جستجوی مقالات مرتبط با کلیدواژه « طراحی احساس گرا » در نشریات گروه « هنر و معماری »

Take a walk around the consumer landscapes of our larger cities and you can’t fail to experience, consciously or otherwise, all manner of design interventions whose every detail seeks to influence people’s thoughts, emotions, and actions. Back in 1957, American journalist Vance Packard coined the term “hidden persuaders” to describe the sales-promoting psychological techniques used in advertising and consumer research. More than half a century later, neuroscientific imaging, ubiquitous computer-aided technology and big data have long since caught up with Packard’s ideas. Design decisions always have an impact on the user – intentionally or not.

Problem Definition:

 In the contemporary world, human artifacts are more than simple tools of convenience in our daily lives. They actively shape, although indirectly, human actions and experiences, individuality, quality of life, decisions and values, and affect the way we adhere to ethics. Therefore, considering the important role of these artifacts in the moral dimension of our social life, and also the slow progress of society's ethics compared to technological advances, a designer can materialize moral values as interactive performative artifacts with an emotion-driven design approach, and present them to society aiming at arousing and encouraging the actants to act morally and also help improve social moral values. But "what are the characteristics of these moral artifacts and how can they help moralize life and society more effectively"?

The goal of the research is first and foremost, to investigate the features and functions of interactive value driven artifacts by studying existing examples. Second, to explain the principles of designing such artifacts; and finally, to realize these principles as design concepts.

The research adapts the «descriptive-analytical» method. Using this method, it first investigates interactive value-driven artifacts (based on theoretical studies), and discusses the existing examples of these artifacts with an emotion-driven approach.

By examining and analyzing interactive value-driven artifacts (economic, emotional, and moral) which have been purposefully selected under the research, it can be claimed that interactive value-driven artifacts with an emotion-driven approach, and also performative artifacts, can be effective in creating awareness and encouraging reflection because of their ability in creating admiration, guilt, encouragement and reproach (during the process of interaction or as a consequence of interacting with them). As a result, they can change the behavior of their users and ultimately result in the promotion of ethics in society.

In the last few years, the importance of emotional effects in the user experience has stirred some controversy about how to create a multi-sensory experience in products. Surrounding a wide range of products necessitates the creation of a pleasurable experience because interaction with each product creates a unique experience for all users. It can be said, products act as an emotional signal to users, whether designers add emotional features to products deliberately or not. Therefore, anticipation of users' emotional needs and accommodating them with product features, not only plays a crucial role in users' experience but also can be a factor in increasing the level of life quality. Besides, understanding products' emotional features can make a meaningful connection between users and their experience, and ignoring the sensory needs of users can exacerbate negative experiences and eventually take the product out of the production cycle. To wit, studying the sensory needs of users and extracting them in the form of quantitative and qualitative data can prevent future damages. Thus, this research by using the emotional design approach aims to answer this question: is it possible to create a valuable experience in the saffron mill by measuring five sensory characteristics such as pleasure, enjoyment, wish, interest, fascination, or not. Hence for achieving a better answer, two fundamental steps are used in this research; that is combining quantitive and qualitative methods that help to evaluate all test results accurately. In the first step, eight saffron mills were selected for the base experiment and after using by users, their results have recorded as a quantitive table. With this experiment and numerical results, a three-dimensional chart has been created showing products' sensory distances. In the second step to discover users' evaluation, different methods such as laddering questions, user observation, and team interviews has been used. The second step’s results have shown in a table under the name of standards, goals, and attitudes which was a pivotal starting point for creating a product character triangle and designing a new saffron mill. In this part, the new product is evaluated by users and its results have recorded in a numerical table and three-dimensional chart. It should be noted that all the steps of needs extraction have been done by the Pr-EMO method with a three-point Likert scale with three options: I feel, I feel to some extent, I do not feel at all. This study is in the branch of field studies in terms of method and time of data collection. The statistical population of this study has been purposefully selected from people who are very interested in cooking and use more saffron in their food. This research shows that by combining different emotions and creating a product personality instead of focusing solely on the assumed functional features, a more desirable, and lasting experience can be created for users.

Positive design is one of the latest sub-disciplines of industrial design that was introduced to the design world by Donald Norman. In general, positive design can be considered beyond critical design and functionalist design. Whereas critical design attempts to show social abnormalities and functional design emphasizes preserving social normality, positive design is aimed at the promotion of life and human characteristics from a normal state to an ideal state. According to the studies by Desmet (2012), people can experience different positive emotions facing the products, although some emotions are experienced more frequently (such as joy, satisfaction, and amusement) and some other emotions are less frequently experienced (worship, lust, and dreaminess). His studies indicated that all 25 positive emotions can be experienced. The different sources of emotions provide a wide range of opportunities for the designers. When the purpose of designing a product is provoking a positive emotion, the designer can look at the object and search for an opportunity for creating human-product interaction or human-human activity which is made possible through an object. The positive design has recently found its role in the community and is considered as a factor linking aesthetics and ethics, or in other words, sensational and ethical design. However, its theoretical foundations and functions have not been fully studied yet. Regarding the dilemmas of contemporary societies and their effects on the family environment, it seems the opportunity of interaction and conversation between the family members has been minimized regarding the dilemmas of the contemporary societies and their impacts on the families’ environment. Emotions help us in decision making, and positive emotions. in particular, provoke more creativity and learning in individuals. People who are in a positive emotional state can better handle the problems and find better solutions, as stated by psychologists The aim of the research is to improve family relationships by stimulating positive feelings in users. Hence, according to the purpose of Positive Design and regarding the reduced interactions among family members, meal times could be considered crucial for creating positive emotions in this smallest community while they get together at the table. The main question that needs to be answered is how to evoke positive emotions in the user through design. In this cross-sectional study, observation and data gathering were achieved through field and library research. In the next step, due to the novelty of the issue, a positive design approach and the relevant available examples were extensively dealt with. Furthermore, the study of the product situation, an initial survey of homes, national and global markets were performed using conceptual diagrams. Final investigations and field research were done by collecting the data related to the young couples and their relationship with the products through ethnography, questionnaire, observation, and interview. As a final point, conclusion and selection of the top designs based on the user’s needs, positive design approach, proposing suggestions and research added values were on the agenda.
The initial information about the state of tableware at homes of 20 young couples, residing in Shiraz and Tehran, was gathered through ethnography, observation and interviews. The questions were related to the kinds of dishes existing at homes and the user’s opinions about them. A notable point was realized in the process of studying the users. Many changes have occurred within the concept of family life during recent years, i.e., reduction of size/members, postponed marriages, and increased level of divorce. According to a new model of FLC by Gilly and Enis, the term “young couple” has got a new meaning: a couple within the age of 18-34, who have married recently and don’t have children.
The subject population at the final phase of the research includes young couples from all over Iran. Sampling was done by a purposeful method so that a couple was selected from every city, and other young couples they introduced as their acquaintances, were added as new samples. The sample size contained about 50 couples, among which 13 people were men and 37 were women. According to the definition of a young couple by Samadi (2007), these people were in the range of 18 - 34 years old. A questionnaire including two sections was charted for the research. The overall information about the participants and their relation with the tableware was studied in the first part, and the level of excitement -stimulated by the product- through 25 positive emotions, in the second part. At this stage, the level of provocation of every 25 emotions (stimulated by the tableware) was measured using seven-points Likert scale. Each of the positive emotions provoked by dishes holds different levels of severity. It has been observed that some emotions are experienced more frequently, viz. admiration, satisfaction, relaxation, amusement, euphoria, and joy. Some other emotions are less intense and are experienced less frequently: anticipation, lust and Worship.
It was observed that the emotions of admiration, satisfaction, relaxation, amusement, euphoria, and joy are experienced more frequently than the other emotions. In order to investigate the significant difference between the 10 categories of tableware and the six emotions, the Kruskal-Wallis analysis was employed at this point. The results of the test indicated that there is a significant difference between the tableware and the six selected emotions.There are six emotional resources regarding the human-product interactions that can be defined as the following: Focusing on the object (dish), its high quality should be paid attention to. As a result, porcelain material was selected due to its quality, strength, beauty, elegance, and healthiness in addition to the users’ demands. Focusing on the concept, the pieces of tableware should allow for different layouts on the table, according to the kind of food and family culture. Focusing on interaction, producing different separate pieces facilitates access to different foods. Focusing on activity, different forms of the dishes make them suitable for different purposes, or for being used as a complement for other dinner services. Focusing on ourselves, different harmonized forms, and applying beautiful decorations and garnish can make us feel proud of our table. Focusing on others, tableware layout and decoration should have a positive effect on others. By means of a vase or candle, the described positive effects could increase, and communication would get easier for the individuals. According to the diagrams and the results of the previous sections, it seems the features that provoke each of the six emotions can be defined as the following: Admiration: being good-looking, using specific techniques, harmony between the pieces, having an integral identity Satisfaction: ordered, geometric, and logical layout, convenient access, avoiding complexity
Relaxation: plain and mild forms, using curved forms, avoiding complexity
Amusement: it seems that new and novel forms of tableware and various layouts lead to the provocation of amusement emotion. Old and repeated forms reduce this emotion
Euphoria: using uniform patterns, various layouts, creating different spaces in a dish, avoiding old and repeated forms
Joy: simplicity, integrity, without drawing, creating different spaces in a dish
The results give us considerable evidence that, enriching social/family communications is probable through design. A study on varieties of tableware revealed that form, material, colour, and layout of the dishes affect the interactions between family members during the meals, provoke positive emotions and also may improve their relationship.

Dining table is not only a place to gather for food and drink, but it also the art and culture of people throughout time. Related cultural traditions and rituals pass from generation to generation. Through the utensil use as significantly as the victuals. Persian lifestyle and culture has long played a major role in shaping the dining table utensil. The contemporary designs, however, are not much indicative of the Persian heritage particularly in case of dishes for drinks. Crystal and porcelain dishes modelled on Chinese, Japanese and Czech designs clutter in the market. In addition, most people show little willingness to include dishes with old design on their table. This study deals with the question of how to model modern design characterized with Persian- Islamic art. In so doing, it is attempted to design drinking utensils based on Qajar goblet and decanter which can be considered as then successful product and a reminiscent of past culture. The research methodology is descriptive- analytic and the required data was collected through archive as well as the analysis of the paintings of Isfahan places and the decanters of Safavid and Qajar eras. Tracing back the Qajar model to its Safavid precursor certain characteristic features of Persian design were extracted. The model was then investigated from an aesthetic perspective to drive the key design based on Persian art. Focusing on design principles such as order, rhythm, point of commonality and axis definition, the proposed model based on Qajar design creates Persian identity and cultural base for contemporary products. Emotional design approach consiste of three levels. Considering the visceral level, the study focused on form design, weigh, color and the touch of the product to impress people. Ergonomic rules and the catch of the product were taken in to consideration at the behavioral level. The reflective level was consolidated through following Isfahan artistic style as well as the pattern and form of Qajar decanter and goblets.

Dining table is not only a place to gather for food and drink, but it also the art and culture of people throughout time. Related cultural traditions and rituals pass from generation to generation through the utensil use as significantly as the victuals. Persian lifestyle and culture has long played a major role in shaping the dining table utensil. The contemporary designs, however, are not much indicative of the Persian heritage particularly in case of dishes for drinks. Crystal and porcelain dishes modelled on Chinese, Japanese and Czech designs clutter in the market. In addition, most people do not show much willingness to include dishes with old design on their table. The aim of this study is to extract physical characteristics emotionally affective while drinking. In so doing, a semi-structured interview and three experiments to test users’ feelings and examine their form preferences were arranged based on emotional design approach. Provided that the goblet with tulip- shape outweighs other goblet samples, it can satisfy the emotional dimension of the design. Modelled on Qajar style of goblet and decanter, the design would be able to highly affect user’s feelings and identity and meet their expectations regarding pleasurable usage.

Typefaces are very widespread and functional tools. The main function of typeface is to improve the readability and enhance conveyance of information. The emergence of metal and digital font systems has led to a considerable cultural gap between the aesthetics of Persian calligraphy and its modern typeface. However, the undeniable fact is that the even aesthetical aspects of Persian modern typeface should be inspired mainly by the writing identity of Persian culture, so that it can be more aligned with the cognitive needs and aesthetic expectations of Iranian audience. Emotional design creates a more pleasant visual experience of reading through meeting the emotional need of readers. Accordingly, emotional design can be a great asset for Persian typeface as it may provide a positive emotional interaction between the text and audience. Such positive emotion is the result of years of experience of reading and watching Persian texts, all stores in the from of visual schema in the mind of Iranian audience, increasing their willingness to watch Persian typeface and read the content of such materials. A very brief survey of recent aesthetic trends and approaches shows that those which have been more compatible with the cultural and emotional structure of Iranian thought processes have successfully passed the test of time and have been widely accepted by their Iranian audience. Literature and more specifically poetry has always been an indispensable part of Iranian cultural identity and writing has long played a vital role as the major medium for conveying such rich cultural heritage. Naturally writing had to be in accord with the poetic delicacies of its content. Emotional design could be of a huge help to recreate such emotional facets in modern Iranian typeface. From a transactional point of view, the major role of language is to carry meaning and convey information. But from a more interpersonal view, language is supposed to create emotional connection and interaction between people and emotional design can contribute a lot to this undeniable role of language and writing. Emotional design can contribute a lot to this undeniable role of language and writing by creating the most convenient tools for the writer to encode his feeling and emotions and for the reader to get a clear picture of emotional nuances buried in the text. In this paper a brief analysis of reciprocal the role of writing and culture and their effect on design of Persian font is presented. The visual values of Nastealiq and Naskh and their function in the emotional design of Persian typeface are also dealt with. In addition, the mediatory role of typeface in creating an emotional connection between the reader and text is studied in more details. Finally the by investigating the structural similarities of visual elements which recall good emotions in nature and by applying positive structural and emotional values in Nastealiq, it is shown how we may be able to deliver a more pleasant experience of reading Persian contemporary writing in accordance with the writing identity of Iranian readers.

One of the of main concerns of designers in the process of product design is how to design a product which can make a deeper and more meaningful relationship with the broader range of consumers. In other words, one of the important and vital points in product design is to determine what are the elements to be considered to achieve to a more successful product. In this descriptive and qualitative research, three different levels of emotional design; Visceral Level, Behavioral Level, and Reflective Level, have been employed and their importance in relation to consumers have been studied. The results show that since each level of emotional design has a different influence on the consumer, applying all these three levels will lead up to a multilateral production success.

Some products include emotional messages which are recognized and perceived by users unconsciously. Such products can have deeper influence on users and satisfy their emotional needs. From emotional design point of view, the main objective of design is to satisfy emotional needs of users, so tries to direct and incline design criteria to this main goal. Emotional design is based on advanced technology, new materials and computer aided design, so there is a possibility to produce variety of complicated products which are emotional, but it should be mentioned that all the products which are the resultant of new materials and advanced equipments, are not “Emotional”, So they can be distinguished by analysis of their forms, colors, functions and materials and the way they influence human emotions directly. Emotional objects should include semantics and emotions and they should transmit them to their users certainly. On the other hand, user responds to emotional motives in different levels; Decision making about stimulus can be automatic, without reasoning and due to comparing with last using patterns. It can be related to function and using products and be affected by designers and users experiments. Also can be formed by thinking about environmental motives and be related to cultural, social, semantic and semiotic aspects. Recent concepts can be formed gradually and influence on users insight and behavior. So visceral, behavioral and reflective levels of emotional design are distinguished. Some researchers of design field, believe that emotional design is not a style or “ism” and even does not belong to a period of time, it is an approach related to ergonomics and cognitive psychology. They believe that emotional design is the result of user centered design and focus on physical and psychological requirements of users will result in increment of sale and predominance of producers in competitive areas. It should be mentioned that nowadays we live in a world which is full of semantic and semiotic concepts and different values. Rapid and continuous development of technology and delivery of new products with new valuable capabilities by the mass media, makes it difficult to perceive and recognize rising and changeable requirements of users, so it is not possible to reach emotional design by standardization and making related patterns. Only extended study and research about individual and social aspects of users and accompany with development of technology is the main solution of this attitude. In this article brief history of emotional design is mentioned, then process of generation of emotion in users, analytical criteria of emotional design (form, function, material & color) and how to use them in design process with some related applied examples are described. Goes on to talk about the distinctions between concepts of emotionalize design, emotional design and emotion design, and at last the differences of visceral, behavioral and reflective levels of emotional design and the way products play their roles in these levels is introduced. Description of applied concepts of emotional design, helps designers to use them in design process and generate valuable emotional efficacy.

Industrial design is attempting to answer physical, emotional and functional needs of human by including different fields such as product design, transporting design, interaction design and etc. Products have various functions and appearances, due to their users’ specifications. Industrial design is attempting to answer physical, emotional and functional needs of human by including different fields such as product design, transporting design, interaction design and etc. Products have various functions and appearances, due to their users’ specifications. Nowadays design is getting more specialized. The user needs are classified in two categories of physical and emotional. Physical needs can be divided to ergonomics, safety, usability and functional needs. Emotional needs can be divided to aesthetic and symbolic needs. Product design is a complex activity which aims to improve a product and answer user's needs. It should be mentioned that the goal of product design is not only providing user's physical needs, but also concerning psychological aspects of the user is very important. Products in advancing market should be design to provide user's interest. Concerning user's emotional needs can provide user's interest. Nowadays there are practical methods in emotional design. The interaction between user and product is very significant. Today user's emotional needs have a great influence on product design. Therefore, in order to persuade people to buy, there is a need to design products with the emotional considerations. Many attempts have been made to bring emotions to product design systematically. Quality Function Development (QFD) and Kansei Engineering are two systematic methods which can be used to design emotional products. In this paper QFD and Kansei Engineering are used to study user's interest in product design. Firstly 100 ladies wrist watches were selected among 1350 ladies wrist watches. These 100 watches were chosen based on their differences characteristics and design. 22 properties were defined for selected watches. Then these 100 watches were clustered in 10 categories bases on the defined properties. Clustering was used to find out the most related properties for each watch. A representative watch was chosen for each category. The representative watch covered the most number of properties in each category; therefore 10 watches were selected to be studied. Kansei Engineering was employed to study the watches. According to the choice of domain in Kansei Engineering, the representative watches were studied with 14 Kansei words. The study was done by questionnaire and interview. 96 ladies, between 20-30 years of age, were selected randomly. During the study user's facial reactions also were observed. The participants were asked to evaluate each watch on 14 Kansei words. All data from questionnaire and interview were analyzed in SPSS software. The analyzed data showed that there is direct relation between the users’ emotions and properties of the watches. As a result for each representative watch some Kansei words were recognized. It means that Kansei words described user's emotions on each watch. Due to the findings, it was concluded that the user's emotional needs were translated to product properties.

This paper is concerned with emotional design, which can influence user experience and combine it with happiness and enjoyment. Emotions have a crucial role in the human ability to understand the world. The human emotions play an important role in what people think and how they act. It can be said that, emotions influence the human behavior. Today, due to the technological improvement, designing a product that has a good function and is match with the users physical needs, is not enough. Users buy a product, not only for functional aspects of it, but also they are attracted to emotional usability of the product. Therefore, designers are more focused on emotional aspects of design. The products that are designed based on emotional design are more desirable and bring more satisfaction to the user. They appear to the user to be more effective, by virtue of their sensual appeal. Form, function, material and colour are four important elements of emotional design. Correct uses of these elements in a product, evoke positive emotions in the customers. Form plays the role of an informative messenger that attracts consumers through devices, offering a unique sensibility. In emotional design, designers have translated functions into emotion through human senses. In fact emotional design generates psychological effects through physical devices to transform the nature of function. Material stimulates human sensations by vision and touch. Touch is the most analytic of senses. Colour is one of the fundamental elements of emotional design, which can stimulate different senses of users. Colour can strongly affect the form of the product and the feeling of the user. A product with appropriate colour gets more popular and will find a good market. Appropriate colour not only matches with the form and function of the product, but also matches with the culture and preferences of the user. Therefore, in order to be able to select an appropriate colour for a product, there is a need for having a good knowledge of preferences of the users. Every single colour has a meaning and influences the human emotions in its own way. Therefore, a case study was performed to investigate the Iranian youngsters’ preferences regarding colours. For this aim a questionnaire was made. Eighty five Iranian men and women between 20 and 30 years of age were studied by filling the questioners. This questionnaire contained questions about the emotions of the people concerning different colours. The colours that offered in the questionnaire were selected from the Faber Castle’s standard pallet of 120. In order to analyze the results, the colour was classified to several groups, based on people trends to warm and cold colours, dark and light colours and so on. This study had two steps. At the beginning, the Persian youth general tastes were identified. Then the relations between colours and the aesthetic factors in emotional design were studied. Data were analyzed by Excel computing software. The results of this study can be used by designers for selecting appropriate colours for different products.