the site of the Ankara Castle, as one of the few craft
production areas in Ankara, in relation to sustainability considerations, with an
emphasis on localization and personalization. It then incorporates this knowledge into
the development of design directions for the empowerment of both craft skills and
craftspeople. In this sense, the research comprises a number of phases. Firstly, via
an in-depth literature review, the existing approaches in relation to empowering craft
skills and knowledge through design are assessed and categorized. Secondly, in order
to gain a holistic understanding of the conditions in the context of the study site,
current craft skills and knowledge are examined through field research including
semi-structured interviews and field observations by the use of video and audio
recordings. Lastly, the findings and insights from the field research contribute to the development of design directions for integrating local skills and knowledge into the
design processes in an attempt to empower crafts for sustainability.
... Emotionally, it is necessary to develop products that follow users' changing emotional/ cultural needs, such as desire for social status emulation, new tends and style. This field is identified as emotionally durable design and design for product attachment (Chapman, 2005;Mugge et al., 2005). Some of the most common strategies is develop products enable personalization (Mugge et al., 2005), to design products that "age with dignity" (Van Hinte, 1997) and allow "users to capture their memoires" (Chapman, 2005). ...
... This field is identified as emotionally durable design and design for product attachment (Chapman, 2005;Mugge et al., 2005). Some of the most common strategies is develop products enable personalization (Mugge et al., 2005), to design products that "age with dignity" (Van Hinte, 1997) and allow "users to capture their memoires" (Chapman, 2005). ...
... This diagram is presented as an instrument to assist design students to cultivate the "eye" and the tools to observe contexts and identify possible involved stakeholders, finding great design opportunities, where there is a full engagement with local productions, and with local communities as a plus into finding solutions where there is a full win of the 3Ps. In the other hand, if product design development is the challenge, it is also important to propose the best ways possible for saving resources, and for generating solutions that are durable either by generating emotional attachments, or by letting them adapt to users' cultural and physical needs throughout time (Chapman, 2005;Mugge et al., 2005;Manzini & Vezzoli, 2008). ...
Design for Sustainability has been a persistent subject on bachelor Design Degrees curricula for the last decades. However, most of the outcome on students’ projects has been more focused on the use of recycled materials than with systemic sustainable solutions, that would generate a higher impact on the reduction of waste production and into the change into more responsible consumer habits.The actual emergency of a change in scenario in production and consumption habits, leads to the need of a refreshment in the subject of Design for Sustainability concepts and strategies, into schematic proposals as educational tools for next generation designers. Being so, this paper aims to answer the following question: How to synthetize conceptually operational design strategies, as learning tools for bachelor degree design students? To answer this question, a literature review centred on Design for Sustainability, Product Life Cycle Design, Product Service System and User-centred Design was carried out. The collected data was systematized into Design for Sustainability Innovation approaches: i) product design and ii) systemic design. The results led to a graphic systematization of design methodological steps and subsequent design questions that invite students into a reflection on the practitioner's proposals and their wider consequences into a near Future.
... design [4,26,29,30,45,50,[52][53][54][55][56][57][58], brand marketing design [59][60][61], consumer experience centred design [46,[62][63][64][65], costume design [66][67][68], etc. It was commonly found that when people assign specific values to products for emotional reasons, they would use these products more carefully because they expect to keep these products for a longer period. ...
... Past research found that this emotional connection between consumers and products can be achieved through a sustainable design approach called the "emotionally durable design". It means products are designed to increase the durability of the relationships between consumers and products, to extend the life cycle of products, and further reduce the consumption and waste of natural resources [29,30,45,52]. In the research and practices of emotionally durable design, most scholars and designers focused on the product design itself, such as the product's material, shape, and user experience. ...
... [14][15]. Furthermore, Chapman [29,30], Burcikova [67], Van Krieken et al. [52], Haug [26], Schifferstein et al. [4], Richins [53], Kleine et al. [54], Mugge et al. [28], Agost et al. [70], Csikszentmihalyi et al. [50], Wu et al. [71], BERG et al. [72], Huang et al. [73], Seva [74], and other scholars also proposed design strategies that can guide designers to apply the concept of emotional durability in product design and clothing design practices. In fact, consumers would judge some unique features of a product, such as physical durability, spiritual attributes, and symbolism, by its appearance. ...
Lately, most studies on sustainable design from the perspective of emotional durability focus on product design, particularly on exploring how do product functions direct consumers’ emotional changes after the product is used, but overlook the significant impact of consumers’ visual impression of the product on their judgment. Therefore, this paper aims at finding out how to maintain the emotionally durable connection between consumers and products with the help of visual communication design so as to provide guidance for prolonging the service life of products and reducing the waste and consumption of resources. Based on literature reviews on sustainable design, visual communication design, and emotionally durable design, this paper firstly adopted the case study method to analyze more than 85 high-quality design practice cases and put forward preliminary design strategies. The behavior research method was then applied to analyze the consumer behavior involved in the preliminary design strategies, and those design strategies were upgraded according to the analysis results. Based on the above analysis and research work, this paper proposed six design strategies to improve the emotional durability of visual communication design, namely, Enjoyment, Functionality, Narrativity, Symbolism, Interaction, and Innovation. In the area of sustainability, the design strategies proposed in this paper provide a new design mode for emotionally durable visual communication design and make products to be more acceptable to consumers and long-term holding. Emotionally durable visual communication design can influence consumers’ aesthetics and lead consumers’ behavior toward more sustainable use of products.
... People are attracted to products that evoke pleasant emotions, whereas they will push away from products harmful to their wellbeing (Desmet 2002). The importance of the role of emotion in design increased from the late 20 th century (Chapman 2015). ...
... Users accumulate emotional histories with products from the moment of purchase (Chapman 2015). Even in the process of decision making for product selection, the role of emotional aspects of products is significant (Sepahpour 2015). ...
To enhance emotional experiences of everyday objects, this study investigated how perceived product performance influences creating emotions. Fifteen pairs of participants were asked to share their experiences of everyday objects while they were looking at a list of products and personalities and attributing those personalities to products. Analysing the data from these co-discovery sessions showed that perceived poor performance of products causes negative emotions while satisfactory performance can lead to both positive and negative emotions. In creating both positive and negative emotions, functional aspects were more influential than symbolic and aesthetic ones. Results of this study can help designers to get a better understanding of interaction between people and products in order to design products which evoke positive emotions.KeywordsEveryday objectsProduct aspectsDesign and emotionPerceived performance
... between consumers and products (Claxton and Kent, 2020). Emotionally durable fashion originates from a business environment in which products connect consumers and manufacturers and provide conversation pieces that facilitate the ease of upgrades, services, and repairs (Chapman, 2005). Consumers are attached to physical objects through complex interactions between cultural norms, personal preferences, and behaviors (Connor-Crabb et al., 2016). ...
... Digital tools can be used to find new behaviors in existing materials by modifying their structures, and a new understanding based on this can expand the possibilities provided to designers. By extensively using 3D design software, designers can design complex woven clothing, even if they have little understanding of weaving or weaving software (Chapman, 2005). Sustainable fashion technology is related to creative pattern cutting, which can reduce environmental impact. ...
This study aimed to determine a sustainable design practice approach that can satisfy customer emotions and personal tastes, which designers need in the early stages of the SFD process, and improve environmental performance. The research was conducted through a case study and interviews. For case studies, the specific design methods of fashion brands, which have been ranked sustainable over the last 3 years in the world’s top fashion magazines favored by the public, were researched. The results of the case studies were used to draw questions for the in-depth interviews. The results are as follows: first, the design approaches of SFBs were categorized into “eco-friendly materials,” “functional durability design,” “reuse and remanufacturing,” “emotional durability design,” and sustainable fashion technology. Each type’s specific design approach methods were organized into a checklist for the practice of SFD and then reflected in the interview questions. From the results of the interviews, it was noted that the sustainable design approaches perceived by Korean designers were “eco-friendly materials,” “reuse and remanufacturing,” and “functional durability design.” Moreover, it was mentioned that specific methods of emotional durability design and sustainable fashion technology need to be acquired. By applying the checklist to the interviewees, interview participants could conveniently and quickly recognize how to apply sustainable design through the inventory. This study is significant because it presents a checklist, an efficient tool for sustainable design approaches, and a sustainable design practice method that can satisfy customer emotions and personal tastes and improve environmental performance.
... Traditionally casted in wooden formworks leading to rigid and robust geometrical shapes, alternative manufacturing techniques began using flexible formworks that produce softer volumes and more delicate finishes, as seen below ( Figure 2) [25]. The introduction of 3D printing or CNC-milled moulds using fluid-dynamics algorithms, are pushing the limits even further [26], [27] (Figure 3). The need for formwork has been eliminated, all while optimising the production process, reducing waste, and increasing the precision of complex artifacts in which material is strategically placed when structural support is required [26]. ...
... The introduction of 3D printing or CNC-milled moulds using fluid-dynamics algorithms, are pushing the limits even further [26], [27] (Figure 3). The need for formwork has been eliminated, all while optimising the production process, reducing waste, and increasing the precision of complex artifacts in which material is strategically placed when structural support is required [26]. ...
... According to the designer Jonathan Chapman, in 2005, he mentioned that consumption is natural, it is not only a lifestyle, but it is part of our life. It is a response of society to the productive, capitalist, and differentiating process of evolution of social groups that want to achieve an ideal (Chapman, 2005). ...
... Human motivations are related to the constant dissatisfaction of consumers, that is, a constant feeling of lack. Aspirations are materialized with the search for and consumption of material goods (Chapman, 2005). ...
In contemporary society, Social Design practices are crucial for the operability of aggregative solutions. Developing efficient and effective solutions that meet and enhance social needs and responsibilities, combining a greater number of values shared by different sets of individuals. In this way, the creative community must reflect on the behavioral patterns and the way to create and manage solutions able to perspective the agglutination of contexts, for this, different methods and options may be considered in the search for knowledge of experiences and ways of acting, according to social and cultural trends.This article aims to understand how the creation process influences and interconnects individual and collective thinking, in which the context of individuality and diversity is present in the analysis of the problem and, consequently, should be present in the elaboration of the design solution directed to social groups, sometimes also multicultural.These groups of people connected by a common interest, according to Godin (2013), can be considered tribes. Aware or not, the individual is part of many tribes. Tribes without unitary leader identification but create value and effects in society and in the market. In the past, one of the main factors influencing the constitution of tribes was geography. However, the globalization process has expanded and accelerated the number of tribes, which can have relevant power, but often an ephemeral character. Given the constant adaptation of ways of being, thinking, and feeling, the thought process must integrate and identify behavioral and relational models. In this sense, the development and experimentation of design must be associated with an awareness of culture and group unification. The analysis process from individual to collective must develop an exploration and critical evaluation in the face of the groups and multiculturalism. This fact encourages the applicability of Social Design, in order to guide reflection and the development of solutions framed in the multigroup problem.Creating products and services with a cultural link and with symbolic and emotional connections, according to Krucken (2009), is a challenge, considering that the final configuration of the product is a combination between essence and personality, defined consciously or not.In this framework, function (the essence) and form (the personality) play a crucial role in visualizing and strategically anticipating decision-making and design choices.Thus, considering the group individuality and group immensity, our goal is to identify models, to assess weaknesses and/or potential for success or failure, in the applicability of the process and the framing of the result in collective nuclei with identity particularities, as well as, the role that Social Design can play as a synergy binder in the thought process and the final result. The methodology will be based on a case study and literature review.
... Consequently, this helps to engender a surge in positive well-being for economies, societies, and individuals [43]. Today, goods are often replaced due to a failed subject-object relationship [44]. In other words, the usefulness of a "luxury-fashion" good is "uneconomically short" and perceived durability of it is often less than its physical durability. ...
... Secondly, luxury brands should provide enduring meaning and value via emotional durability or emotionally durable design in the context of sustainability. Emotionally durable design reduces the consumption and waste of natural resources by increasing the bond between consumers and products [44]. Thirdly, in consideration of sustainability, even though recycling and luxury seemed incompatible in earlier times, today, luxury firms should underline recyclability in a small selection of their product ranges, as in the case of Prada and Armani. ...
Thus far, Luxury as Usual has rested on conventual forms of value, such as rarity, excellence, and uniqueness. Nevertheless, today, luxury value perceptions have been changing dramatically, with the emergence of new luxury consumption patterns as well as sustainability-oriented value perspectives. The overarching aim of the current study is to guide tradition-bound luxury brands in attaining competitive advantage by tapping into the key determinants of sustainable luxury. In tackling the key determinants, the paper aspires to provide a theoretical lens by building on the “Four-Stage Model of Value Creation for Sustainability-Oriented Marketing”. This paper also offers a roadmap for luxury brands in transforming their traditional-oriented marketing strategies by providing a “4 × 6 Matrix for the Key Determinants of Sustainable Luxury”, which codifies and systematizes sustainability-oriented luxury marketing.
... Thus, thirdly, and a final focus in this research, we explicitly adhere to an integrated reasoning on the process of PSS design and development, and thereby aim to close this maturity gap in shared product-service terminology. As a research concept and phenomenon, PSS requires a synthesis approach to a design process that has wider boundaries, a different context and other output expectations than its predecessors (Chapman, 2012;Nicolas Maussang, Zwolinski, & Brissaud, 2008;Van Erp, 2011). The diverse PSS streams in service innovation literature -assimilation, demarcation and synthesis -uncover a great deal of efforts that span over the past decades. ...
This thesis places an integrated approach to PSS design at the center. Therefore, we delineate a PSS logic and associated constraints (relevant requirements) to support the design process, and create a PSS design toolkit (actionable approach) to enable synthesis between product and service, rather than maintaining the dichotomy. With an emphasis on context, interrelationships and the whole, we prepare future generations of designers for challenges associated with product service system design.
... Chapman (Chapman, 2005) regarding diminished returns, Pieter Desmet (Desmet & Hekkert, Framework of Product Experience, 2007) regarding product experience, amongst others. We conclude that the way in which a person constructs the perceptual referential which will enable understanding, interpreting and experiencing the artefacts and environment of our made world might be compared to a Babel's tower, an unending adding and changing and rearranging of ideas, experiences, and references. ...
This article is part of research conducted with the aim of obtaining the degree of Doctorate in Design, in the Product Design area. The definition of non-objects through the study of perception of use is the aim of our work. The focus on intelligent objects, namely the smartphone, comes from the growing pervasiveness of these objects in daily life, which is leading to new personal, social and working behaviours. We intend to investigate amongst other issues: how users perceive smart objects, in particular smartphones; if design as a practice embraces the ambiguous traits of these devices; understand which smart objects have more acceptance in daily life; to have a clearer notion regarding the use of smartphones: functionalities, personal or work related use; understand how important it is for the smartphone to be personal; and if users are aware of being dependent of these devices and of how it provokes distancing and distraction in relation to other activities through its compulsive use. Here we review the methodology used in the research process, which includes a literary revision of key concepts and relevant authors, and a questionnaire, with the aim of understanding whether smart objects, smartphones in particular, can be defined as non-objects.
... We count to provide the necessary tools to promote the talents of each student as an individual. In doing so, we hope to provide more confidence for a better development and research in the project practice of design, as to promote a design process more conscious and focused in the final consumer, aiming for products and/or services that respond to the emotional needs of the final user, allowing to build a more sustainable object context (Chapman, 2005). In the final balance of the workshop, we received a very good feedback from the students; they loved not only the good mood of the workshop, as the informal way that it was given. ...
... Yapılan çalışma ile giysi tasarımı açısından görünür onarım alanına katkı sağlanması hedeflenmektedir. Chapman (2005), König (2013), Li (2020), Marquez (2018), Rodabaugh (2018), Shaver (1992), Takano (2015), Jones ve Girouard (2021)'un çalışmaları doğrultusunda giysi onarımının, giysi tasarımı alanında ileri dönüşümün bir parçası olarak giysinin yeniden kullanılmak üzere tasarlanması ile birlikte, giysi tasarımı açısından bir yeniden tasarım servisi haline getirilmesi de yapılan denemeler ile çalışma kapsamında önerilmektedir. Üzerinde onarım çalışmaları yapılan giysilerde kullanıcı açısından kişiselleştirme fırsatı da sağlanarak görünür onarım açısından uygulama denemeleri yapılmıştır. ...
... Following Buchanan's (1998) aforementioned identification of three eras of design, a fourth era in which design practice neither follows behind, nor is in an equal relationship with the design industry may become a necessity in terms of designing for sustainability. The design educator is capable of anticipating entirely new conditions of practice (Ibid), and can therefore respond to Chapman's (2005) view that "In reality, the sustainability debate has only just begun, and this is exactly why new and provocative genres of sustainable design must constantly be explored, so that this ongoing debate about how best to live in greater harmony with the world may continue to grow in its philosophical diversity and long term efficacy". The scale of change required for sustainability is both sweeping and systemic (Cooper, 2013), and design can only ever be part of the solution. ...
Design for sustainability is contextualised within the modern worldview, which undermines notions of human meaning that accord with sustainability. A fundamental design research approach is presented, which responds to calls for more radical approaches to sustainability that account for deeper notions of human meaning – notions that are lacking within dominant technological approaches. Two artefacts have been designed in response to philosophical perspectives that relate to the technological erosion of human meaning. It is argued that this form of fundamental design research could inform a higher education agenda that substantively contributes towards the development of more effective, rather than merely more efficient approaches to design for sustainability.Keywords: Design, sustainability, technology, meaning
... However, I am increasingly concerned about today's technological consumption, which is unsustainable. There has been a growing focus on sustainability in general human-computer interaction (Chapman 2015;Hazas and Nathan 2017) but less so in the music (technology) research community. Devine (2019) talks about "petrocapitalism" in his study of the negative environmental impact of the music industry. ...
A techno-cognitive look at how new technologies are shaping the future of musicking.
“Musicking” encapsulates both the making of and perception of music, so it includes both active and passive forms of musical engagement. But at its core, it is a relationship between actions and sounds, between human bodies and musical instruments. Viewing musicking through this lens and drawing on music cognition and music technology, Sound Actions proposes a model for understanding differences between traditional acoustic “sound makers” and new electro-acoustic “music makers.”
What is a musical instrument? How do new technologies change how we perform and perceive music? What happens when composers build instruments, performers write code, perceivers become producers, and instruments play themselves? The answers to these pivotal questions entail a meeting point between interactive music technology and embodied music cognition, what author Alexander Refsum Jensenius calls “embodied music technology.” Moving between objective description and subjective narrative of his own musical experiences, Jensenius explores why music makes people move, how the human body can be used in musical interaction, and how new technologies allow for active musical experiences. The development of new music technologies, he demonstrates, has fundamentally changed how music is performed and perceived.
... A sustainable design requires significant social, economic, and environmental considerations during multilevel provisions of infrastructures (Brundtland, 1987;Edwards, 2005). Sustainable design is an alternative approach to conventional design that leads toward a less consumptive mindset and embraces global interdependence, environmental stewardship, social responsibility, and economic viability (Ehrenfeld, 2004;Edwards, 2005;Chapman, 2012). It is technologically systematic and considers the impact of design choices at different levels. ...
This research investigates the role of using a multicriteria framework during the process of designing a sustainable urban bridge. A framework is a basic structure underlying a system, concept, or method. It is a hypothetical depiction of a complex entity or process. On the other hand, a multicriteria framework comprises several criteria or attributes that relate to the widespread usage of difficult-to-understand ideas, concepts, and approaches. The general purpose of such a framework is to make it easier to apply sustainable urban bridge design for infrastructure improvement. A literature review and a questionnaire survey are used in the study to identify the most important roles. The survey study, using a structured questionnaire, was applied to samples (n = 204) of practicing professionals in an urban bridge infrastructure design. A principal component analysis was carried out to pinpoint the key components. As a result, the multicriteria framework predominantly addresses sustainability principles in design practice and also guides and facilitates all bridge design processes, from conceptual analysis to final design outputs.
... In recent years, we, as a society, are suffering a technological transformation to the point that technological devices increasingly influence our daily lives, and these devices have the potential to alter our attitudes and behaviours [9], [8], [23]. Under this context, thanks to the possibility of monitoring the environment and delivering information to anyone anytime and anywhere, technology makes it possible to monitor on human activities and behaviours. ...
A necessary step in the digitalization of our environments is to include the users in the decision loop, following a more human-centric paradigm. Such an aproach will make their interactions with surrounding technology closer to them. Therefore, there is a recurrent need in contemporary technological solutions to create proposals to assist users in a way that is not exclusive to them and makes them feel integrated into the intelligent system. In fact, this is particularly relevant when the proposed technology or system aims to nudge users to form, shape, or change their daily behaviours. In essence, solutions designed for assisting users in that matter need to consider the inclusion of humans in the learning/decision loop and still the literature in the field is scarce. In this work, we identify and address three crucial human requirements that this technology has to integrate to promote a comfortable and long-term use of technology for the effective assistance of behaviour change: trust, engagement, and adaptation. Besides, we propose a collaborative workflow based on hybrid intelligent systems to cover the lack of human requirements and needs of traditional approaches. In essence, this work aims to shed light on how to promote closer collaboration between humans and intelligent agents for behaviour change under the principle that people should not be treated as mere users of technologies and services, but their behaviour should become one of the critical levers for designing and using technologies. That is, creating a closer interaction between these technologies and people.KeywordsHybrid intelligenceBehaviour changeHuman-AI collaborationAdaptive technology
... For example, a tailor-made outfit can foster a deeper personal attachment than a fast-fashion alternative. When we genuinely value objects, services or situations, we are less careless with them [30]. ...
Mainstream design approaches for developing more sustainable ways of living are often underpinned by the very modern values that have been instrumental in creating our unsustainable world. These values include those of consumerism, economic growth, efficiency,and technological optimism –exemplified by mainstream Triple Bottom Line approaches, including the popular Circular Economy concept. Mounting evidence of unsustainability,however,suggests that such approaches may not be sufficient tobring about the scale of change required. We present initial findings from an ongoing research project that examines what Design for Sustainability can learn from traditional products and practices in India that are not underpinnedby modern values. We focusedon one traditional product,the mortar and pestle, comparing it with a contemporary spice grinder. We offer five initial findings for developing contemporary products in a more comprehensive and holistic manner than is currently the case.
... However, instead of symbolism, Green (2015) used time and meaning. Memories associated with products are also related to meaning because, according to Chapman (2015), meaning is an aspect that affected by user's previous experiences. ...
In this paper, the concept of relationship-based product personalities was applied to develop a model which gives a better understanding of emotional relationships between people and products. This paper presents extant literature on models suggested for the design of emotional experiences. Emerging from the literature, the Ego State Product-Person Relationship model was developed. The model shows that when a person interacts with an object, the product evokes emotions and creates emotional experiences and the user attributes a particular personality to the product depending on the emotions evoked by it. To validate the usefulness of the model, 15 co-discovery sessions were conducted. Participants were prompted by a list of product categories and five lists of personality categories, and assigned personalities to products, explaining their experiences of those products. Applying this model to analyse five types of products, as examples, shows that the suggested model could assist designers to further understand and design towards preferred emotional experiences.KeywordsProduct personalityEmotional design modelsEmotional experienceTransactional Analysis
... During this period, localization is also a hot topic for the global sustainable design issue. Cultural, social, and personal factors can have an important impact on design [88][89][90], as well as community development and enabling community members to express their opinions in design thinking [91] and explore sustainable concepts based on localized technology and recycled living in design education [92]. ...
With significance in improving and developing local design culture as well as in supplementing global design history, this essay describes a study on the past and a clear prediction of the future by exploring Taiwan’s design history from approximately the 1960s to 2020 based on the evolution of theme, diversity, and sustainability. In this research, the Python programming language is used to apply three algorithms of term frequency–inverse document frequency (TF-IDF), Simpson’s diversity index (SDI), and latent Dirichlet allocation (LDA) to conduct a text exploration of design journals. The results show the following: in the 1960s–1980s, the evolution of theme focused on evaluation strategies, technical practices, and foreign cultures, on digital design, multiculturalism, and design aesthetics in the 1990s, and on emotional human factors, intelligent technology, and local culture since the beginning of the 21st century. Local culture and intelligent technology are the main driving forces of the current design industry. Regarding diversity, after a period of rapid change and stable rising, it has shown a downward trend in recent years. This indicates that current design needs to be stimulated by external environmental variations. Sustainability was focused on technology, the market, and education during the 1960s–1980s; on consumers, design education, and eco-design during the 1990s; and on integration across fields during the 2000s–2020. In order to gain a wider perspective of the complete design context of Chinese culture, the results show the current and future trends of the academic community, in addition to a reference for the study of the design histories of other areas in the world.
... The design act is clearly incomplete "if we do not address what happens to the project's output when it starts its life in the social world" [3] The notion of keeping [4] might be a useful way of framing thinking around part of sustainable behaviour, as it questions our everyday relations with materiality in the short and longer term, and relations that are often passive. Keeping does not only concern widely researched emotionally durable objects [5,6], but also products that have become simple "things", stuff and clutter [7]. Given this possible gap in sustainability thinking, and by extension teaching, seeking ways to address the passive phases of product lives in the design curriculum seems relevant. ...
... Concerns about the product life cycle have been around [10]. "The sustainability crisis is a behavioural issue, and not one simply of technology, production, and volume" [11]. According to Chapman, it is possible to extend a product's lifespan by relying on emotions, especially narrative emotions from the product itself [12]. ...
... Optimizing the product-owning period through strengthening emotional bonding between users and their possessions, has been found to be effective in postponing the psychological abandoning of a product. In this regard, several design strategies have been proposed to trigger emotional attachment toward products; this has been studied through concepts like "emotionally durable design" [23] and "product attachment" [18]. Design practitioners and researchers have identified product-emotional attachment as a design strategy for postponing premature product disposal. ...
... Thus, there have been explorations that have tried to respond to the question of why we preserve or dispose of our durable goods (Odom, Pierce, Stolterman & Blevis, 2009), within the framework of studies on Sustainable Interaction Design (SID). Jonathan Chapman, on a similar direction, holds an interesting point of view when locating controversy by challenging an "emotionally lasting" design that steers away from a less hopeful sustainability discourse, to address the psychological effects produced between patterns of consumption and waste, as well as between people and objects (Chapman, 2015). ...
... Moreover, longevity is also a dimension that we could describe as more psychological and anthropological: "design for attachment and trust". This has to do with the ability to reach "meanings and values", i.e., the user's psychological/affective level, making a profound impact [29]. In addition to this strategy, there are other methods to extend the life of products. ...
The literature on circular economy has highlighted the need for more studies focused on
investigating the journey of individual companies in the transition toward sustainable processes. This paper addresses this need by focusing on the furniture design industry, showing how the transition requires the re-organization of knowledge regarding materials, processes, technologies, and product quality. This assumption is demonstrated through the design research activity conducted in 2019–2020 as the first part of broader research by Cassina LAB, a collaboration between Cassina Research and Development Centre and POLI.design of Politecnico di Milano. Based on the analysis of the Italian furniture industry between constraints and opportunities, the aim of the research is to identify critical issues and propose sustainable and circular solutions, tailor-made for Cassina. Through this example, the paper contributes to the literature in two ways. First, it adds to the understanding of how companies are adopting the circular economy paradigm. Secondly, it contributes to defining tools to implement new forms of knowledge of materials and re-design processes to deliver products that are compatible with a circular economy model.
... Moreover, longevity is also a dimension that we could describe as more psychological and anthropological: "design for attachment and trust". This has to do with the ability to reach "meanings and values", i.e., the user's psychological/affective level, making a profound impact [29]. In addition to this strategy, there are other methods to extend the life of products. ...
The literature on circular economy has highlighted the need for more studies focused on investigating the journey of individual companies in the transition toward sustainable processes. This paper addresses this need by focusing on the furniture design industry, showing how the transition requires the re-organization of knowledge regarding materials, processes, technologies, and product quality. This assumption is demonstrated through the design research activity conducted in 2019–2020 as the first part of broader research by Cassina LAB, a collaboration between Cassina Research and Development Centre and POLI.design of Politecnico di Milano. Based on the analysis of the Italian furniture industry between constraints and opportunities, the aim of the research is to identify critical issues and propose sustainable and circular solutions, tailor-made for Cassina. Through this example, the paper contributes to the literature in two ways. First, it adds to the understanding of how companies are adopting the circular economy paradigm. Secondly, it contributes to defining tools to implement new forms of knowledge of materials and re-design processes to deliver products that are compatible with a circular economy model.
... Emotional durability Chapman (2015) proposed factors to improve product durability based on consumers' behaviour and experience, among which narrative, surface and attachment are confirmed to account for the heaviest proportion in the experimental results. Burns (2010) categorises the causes of products obsolescence, which include aesthetic, social, technological and economic. ...
This research clarifies the impact of aesthetic emotions on consumers’ emotional durability of fashion products. Four design methods of fashion art derivatives were proposed, and 24 samples were selected for testing. The experiment was conducted in China, testing the relationship between respondents’ preferences and aesthetic emotions. Results suggested that the direct participation of artists in design could gain the favour of more respondents. A significant correlation was found between the developed period of derivatives and respondents’ preferences. Derivatives that experience time precipitation may be more popular with respondents. Different design methods could affect the aesthetic emotions of the public. Artists’ participation can evoke better Pleasant–Excited emotion, while most of the emotions of art institute derivatives belong to the Pleasant–Calm range. The emotions evoked by respondents’ preferred samples were mainly in-depth emotions, which indicated that collaborative design could distinguish fashion derivatives from common fashion products and obtain longer lifespans.
... Regarding the object form, we sought to produce a simple geometric and solid shape to enhance the object recognition in various conditions (Pasupathy et al., 2018) which might occur over millennia, as well as the perception of a man-made object (Good & Hendryx-Parker, 2006). More generally, we considered the idea that creating an emotional relationship with an object can motivate people to value and preserve it (Chapman, 2012;Norman, 2004). ...
... While the 'Local Wisdom' and 'Women in Clothes' projects had a broader interest in different ways clothes are used or experienced, the remaining projects have invited stories of garments that have personal meaning or value. Just taking this latter example, such attributes are understood to develop around objects over time, through use and experiences (e.g., Chapman 2015;Norman 2005); while in Crewe's observation, clothes with the most personal value are 'so often those with the least market value ' (2017: 116). Giving such clothes a platform or venerating context, public visibility and acknowledgement, brings the opportunity to establish alternative hierarchies of value around materials, aesthetics and wearer practices. ...
With strong consensus around the need for holistic, systemic change to the dominant fashion paradigm across the Global North, this article aims to generate practical strategies for better engaging and supporting fashion consumers as one key stakeholder group. It critiques the prevailing discourse of ethical fashion consumption—narrowly focused on fast fashion consumption—as both unjust and considerably limiting the scope of broader consumer awareness and action. Wardrobe research facilitates rich empirical evidence of consumers’ ordinary clothing practices and can support more fair and helpful representations of fashion consumers and consumption. Proposing wardrobe research as a tool to create a more engaging and supportive discourse, the article considers how evidence from wardrobe research might enter circulation and extends to consider everyday wearers engaging in and sharing wardrobe research in ‘amateur’ forms. The article examines large public ‘garment storytelling’ projects as an example and proposes that such accessible and appealing wardrobe research–related tools could be further used and developed.
... "The transformative potential of materials… plays a fundamental role in their selection and uptake and is met with an empathy that is shared intersubjectively, the nature of empathy with materials being crucial for explaining how individuals interpret their social world in abstract, generalizable and often unchanging ways" (Küchler & Were, 2009, n.d.). Empathy is a term used widely in design practice (Chapman, 2015;Kolko, 2014;Koskinen, et. al., 2003;Van der Ryn, 2013) to indicate that designers need to empathise with the people for whom they are designing if they want their new products and services to be successful. ...
This research is an examination of the materiality of copper in the context of a design and craft community in a place called tambat ali (which in the local language Marathi translates to coppersmith alley) located in the heart of the city of Pune in Western India. For centuries, several generations of coppersmiths (tambats) have been shaping this malleable, sensorial material into a variety of objects for domestic use. Copper (tamba), in an expression of transformational materiality, has in turn, shaped the tambats into who they are as persons. In addition, the materiality of copper has engendered a unique set of skills and techniques, and it has moulded their bodies and gestures. The tambats make a variety of objects that are described as vastu in Marathi, a word that also refers to narratives that arc over the life of the material, the people, and the things themselves. For the past few years, the tambats have been collaborating with architects and industrial designers to create a variety of new copper products that are sold nationally and internationally. While industrial design practice typically tends to focus on form, user needs, or the market, in tambat ali, it starts with an emphasis on the properties of the material. Here, design unfolds in a new social context created by the presence of copper. This thesis, with its focus on materiality, design, and craft, will attempt to show how copper has produced a materially inspired sociability, which has shaped the stories of objects, the nature of place, the practices of design and craft, and the lives of the people of tambat ali.
... Effectively, the designer creates meaning through the design, which is product meaning, and the user will have their own interpretative meaning that allows them to have a meaningful association with the product. Meaning provides an essential foundation upon which arousal and emotion are constructed (Chapman, 2005). Products are no longer seen only as functional objects; now they are seen for what they symbolise: their meaning, association and involvement in building a user's self-image. ...
This paper explores the nature and practice of art and craft ideals as practised by local communities, study their socio-culturaland economic contexts, and explore their potentialities for application in contemporary design. The decorative arts in Africa has been explored extensively and applied in variegated ways in the contemporary design and consumer world, the success of which would have benefitted from a deeper and truer interpretation of local contexts. The Botswana arts and crafts scene has been largely unexplored and as such their inspirational potentialities in design remainuntapped and at best a curious passing reference. Two iconic art and craft references in particular have been identified as typical to Botswana, and these are used and practiced by different communities, especially women, across the country. The references studied are the Lekgapho design as found on the traditional houses and mural decorations and the basketry art deco. The arts and crafts references are then used to inspire innovate new forms, styles, and other influences into design practices such as textiles and fashion, as well as furniture products.
... Emotional bonding with objects also through a process of identification may be one of the keys for more suitable and sustainable materiality. As Chapman states, "waste" is the result of broken (emotional) relationships (Chapman, 2005). As Tripp Trapp®'s creator Peter Opsvik thinks, objects should grow old nicely, accumulating and expressing life stories over the years (Ryan, 2000), becoming part of our lives. ...
When designing a product, frequently the focus stands on function and utility issues, however searching what kind of features can promote a bigger emotional attachment to objects is an important step for a design project. With the creation of more suitable and sustainable children's furniture as an overall objective, namely a chair that can follow child's growth from 6 months up to 7 years old, we aim to produce an object for children to bond, because affection can be the most important number in this equation. This is a mix of interview-based study with quasi-experimental drawing sessions in order to illustrate children's feelings and expectations towards the Tripp Trapp® chair, which is more than 40 years in the market, designed by Peter Opsvik and produced by Stokke® - our main case study. It gives us clues to understand what the chair of their dreams would be like and what they feel sitting on an existing chair. We identified problems concerning comfort and communication with this chair, which has very large acceptance between parents worldwide but doesn't seem so appealing to children.
... Similarly, consolidated values in products play a role in defining people's attitudes in society. Values embodied in products lend users their cultural identity (Chapman, 2005). In this regard, cultural values can be associated with products through the design of suitable forms or characteristics representative of such values. ...
The study explores whether a design activity could promote creative learning expression and development among students regarding arts and culture issues through cultural product design. Therefore, students engage in designing a cultural product model. The study aims to analyze their ability to develop arts and culture through sketches and an appearance model. The research project was conducted to observe students (aged 18–20 years) as they negotiated and shared creative ideas during the process of cultural product design, interaction with fellow students, and the design presentation. The results indicate that design activities significantly contributed to students’arts and culture learning by developing creative ideas through cultural product design. Moreover, students developed reasoning, communication, and collaboration skills during the development of their work.
... Rozin [81] noted that "the history of an entity's processing is more important in determining its naturalness than is the nature of the entity's contents". In terms of user experience, every product has a honeymoon phase; once consumers are used to product/material characteristics, the object usually loses its mystery; and they feel bored [82]. A material will retain its mystery if it evolves (visually/tactilely/functionally) to keep the user engagement alive even after years of ownership. ...
With the increasing global attention on sustainability, biocomposites have been touted as a solution to deal with the issues of unsustainable raw material production, product manufacture and disposal that are common with typical plastic and composite materials. However, after decades of research, the tangible outcomes in terms of impactful raw materials are few and far. It has been observed that though people are more aware of sustainability, this rarely translates into purchasing behaviour favouring biocomposites. In this review, the history of biocomposite development is considered, including their classification, raw materials, commercial aspects and notable products. This review reveals that the presence of a wide range of bio-degradation standards and inconsistent use of ‘eco’ terms creates confusion amongst consumers and, while many natural materials are valued for their visual aspects, most biocomposites are not. The lack of widespread acceptance for biocomposites could be driven by their lack of desirability and distinguishability.
To create favourable perceptual attributes for biocomposites, various mechanisms behind material perception, ‘good’ experiences and ‘natural’ perception are reviewed. We propose that biocomposites could be made desirable and distinguishable by modifying the physical characteristics and the perceptual attributes associated with them.
Why AI does not include gender in its agenda? The role of gender in AI, both as part of the community of agents creating such technologies, as well as part of the contents processed by such technologies is, by far, conflictive. Women have been, again, obliterated by this fundamental revolution of our century. Highly innovative and the first step in a series of future studies in this field, this book covers several voices, topics, and perspectives that allow the reader to understand the necessity to include into the AI research agenda such points of view and also to attract more women to this field. The multi-disciplinarity of the contributors, which uses plain language to show the current situation in this field, is a fundamental aspect of the value of this book. Any reader with a genuine interest in the present and future of AI should read it.
One of the approaches followed by the circular economy (CE) to achieve sustainability through design is product life extension. Extending the life of products to make them useful for as long as possible is a means to reduce waste production and materials consumption, as well as the related impacts. For designers, conceptualizing products in a way that allows them to be used for longer is a challenge, and assessing how well they extend their lifespan can be helpful when it comes to choosing the best proposal. In this paper, 70 tools and methods related to eco‐design and circular economy are studied to determine how many of them consider parameters related to life extension and which can be applied in the early stages of design. The results of the analysis show that most of the existing tools and methods are applicable to developed products, and only a few of them take into account parameters related to extending the useful life. Of the 70 tools and methods, only 14 include some parameter related to life extension and are applicable to concepts. CE toolkit, Eco‐design PILOT, CE Designer, Circularity Assessment tool, Circularity Potential Indicator and Circular Design Tools take into consideration eight or more parameters to assess life extension in concepts. This will help designers select the most appropriate and will indicate the need for more complete tools to consider useful life extension in the early stages of design and thus enhance the selection of more sustainable products.
Existential issues obstruct the practice of incorporating sustainability concepts, which is the
holistic consideration of urban bridge design factors. Bridge infrastructure is considered a connecting
structure for separated highways and railways. The case for ensuring the safe mobility of people
and goods across obstacles from one urban corner to another is viewed as an essential component
of transportation infrastructure. The design and provision of urban bridges to attain sustainability
are associated with tremendous challenges because of a lack of awareness and existential issues
and obstacles. The problem in the practice of urban bridge design in Ethiopia is indicated as being
“traditional” in delivery, with a lack of accommodation for many essential components of sustainable
design. Therefore, a change in thinking is needed to address sustainability. The question of how
designers could make design practice sustainable is complicated by multiple challenges. In this
research, we used a survey questionnaire to collect the opinions of design professionals. Principal
component analysis was employed to explore the major gaps in sustainable urban bridge design
practice. A lack of sustainable design impact; sustainability awareness; design codes, practices,
and standards that consider sustainability criteria; working guiding protocols and frameworks;
and support for sustainability practice were identified as major challenges. Addressing the design
problem requires a mechanism to consider the challenges through the defined participation of the
designer, client, and public during rule setting, monitoring, and evaluation. Sustainability rating
tools must also be deployed to evaluate and quantify the performance of urban bridges.
From the perspective of homeodynamics (ROSE 1998), life regulation processes, and the resulting balance achieved, unfold in a dynamic flow and in continuous transformation. That differs from the possible idea of a fixed and immutable balance. Prominent within this perspective is the concept of “Homeodynamic Environments and Products,” coined by the co-founders of the DASMind [Design, Art, Space and Mind]—UNICAMP Transdisciplinary and Cooperative Research, Innovation and Outreach Network, also authors of this chapter. This concept, in dialogue with intelligent biointerfaces, proposes the affective and pleasurable design of environments and products aimed at maintaining and restoring human homeostasis. Therefore, they draw on a transdisciplinary and complex approach to understand the conception, design, planning, development and implementation of architectural and urban environments, as well as physical and/or digital products, in deep synergy with individuals’ body-mind-spirituality sphere. Environments and objects become crucial elements in the body’s continuous and dynamic internal adjustment process. As preventive and restorative for health and well-being, affective and pleasurable homeodynamic environments and products are not merely designed as passive elements, but rather to act consistently and dynamically on the human organism.KeywordsHomeodynamic architectural environmentsHomeodynamic urban environmentsHomeodynamic physical and/or digital products
Türklerin bir savaş sanatı olarak asırlar boyu sürdürdükleri okçuluk, günümüzde de uluslararası arenalarda spor branşı olarak devam etmektedir. Okçuluk sporunda kullanılan malzemelerden ok ve yay üzerine çalışmalar yapılmış fakat hedef ayakları ile ilgili bir çalışmaya rastlanmamıştır. Modern ve geleneksel okçuluk sporunda, kullanılan hedefin üzerine takıldığı genel olarak ahşap malzemeden üretilen hedef ayakları bulunmaktadır. Yapılan çalışmada Bartın Üniversitesi okçuluk kulübü antrenmanları izlenmiş, yapılan okçuluk sporunda hedef ayaklarının boyut olarak büyük olduğu bu yüzden de depolarda fazla yer kapladığı ve çalışma alanına taşımada zorluk çektikleri tespit edilmiştir. Tespit edilen sorunların çözümü için bu sporla uğraşan kişilerle görüşmeler yapılmış ve sporcuların hedef ayağı için yapılacak olan tasarımdan beklentileri belirlenmiştir. Sorunların belirlenmesinde tasarım odaklı düşünme metodu kullanılmıştır. Sonuç olarak, okçuluk sporu ile ilgilenen kişilerin karşılaştıkları sorunlar dikkate alınarak modern okçulukta kullanılan hedef ayağını depolama aşamasında az yer kaplayan, antrenman ve spor müsabakalarının yapıldığı alana rahat taşınabilen aynı zamanda ok ve yay muhafazası için stant eklentisi bulunan fonksiyonel bir hedef ayağı tasarlanmış ve üretimi gerçekleştirilmiştir.
This book is about perception, emotion, and affect in architecture: how and why we feel the way that we do and the ways in which our surroundings and bodies contribute to this.
Our experience of architecture is an embodied one, with all our senses acting in concert as we move through time and space. The book picks up where much of the critique of architectural aestheticism at the end of the twentieth century left off: illustrating the limitations and potential consequences of attending to architecture as the visually biased practice which has steadily become the status quo within both industry and education. It draws upon interdisciplinary research to elucidate the reasons why this is counter-productive to the creation of meaningful places and to articulate the embodied richness of our touching encounters. A "felt-phenomenology" is introduced as a more -than visual alternative capable of sustaining our physical, emotional, and psychological well-being.
By recognising the reciprocal and participatory relationship that exists between atmospheric affect and our (phenomenological) bodies, we begin to appreciate the manifold ways in which we touch, and are touched, by our built environment. As such, Touching Architecture will appeal to those with an interest in architectural history and theory as well as those interested in the topic of atmospheres, affect, and embodied perception.
This pictorial illustrates how sustainability in textiles depends on a complex set of design decisions, as well as different sustainable values. By literally and figuratively unravelling and analysing an unsustainable textile product, these decisions and values were made visible and tangible. Through a first simulated and then actual development process of textile products, participants came to experience the effects of their own assumptions on sustainability and gained a better understanding of the complexity and challenges of textile production. This method allowed designers and producers to explore and discuss the opportunities for sustainability in production processes and the impact of design decisions at an early stage of product development. A similar strategy was used to interactively teach a general public about the impact of design decisions on the sustainability of textiles.KeywordsDesign researchThinking through makingDesign for debateSustainabilityCircular designTextileImpact
Yeni iş imkanları yaratarak ekonomik kazanca ulaşmak tarihin her sürecinde önemli olmakla beraber son yıllarda yaşanan ekonomik krizler ve işsizliğin artmasıyla girişimcilik daha da önem kazanmıştır. Endüstri ürünleri tasarımcıları da ürünü tasarlayan ve ona katma değer katan kişiler olarak zaman zaman girişimci bir kimliğe bürünebilmektedir. İstanbul Teknik Üniversitesi, Endüstri Ürünleri Tasarımı Lisans programı mezunları ölçeğinde kendi işini kurmuş veya girişimcilik olarak tanımlanabilecek bir faaliyet gerçekleştirmiş tasarımcıların bu süreçte yaşadıkları deneyimler ve aldıkları eğitimin kendilerine kazandırdığı avantajlar üzerine bir yüksek
lisans çalışması yürütülmüştür. Çalışmada tasarımcının eğitim sürecinde hangi derslerin veya
çalışmaların onları girişimcilik konusunda yönlendirdiği tespit edilmiştir. Girişimcilik ve endüstri ürünleri tasarımı eğitimi konuları bağlamında bir literatür çalışmasının yanı sıra, İstanbul Teknik Üniversitesi, Endüstri Ürünleri Tasarımı Bölümü’nden 1997-2010 tarihleri arasında mezun olmuş kişilerden kendi işini kuran 36’sı arasından 8’i ile yüz yüze görüşme yapılmıştır. Ayrıca yapılan görüşmeler sonrası elde edilen bulgular arasında girişimciliğe katkı sağladığı tespit edilen Değerlendirme ve Yapılabilirlik dersinin yürütücüsü ile de bir görüşme yapılmıştır. Endüstri ürünleri tasarımcısının girişimcilik konusundaki eğitiminden kaynaklanan avantajları iş fikri bulma, yaratıcı düşünme ve sonucunda ürün bazında yenilik oluşturma ve ürünle ilgili süreçlere hakim olma şeklinde sınıflandırılırken, çalışma kapsamında endüstri ürünleri tasarımı eğitiminin girişimcilik yönünü geliştirmek isteyen öğrencilere nasıl daha faydalı olabileceği de tartışılmıştır. Bu bildiride söz konusu çalışmanın bulguları bağlamında, endüstriyel tasarım eğitiminin girişimciliği nasıl destekleyebileceği tartışılacaktır.
The P21 Framework for 21st Century Learning identifies collaboration as a key educational outcome as it prepares students for the real world problem solving and enhance their prospects for employment. Therefore, group assessments are becoming a commonplace in higher education, mainly to promote collaborative working environment and peer learning amongst students. In addition, group assessments are considered as an effective assessment strategy to manage large classes as it reduces the marking burden on academics. Despite the benefits, students resent group work particularly when a common group mark is awarded when there is a varying level of inputs from the members of the group. Especially, non- engaging students could possibly attain good grades without contributing to the group work or with minimal contribution. This problem of “free riders” disadvantages and discourages engaging students. There is a plethora of peer assessment methods used by academics to assess group works. However, there is a dearth of studies which explores why a particular method is preferred and the difference it makes on the final grades of students. Therefore, this paper explores different methods of peer assessments by reviewing recent literature and expands into comparing the final grades derived from two different methods of peer assessments adopted in the same module to study the end results. Finally, the correlation between the final individual grades and the peer marks given was unpacked which allows academics to make an informed decision.
A significant body of mid-century design has remained relatively unstudied and underrepresented in museum collections due to its figurative and emotional decorations. These designs clashed with the reigning conception of modern style as rational, honest, streamlined and masculine, yet also represent a clearly modern approach to decoration, designed to complement the modern home. A range of mainly Scandinavian designs and designers are discussed in the article. Long neglected for their alleged aesthetic audacity, these works offer insight into the hunger for soothing emotional objects in the post-war era and may best be decoded as “cute” objects provoking ambivalent responses.
El bienestar es un tema de gran relevancia por ser un asunto humano de importancia central para la calidad de vida de las personas. Abarca muy diversas dimensiones de la vida humana que, sumadas, logran brindar bienestar integral a todo individuo; entre ellas podemos ubicar la dimensión afectiva que, es posible considerarla incluida en diversos conceptos acuñados desde diferentes ámbitos de estudio –como el denominado “bienestar mental” (ámbito de la medicina), el “bienestar subjetivo” (ámbito de la sociología) o el “bienestar psicológico” (ámbito de la psicología).
La afectividad conjunta emociones, sentimientos y pasiones de una persona. Se trata de constructos que pertenecen a la naturaleza innata del ser humano, que son fundamentales; al ser parte necesaria e inseparable de la cognición que influye en la percepción, en el aprendizaje, la salud, la comunicación y aun en la toma de decisiones –de forma racional–. Sin embargo, por mucho tiempo y todavía en la actualidad, no se le ha dado toda la importancia que tiene. En nuestro mundo contemporáneo, solamente hasta poco antes del final del siglo XX, al fin se ha empezado a tomar conciencia de que nuestro estado emocional determina cómo vivimos y, por lo tanto, nuestro bienestar.
En este marco, nace este libro con el objetivo de plantear la presencia y relevancia de la dimensión afectiva para fomentar bienestar integral en las personas a través del diseño. El texto surge del trabajo permanente de reflexión y discusión de la Red Académica de Diseño y Emociones (RADE) integrada por académicos que, desde diversas instituciones a nivel superior ubicadas alrededor del mundo, desarrollamos nuestra labor de investigación precisamente en relación con el tema “diseño y emoción”.
El presente libro representa el tercer texto de la RADE, convocado en esta ocasión por la inquietud académica de llevar a cabo una exploración-reflexión sobre cuáles pueden ser las aportaciones de la perspectiva emocional del diseño para fomentar y contribuir al bienestar de las personas a largo plazo, y de manera significativa para los individuos y la sociedad. Así, se pretende aportar a la discusión teórica que guía la actividad proyectual en la disciplina del Diseño.
The focus is on major new developments, especially the urban impact of economic globalization. The first section discusses the new inter-urban inequalities, particularly the question of primacy and the impact of major new economic trends on so-called balanced urban systems. The second section is a more detailed discussion of one particular instance of the new inter-urban inequalities, the emergent global urban system. The third part focuses on new urban forms and social alignments. Are we seeing patterns which suggest that the concept "city' as used conventionally, is not adequate to describe the developments of major new urban regions, from the mega-cities of the Third World to the new regional grid of internationalized nodes that constitutes the spatial base of many global cities? And are the new social alignments inside cities merely a quantative transformation, or also a qualitative one? -from Author
This paper explores the promise of William James's distinction between primary (subtle feelings like pleasure) and secondary (coarse emotions like sadness) layers of emotional responses to aesthetic stimuli. Two principles from pragmatic and emotional processing in everyday life are generalized to the aesthetic realm. In everyday processing, ecologically important stimulus configurations are linked with bodily feelings of pleasure and arousal. On the other hand, meanings which are contingent on specific contexts are associated with blends of primary emotions. In aesthetic processing, the reactive model accounts for responses in which pleasure and arousal are of primary importance. Thus, the features of sentimentalized artworks evoke feelings of warmth and keep arousal at a safe moderate level. The reflective model describes how emotional responses contribute to the generating of polyvalent meanings in multilevel art and literary works. Past emotional experiences help readers and viewers construe possible meanings of unfolding aesthetic events. Data are introduced which are consistent with predictions from the reactive and reflective models.