My friend teaches Product Design. He uses coffee maker in his course. Students disassemble and assemble a coffee maker and then design a new one.
A few days ago, I was invited to see the designs that his students submitted to his course. After discussing with him which ones are well designed and why, I made two interesting observations.
First, only few coffee maker designs have cords. He and I reached a consensus that most students failed to take into account how their newly designed coffee makers work or look like in reality. Only few thought these issues deeply and put some flavor of reality. Interestingly, we reached another consensus that the coffee makers with the cords are generally better designed than those without cords.
Next, we chose the identical coffee maker as well designed for different reasons. I chose it because its look and feel is appealing whereas he chose it because it may work well compared to others. Although I always assume that aesthetics and usefulness are in a trade-off situation, they are not necessarily traded off in the reality.
At the Seoul Motor Show, I came across an unique electric vehicle—not for its powerful performance, but for its gentle name and modest design. It is called Yebbujana, meaning “Beautiful, isn’t it?” Its curvy body and four tiny headlamps give it a soft, almost timid appearance.
In general, giving a product an inviting name and approachable design can be a smart strategy, especially when introducing something new and unfamiliar. It helps reduce potential resistance from consumers.
However, in this case, the car seems almost too shy—both in name and appearance—to inspire confidence as a vehicle we would want to drive.
This paper investigates how customers want electric cars to look like in comparison to current cars. A survey gives insight into customer preferences. With the upcoming electric mobility, automotive technology is becoming more homogenous, making design important as differentiation possibility. The survey results overall show big design changes to be of less relevance compared to small or no design changes. Interestingly, this changes, when the participants are informed about the advantages of purpose design. Moreover, the majority does not prefer car design expressing the electric mobility. Here also a gap between German and international participants is observed. German customers have a significantly lower preference of design changes. The design change is differed by the car views front, side, rear, and interior and compared to sex, age and nationality of participants. Also vehicle classes and preferred design visions are compared. Here again, no and small design changes prevail. With regard to the customer point of view, thus the implementation of design-driven innovation in electric mobility needs to be handled with care. Gained insights provide the possibility to derive electric mobility design strategies. The participant’s preferences change towards bigger design changes when being informed about purpose design reveals a practical implication for marketing activities.
Soren Petersen gave a talk about how to collect creative ideas in a massive scale. He applied crowdsourcing methods to address a wide variety of design issues including design marketing conflicts, animal rescue, peace innovation, to name a few. He shared his experience that social platforms such as LinkedIn and HuffingtonPost are useful to prioritize problems, solicit solutions, and share insights with professional designers.
Blue is for boys and pink is for girls. This color-gender association is strongly established in many countries. In a women’s university in Korea, however, signs for men’s rooms and for ladies’ rooms are both colored in pink. My friend said that they use the same color to avoid any possible gender discrimination. Interestingly however, pink signs confuse men when searching for men’s room. Indeed, “men” needs to be written down on the door of men’s room.
This raises a series of interesting questions.
First, does the different colors discriminate different genders?
Second, if this is the case, should we sacrifice our color-based convenience in order to promote social justice?
Third, if color-based convenience needs to be replaced with other coding systems, what are the other ways that do not discriminate gender? For instance, if the shape-gender association is a good candidate (below), how could we UN-learn the color-gender association and then learn the shape-gender association?
The literature on interference in the Stroop Color and Word Test, covering over 50 yrs and some 400 studies, is organized and reviewed. In so doing, a set of 18 reliable empirical findings is isolated that must be captured by any successful theory of the Stroop effect. Existing theoretical positions are summarized and evaluated in view of this critical evidence and the 2 major candidate theories, relative speed of processing and automaticity of reading, are found to be wanting. It is concluded that recent theories placing the explanatory weight on parallel processing of the irrelevant and the relevant dimensions are likely to be more successful than are earlier theories attempting to locate a single bottleneck in attention.
Hyundai released i30 in Europe. So far, most of its marketing messages focus on how it looks (design) and what special features it has (convenience). However, I came up with a different thought after watching a youtube video that one of my German friends recommended me to watch. In the video, Martin Winterkorn, the Chairman of the Volkswagen AG, studied the Hyundai i30 personally at the Motorshow in Frankfurt IAA 2011.
Between 1:30 and 2:00 minutes, he tilted up and down i30’s steering wheel and then said,
“There is no noise. BMW can’t do it. We can’t do it”
I am personally surprised that BMW cars make noises while Hyundai do not. Interestingly, some BMW drivers already posted this issue on a website to look for a solution (e.g., Creaking noise when tilting steering wheel). Hyundai marketers should go beyond traditional issues such as look & feel, convenience, or gas mileage to raise a new issue (e.g., noise of tilting steering wheel or, more broadly speaking, user experience) and differentiate their cars.
While I stayed in Boston for the conference, I visited Museum of Fine Arts (MFA), Boston and met an intriguing decision-making question. I took a picture of a panel titled Making Choices which says,
Every gallery represents a long series of choices. Who decides which works go on view and how they should be arranged? What factors go into making that decision? Does the Museum have consistent guidelines about what should be on view — or do the rules change from gallery to gallery?
Ultimately, the MFA’s curators are responsible for deciding what you see in the galleries, for making choices from the Museum’s rich collections that do justice to the art and engage the viewer. Context is key — what is the story to be told? Should the gallery be a survey of a whole period or should it showcase just a few artists in depth? Should it provide variety or set up close comparisons? Re-create a sense of a historical period, focus on a specific style, or feature that character of individual objects? Curators work with a team of designers and educators in considering these issues and making these decisions.
And finally there is the question of quality. Which works are the most compelling? In which are the artist’s skills most effectively employed? Where are materials used with the greatest sophistication or technical ability? And what about condition: does the work still represent the artist’s intent at the time it was made?
Indeed, curators face a decision-making task regarding how to display an artifact. Do they complete the artifact to restore its original appearance (e.g., sofa with hypothetical cushions) or do they remain the artifact as-is for further studies (e.g., sofa frame only)? Unfortunately, there is no right answer for this question. I wish some behavioral decision theory researchers discuss this issue seriously.
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.
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.”
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).
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.
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).
