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Uppsatsen undersöker hur man med hjälp av teori, Co-Creation, emotionell design, hållbar design och design for disassembly kan skapa hållbara hörlurar ur en lagning och uppgraderingsperspektiv. Studien undersöker over-ear hörlurar med metoderna intervju, produktanalys, persona, moodboard, workshop, skiss och 3D modulering i samband med användare. Resultatet av studien visar på ett koncept med intuitiv lagning och uppgraderingsmöjligheter, resultatet är grundat ur ett emotionellt perspektiv från användarna. Kunskapsbidraget bidrar med kunskap om hur en emotionell koppling till produkter i kombination med Design for disassembly kan skapa en mer hållbar framtid genom att användaren konsumerar färre hela produkter. Uppsatsen avlutas med en diskussion som lyfter svårigheterna med individualiteten av emotionell design, stil, tycke och smak. / The essay examines with the help of theory, co-creation, emotional design, sustainable design, and design for disassembly how you can create sustainable headphones from a repair and upgrade perspective. The study investigates over-ear headphones using interviews, product analysis, persona, mood board, workshop, sketch, and 3D modulation in connection with users. The result of the study shows a concept with intuitive repair and upgrade possibilities, the result is based on an emotional perspective from the users. The study contributes to knowledge about how an emotional connection to products in combination with Design for disassembly and emotional design can create a more sustainable future. By the user consuming fewer products. The essay concludes with a discussion highlighting the difficulties with the individuality of emotional design, style, liking, and taste.

Gustav Vasa association, among other things, works to inform the public about Strängnäs interesting background about Swedish history and cultural heritage. Their purpose is to promote Strängnäs as an interesting travel destination to visit and teach visitors about Swedish history during the 15th to 17th century specifically. Their objective is to promote and deliver this information through interactive and innovative platforms in order to attract a younger target group, but also to engage the user’s interaction. This research contains the strategies and methods needed in order to create a digitally interactive and cultural map of Strängnäs, that would achieve both visual engaging and guiding purposes. Under this research, multiple methodologies were performed in order to get a more in-depth knowledge about the Swedish domestic traveller needs, preferences, motivations and behaviours before and while leisure traveling. In addition to that, theories from emotional design, rhetorical, storytelling and cartographic visual techniques among others, are presented to give this thesis a base to visually engage and guide the users. The data collection methods used in this research has been both as observations, interviews with Gustav Vasa association, tourist centres in Eskilstuna, Västerås and Strängnäs and with the target group, with the purpose of gather data relevant as this research´s basis. Along with these, user testing methods such as A/B testing, think aloud and usability testing were conducted as to evaluate the resulting design concepts from the data collection methods. This thesis resulted in that a combination of both emotional and rhetorical theories, and both flat and skeuomorphic design styles, created an engaging and persuading visual content. This concluding in making users want to interact with the map´s visual and textual context within the map´s digital interaction. The use of visual concepts that could be associated by a both visceral and reflective level of design (Norman, 2005) concluded in a stronger engaging response from the users, as well as, the use of visual rhetorical theories within the map´s visual content. Finally, the use of storytelling techniques both in visual and textual context lured the user to interact with the information provided by the design.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-08-02T16:14:01Z No. of bitstreams: 1 Valentina Marques Da Rosa_.pdf: 1176563 bytes, checksum: 7ee335112074ee2dcdf24845d4d1517e (MD5) / Made available in DSpace on 2017-08-02T16:14:01Z (GMT). No. of bitstreams: 1 Valentina Marques Da Rosa_.pdf: 1176563 bytes, checksum: 7ee335112074ee2dcdf24845d4d1517e (MD5) Previous issue date: 2017-06-30 / Nenhuma / Compreender mais profundamente o usuário e a sua experiência com os objetos é crucial para o design, já que a partir desse conhecimento é possível projetar focando em necessidade específicas. Com esse propósito, devem entender como as pessoas, através da percepção, entrarão em contato com os produtos, e como será esse encontro. Não só o produto em si é importante para a experiência. A embalagem é o primeiro contato que o usuário terá com ele, e pesquisas mostram que a sua cor e forma podem aumentar a preferência por um produto específico. Com isso em mente, esta pesquisa tem como objetivo geral mensurar o impacto das variáveis tangíveis da embalagem – forma e cor – na experiência do usuário. Para tanto, foi utilizado um delineamento experimental, contando com dois estudos. O primeiro manipulou duas variáveis independentes intragrupos, forma (arredondada e angular) e cor (escalas de cinza, de cores quentes e de cores frias), e as variáveis dependentes de preferência e associações de sabor, com uma amostra de cinquenta pessoas. Utilizou, para tanto, embalagens sem a identificação do produto. Os resultados encontrados indicaram que a cor é mais significativa do que a forma para as variáveis estudadas, não havendo diferença entre quentes e frias, com as cinzas apresentando médias muito menores quando comparadas às outras duas. Sobre os sabores, não houve efeito significativo para forma, enquanto a cor foi significativa em todos eles menos no sabor amargo. No segundo experimento foram manipuladas três variáveis independentes, também intragrupos: forma (arredondada e angular), cor (escalas de cores quentes e de cores frias) e tipo de produto (biscoito amanteigado e de cereal). Como variáveis dependentes, a percepção de o quão saudável um produto aparenta ser foi mensurada, assim como preferência, com uma amostra de cento e duas pessoas. Nesse experimento, foram utilizadas imagens de embalagens mais realistas, contendo a identificação do produto. Como resultados para preferência, a cor foi significativa, com as frias apresentando médias maiores, assim como o tipo de produto, com as amanteigadas apresentando médias maiores. Sobre o quão saudável um produto aparenta ser, todas as variáveis independentes apresentaram efeitos significativos, com as embalagens angulares, frias e amanteigadas apresentando médias maiores quando comparadas às outras. / Understanding the user more deeply and their experience with objects is crucial for design, since from this knowledge it is possible to design focusing on specific needs. With this purpose, they must understand how people, through perception, will come into contact with products, and what that encounter will be like. Not only is the product itself important for the experience. Packaging is the first contact the user will have with it, and research shows that packaging’s color and shape may increase the preference for a specific product. With this in mind, this research has as a general objective to measure the impact of the tangible variables of packaging - shape and color - in the user experience. For this, an experimental design was used, counting on two studies. The first one manipulated two independent intragroup variables, shape (rounded and angular) and color (gray scales, warm colors and cool colors), and the dependent variables of preference and flavor associations, with a sample of fifty people. For it, packaging without product identification were used. The results indicated that color is more significant than shape for the studied variables, with no difference between warm and cool, with the gray having much lower averages when compared to the other two. About the flavors, there was no significant effect for shape, while color was significant in all of them, except in the bitter taste. In the second experiment, three independent variables were manipulated, also intragroups: shape (rounded and angular), color (warm and cool scales) and type of product (buttery biscuit and cereal). As dependent variables, the perception of how healthy a product appears to have been measured, as well as preference, with a sample of one hundred and two people. In this experiment, more realistic packaging images were used, containing the product identification. As results for preference, the color was significant, with the cool ones having higher averages, as well as the type of product, with the butters presenting higher averages. Regarding how healthy a product appears to be, all the independent variables had significant effects, with the angular, cool and buttery packages presenting higher averages when compared to the others.

Emotional design addresses peoples needs and desires which is at the center of product or technology development. Currently, there is no established process of emotional design in the field of industrial design to address research and design issues. A five step emotional design process is proposed in this thesis. Research theories and methods on emotional design were reviewed. Existing pantry storage products were evaluated. User research was targeted on women between age 45 and 60. Research data were collected through interviews and surveys. Research findings were produced by analyzing the data using a proposed data analysis method called Product Emotion Baseline. Product function design, product interface design and user experience study on smart pantry were presented. All five steps of emotional design process were applied to smart pantry design to illustrate in detail how the proposed process works.

Global warming challenges designers to pay attention to environmental effects of manufacturing when designing new products. This examination project was a personal challenge to uphold ethical responsibility as a designer and consider emotional aspects of design while aiming to create a pleasurable lighting for the home environment. The underpinning idea for the project was to promote the use of recycled materials and an environmentally friendly light source aiming to create a sustainable everyday commonplace product that it is possible to manufacture. High power LED-technology was chosen because of its energy efficiency, flexibility and a particularly long life-cycle. Recycled plastic and fibre cardboard were chosen to be applied as the shades of the lamps. Both these recycled materials can be broken down and recycled again after use. Emotional design aspect was the leading theory in the design process. The intention was to consider different levels of emotional aspects when defining the main characteristics of the lamp to create pleasurable lighting: Among usability and aesthetics the concentration was on the semiotics of the product and its usage context. It was designed with the aim of evoking pleasurable feelings in users who desire to lead an active and urban life-style but who are simultaneously worried about global warming. Both of the lighting designs are for a dining context. They are supposed to create a pleasurable atmosphere around a dining table while separating the party around the table from the rest of the space. Other lights can be dimmed or switched off when it is time to gather around the table to accentuate the illumination and feeling of togetherness. Inspiration for the project came from sustainability, contemporary thoughts and trends embodied into maps. The products turned out to be silent statements of today’s global world; Antarctica refers to glacial retreat while Town symbolises the importance of people’s own origin in this globalised world.

<p>Global warming challenges designers to pay attention to environmental effects of manufacturing when designing new products. This examination project was a personal challenge to uphold ethical responsibility as a designer and consider emotional aspects of design while aiming to create a pleasurable lighting for the home environment.</p><p>The underpinning idea for the project was to promote the use of recycled materials and an environmentally friendly light source aiming to create a sustainable everyday commonplace product that it is possible to manufacture. High power LED-technology was chosen because of its energy efficiency, flexibility and a particularly long life-cycle. Recycled plastic and fibre cardboard were chosen to be applied as the shades of the lamps. Both these recycled materials can be broken down and recycled again after use.</p><p>Emotional design aspect was the leading theory in the design process. The intention was to consider different levels of emotional aspects when defining the main characteristics of the lamp to create pleasurable lighting: Among usability and aesthetics the concentration was on the semiotics of the product and its usage context. It was designed with the aim of evoking pleasurable feelings in users who desire to lead an active and urban life-style but who are simultaneously worried about global warming.</p><p>Both of the lighting designs are for a dining context. They are supposed to create a pleasurable atmosphere around a dining table while separating the party around the table from the rest of the space. Other lights can be dimmed or switched off when it is time to gather around the table to accentuate the illumination and feeling of togetherness.</p><p>Inspiration for the project came from sustainability, contemporary thoughts and trends embodied into maps. The products turned out to be silent statements of today’s global world; Antarctica refers to glacial retreat while Town symbolises the importance of people’s own origin in this globalised world.</p>

This research is an investigation into the playful aspects of designed products. Defining playfulness in products, besides and beyond utilitarian functions and aesthetics, is at the heart of this thesis. In product design research, playfulness, this indispensable element of our mediated world, is either superficially limited to visual seduction or entangled with new technologies that it seems as if play appears as peripheral. The main objective of this research, therefore, is to understand how play can be embodied within a product at the design stage. The research has been supported by a considerable body of literature on the definition of play, product reviews and qualitative fieldwork studies. The fieldwork and ethnographic research was conducted in three stages. First, a series of semi-structured interviews were carried out with second-year product design students at the Edinburgh College of Art. The aim was to examine their understanding of the playful aspects in their own interactive design. The second stage was a series of focus group discussions held with women over the age of 65 to explore how they understand and interpret playfulness in the context of kitchen appliances, and how the change of functions may affect their attitudes toward the activities of their everyday life. Finally, through using a number of ethnographic research methods, five Edinburgh women, aged between 25 and 35, were observed in their kitchens to assess their style of cooking and the way they interacted with their chosen household products. As a result of these field studies, four main aspects of playfulness in these interactions were discovered: communicative and social aspects, dynamic and bodily engagement, the distractive and immersive quality of play and finally, the ‘self-reflective’ aspects of play. The latter is indebted to the idea of ‘ludification of societies’ proposed by Jos De Mul (2005), who draws attention to the increase of playful activities in Western societies in the 21st century and the emergence of a new state of identity, or ‘ludic identity’. In considering this exploration, I have developed a new framework for the ludo-aesthetics of interaction based on the ‘aesthetics of interaction’ which aims to explain the deeper meanings of playful engagements in product interactions. By defining play and reviewing the possibilities of playfulness in products, I have created a taxonomy of playful products, providing a broad spectrum of play, from visually and functionally playful to more subtle and hidden agendas, which only can be highlighted through the active role of users. The findings to emerge from this study are, firstly, playfulness in product design is not an emotion elicited from using a product but rather is a mode, with a broad range of interactions, from objective to subjective, and from personal to social. Second, to assign any attribute of playfulness to a product without considering the contribution of the user, the socio-cultural environment of use and the reflective and constructive interactions of users with products is reductive and superficial. In order to make these findings more tangible for designers and students in product design, I have visualised four food-related scenarios by imaginative personas based on the observations I made in the course of the fieldwork. In addition, I have drawn upon the term ‘replay’ (normally associated with gaming) to demonstrate that playfulness can occur through recalling the objects of the past, the culture of reusing and recycling, and retro style. In essence, this PhD sets the parameters of what designers should be aware of while dealing with people’s playful interactions with products. It is my belief that such awareness, as a complementary element of aesthetic interactions, will help designers to expand their territory of research and widen their scope for design practices.

[pt] Delightfully tactile: produção de presença e afetos no design de livros pretende discutir a materialidade do livro através do design gráfico, partindo, para isso, de duas diferentes possibilidades de observação do objeto: o design emocional de Donald Norman (complementado pela teoria dos afetos de Antonio Damasio) e a produção de presença de Hans Ulrich Gumbrecht. Para entender como as duas se relacionam entre si e como se podem aplicar ao livro, utilizo-me da descrição de quatro livros que compõem o corpus da presente pesquisa: Bartleby, o escrivão, de Herman Melville e Avenida Niévski, de Nikolai Gógol, ambos publicados pela Cosac Naify; Composition No. 1, de Marc Saporta e Tree of codes, de Jonathan Safran Foer, lançados pela Visual Editions. As duas editoras que publicaram estas obras fazem parte de um setor no design editorial que, como defendo em minha argumentação, trabalha para uma retomada da presença como referência do ser humano através da criação de projetos gráficos que tencionam mobilizar o afeto de seus leitores através da materialidade táctil. A partir do contraste entre dois livros tradicionais e as já citadas obras, esta dissertação se propõe a entender de que forma a configuração física do livro influencia a nossa percepção da arte. / [en] Delightfully tactile: production of presence and affection in book design aims to discuss the materiality of the book through graphic design by using two different ways of seeing an object: the emotional design by Donald Norman (along with the affect theory by Antonio Damasio) and the production of presence by Hans Ulrich Gumbrecht. As a meaning of understanding the connection between them and how they can apply to the study of books, I describe four books that are part of the corpus of this research: Bartleby, o escrivão, by Herman Melville, and Avenida Niévski, by Nikolai Gógol, both published by Cosac Naify; Composition No. 1, by Marc Saporta and Tree of codes, by Jonathan Safran Foer, published by Visual Editions. These two publishers are part of a segment of the publishing design that as I argument works to reclaim the presence as a reference to the human being through the creation of graphic projects which try to affect the reader by using the tactile materiality. From the contrast between two traditionally designed books and the previously mentioned works, this dissertation tries to extract a comprehension of how the physical configurations of a book can change our perception of art.

Submitted by SIMONE THEREZA ALEXANDRINO MAFFEI null (simone.maffei@hotmail.com) on 2016-03-09T00:00:04Z No. of bitstreams: 1 TESE_SIMONE_THEREZA_A_MAFFEI_SIMACEK.pdf: 10213408 bytes, checksum: cfd1b66d32dcfc8d083140ccce420888 (MD5) / Rejected by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: -Verifique se a ficha catalográfica é obrigatória em sua unidade. Há uma página em branco após a folha de rosto reservada para a ficha. Corrija estas informações e realize uma nova submissão contendo o arquivo correto. Agradecemos a compreensão. on 2016-03-09T18:46:29Z (GMT) / Submitted by SIMONE THEREZA ALEXANDRINO MAFFEI null (simone.maffei@hotmail.com) on 2016-03-10T19:52:32Z No. of bitstreams: 1 TESE_SIMONE_THEREZA_A_MAFFEI_SIMACEK.pdf: 10213476 bytes, checksum: e05feab4c8b3845d371bb42a7f841501 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-03-11T12:09:45Z (GMT) No. of bitstreams: 1 maffeisimacek_sta_dr_bauru.pdf: 10213476 bytes, checksum: e05feab4c8b3845d371bb42a7f841501 (MD5) / Made available in DSpace on 2016-03-11T12:09:45Z (GMT). No. of bitstreams: 1 maffeisimacek_sta_dr_bauru.pdf: 10213476 bytes, checksum: e05feab4c8b3845d371bb42a7f841501 (MD5) Previous issue date: 2016-01-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O design, em seus diversos campos, é um agente gerador de necessidades contínuas. Responsabiliza-se por causar o desejo de compra e isso se dá principalmente com a exposição de seus produtos em vitrinas. Mas um expositor pode também ser considerado um produto de design, pois, para chamar a atenção do consumidor e despertar-lhe prazer (visual), usa de estratégias que envolvem elementos de percepção e emoção. Luzes, cores, formas, elementos tridimensionais encenam valores sociais, econômicos e culturais e isso provoca no observador uma mistura de sentimentos. Porém as respostas emocionais que ocorrem diante de uma vitrina não são conhecidas pelos designers, tampouco quais são os elementos da vitrina que provocam esses retornos afetivos. Seriam os elementos de percepção ou os objetos expostos? Haveria alterações nessas respostas ao colocar um objeto de possível desagrado emocional, como uma cadeira de rodas? Além disso, conseguir compreender as respostas emocionais dos consumidores ao observa-los diante de uma vitrina geraria informações projetuais muito mais verdadeiras e seguras sobre o que se está observando, do que propor um questionamento. Questionar um consumidor sobre um produto pode pô-lo em situação desconfortável e sua resposta não seria, assim, verdadeira. Portanto essa pesquisa visa compreender as respostas emocionais de observadores de vitrinas, por meio de imagens das mesmas, aplicando metodologia observacional, e assim obter dados que possam corroborar o design, nos âmbitos do emocional e de moda. / The design, in its various fields, is a generator agent of needs. The responsibility of design is causing the desire to purchase and the mainly way to do this proposition is with the exposure of products in shop windows. But an exhibitor can also be considered a design product, therefore, to draw the consumer's attention and awaken them (visual) pleasure, uses strategies that involve elements of perception and emotion. Lights, colours, shapes, three-dimensional elements enact social, economic and cultural values and this causes in observers a mixture of feelings. But the emotional responses that occur in front of a shop window are not known by designers, nor what are the elements of shop window that cause these emotional returns. Would be the exhibits elements of perception? There would be changes in these responses when introducing a possible emotional dislike object, such as a wheelchair? In addition, be able to understand the emotional responses of consumers, by observation, in front of a shop window would generate data to design much more accurate and secure about what consumers are watching, than proposing them a question. Questioning consumers about a product can be an uncomfortable situation and their answer would not be true. Therefore this research aims to perceive the emotional responses of consumers in front of images of shop windows, applying observational methodology, and thus obtain data that can corroborate the design, in the emotional and fashion areas. / CAPES/PDSE: 13845/12-8 / CNPq/Programa Ciência sem Fronteiras: 248830/2013-9