Right now you are reading a sentence. Earlier, you might have been looking at a realistic picture, such as a photograph, or an outline drawing in a set of instructions. If you are a programmer, you work with sentence-like structures, such as code, or a system diagram. These are all graphic representations. To varying degrees, the effectiveness of every graphic representation relies on its ability to convey the designer’s intended meaning and elicit the intended reaction from its audience. However, the design of graphic representations, even in technical domains such as visual programming language design or interactive information visualization, currently relies heavily on general principles based solely on practice, intuition, and informal measures of effectiveness from the applied art and craft of design (as opposed to scientific analysis or theory). There is an increasing demand for a scientific understanding of design and its evaluation from stakeholders (who seek evidence for effectiveness) and designers (who seek to advance their field). Because both the creation of graphic displays and their perception are literally embodied experiences, a model was developed with an embodiment orientation, specifically based on how graphics are perceptually and cognitively processed. In my research, I found that graphic representations are constituted of two properties, pictorial and symbolic information, that emerge through two interrelated aspects of perception. In sighted individuals, for example, every graphic representation makes use of biological capabilities to process visual sensation (i.e., light hitting the retina), which are processed in relation to culturally-learned capabilities (i.e., writing). I observed how graphic representations – such as pictures, diagrams, and sentences – are “naturally selected” (i.e., during different phases of design or problem solving). From these observations, I developed a model that distinguishes and predicts the effectiveness of pictures, diagrams, and sentences, in terms of how object relations and attributes are pictorially or symbolically represented, relative to the functional roles of those representations, contexts, and in some cases, individual perceptual-cognitive differences among perceivers. This model is a step toward a science of graphics that could lead to evaluation techniques for information systems, theories for inclusive design, and ergonomically designed software programming tools.

Dans les sphères du développement durable, des modèles d’affaires et du design de produit, certains leviers rendent le croisement de ces trois sphères de plus en plus pertinent. Au croisement de ces trois sphères se trouve une opportunité de comprendre les relations existantes entre le design de produit et les modèles d’affaires afin d’aider les décideurs à développer des solutions davantage durables. L’approche méthodologique de cette recherche utilise un système complexe et est basée sur un paradigme pragmatique. En vue de répondre à la question « Dans quelle mesure des modèles d’affaires et le design de produit sont liés dans un contexte de développement durable? », cette recherche a soigneusement analysé trois cas: Better Place, une compagnie californienne ayant développé une infrastructure permettant le chargement des voitures électriques; Interface Inc., un manufacturier mondial de tuiles de tapis commerciales établi à Atlanta; et Métacycle, un concept d’entreprise développé par une équipe de chercheurs en design à Montréal. Chaque cas a été analysé en corrélant des aspects du design de produit à des éléments de leur modèle d’affaires. Les résultats montrent que dans le contexte du développement durable, le design de produit et les modèles d’affaires sont interdépendants. Les résultats peuvent être résumés en six points: il existe des relations applicables universellement; les innovations de design substantielles jouent un rôle important dans le développement durable; la « durabilité » peut être une qualité émergente d’un modèle d’affaires; les partenariats peuvent être vitaux pour l’intégration des systèmes; un modèle de services a des bénéfices et des limitations considérables; le design peut agir comme levier à l’utilisation d’énergies renouvelables. Pratiquer simultanément l’innovation du modèle d’affaires et du produit peut apporter une valeur ajoutée, susciter des opportunités et augmenter l’efficience sur plusieurs facettes. Toutefois, les risques et les coûts de tels procédés sont souvent très élevés. En aidant à comprendre et définir comment les trois sphères mentionnées plus tôt sont interdépendantes, cette recherche pourrait idéalement inspirer des recherches supplémentaires sur le sujet. L’application par des organisations de la méthodologie et des apprentissages résultant de cette recherche peut permettre à d’autres d’utiliser le croisement entre l’innovation de produit et l’innovation du modèle d’affaires afin de résoudre des enjeux sociaux et environnementaux complexes. / Certain drivers in the fields of sustainability, business models, and product design are making the intersection between these three fields increasingly relevant. At this intersection is the opportunity to understand the relationships that exist between product design and business models to help decision makers develop more sustainable solutions. The methodology of this research uses a complex systems approach and is grounded in a pragmatist paradigm. To answer the question “In the context of sustainability, in what way are business models and product design related?”, this research has carefully analysed three cases: Better Place, a US based company that has developed a charging infrastructure for electric cars; Interface Inc., a global commercial carpet tile manufacturer based in Atlanta, Georgia; and Metacycle, a company concept developed by a team of design researchers in Montréal, Québec. Each case is analysed by correlating aspects of product design to elements of the business model and assessing how these relationships affect the sustainability of the company. The results show that product design, business models, and sustainability are inextricably connected. The results can be summarized in six key insights: there are universally applicable relationships; discontinuous design innovation can play a vital role in sustainability; sustainability is an emergent quality of a business model; key partnerships support systems level integration; a service revenue model has significant benefits and limitations; design innovation can help drive the shift to renewable energy. Conducting business model innovation and product innovation simultaneously can have large payouts in the form of creating new value, uncovering opportunities, and increasing efficiencies many fold, however the risks and costs of such a process are often very high. Applying the methodology and lessons of this research to one’s own organization could help to uncover new opportunities for innovation and help create more sustainable solutions. This research, by helping to understand and define how these areas are inextricably related and interdependent, will hopefully inspire further research on the subject and help others to use the intersection between product design and business model innovation to solve complex problems, be they social, environmental or otherwise.

La pratique du design industriel dans la province canadienne de l’Alberta est en pleine croissance. Ses activités sont principalement concentrées à Edmonton et à Calgary, qui sont les plus grandes villes de la province. On y trouve des studios de design de renom, des communautés de design complexes et des programmes universitaires de design bien établis. Cependant, la pratique du design industriel albertaine est sous-développée en comparaison avec celle du reste du Canada et il y a peu de recherches et de documentation sur le design industriel en Alberta. Dans ce projet de mémoire, la pratique du design industriel en Alberta a été explorée depuis une approche historique. Pour pallier le manque de documentation, la collecte de données a été faite par une recherche qualitative, des entretiens narratifs et une recherche quantitative statistique. Une base d’information historique sur le design industriel albertain a été établie puis située par rapport au développement de la pratique du design industriel ailleurs au Canada. Les facteurs, événements et tendances dans l’histoire de la pratique du design industriel en Alberta ont été identifiés. De plus, le développement de la pratique du design industriel de l’Alberta a été comparé à celui du Québec et de l’Ontario. Les retombées de cette étude indiquent que la pratique du design industriel en Alberta présente quatre domaines de spécialisations distincts se développant depuis les années 1980. La pratique du design industriel en Alberta est sous-développée en comparaison à celui du Québec et de l’Ontario, mais elle peut devenir plus compétitive, au niveau canadien, avec plus de soutien gouvernemental, de meilleures relations avec l’industrie manufacturière et les institutions académiques, une communauté de design plus unifiée et en portant une plus grande attention aux domaines les plus prometteurs de l’industrie. Ces informations supportent une meilleure compréhension de la pratique du design industriel en Alberta et pourront informer les praticiens, enseignants et administrateurs du domaine du design industriel dans la province. Finalement, le mémoire servira de base à d’autres projets de recherche sur les changements potentiels dans la pratique du design industriel en Alberta et l’étude du design canadien et des industries de design régionales. / Industrial design practice is a growing field in Alberta, Canada. Activity is mainly centered in Edmonton and Calgary, Alberta’s largest cities. Both cities have strong industrial design practices, complex industrial design communities, and well-established industrial design education institutions. However, industrial design practice in Alberta is underdeveloped compared to elsewhere in Canada and there is little recorded information about the field. In this master’s thesis, industrial design practice in Alberta was explored using a historical approach. The study employed qualitative historical research, oral history interviews, and quantitative statistical research to address this lack of research and documentation. A base of historical information about industrial design practice in Alberta was established and situated in relation to industrial design practice elsewhere in Canada. Factors, events, and trends in the history of industrial design practice in Alberta were identified. Further, the development of industrial design practice in Alberta was compared with developments in industrial design practice in Québec and Ontario. Results show that Alberta’s industrial design industry has four distinct areas of specialization, which have established starting in the 1980s. Findings further indicate that although industrial design practice in Alberta remains underdeveloped compared to Québec and Ontario, with increased government support, stronger relationships with manufacturing industries and education institutions, a more unified design community, and a focus on the areas of strength and promise of the industry, the field has potential to become more competitive within Canada. This study provides important insight into industrial design practice in Alberta with relevance for industrial design practitioners, educators, and policy makers in the province. Finally, it sets the groundwork for research into potential changes to Alberta’s industrial design industry and study of Canadian design and regional design industries.

Right now you are reading a sentence. Earlier, you might have been looking at a realistic picture, such as a photograph, or an outline drawing in a set of instructions. If you are a programmer, you work with sentence-like structures, such as code, or a system diagram. These are all graphic representations. To varying degrees, the effectiveness of every graphic representation relies on its ability to convey the designer’s intended meaning and elicit the intended reaction from its audience. However, the design of graphic representations, even in technical domains such as visual programming language design or interactive information visualization, currently relies heavily on general principles based solely on practice, intuition, and informal measures of effectiveness from the applied art and craft of design (as opposed to scientific analysis or theory). There is an increasing demand for a scientific understanding of design and its evaluation from stakeholders (who seek evidence for effectiveness) and designers (who seek to advance their field). Because both the creation of graphic displays and their perception are literally embodied experiences, a model was developed with an embodiment orientation, specifically based on how graphics are perceptually and cognitively processed. In my research, I found that graphic representations are constituted of two properties, pictorial and symbolic information, that emerge through two interrelated aspects of perception. In sighted individuals, for example, every graphic representation makes use of biological capabilities to process visual sensation (i.e., light hitting the retina), which are processed in relation to culturally-learned capabilities (i.e., writing). I observed how graphic representations – such as pictures, diagrams, and sentences – are “naturally selected” (i.e., during different phases of design or problem solving). From these observations, I developed a model that distinguishes and predicts the effectiveness of pictures, diagrams, and sentences, in terms of how object relations and attributes are pictorially or symbolically represented, relative to the functional roles of those representations, contexts, and in some cases, individual perceptual-cognitive differences among perceivers. This model is a step toward a science of graphics that could lead to evaluation techniques for information systems, theories for inclusive design, and ergonomically designed software programming tools.

Designers do not merely develop concepts; they are increasingly involved in testing product concepts and learning consumer preference. However, designers’ decision making processes in these tasks have been little studied. In the two essays, I apply decision making frameworks to concept testing and preference learning to study consumer’s and designer’s biases. In my first essay, I study consumer bias in concept testing. When consumers test new products, they are often asked to choose which product they prefer. However, a choice question can elicit biased preference because consumers simply choose the product that is superior on the attribute serving their purchase purpose. My studies show that when consumers are asked to predict which product they will enjoy more, they are more likely to prefer the product that actually reflects their consumption utility. These findings suggest that making trade-offs is avoided in the choice question, but is encouraged in the enjoyment prediction question. Thus, a simple change of question format, in otherwise identical product comparisons, elicits different answers. This holds true when product attributes are easy to evaluate; when product attributes are hard to evaluate, changing question format does not affect consumer choice. My second essay examines designer bias in preference learning. When designers predict consumer preference for a product, they often base their predictions on consumer preference for similar products. However, this categorization-based strategy can result in biased predictions because categorical similarity is not diagnostic for preference prediction. I conducted two studies by applying a Multiple Cue Probability Learning experiment to a designer’s prediction task. I found that when subjects used a sequential learning strategy, making a sequence of predictions and receiving feedback, they increased prediction accuracy by 14% on average. When they made predictions with multiple sets, with a break between each set during which they reflected on what they had learned, their prediction accuracy further improved by 7% on average. In sum, I demonstrate bias and propose approaches to avoid them in two design tasks. My two essays show that the decision making frameworks are crucial in understanding and improving the successful outcome of the design process.

Designers do not merely develop concepts; they are increasingly involved in testing product concepts and learning consumer preference. However, designers’ decision making processes in these tasks have been little studied. In the two essays, I apply decision making frameworks to concept testing and preference learning to study consumer’s and designer’s biases. In my first essay, I study consumer bias in concept testing. When consumers test new products, they are often asked to choose which product they prefer. However, a choice question can elicit biased preference because consumers simply choose the product that is superior on the attribute serving their purchase purpose. My studies show that when consumers are asked to predict which product they will enjoy more, they are more likely to prefer the product that actually reflects their consumption utility. These findings suggest that making trade-offs is avoided in the choice question, but is encouraged in the enjoyment prediction question. Thus, a simple change of question format, in otherwise identical product comparisons, elicits different answers. This holds true when product attributes are easy to evaluate; when product attributes are hard to evaluate, changing question format does not affect consumer choice. My second essay examines designer bias in preference learning. When designers predict consumer preference for a product, they often base their predictions on consumer preference for similar products. However, this categorization-based strategy can result in biased predictions because categorical similarity is not diagnostic for preference prediction. I conducted two studies by applying a Multiple Cue Probability Learning experiment to a designer’s prediction task. I found that when subjects used a sequential learning strategy, making a sequence of predictions and receiving feedback, they increased prediction accuracy by 14% on average. When they made predictions with multiple sets, with a break between each set during which they reflected on what they had learned, their prediction accuracy further improved by 7% on average. In sum, I demonstrate bias and propose approaches to avoid them in two design tasks. My two essays show that the decision making frameworks are crucial in understanding and improving the successful outcome of the design process.

Depuis près de 40 ans, les designers n’échappent pas à la tournure politique de la crise écologique et aux outils normatifs qu’elle engendre pour concevoir notre rapport au monde. Dans ce champ professionnel, le concept de durabilité a été appliqué particulièrement au choix des matériaux et les normes qui en ont découlé ont tendu à consolider les propriétés esthétiques promulguées par le Mouvement moderne. Cette esthétique endémique, fortement uniformisante, anthropocentrée et anhistorique est à l’encontre du programme de changement promis par les politiques environnementales qui enjoint l’engagement citoyen, la construction du commun entre les individus, et aussi avec les autres, les non-humains. Les critiques exprimées contre le Mouvement moderne et l’environnementalisme ont pourtant montré que l’engagement écologique peut prendre forme dans une autre esthétique, une esthétique qui, en outre, défait la distinction entre nature et culture et conserve aux personnes une capacité d’agir nécessaire à la durabilité du monde. En posant un regard anthropologique sur l’esthétique, dans une perspective pragmatique et réaliste, cette thèse avance que l’engagement envers la cause écologique dépend de cette esthétique particulière. L’hypothèse est que l’engagement écologique est étroitement lié à la possibilité d’une esthétique de l’usure — capacité de la matérialité à se transformer, à porter l’usage et le temps. Afin de vérifier cette hypothèse, diverses formes d’engagement écologique ont été identifiées, et leurs propriétés esthétiques visuelles documentées. Une enquête photoethnographique a été réalisée entre 2014 et 2016 auprès de six individus, deux couples et quatre communautés engagés envers la cause écologique dans des milieux de vie urbanisés. Les terrains d’enquêtes comptent un squat activiste autogéré à Istanbul, un centre culturel et social habité autogéré à Berlin, un quartier autogéré à Copenhague, une habitation communautaire, des simplistes volontaires à Montréal et une autoethnographie performative effectuée à la lumière des pratiques observées sur le terrain. Une documentation photographique contextualisée par le biais d’un carnet de terrain a permis de décrire les propriétés esthétiques des lieux habités et des gestes posés au nom du souci écologique. Les résultats montrent que l’esthétique de l’usure est une qualité transversale de ces milieux de vie. Elle s’atteste dans la matérialité artificielle et naturelle, mais aussi gestuelle. Les résultats révèlent aussi douze autres propriétés esthétiques déterminantes de l’engagement écologique. Cette recherche permet de poser un regard critique sur les pratiques des designers adoptées au nom de la durabilité. Elle contribue à une compréhension plus riche des propriétés esthétiques oppressives, liberticides, écologiques et engageantes. L’une des particularités du design est sa capacité à agir sur l’esthétique du quotidien. Ces connaissances permettent aux designers et autres producteurs de l’environnement artificiel de considérer l’esthétique comme un levier d’action pour l’engagement et la transition écologique. Particulièrement, elles démontrent que l’esthétique est un élément clé des transformations sociales et culturelles, mais sa dimension anthropologique reste à explorer, à expérimenter et à légitimer. Enfin, ce travail aspire à éclairer, sur un plan théorique, le rapport entre l’esthétique et l’engagement, puis à sonder la possibilité d’une (contre)politique de l’artificiel pour améliorer les modes de production de demain. / In the last forty years, designers have not been immune to the political turn of the ecological crisis and the normative tools that it generated to design our relationship to the world. In this professional field, the sustainability has been applied particularly to the choice of materials and the standards created have tended to consolidate the aesthetic properties of the Modern Movement. This endemic aesthetic, highly standardizing, anthropocentric and ahistorical is opposite to the change promised by environmental policies which require citizen commitment, building a community between human beings, and also with others, non-humans. Criticisms against the Modern Movement and environmentalism showed that the ecological commitment can take shape in another aesthetic, an aesthetic which also defeats the distinction between nature and culture and preserves the agency of people for sustainability. Looking at aesthetic through an anthropological approach, from a pragmatist and realistic perspective, this thesis argues that the ecological commitment depends on this particular aesthetic. The hypothesis is that the ecological commitment is closely linked to aesthetics of wear - the ability of materiality (bodies and things) to transform, to show mark of uses and time. To verify this hypothesis, various forms of ecological commitment have been identified, and their visual aesthetic properties documented. A photo ethnographic survey was conducted between 2014-2016 with six individuals, two couples and four ecological communities, all settled in urban areas. The fieldwork includes a self-managed activist squat in Istanbul, a self-managed cultural and social center in Berlin, a self-managed neighborhood in Copenhagen, a communitarian house in Montreal, persons following the principles of simple living in Montreal and a self-ethnography performed in the light of ecological practices observed in these fieldworks. A photographic data collection contextualized through a field notebook allows to describe the aesthetic properties of those ecological places and the actions undertaken. The results show that the aesthetics of wear is a transversal quality of these environments. It was identified in artificial and natural materiality, but also in gestures. The analysis also reveals twelve other aesthetic properties crucial to ecological commitment. This research allows us to take a critical look at sustainable practices. It contributes to a richer understanding of oppressive and engaging aesthetic properties. Designers shapes the everyday aesthetics. The knowledge produced allows designers and the other producers of the artificial environment to consider aesthetics as a lever of action for commitment and ecological transition. In particular, it demonstrates that aesthetics is a key element of social and cultural transformations, but its anthropological dimension remains to be explored, tested and legitimized. Finally, this work aspires to contribute, on a theoretical level, to the relationship between aesthetics and commitment, and explore the possibility of a policy (or not) for artificial to improve our future production patterns.

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Les secteurs manufacturiers de nombreux pays ont vu leurs parts dans les économies nationales décliner depuis plus de 20 ans, et le Québec n’en fait pas exception. Bouleversé par des ralentissements économiques et des signatures d’accords de libre-échange, ce secteur autrefois prédominant dans la province a vu son pourcentage de produit intérieur brut et sa proportion d’emploi continuellement diminué lors des dernières décennies. Plusieurs causes permettent d’expliquer ce déclin, telles que la libéralisation du commerce international, l’appréciation des devises et la délocalisation d’entreprises manufacturières. Cependant, les crises récentes, comme la pandémie de COVID-19 et les perturbations dans les chaînes d’approvisionnement internationales, ont démontré la pertinence d’avoir accès à des systèmes de productions locales afin de soutenir la résilience économique locale et une plus grande autonomie lors de ces crises. Dans ce contexte, ce mémoire cherche à explorer les leviers et les freins de la production locale de meubles et d’objets de maison au Québec, en s’attardant aux petites entreprises utilisant des échelles de production de moyenne série, une échelle particulièrement utilisée chez les PME, qui constitue la majorité des entreprises du secteur manufacturier québécois. Plus précisément, il pose la question suivante : quelles leçons tirer d’expériences d’entreprises œuvrant dans le secteur manufacturier de meubles produit localement au Québec à des échelles de production de moyenne série ? Afin de répondre à cette question, une recherche qualitative mettant de l’avant l’analyse documentaire et des entretiens semi-dirigés avec des personnes œuvrant dans des entreprises différentes possédant des expériences riches et pertinentes dans les mises en production de moyennes séries a permis de documenter ce secteur. Cette collecte de données a permis, dans un premier temps, de caractériser le domaine de production de meubles conçu et fabriqué localement, et, dans un second temps, d’identifier les grandes lignes de modèles de production viables dans une échelle de production de moyenne série. Les résultats de cette étude montrent que les d’entreprises intégrant l’ensemble des activités de fabrication à l’interne, et mettant de l’avant des types de productions variées (comme la fabrication à l’ordre combiné à la fabrication pour inventaire) sont en mesure d’être plus résilientes. De plus, celles qui entretiennent des partenariats avec des entreprises concurrentes seraient plus autonomes et entretiendraient des relations plus pérennes avec des fournisseurs locaux. / The manufacturing sectors in many countries have seen their share of national economies decline over the past 20 years, and Quebec is no exception. Shaken by economic downturns and the signing of free trade agreements, this once-dominant sector in the province has seen its percentage of gross domestic product and its share of employment decline steadily over the past few decades. There are several reasons for this decline, such as the liberalization of international trade, currency appreciation and the relocation of manufacturing companies. However, recent crises, such as the COVID-19 pandemic and disruptions in international supply chains, have demonstrated the relevance of having access to local production systems to support local economic resilience and greater autonomy during these crises. In this context, this paper seeks to explore the levers and obstacles of local furniture and object production in Quebec, focusing on small firms using medium-scale production, a scale particularly used by SMEs, which constitute most firms in the Quebec manufacturing sector. More specifically, it asks the following question: what lessons can be learned from the experiences of firms operating in the manufacturing sector of locally produced furniture and objects in Quebec at medium production scales? To answer this question, a qualitative research based on documentary analysis and semi-directed interviews with people working in different companies with rich and relevant experiences in the production of medium-sized series allowed to document this sector. This data collection allowed, firstly, to characterize the field of production of locally designed and manufactured objects, and, secondly, to identify the main lines of viable production models in a scale of medium series production. The results of this study show that firms that integrate all manufacturing activities in-house and put forward various types of production (such as make-to-order combined with make-to-stock) are able to be more resilient. In addition, those that partner with competitive firms would be more self-sufficient and have more sustainable relationships with local suppliers.

Depuis quelques temps, on note que les objets d’apparence artisanale symbolisent souvent des qualités écologiques telles que des matériaux naturels et une fabrication éthique. Les visées de l’étude ont été d’explorer les perceptions à l’égard des objets à caractère artisanal et cela, en vue de reconnaître quelles qualités écologiques sont attribuées à ces derniers, tout en tentant de comprendre les raisons qui se cachent derrière ces associations. Une étude auprès d’usagers a permis d’explorer l’ensemble des qualités pouvant être liées à ce type d’objet, en considérant plus précisément le rapport entre les qualités écologiques leur étant accordées et leur durée de vie projetée. Pour ce faire, au cours d’entretiens individuels, des thèmes comme l’appréciation à long terme, la signification et la considération de la diversité culturelle ont été examinés. Les résultats montrent entre autres que les objets à caractère artisanal sont caractérisés comme étant composés de matériaux naturels et sains pour la santé des usagers. Leur usure est reconnue comme éveillant les représentations quant à leur « histoire », alors que leur originalité leur confère une « âme ». Enfin, car ils sont considérés comme ayant été fabriqués par des créateurs autonomes, ces objets sont associés à des conditions de travail éthiques et sont perçus comme étant capables de faire tourner l’économie locale. Les renseignements recueillis peuvent informer les théories et la pratique en design industriel quant à la disposition des objets à caractère artisanal à être appréciés par les usagers, de leur durée de vie projetée et du désir de les entretenir et de les léguer. Ce projet constitue un premier répertoire des perceptions entourant ce type d’objet, un champ de recherche encore très peu documenté, malgré qu’il s’inscrive à l’intérieur d’un contexte environnemental et social bien actuel. Les résultats obtenus contribuent à leur façon à la perspective d’une conception, d’une fabrication et d’une consommation davantage viables. / In these days, artisanal-looking objects often symbolize ecological qualities such as natural materials and ethical production. The aims of the study were to explore perceptions towards artisanal looking objects and that, in order to recognize what ecological qualities are attributed to them, while trying to understand the reasons behind these associations. A study of users allowed to explore all the qualities that can be associated with this type of object, considering specifically the relationship between these environmental qualities and their planned lifespan. To do so, topics such as long-term appreciation, meaning and consideration of cultural diversity were examined during individual interviews. Results show that artisanal-looking objects are caracterized as objects being made of materials that are natural and safe for users. As well, their patina stimulates the perception of having a « story », and their originality gives the perception of the object having « soul ». Lastly, because they are considered as being made by independent designers, these objects are associated with ethical working conditions and are perceived as having the capability to drive the local economy. Among other things, the information gathered can inform theory and practice in the field of industrial design on the ability of artisanal-looking objects to be appreciated. Information can also shed light on their planned lifespan in regard to user’s level of emotional attachment, and on the desire of users to preserve and to bestow them upon future generations. This project stands as a first inventory of perceptions pertaining to this type of object, a field of research not yet well documented although it is in line with the current environmental and social context. The obtained results, therefore, contribute to the ongoing project of a more sustainable design, production and consumption.