All posts by Jaewoo Joo

Jaewoo teaches and writes about design thinking, behavioral economics, and field experiment for customer experience. He is professor of marketing and participating professor of experience design at Kookmin University. Jaewoo has been Visiting Scholar at Stanford University since September 2024.
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Research questions about design

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Research topics @ DMI_20120808 001
Research topics @ DMI_20120808 001
Research topics @ DMI_20120808 002
Research topics @ DMI_20120808 002
Research topics @ DMI_20120808 003
Research topics @ DMI_20120808 003

At the 2012 International Design Management Research Conference  (August 8-9, 2012 @ Boston), I have attended a group discussion session called Research Methodology Clinic. Its description says,

Join us for a group conversation, facilitated by Alison Rieple and Jeanne Liedtka, in which interested colleagues come together to offer feedback and coaching to each other on the thorny issues we face as academic researchers in design related areas. Come with a research issue you’ve been struggling with and/or to offer your successful methodological insights to others!

In this session, 12 participants have shared not only their research methodologies but also their research topics. From the pictures above, you will be able to identify who was studying which topic. The research topics vary from DESIGN (Understanding how design really happens), DESIGN THINKING (Definition, construct, and application / Its relationship with management), and DESIGNERS (Collaborative problem solving / Decision-making) to DESIGN POLICY (Corporate level of design polity), INNOVATION (Metrics to identify innovators), DESIGN PROCESS (toolkit, activities, and actions) and SERVICE DESIGN.

Publications

Decision support tool for collaborative concept evaluation

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Although concept evaluation has attracted much attention, collaborative concept evaluation has received minimal attention. In this work, we identify problems and propose solutions regarding collaborative concept evaluation. First, we reviewed past projects and interviewed evaluators with international design experiences to conclude that concept evaluation criteria are not established but constructed. Second, we apply the psychology of Brunswik’s Lens model to propose that providing multiple concept aspects improve collaborative concept evaluation. Three experimental studies demonstrate that our proposed Concept Aspect Profile (CAP) model (1) is superior to existing concept evaluation models, (2) differentiates between breakthrough new product concepts and incremental new product concepts, and (3) increases the likelihood that a concept receives the Industrial Design Excellence Award (IDEA). This work contributes to marketing research of concept evaluation as well as provides implication for designers.

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Money for designers

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Coroflot designer salary guide
Coroflot designer salary guide

How much money do designers (and creative professionals) make? According to the Coroflot Design Salaray Guide, design managers and interaction designers make more money than architects and graphic designers, in particular, in North American cities and other international cities. One way to make more money is, I believe, to put some academic flavor. Here is a comment I have met recently in the PhD design mailing list.

“Teaching by showing is normal; teaching by explaining the way of thinking is the next step forward. An excellent designer with superimposed doctoral training can be a real treasure. It is a pity that so many good designers do not actualize themselves to their full potential both as designers and as professors just because they hate that bookish staff. It is high time that design academia rethink their way of creating new professors.”

Publications

Interface between design and marketing

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20111031_Huffington Post

Designers don’t just put cosmetics on the skin of a product!” During my interview with a graduate student at Ontario College of Art and Design in 2009, he argued that designers play a key role in developing a new product….

… The primary reason that marketing researchers often limit the role of designers is that they pay far too much attention to the “outcome” of designers’ activities. Many designers who research users, develop and evaluate concepts, and work with business strategists find it difficult to communicate with marketers, since marketers shed little light on the “process” of designers’ activities. …

 

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20111108_Huffington Post

In actual practice, designers often set the marketing input aside and start a project by looking at advertisements and websites for their client’s and their competitors’ products. They collect images and stories concerning the uniqueness of each product and make fleeting trips to the products’ point of purchase, taking pictures and playing with the products. If the budget allows, they purchase a sample of products for later disassembly and destruction in the studio. Ideas for new features often stem from the designer’s personal experience — including his cultural and social background — and their project research into nature, art, fashion, architecture, entertainment, and other products. …

… At the end of the day, marketing is often presented with three to five realistic finished rendered concepts from which they have to select one for detailing. Often flash will out compete content, since no objective metrics have been presented, so it is little wonder that design is still seen as art rather than as being business driven.

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The story behind the brand is more powerful than the brand itself

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At first, I was not attracted by the Touch Wood phone made by NTT DoCoMo. However, an advertisement introduced by the Core 77 website changed my perspective. In the advertisement, a wooden ball plays Cantata 147 as it rolls down the wooden xylophone in the forest. Interestingly, I became more engaged with the phone after watching the “making film” or the video about how the advertisement was shoot  (http://answer.nttdocomo.co.jp/touchwood/?banner=dcm3#making).

Like me, people may like a brand more strongly when they happen to know the story behind the brand. Here, the story behind the brand could be about how an advertisement was shoot like NTT DoCoMo. Alternatively, it could be about how the product was manufactured like Apple Watch Gold.

Or, the story behind the brand could even be the information about the person who started a winery and raised grapes. One study showed that people are confident and more likely to buy a wine when they read the name of the wine maker on its back label.

I believe a story behind the brand could be anything like a simple marketing process. When consumers are exposed to this kind of story about a brand, they will like the brand more, in particular, when its quality is difficult to be judged (e.g., wine, painting, quilt, cheese).

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Reference

Choi, B., & Joo, J. (2021). Authentic information on the back label of wine bottle. Asia Marketing Journal, 23(3), 13–26.

This paper investigates whether including authentic information on the back labels of wine bottles enhances consumers’ confidence and purchase intentions about wine; it also assesses the moderating role of involvement and knowledge about wine. We conducted two experimental studies. Study 1 generated three findings. First, when the back label had authentic information, subjects showed higher confidence levels. Second, this effect was hold for subjects with low levels of involvement. Finally, we did not observe this effect for subjects with high levels of involvement. Study 2 extended study 1’s findings and identified the moderated mediation effect of confidence. The findings highlight the important impact on wine choice of authentic information. However, the findings also suggest that authentic information may not be sufficient to attract people with high levels of involvement and knowledge. This study’s findings provide wine producers with practical marketing insights.

Appendix 2a. Experimental stimuli for study 2-Label Grape.

Appendix 2a. Experimental stimuli for study 2-Label Authentic.
Cases

Neri Oxman, integrating material and form

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Neri Oxman gave a talk, “Mediated Matter,” at the Ontario College of Art and Design. She claimed that material should not be secondary to form. Instead of separating fabrication from concept modeling or data analysis, she proposed, designers should create a seamless object by integrating these tasks. She presented interesting projects in which she used a single material to perform multiple functions. Her work was heavily inspired by nature.

One of her interesting projects is a medical device for those who suffer from Carpal Tunnel Syndrome. This syndrome is a medical condition in which the median nerve is compressed at the wrist, leading to numbness, muscle atrophy, and weakness in the hand. At present, most patients are recommended to wear gloves that are composed of two separate materials which perform different functions; a soft cushion and a hard metal (see left). As an alternative, she developed a “skin” with a single material by mapping the pain-profile and distributing hard and soft materials to fit the patient’s anatomical and physiological requirements, limiting movement in a customized fashion (see right). Her project is called as Carpal Skin.

Overall, her argument is interesting; designers may produce a better product when they perform a series of design tasks simultaneously (e.g., selecting a form and materials together) than when they go through the same tasks sequentially (e.g., selecting a form and then selecting materials).

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Interdisciplinary Design Workshop by NSF “Driving Innovation through Design” @ Northwestern University

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As design has attracted increasing attention across multiple academic disciplines, interdisciplinary design workshops have been hosted by the universities that have established their interdisciplinary design programs, including Stanford University and University of Michigan. In April 2010, the Segal Design Institute at Northewestern University hosted a workshop under the title of “Driving Innovation through Design — Engineering in the 21st century.”

Sustainable growth in the 21st Century requires technological and social innovations that effectively address the complex, interdependent problems that we face as a nation and throughout the world. Design research and education provides the intellectual underpinning and offers knowledge and experience to serve as a foundation for this endeavor. However, establishing interdisciplinary design research and education programs requires institutional transformation to overcome the current system that is structured around traditional disciplines with little cross-connection. This two-day workshop, supported by National Science Foundation (NSF), brought together a group of university administrators, faculty and researchers, and industry practitioners, to discuss the role that Design may play in helping universities transform their educational mission and practices to meet the challenges of the 21st Century.

– excerpted from the executive summary, NSF workshop report

I was invited to attend this workshop as the only business student. I have discussed a wide variety of issues with researchers, teachers, and practitioners. We worked in groups discussing interdisciplinary design research and nurturing design faculty, and presented the summaries (click here for the team presentations).

In particular, recommendations on design research are worth sharing (click here for the final report).

A large-scale, sustained education agenda must be supported and complemented by a research agenda that studies the pertinent questions and develops the knowledge and methods to address them. While interdisciplinary education is readily understood, interdisciplinary research is much less so. Rather than perceiving design research as an interdisciplinary area, it is more advantageous to view Design as a discipline in itself that can combine knowledge from other disciplines, akin to our concept of medicine as a discipline. Examples of design research topics include:

  1. Exploration of the intersection and interaction of people, products, and systems;
  2. Reconciliation of the creative, holistic thinking of the arts with the analytical, decomposed thinking of the sciences;
  3. Methods to enhance interdisciplinary communication and collaboration, knowledge capture, and reuse across disciplines;
  4. Design innovation of complex engineered systems;
  5. Identification of the characteristics of innovative teams;
  6. Exploration of the intersection of computing and human systems and how this supports the design process;
  7. Methodologies for the design of emerging systems, such as medical and health care systems, energy related products and services, and multi-scale devices and systems;
  8. Design of completely new products, services, and systems yet to be conceived; and
  9. Interdisciplinary design education including innovation, creativity, teamwork, leadership, entrepreneurship through curricular and extracurricular learning.
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Games solve real-world problems

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Jane McGonial, a game designer and a presenter on TED, visited U of Toronto and presented her work, How we can harness the power of video games to solve real-world problems. She made an interesting argument and shared various interesting examples of games that help us individually and collectively.

In her presentation, she argued that (1) games have unnecessary obstacles that people want to tackle (and therefore people are immersed in games) and that (2) the real world is too easy and too simple compared to the game world (and therefore people do not pay attention to the real-world problems). When the real-world problems have the elements of games, she expected, people would put their strengths to better use and challenge the real-world obstacles.

She began with two games that help people achieve individual goals. For example, Nike+ helps people work out more and Foursquare helps people interact more. More interesting examples came from a series of games that tackle real-world issues. The first example is Groundcrew. People play this game and help the farmers in their neighborhood.

The second and the most interesting example was Urgent Evoke. This is an online reality game that the World Bank Institute and infoDev launched in the early 2010 to support social innovation among young people. In this game, players become superheroes, set up their own superhero teams, and choose one of missions such as water crisis and food security.

Her examples of the bright side of games continued to cooperative websites in which game players solve puzzles for science! (Foldit) or even design RNA for scientists! (EteRNA).

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Reference

Piao, S., & Joo, J. (2022). A Behavioral Strategy to Nudge Young Adults to Adopt In-Person Counseling: Gamification. Behavioral Sciences, 12(2), 40.

Mental illness has always been an important issue for young adults. Moreover, initiatives resulting from the outbreak of COVID‐19 have had an even greater impact on the mental health of young adults. This study sought to examine the effect of gamification on whether young adults adopt in‐person counseling. One hundred twenty young adults (42 males and 78 females) with an average age of 29 years participated in our experiment. In the experiment, a 2 (Gamification: no vs. yes) × 2 (Vividness: low vs. high) between‐subjects design was employed. In the “yes” gamification condition, participants decided whether or not to read introductory material about in‐person counseling, and also whether or not to adopt in‐person counseling in the future. The results of the study show that: (1) gamification increased adoption, (2) participants’ perception of subjective usability of in‐person counseling mediated the effect of gamification to adoption, and (3) vividness of presentation moderated subjective usability. Our study demonstrated that gamification nudges young adults to adopt in‐person counseling while subjective usability mediates the relationship, and vividness moderates the relationship between gamification and subjective usability. Our findings provide counselors fresh insights into motivating people to access counseling services.

Publications

The 7th international conference on Design and Emotion @ Illinois Institute of Technology

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The Institute of Design, Illinois Institute of Technology, and the Design & Emotion Society are pleased to invite you to participate in the 7th International Conference on Design & Emotion in Chicago. The International Conference on Design & Emotion is a forum held every other year where practitioners, researchers and industry leaders meet and exchange knowledge and insights concerning the cross-disciplinary field of design and emotion. The conference will offer workshops, research paper presentations, design case presentations, and poster presentations.

This conference covers various issues including Design for Environments, Service Design, Strategic Design and Business, and Foundation for Design and Emotion. I presented my work on context-dependent design evaluations.

I was pleased to have conversations with many creative designers as well as insightful design researchers. In particular, four presentation excited me. Two of them discuss new product development and the other two discuss product design.

1. “Improvisational Comedy and Product Design Ideation: Making Non-Obvious Connections between Seemingly Unrelated Thing”

Barry Kudrowitz and David Wallace from MIT try to identify those who are good at developing new products. Inspired by the procedural similarity between making a comedy and developing a new product, they propose that comedians are good new product developers. Then, they support their hypothesis by demonstrating that the quantity and the quality of cartoon captions made by comedians are greater and better than those made by non-comedians.

2. “User Research Methods: Distinctive Need Expressions from an In-depth Interview and a Generative Method Market Research”

Hyesun Hwang and Ki-Ok Kim from Sungkyunkwan University compare two user research methods, in-depth interviews and generative methods (prototyping). They argue that the two methods collect different consumer needs. An empirical study suggests that the in-depth interview produces concrete, negative and past-oriented problems, whereas the generative method produces abstract, positive and future-oriented ideas.

3. “The Cute Look: Baby-Schema Effects in Product Design”

Linda Miesler from University of St. Gallen investigates whether face-like features of the car fronts (head lights and air intake) are processed analog to human faces (eyes and mouth). She demonstrates in an experiment that enlarging the headlights (“larger eyes”) and increasing the size of the air intake (“thicker lips”) led people to perceive the car fronts cuter.

4. “The Relationship between Eco Design and Emotional Experiences”

Heesook Jung from Seoul National University proposes that ecofriendly behavior requires effort and, therefore, some motivation such as playfulness should be employed to help consumers behave ecofriendly. She presents a case of Lohas, an ecofriendly Japanese bottled water. According to her, the sound that an empty bottle creates when squeezed leads consumers to behave more ecofriendly (e.g., squeezing bottles) (see Lohas commercial).

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Human Factors symposium

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I attended a Human Factors symposium at the University of Toronto. It was organized by the HFIG (Human Factors Interest Group) and titled as Celebration of Applied Human Factors Research, in Honour of Prof. John W. Senders’ 90th Birthday.

At the symposium, I noticed an interesting connection between decision-making and Human Factors. Research in decision-making studies decision biases and provides prescriptions to eliminate or mitigate them. Similarly, HF researchers study errors from the real-life examples and suggest practical recommendations to overcome those errors.

For instance, John Senders and his colleagues studied errors of train drivers, vehicle drivers, airplane drivers, and medical practitioners in terms of their processing visual information. (In 1960s, John drove in Boston wearing a helmet and a visor that occluded his vision to find how often drivers need to see front!) Then, they provided recommendations to the city of Toronto, simulate trainings for pilots, or even develop devices for doctors such as Head Mounted Display).

Since Human Factors research investigates human behavior issues elegantly, which has a great potential to business. Shumin Zhai, for instance, presented his business which was developed from a research project. About 10 years ago, his team developed an innovative text input system for a touch screen device. It does not simply improve a conventional keypad to make it easy to use (e.g., laying out keys differently). Rather, it allows users to use their gestures to input texts. It is now called as ShapeWriter.

To me, Don Norman‘s call for Human Factors researchers to work with business people sounds right. I believe designers need business education to communicate with business people effectively. I found a wide variety of business-able issues were discussed in the symposium but hardly found any people with business background.

I hope to find more business students working at Human Factors community in the future.