Designing identity of a new material: a new product design approach

The present research is a design practice-based research based on the industrial development of a new concrete. The research focuses on the development of the specific identity of a new material. The research is aimed at demonstrating that product design can be used as a new strategy to create the material identity and thus to differentiate from existing materials. In order to design material specific identity in new products, we need to understand the perception process of shaped materials. Therefore we conducted exploratory study of materials recognition in products. We identified two types of products: the “messenger” products are specific shapes characteristic from the material; the “wrong messenger” products are imitations of other well known materials. The results of questionnaire about material recognition show that it’s more or less easy to identify material according to each product (whether it’s familiar or new shapes; whether it’s imitation or specific shapes and whether it’s well known or new material). We conclude on two types of shapes: on the one hand some familiar and typical shapes make easier and more certain the material recognition; on the other hand some new shapes make people more uncertain of what it is made of but more amazed. Designing amazing new shapes can be used as a new differentiation strategy to create the specific sensory identity of each new material. It means that the product can be a really useful support to fully communicate about a new material, beyond the traditional material samples. Keywords: New Material; Sensory Identity; Product Design</p

Discussion of the selection and use of teaching aids and standard materials in the lower school at Perkins School for the Blind

Thesis (Ed.M.)--Boston Universit

THEORISING THE EMBODIMENT OF MATERIALITY AND EXPERIENCE IN MAN-MADE OBJECTS FROM A DESIGN PERSPECTIVE

This PhD dissertation begins with a gap prompted by design researcher, Boradkar (2010) that objects are under theorized in design research. Objects have become our entourage and companion since we are born. Man and object transaction has formed a salient and unobtrusive relationship and we have become oblivious of, which is the importance of the attachment that we have with objects. This dissertation aims to provide a new horizon in articulating our relationship with designed objects. The precedent literatures suggest that the components of materiality and experience are evident in man-object transaction, thus they act as theoretical background to support the formal findings. In the dissertation, the researcher proposes a new taxonomy of materiality and experience, besides those that available existing literatures have postulated. The dissertation is divided into two parts;(i) theoretical analysis of the role the materiality plays in design and experience components in designed objects and (ii) practice works that embody the notion of materiality and experience in designed objects. The theoretical analysis combines ethnomethodological approaches, autoethnography and interpretative phenomenological analysis (IPA) to unravel the components of materiality and experience and the findings postulates the workable design framework that potentially will assist novice designers, especially to better articulate their design outcomes. The framework aims to provide an assistive method to frame design criterion at the earliest stage of design activity in alleviating the uncertainties faced by designers. The creative practice elements comprise the understanding of objects (from the researcher’s own personal resonance/understanding of her own objects) in the form of sculpture, stool series, eating implements and found objects that portray the embodiment of the new topology of materiality and experience. The practice elements are the researcher’s (self) personal reflections, thus, the ideas and thoughts underpinning design thinking that are manifested in tangible form are critically articulated from a reflective practitioner standpoint. These objects are imbued with narrative, physicality of materiality and experience in the newly designed objects. The creative practice is a representation of the new locales of materiality and experience in the designer/researcher’s relationship with the newly designed objects. Contextualisation of the practice, and a critical analysis of what is inherent in the practice of design help to frame the formal characters of the designed object. The knowledge in practice revealed in this research offers a new perspective to understanding the essence of designed objects, and encourage further exploration of the possibilities of design in creating a more engaging and meaningful user-object relationship.Ministry of Education Malaysi

Touch and Emotion in Haptic and Product Design

The emotional experience of products can have enormous impact on the overall product experience: someone who is feeling positive is more likely to be accepting of novel products or to be more tolerant of unexpected or unusual interface behaviours. Being able to improve users’ emotions through product interaction has clear benefits and is currently the focus of designers all over the world. The extent to which touch-based information can affect a user’s experience and observable behaviour has been given relatively little attention in haptic technology or other touch-based products where research has tended to focus on psychophysics relating to technical development, in the case of the former, and usability in the case of the latter. The objective of this research was therefore to begin to explore generalizable and useful relationship(s) between design parameters specific to the sense of touch and the emotional response to tactile experiences. To this end, a theoretical ’touch-emotion model’ was developed that incorporates stages from existing information and emotion processing models, and a subset of pathways (the ‘Affective’, ‘Cognitive’, and ‘Behaviour Pathways’) was explored. Four experiments were performed to examine how changes in various touch factors, such as surface roughness and availability of haptic (that is, touch-based) information during exploration, impacted user emotional experience and behaviour in the context of the model’s framework. These experiments also manipulated factors related to the experience of touch in real-world situations, such as the availability of visual information and product context. Exploration of the different pathways of the touch-emotion model guided the analysis of the experiments. In exploring the Affective Pathway, a robust relationship was found between increasing roughness and decreasing emotional valence (n = 36, p < 0.005), regardless of the availability of haptic or visual information. This finding expands earlier research that focused on the effect of tactile stimuli on user preference. The impact of texture on the Cognitive Pathway was examined by priming participants to think of the stimuli as objects varying in emotional commitment, such as a common mug (lower) or a personal cell phone (higher). Emotional response again decreased as roughness increased, regardless of primed context (n = 27, p < 0.002) and the primed contexts marginally appeared to generally improve or reduce emotional response (n = 27, p < 0.08). Finally, the exploration of the Behaviour Pathway considered the ability of roughness-evoked emotion to act as a mediator between physical stimuli and observable behaviour, revealing that, contrary to the hypothesis that increased emotional valence would increase time spent reflecting on the stimuli, increased emotion magnitude (regardless of the positive or negative valence of the emotion) was associated with increased time spent in reflection (n = 33, p < 0.002). Results relating to the Behaviour Pathway suggested that the portion of the touch-emotion model that included the last stages of information processing, observable behaviour, may need to be revised. However, the insights of the Affective and Cognitive Pathway analyses are consistent with the information processing stages within those pathways and give support to the related portions of the touch-emotion model. The analysis of demographics data collected from all four experiments also revealed interesting findings which are anticipated to have application in customizing haptic technology for individual users. For example, correlations were found between self-reported tactual importance (measured with a questionnaire) and age (n = 79, r = 0.28, p < 0.03) and between self-reported tactual importance and sensitivity to increased roughness (n = 79, r = -0.27, p < 0.04). Higher response times were also observed with increased age (rIT = 0.49, rRT = 0.48; p < 0.01). This research contributes to the understanding of how emotion and emotionevoked behaviour may be impacted by changing touch factors using the exemplar of roughness as the touch factor of interest, experienced multimodally and in varying situations. If a design goal is to contribute to user emotional experience of a product, then the findings of this work have the potential to impact design decisions relating to surface texture components of hand-held products as well as for virtual surface textures generated by haptic technology. Further, the touchemotion model may provide a guide for the systematic exploration of the relationships between surface texture, cognitive processing, and emotional response

The perception of materials through oral sensation

This paper presents the results of a multimodal study of oral perception conducted with a set of material samples made from metals, polymers and woods, in which both the somatosensory and taste factors were examined. A multidimensional scaling analysis coupled with subjective attribute ratings was performed to assess these factors both qualitatively and quantitatively. The perceptual somatosensory factors of warmth, hardness and roughness dominated over the basic taste factors, and roughness was observed to be a less significant sensation compared to touch-only experiments. The perceptual somatosensory ratings were compared directly with physical property data in order to assess the correlation between the perceived properties and measured physical properties. In each case, a strong correlation was observed, suggesting that physical properties may be useful in industrial design for predicting oral perception

Sensory Communication

Contains table of contents for Section 2, an introduction and reports on fifteen research projects.National Institutes of Health Grant RO1 DC00117National Institutes of Health Grant RO1 DC02032National Institutes of Health Contract P01-DC00361National Institutes of Health Contract N01-DC22402National Institutes of Health/National Institute on Deafness and Other Communication Disorders Grant 2 R01 DC00126National Institutes of Health Grant 2 R01 DC00270National Institutes of Health Contract N01 DC-5-2107National Institutes of Health Grant 2 R01 DC00100U.S. Navy - Office of Naval Research/Naval Air Warfare Center Contract N61339-94-C-0087U.S. Navy - Office of Naval Research/Naval Air Warfare Center Contract N61339-95-K-0014U.S. Navy - Office of Naval Research/Naval Air Warfare Center Grant N00014-93-1-1399U.S. Navy - Office of Naval Research/Naval Air Warfare Center Grant N00014-94-1-1079U.S. Navy - Office of Naval Research Subcontract 40167U.S. Navy - Office of Naval Research Grant N00014-92-J-1814National Institutes of Health Grant R01-NS33778U.S. Navy - Office of Naval Research Grant N00014-88-K-0604National Aeronautics and Space Administration Grant NCC 2-771U.S. Air Force - Office of Scientific Research Grant F49620-94-1-0236U.S. Air Force - Office of Scientific Research Agreement with Brandeis Universit

The selection of materials to match human sensory Adaptation and aesthetic expectation in industrial design

It is significantly important to integrate various sources of knowledge and information for selecting and combining materials in today’s industrial design practice and education. Compared to the engineering and technical properties of materials, the information about the aesthetic attributes and sensory or perceptual features of materials is equally important but has been less explored. Based on theoretical and experimental research, this article addresses the fundamental contents of material aesthetics and sensory perception and the methodology in approaching the research in this area. A material aesthetics database resulting from the author’s research activities with a focus on texture is also introduced. Examples are given to showcase how the research results are applied as a reference for new product development in industry, and how the research results are combined with other resources in facilitating materials teaching in industrial design education.Publisher's Versio

Embracing sculpture, holding stones: on gender and the details of touch

Book synopsis: Since the Renaissance, at least, the medium of sculpture has been associated explicitly with the sense of touch. Sculptors, philosophers and art historians have all linked the two, often in strikingly different ways. In spite of this long running interest in touch and tactility, it is vision and visuality which have tended to dominate art historical research in recent decades. This book introduces a new impetus to the discussion of the relationship between touch and sculpture by setting up a dialogue between art historians and individuals with fresh insights who are working in disciplines beyond art history. The collection brings together a rich and diverse set of approaches, with essays tackling subjects from prehistoric figurines to the work of contemporary artists, from pre-modern ideas about the physiology of touch to tactile interaction in the museum environment, and from the phenomenology of touch in recent philosophy to the experimental findings of scientific study. It is the first volume on this subject to take such a broad approach and, as such, seeks to set the agenda for future research and collaboration in this area