Sustainable Power Tool Design How can design improve the user experience and product life cycle of electronic tools by exploring modularity and other theories? Module Personal Project - Research DES7053 YU-CHUNG CHANG Birmingham City University
CONTENTS Chapter 00 - Report introduction Executive summary Report structure Introduction Research methods
Chapter 01 - Product lifecycle
04-07 04 05 06 07
08-21
Which methods and approaches can extend the lifecycle of a product? A product life cycle - A definition The evolution of the product life cycle Product lifecycle theorists Precedents for extending the life of a product Future - Trends of the lifecycle of products Key findings
Chapter 02 - Product semantics and emotional design
10 12 14 16 18 20
22-39
How can product semantics and emotional design influence users’ visceral and emotional responses to a product? A definition of product semantics and emotional design The evolution of product semantics and emotional design Theorists - Product semantics and emotional design Precedents of product semantics and emotional design Future - Trends prediction Key findings
02
24 26 30 32 36 38
Chapter 03 - Power tools and the user experience - a market analysis
40-53
What are the standards and requirements for user experience of power tool within the working place? A definition of the user experience The obsolescence and evolution of power tools Theorists - The power tool market Power tool precedents Future - Trends prediction Key findings
42 44 46 48 50 52
Research conclusion
54
Chapter 04 - Design Concept
56-75
Product design concept idea Concept 1: Minimalist Power Tool Concept 2: Exoskeleton Power Tool Concept 3: Transformative Power Tool
Chapter 05 - Design proposal
58 64 70
76-81
Design hypothesis Chosen design concept Design Brief
78 80 81
References Bibliography Appendices
82 83 86
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Executive Summary The purpose of this report is to explore and innovate a new design of a power tool and to find new design methods to extend the life cycle of the product. In order to create a product which can improve and optimize the user experience of a power tool, there are multiple ways to achieve such a task. First, to understand the main concept of a product life cycle, then to define the product’s semantic and emotional design inside the power tool, and to analyse the market of the power tool. Furthermore, the outcomes of this report will develop the concepts of new power tools and provide solutions to these questions.
04 Figure 0.1 The power tool image (Chang, 2017).
Report Structure This graphic chart shows the structure of this report. Firstly, there are three research chapters and all of them consist of the following parts: definition, evolution, theorists, precedents, future and key findings. Secondly, there is a conclusion which, sums the research. Thirdly, there are three design concepts based on the research and the concepts lead to a chosen design concept.
Chapter 1
Chapter 2
Chapter 3
Conclu�on
Concept 1
Concept 2
Design Brief
Concept 3
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Introduc�on Due to the fast development of technology, the ecosystem and living environment being continually destroyed, global warming and climate change has become increasingly prevalent in recent years. Scientists believe that the main cause of the greenhouse effect is the increased amount of carbon dioxide in the atmosphere. Nowadays, environmental issues are focused on and debated internationally. People reproach manufacturers for making pollution and for not being more sustainable. To avoid more enviromental destruction caused by manufacturers, carbon reduction must be considered during the new product developing period and when designing for a future market. Product development strategies are increasingly impacted largely by the product life cycle and the market. To develop and design an electric tool, lots of manpower and resources are required. Product design plays an important role in producing a power tool in order to extend product life cycle. In this study, the importance of approaches to the design of the electric tool industry is explored on the basis of product life cycle. This research reviews the product life cycle, product development processes, user experience and other methods. The results of this research can potentially provide enterprises that reference of product life cycle increases which can then enhance the user experience and reduce carbon emissions. The report then analyses the environmental impact of power tools production and current solutions for those issues, which leads to the main question of report: How can design improve the user experience and roduct life cycle of electronic tools by exploring modularity and other theories? And three sub-research questions: 1. Which methods and approaches can extend the lifecycle of a product? - Chapter 1 2. How can product semantics and emotional design influence users’ visceral and emo tional responses to a product? - Chapter 2 3. What are the standards and requirements for user experience of power tool within the working place? - Chapter 3 Finally, developing my design concepts and providing solutions to these questions.
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Research Methods The theory part of this report is based on different sources and the information is gathered by using different research methods. Most of the secondary sources are online journal articles, books and websites. Primary research in this report is covered by using an electronic interview by email to gather rich information. In addtion, the observation is made at The Design Museum, specifically in product design area.
Secondary Research Papers/ Ar�cles
Literature
Internet
Figure 0.2 (Krippendorff & Butter, 1984).
Figure 0.3 (Norman, 2007).
Figure 0.4 (Howarth, 2015).
Primary Research
Electronic Interview
Observa�on
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Hossein Bassir Senior Industrial Designer RIDGID Professional Power Tools hosseinbassir@gmail.com Figure 0.5 (Bassir, 2015).
Figure 0.6 (Chang, 2017).
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Figure 1.1 Vespera Hairdryer (Evans, 2010).
BRIEF
Product life cycle
Which methods and approaches can extend the lifecycle of a product?
1.1 Defini�on
What is the product life cycle?
1.2 Evolu�on
The evolu�on of the product life cycle in mobile phone
1.3 Theorists
Product lifecycle theorists 1.3.1 Theorists – Zabaniotou, A. and Kassidi, E. 1.3.2 Theorists - Atsushi, Katsunori et al.
1.4 Precedents
Precedents for extending the life of a product 1.4.1 Rubber Table 1.4.2 Decafè Lamp
1.5 Future – Trends of the lifecycle of products 1.5.1 BBdor 1.5.2 Sinueuse
1.6 Key findings
1.1 Defini�on A product life cycle - A definition
What is the product life cycle? According to Vezzoli and Manzini (2008), the concept of life cycle means to input–output exchange processes between the environment and the whole set of processes that entail the entire lifetime of any given product, meaning that the product is analysed according to its energy, resource and emission flows during its lifetime. Thus, the life cycle encompasses all stages of the product, starting with mining for necessary resources and manufacturing its components until the last end-of-life treatment.
Figure 1.2 ReThink Hanger (Cordingley and Billing, 2008).
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Figure 1.3 Product system life cycle (Lyngaas, 2014).
The entire life of a product can be described as one set of activities and processes, while every one of them consumes a certain amount of resources and energy, goes through series of transformations and triggers emissions of various kinds (Vezzoli and Manzini, 2008).
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1.2 Evolu�on The evolution of the product life cycle
1.2 The evolution of the product life cycle in mobile phone The first handheld mobile phone was demonstrated by John F. Mitchell and Martin Cooper of Motorola in 1973. In 1983, the DynaTAC 8000x was the first commercially-available handheld mobile phone. It took Motorola ten years to successfully develop the handheld mobile phone into market. In 1989, Motorola launched a micro personal phone, with a foldable antenna and shell. In 1995, the first flip phone, the Motorola 8900, was born. It provided a lot of inspiration for following designers. The first mobile phone with games, the Nokia 6110, was generated in 1998. In 1999, Nokia produced the first slide phone with a large screen which accounted for one third for the front side of the phone, the Nokia 7110. At same year, Samsung launched the SPH-M100, which was the first phone with MP3 capability. In 2002, Sanyo launched the first camera phone, the SCP-5300. In 2007, Apple CEO Steve Jobs launched the iPhone in San Francisco, then changed the relationship between users and their smart phones (WebdesignerDepot, 2009).
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Figure 1.4 History of the cell phone (What's Hot, 2016).
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1.3 Theorists Product life cycle theorists 1.3.1 Theorists – Zabaniotou, A. and Kassidi, E. Zabaniotou, A. and Kassidi, E. (2003) applied life cycle assessment to egg packaging made from polystyrene and recycled paper. Although paper egg packaging contains heavy metals and carcinogenic substances which might impact human health, the result shows that egg packing made from polystyrene makes more impacts on the environment by acidifying the soil and polluting the air.
Figure 1.5 Anastasia Zabaniotou (Lsis.org, 2015).
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1.3.2 Theorists - Atsushi, Katsunori et al. Reducing and recycling automobile shredder residue is important to improve the recycling rate of end-of-life vehicles. These theorists discussed the concept of applying life cycle assessment. They researched life cycle assessment case studies, including landfill disposal of automobile shredder residue and energy recovery of automobile shredder residue. They also studied life cycle assessment issues concerning end-of-life vehicles, and introduced trends in life cycle assessment application to new technologies. They expected that automobile shredder residue can achieve a recycling rate of 95% (Atsushi, Katsunori et al., 2003).
Figure 1.6 Scrap cars (Kohlmeyer, 2014).
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1.4 Precedents Precedents for extending the life of a product 1.4.1 Rubber Table German designer Thomas Schnur designed a table with suction cups on the legs. The name of this table is Rubber Table. Each table has five legs and an irregular top face, made from dyed foam rubber. Schnur gave the toilet plunger a new product life cycle by turning it into the leg of a table. His innovative design allowed this table to float on the water and cling on a ramp. (Etherington, 2011)
Figure 1.7 Rubber Table (Etherington, 2011).
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1.4.2 Decafè Lamp Decafè Lamp is made from a new composite material made from recycled coffee grounds. The shape of the lamp looks like a cup, and it smells like coffee. This comforting, aromatic luminaire also has a switchless design: pick it up and place it on its base to turn it on. Decafè Lamp won first prize at the Salone Satellite Awards in 2012, designed by Spanish designer Raúl Laurí. Giving a second life on the coffee grounds which are commonly thrown away, Laurí considers that this lamp also improves the coffee time experience through the senses of sight, smell and touch (Vourazeri, 2012).
Figure 1.8 Decafè Lamp (Vourazeri, 2012).
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1.5 Future Trends of the lifecycle of products Environmental issues are continuously discussed. As they are one of the most urgent issues for manufacturers, like continuing to publish new products, a balance between manufacturing and environmental protection must be found. 1.5.1 BBdor The French brand, BBdor, considers that baby products are consumed too quickly. For example, a cradle must be disposed of when a baby grows up. They give solution to this problem. With an egg shape, their new cradle can turn into a little chair or a small cabinet when its crib function becomes unnecessary. This design is able to extend the life of the product (Lin, 2016).
Figure 1.9 BBdor (Lin, 2016).
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1.5.2 Sinueuse The Sinueuse table, made by the French studio Eko fabrik, focuses on reducing tables’ impact on the environment. In order to reduce waste, the materials of table come from the oak sleepers of abandoned railway tracks. After assembling the old boards, the table looks simpler, more natural, and more elegant than one made of new wood (Lin, 2016). These two cases show a trend in which designers reduce products’ impacts on the environment and extend their lives.
Figure 1.10 Sinueuse (Lin, 2016).
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1.6 Key ďŹ ndings
To summarise, product life cycle becomes an important issue that we cannot ignore when designing new products. By adding additional functions or applying different materials, this theory continuously protects the environment. In addition, product life cycle can also help to allow designers to understand how to create eco-friendly products. The good products should be used for a long time and not cause pollution when they might be thrown away.
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Figure 2.1 The Ronnefeldt tilting teapot (Norman, 2002).
BRIEF
Product semantics and emotional design
How can product semantics and emotional design influence users’ visceral and emotional responses to a product?
2.1 Defini�on
What is product seman�cs and emo�onal design?
2.2 Evolu�on
The evolu�on of product seman�cs and emo�onal design 2.2.1 The evolu�on of product seman�cs 2.2.2 The evolu�on of emo�onal design
2.3 Theorists
Theorists – Product seman�cs and emo�onal design 2.3.1 Theorists – Product seman�cs 2.3.2 Theorists – emo�onal design
2.4 Precedents
Precedents of product seman�cs and emo�onal design 2.4.1 Precedents of product seman�cs 2.4.2 Precedents of emo�onal design
2.5 Future – Trends predic�on 2.6 Key findings
2.1 Defini�on A definition of product semantics and emotional design What is product semantics and emotion? 2.1.1 Product semantics Product Semantics is a theory which studies the product language. The theory was started in 1950 in Ulm School of Design in Germany. Later, the theory was proposed by Krippendorf and Butter in Cranbrook Academy of Art in America in 1984. “Product Semantics is the study of the symbolic qualities of man-made forms in the context of their use and the application of this knowledge to industrial design.”(Krippendorff & Butter, 1984).
Figure 2.2 The Walther PPK (Pandemic, 2014).
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2.1.2 Emotional design Emotional design is the title of a book by Donald Norman. The main issue is how emotions have a crucial role in the human ability to understand the world, and how design can help them learn. In the book, Norman shows that the design of most objects are perceived on three levels: visceral, behavioral and reflective (Norman, 2007). Therefore a good design should follow these three levels. In the other words, emotional design is a creative action which aim to switch the affections between humans and objects. Designers should integrate several elements of products, such as colours, materials, forms, points, lines and faces through design methods. This allows the products to affect the senses of hearing, vision and touch through the sounds, shapes, meanings and appearances. In light of this, people can communicate with products in balance.
Figure 2.3 Alessi Anna G (Mendini, n.d.).
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2.2 Evolu�on The evolution of product semantics and emotional design
2.2.1 The evolution of product semantics Semantics was early proposed by The Ohio State University professor, Reinhart Butter. The theory is based on three parts of Morris’s Semiotics, including Syntactics, Semantics, and Pragmatics (Morris, 1938). Semiotics was early adopted into the design field by The Ulm School of Design. In 1983, Product semantics was officially proposed at the “Product Semantics Seminar” held in Cranbrook Academy of Arts by Industrial Designers Society of America. Because of this seminar, product semantics attracts designers’ attention in the world.
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27 Figure 2.4 History of the product semantics (Krippendorff & Butter, 1984).
2.2 Evolu�on The evolution of product semantics and emotional design
2.2.2 The evolution of emotional design Hierarchy of Needs, or Maslow’s Hierarchy, is a theory in psychology proposed by Abraham Maslow in 1943. He used the terms “physiological”, “safety”, “love and belonging”, “esteem”, and “self-actualization” to describe the modes that human motivation generally moves through (Maslow, 1943). People’s needs include these five levels, which products can help achieve. Meanwhile, the needs of human will increase with the progression of society; then the needs of product design are different in every level of that society. When the society develops slowly, people only require simple and useful life products. The products produced in the 18th century, for example, were pragmatic but ugly. Similarly, this situation can be seen during the 1940s to 1950s after World War II, because of the economic depression. After the economic boom in the 1960s, people became more affluent, meaning they required the higher quality of product and deeper-meaning emotional products. The products should not only satisfy physiological needs, but also the psychological needs of people. In light of this, I consider that designers should apply emotional design in order to create new products which can satisfy the psychological needs of people of a given time in a society’s progression.
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Figure 2.5 Maslow's Hierarchy of Needs (McLeod, 2007).
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2.3 Theorists Theorists – Product semantics and emotional design 2.3.1 Theorists – Product semantics Design always creates new prototypes of the old kinds of products. For example, the early telephone was only a machine, combined with electricity. Norwegian painter, Jean Heiberg, who designed a new special form for it, has allowed it to stay with us since then. In the 1930s, Heiberg, through applying aesthetics and pragmatism, designed the Bakelite telephone for a Swedish company, Ericsson. He added all of the components present on most modern telephone and simplified the earphone. His use of pragmatic design allowed people to understand how to use it immediately. Although it might be outdated for us now, it is still without a doubt a universal symbol for communication.
Figure 2.6 The Bakelite telephone (Trope, 2015).
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2.3.2 Theorists – emotional design Norman (2007) explains how the emotional elements play the important role in the design field. This theory is based on three different aspects: visceral, behavioral, and reflective; the surface and form of products will influence the visceral emotion of people, human behavioral emotion depends on the function of products, and the reflective emotion comes from the personal feeling and sensation. Emotional design will be key in the future development for the industries which have recently been paying more and more attention to customized and interactive designs and services.
Figure 2.7 Don Norman (Norman, 2003).
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2.4 Precedents Precedents of product semantics and emotional design 2.4.1 Precedents of product semantics An example of this is the Anglepoise lamp, a multi-purpose table lamp designed by George Carwardine, which creates a bright light source which projects light on a flat surface whether it is horizontal or vertical. The Anglepoise lamp, does not have a fixed shape, can continuously change form when it is used. Because the springs have been added, you can easily push it to the location you require.
Figure 2.8 George Carwardine (Anglepoise.com, 2017). Figure 2.9 The Anglepoise lamp (Anglepoise.com, 2017).
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Fifty years later, another table lamp, The Tizio lamp, was produced, and designed by Richard Sapper. Similar to the Anglepoise lamp, you can freely move it around, and fold it when you have finished reading. The transformer set on the bottom provides the Tizio lamp with a stable weight and improved safety by reducing the electric current. Sapper was inspired by the Anglepoise lamp design in term of shape and function. Nowadays, we can still see them in common market and I consider that they become a symbol of table lamp.
Figure 2.10 The Tizio lamp (Artemide, 2017). Figure 2.11 Richard Sapper (Artemide, 2017).
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2.4 Precedents Precedents of product semantics and emotional design 2.4.2 Precedents of emotional design Oki Sato, born in 1977 in Toronto, Canada, studied architecture at Waseda University, Tokyo. He obtained his Master’s degree in 2002. In the same year, the Nendo studio was born in Tokyo. Now Sato has taken up the international stage, with offices in Tokyo and Milan (Nendo, 2017). The philosophy of Oki Sato is reflected in his designs, where he changes the interactions of people with the objects surrounding them by creating a relationship in their life.
Figure 2.12 Oki Sato (Nendo, 2017).
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The Zabuton lounge chair, designed for Moroso, is really interesting. Sato turned the tatami used by Japanese families into a shawl for a chair, extending from the cushion to the back of the chair. With an irregular shape on the frame of the chair, making it lazy and casual, it allows people to completely release their pressure when they are sitting on it.
Figure 2.13 The Zabuton lounge chair (Nendo, 2017).
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2.5 Future Future – Trends prediction Design has already become a type of language and is used to create products and write down the messages they send. Nowadays, experienced designers play roles like a storyteller. Design allows them to send out these messages, as well as the fact that products solve the problems related to form and function. An example in product semantics and emotional design shows a power tool, “Elisa”, designed by Pascal Ruelle for Panasonic. The product started with his observation, he found that the drill is usually manly looking, with sharp edges, complex shapes, and so on. Usually put in the garage, but nobody would ever showcase their drill in the living room. Therefore, he decided to take inspiration from products that women often use such as hair dryer, to generate a new and woman oriented design (Ruelle, 2012).
Figure 2.14 Pascal Ruelle (Ruelle, 2012).
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With a sturdy handle and special button, the switch of it looks like a trigger of a gun. This report considers that this is a good instance of product semantics and emotional design, which allows people to easily understand the product. It clearly informs users how to turn it on. In light of this, this report will create a new design concept of innovative power tools through applying this theory.
Figure 2.15 The PANASONIC power tool- Elisa (Ruelle, 2012).
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2.6 Key ďŹ ndings To summarise, product semantics and emotional design have already changed our lives and feelings. By adding new elements into products, these theories completely improve relationships and sensations between people and products. In addition, product semantics and emotional design can also help to allow people to understand how to use the products. The good products should let people feel comfortable when they operate them. Therefore, product semantics and emotional design play an important role in designing new products.
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Figure 3.1 The BOSCH power tool (Xu, 2015).
BRIEF
Power tools and the user experience - a market analysis
What are the standards and requirements for user experience of power tool within the working place?
3.1 Defini�on
What is user experience and power tool market?
3.2 Evolu�on
The obsolescence and evolu�on of power tools
3.3 Theorists
Theorists - the user experience and the power tools 3.3.1 Theorists - the user experience 3.3.2 Theorists - ren�ng power tool
3.4 Precedents
Precedents for power tools with user experience 3.4.1 Black + Decker Sander 3.4.2 RIDGID X5 Circular Saw
3.5 Future – Trends predic�on 3.5.1 Happaratus 3.5.2 HOYO drill
3.6 Key findings
3.1 Defini�on A definition of the user experience and the power tool market What is user experience and power tool market? 3.1.1 User experience User experience is the interactions between people and products, including how users feel, learn and use a product. It is the key element to make a difference with other products. Garrett considers that it can be improved the user experience through the participation of the user (Garrett, 2011). On the other hand, user experience talks about the different influences which come from different types of products. It depends on human preferences, concepts, physiological response, psychological reaction and behaviours. The main goal of user experience is not only to make people feel useful when they use a product, but also creates a product which people will enjoy. 3.1.2 User experience design User experience design is a concept which develops products based on the needs of the person. User experience design should understand the needs, motivations and purposes of people. As Unger and Chandler have observed the other broad definition shows that: “User experience design is the creation and synchronization of the elements that affect users’ experience with a particular company, with the intent of influencing their perceptions and behavior. These element include the things a user can touch (such as tangible products and packaging), hear (commercials and audio signatures), and even smell (the aroma of freshly baked bread in a sandwich shop)” (Unger and Chandler, 2012).
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3.1.3 Power tool market With simple, lightweight, easy-to-use, and easy-to-carry features, the power tool is a handheld or movable mechanized tool that uses a small motor to drive the working head through a transmission mechanism. Compared with the hand tools, it is several times more effective. The power tool is widely used in the electrical, mechanical, mining, construction, railway laying, agriculture, forestry, animal husbandry, medical, and arts fields, and even in daily common household maintenance. Because of differences in consumption habits, power tools have accounted for a great amount of market share in Europe, the United States, and other developed countries, and this market is still expanding. The requirement for power tools can be widely categorised into industrial and household. The industrial aspect is expected to maintain the highest requirement for power tools. Demand is also anticipated to keep steady from the household section because of the rising DIY trend (Nagyszalanczy, 2002).
Figure 3.2 BOSCH power tools (Boschtools, n.d.).
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3.2 Evolu�on The obsolescence and evolution of power tools
3.2 The obsolescence and evolution of power tools In 1917, Black and Decker established a new factory. The first drills were intended only for industrial use, because there was no home-improvement market and the cost was too high for general consumers. In 1923, it began offering a low-priced, portable electric drill to amateurs. In 1924, A.H. Peterson generated the Hole-Shooter, a lightweight, portable drill that people could use it with one hand. Bosch launched an electro pneumatic, handheld rotary hammer in 1932 and developed its first electric drills. In 1946, Black and Decker launched the first line of home power tools. Bosch introduced the Brute Breaker hammer in 1950. In 1961, Black and Decker produced the first cordless electric drill, earlier than Bosch’s one in 1978. Meanwhile, Black and Decker designed a cordless rotary hammer drill for NASA and the Apollo space program. The first Bosch cordless hammer drill came to market in 1984. In 2004, Makita invented a brushless motor for a fastening tool. In 2005, lithium-ion batteries were created in Milwaukee, which is leading to a great change in cordless-tool technology (Griffin, 2016).
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Figure 3.3 History of the power tools (Hunter, 2015).
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3.3 Theorists Theorists - the user experience and the power tools 3.3.1 Theorists - the user experience Hassenzahl (2003) commented that the user experience is like a process. The user must use the product first, then has a few experiences which come from some feelings and sensations. A product has certain features, including content, presentational style, functionality, and interactional style, which were chosen and combined by a designer to convey particular, intended product characters. The product contains two characters: pragmatic attributes and hedonic attributes. The pragmatic attributes include the product’s functionality and efficacy. The hedonic attribute includes the emotions which come from the interesting content or interactive form provided by the product. Additionally, the user’s sensation of a product might be changed when it transforms for different environments, atmospheres, and times.
Figure 3.4 Dr. Marc Hassenzahl (WebQuartier, 2012).
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3.3.2 Theorists - renting power tool Nowadays, almost anything can be rented. Markets such as manufacturing, plants, and electrical engineering, usually work with tools and equipment. However, most workers have basic hand tools; the latest, expensive tools are available to rent. The more costly and professional a tool or piece of equipment is, the more the potential benefits a manufacturer gets from renting. There are two reasons for renting tools: purchase price and technical advances. “Purchase price weighed against utilization is a frequent consideration. If a manufacturer needs the equipment for a few months in a year on projects, it doesn’t make sense to buy it when it can be rented for a fraction of the purchase price.” said Chris Lewis, regional product development manager at United Rentals Tool Solutions, which is the world’s largest equipment rental company. “Another consideration is the pace of technical change. If a manufacturer has the most advanced tool for a project, it will be more productive. Renting is a great way to keep pace with technical advances.” (Griffin, 2016).
Figure 3.5 United Rentals (Rentals, n.d.).
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3.4 Precedents Precedents for power tools with user experience 3.4.1 Black + Decker Sander The Black + Decker Sander is a powered sander designed by Jim Tirone for Black + Decker. This paddle-actuated sander was created to make sanding intuitive and simple. The paddle design allows a user to press the switch located on the top surface of the tool in order to turn it on. This innovation makes a powered sander as intuitive to use as sandpaper (Tirone, 2015). In light of this, this report considers that a good power tool should improve the user experience, allowing users to understand how to intuitively use them.
Figure 3.6 Black + Decker Sander (Tirone, 2015).
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3.4.2 RIDGID X5 Circular Saw The RIDGID X5 Circular Saw is a powered saw designed by Hossein Bassir for RIDGID. He improved the previous X4 circular saw by applying ergonomics. It was also revamped for better performance and function. Compared to its predecessor, the RIDGID X5 circular saw was reimagined with more power, larger cutting abilities, and a stronger look (Bassir, 2015). Therefore, this study might not only consider ergonomically form of the product, but also rethink the function of a product in order to improve the user experience.
Figure 3.7 RIDGID X5 Circular Saw (Bassir, 2015).
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3.5 Future Future - Trend predictions In the future, the innovative power tool may be designed using creative forms, different functions, and stronger structures to become more powerful, even science fiction like. 3.5.1 Happaratus Happaratus is a power glove that can be used to sculpt hard materials like stone and wood by hand, designed by Grønning Nielsen, who graduated from the Innovation Design Engineering course of the Royal College of Art in 2015. He designed this power glove in order to extend the capabilities of the hand as a sculpting tool. Its power comes from hydraulic motors. The changeable pads added to glove shake in order to grind away parts of the material when the fingers rub it. The shaking speed of the pads can be controlled (Howarth, 2015). Because of this innovation, this research finds that there are considerable ways to operate the power tools.
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Figure 3.8 Happaratus (Howarth, 2015).
3.5.2 HOYO drill The HOYO drill is an excellent personal power tool, designed by Pascal Ruelle. With simple, elegant, and approachable appearance, the HOYO drill is less daunting than many alternatives. As Ruelle commented, “HOYO is a prospective power tool that breaks up with the conventions. With HOYO the drill is no longer a garage tool, but becomes a simple and elegant product made for everyone to use in a home context.� (Ruelle, 2014). Based on these two cases, it is clear that, however power tools develop, they should provide practicality, usability, and comfortability for people.
Figure 3.9 HOYO drill (Ruelle, 2014).
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3.6 Key ďŹ ndings
In conclusion, the user experience is a great design method which provides rules for designer to create new products. Even innovative power tools should follow these rules and try to satisfy human needs. After all, designers must understand the importance of human-centric design when they create a new concept.
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Research conclusion
In summary the three main research topics in this report are design methods which are used to create a new power tool in order to extend the life of the product or improve the use experience and emotion. All of the topics make an interesting combination of information which will be used as a guideline for designing a power tool. As a whole this research is about how the product semantics, emotional elements and other methods can affect peoples’ sensation and experience when they use a product and how the product life cycle can be improved. In order to create more eco-friendly and more emotive product, the design will based on this research. There will be different solutions created, for example a minimalist power tool, an exoskeleton power tool, and transformative power tool. All the designs will have unique aesthetics and they will be functional.
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Figure 4.1 The power tool sketch (Chang, 2015).
BRIEF
Design Concepts
The three proposed design concept for the sustainable power tool.
4.1 Concept 1 – Minimalist Power Tool 4.1.1 introduc�on 4.1.2 Design Narra�ve 4.1.3 SWOT analysis 4.1.4 Users’ needs 4.1.5 Sketch
4.2 Concept 2 – Exoskeleton Power Tool 4.2.1 introduc�on 4.2.2 Design Narra�ve 4.2.3 SWOT analysis 4.2.4 Users’ needs 4.2.5 Sketch
4.3 Concept 3 – transforma�ve power tool 4.3.1 introduc�on 4.3.2 Design Narra�ve 4.3.3 SWOT analysis 4.3.4 Users’ needs 4.3.5 Sketch
4.1 Concept 1 Minimalist Power Tool The main idea of concept 1 is to design and generate a minimalist and understandable power tool. Using these innovative methods could make a design simpler and allow the user to understand how to use the product more intuitively. In addition, minimalism simplifies the function of the product and reduces the complex appearance of power tool. Redesigned with an approachable form, the new power tool allows nonprofessional users to accept it without being intimidated. Additional instruction is unnecessary; the simple function of the product allows users to operate it easily.
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Figure 4.2 Photomontage (Chang, 2017).
4.1.2 Design Narra�ve What? Where? When? Why? Who?
Concept 1 is a simple power tool with a minimalist form. The product is designed for everybody, when they need to maintain or create something. It is no longer a garage tool, but becomes a simple and elegant product for everyone to use in a home context. Without sharp edges, complex shapes, or overly-masculine aesthetics, the innovative power tool could be shown in the living room. Because the way to use is really easy, this universal concept is designed for everybody; even women and children will be able to use it.
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4.1.3 SWOT analysis Strength, Weakness, Opportunity, and Threat
Strength
Weakness
- Can allow the user to understand how to use it. - With approachable appearance, the new power tool is designed for everybody. - Turned the conventional power tool into a simple and elegant one.
- Not suitable for every environment. - The power of it may be less than professional one. - It is questionable that the idea is so innovative that workers can accept it.
Opportunity
Threat
- The innovative power tool is suitable for everybody. It means that it can explore new markets and consumers, like women and children. - With simple and elegant appearance, the new power tool could be showed on the table in the living room.
- There are large amount of competitions. - Some people may feel that it lacks enough power to be useful.
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4.1.4 Users’ Needs Minimalist Power Tool This innovative power tool is a completely new idea. Therefore, the consumers need some time to adjust to it. The motor of the new power tool needs to be strong enough for users who would like to do some strenuous work. Because it is designed for everybody, including children, the power tool should be made sure that it is secure.
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4.1.5 Design Sketch
Figure 4.3 The power tool sketch (Chang, 2017).
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4.2 Concept 2 Exoskeleton Power Tool The main idea of concept 2 is to design and create an exoskeleton power tool. Using this innovative method could make a power tool very light to carry and wearable, like a suit or prosthetics. It means that the exoskeleton power tool integrates a few different functions of tools for any purpose into one and reduce the amount of power tools. With a creative form, the new power tool allows user to wear it, and operate it easily.
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Figure 4.4 Photomontage (Chang, 2017).
4.2.2 Design Narra�ve What? Where? When? Why? Who?
Concept 2 is an innovative power tool with an exoskeleton form. The product is designed for workers on a building site. It provides support for them when they are doing hard work, such as maintaining equipment, carrying heavy items, drilling, and sawing. Because the exoskeleton power tool integrates a few different tools into one, this innovative concept allows workers to reduce the amount of tools to carry.
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4.2.3 SWOT analysis Strength, Weakness, Opportunity, and Threat
Strength
Weakness
- Can allow the user to operate it easily. - With a prosthetics-look appearance, the new power tool allows users to wear it. - Integrating a few different functions into one, this concept allows workers to reduce the amount of tools to carry.
- Not suitable for nonprofessional user. - The product looks a bit dangerous, because of the exposed motor. - It is questionable that the idea is so innovative that workers can accept it.
Opportunity
Threat
- The innovative power tool is only suitable for professional users, but it also means that it can arouse interests of professional fields. - With exoskeleton appearance, the new power tool could show its powerful functions obviously.
- The price of it may high than conventional one. - Some people may feel that it is difficult to use.
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4.2.4 Users’ Needs Exoskeleton Power Tool This innovative power tool is a completely new idea. Therefore, the consumers need some time to adjust to it. When in use, the product’s motor will be exposed; thus, users will need to avoid making physical contact with it when in motion. The innovative design is a high-tech product; therefore, the user should use it carefully.
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4.2.5 Design Sketch
Figure 4.5 The power tool sketch (Chang, 2017).
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4.3 Concept 3 Transformative Power Tool The main idea of concept 3 is to design and create a transformative power tool. Using this innovative method could make a power tool transformable. Because of reduced dimensions, the new tool allows the user to store it easily. Additionally, the transformable power tool provides the motor-core a shield that can avoid damage when dropped, prevent users from touching the drill or saw, and isolating the dust. With transformable shape, the new power tool arouses users’ interests to try to operate it. The result may be that the users will be surprised when they open it and find the hidden handles and drill.
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Figure 4.6 Photomontage (Chang, 2017).
4.3.2 Design Narra�ve What? Where? When? Why? Who?
Concept 3 is an interesting power tool with a transformable form. The product is designed for workers and household, when they need to maintain or build something in their house or work place. Because the transformable power tool can be reduced, this convenient concept allows use to store it easily.
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4.2.3 SWOT analysis Strength, Weakness, Opportunity, and Threat
Strength
Weakness
- Can be protected by the shield which is openable. - With openable appearance, the new power tool arouses users’ interests to use it. - Turned the conventional power tool into a creative and innovative one.
- Not suitable for every environment. - The new power tool may make the user feel difficult to understand how to operate it. - It is questionable that the idea is so innovative that workers can accept it.
Opportunity
Threat
- The innovative power tool is suitable for everybody. It means that it can explore new markets and consumers, like women and children. - With a closable shield, the new power tool could be protected from damage and dust.
- There are large amount of competitions. - Some people may feel that it is difficult to use.
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4.3.4 Users’ Needs Transformative Power Tool This innovative power tool is a completely new idea. Therefore, the consumers need some time to adjust to it. The user needs time to open the shields of power tool before use it. The innovative design is a high-tech product; therefore, user should use it carefully.
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4.3.5 Design Sketch
Figure 4.7 The power tool sketch (Chang, 2017).
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05
Figure 5.1 The power tool sketch (Ruelle, 2012).
BRIEF
Design Proposal
Chosen design concept analysis, design proposal, hypothesis and design brief.
5.1 Proposed hypothesis 5.2 Chosen design concept 5.3 Design Brief Design Concept Design Agenda Design Principles
5.1 Proposed hypothesis
By using an innovative power tool design, it is possible to create more effective electric tools in order to extend life of product and improve and uses’ experience during maintaining works.
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Figure 5.2 Photomontage (Chang, 2017).
5.2 Chosen design concept
After SWOT testing Concept 2, Exoskeleton power tool: an innovative power tool design has been chosen to be developed because it seems the most innovative, unique and implementable compared to the other concepts. The concept has many strengths along with but opportunities which make it special by comparison. The method of the design is completely different from competing products in the market, which may give novelty value for the concept. Concept 1 and Concept 3 seem to have too similar functions when compared to competitor products, even if they are interesting ideas. They have few chance to develop the new concepts. All of the concepts are graspable products so it will be possible to make a 1:1 model. A prototype will be used for showing the concept idea, and possibly some function details can be showed.
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5.3 The Exoskeleton Power Tool
Design Concept
The main idea the exoskeleton power tool is to design and create a special power tool with exoskeleton form. The exoskeleton power tool integrates a few different functions of tools for any purpose into one. Using this innovative method could make a power tool very light to carry and wearable, like a prosthetic. With an innovative form, the new power tool allows user to wear it, and operate it easily.
Design Agenda
The exoskeleton power tool is designed for house maintaining or handicraft making. It is made from some materials, including the metal frameworks, the plastic cases, the plastic structures, and the motor core. Inspired by research about the user experience effects on using a product, and the appearance comes from iron prosthetics which can provide support for people.
Design Principles
Design principles of this concept are: to use ergonomics design to improve user experience, to apply changeable modular part in order to extend product life, and adding science fiction elements and useful product semantics in appearance design to improve human emotions.
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Bassir, H. (2015). RIDGID X5 Circular Saw. [online] Behance.net. Available at: https://www.behance.net/gallery/19738919/RIDGID-X5-Circular-Saw [Accessed 12 Apr. 2017]. Etherington, R. (2011). Rubber Table by Thomas Schnur | Dezeen. [online] Dezeen. Available at: https://www.dezeen.com/2011/01/24/rubber-table-by-thomas-schnur/ [Accessed 6 Apr. 2017]. Griffin, J. (2016). 100 Years of Innovation: History of the Electric Drill | EC Mag. [online] Ecmag.com. Available at: http://www.ecmag.com/section/your-business/100-years-innovation-history-electric-drill [Accessed 10 Apr. 2017]. Griffin, J. (2016). Cool Tools: Renting Tools And Equipment | EC Mag. [online] Ecmag.com. Available at: http://www.ecmag.com/section/your-business/cool-tools-renting-tools-and-equipment [Accessed 12 Apr. 2017]. Howarth, D. (2015). Happaratus "power glove" carves objects with its fingertips. [online] Dezeen. Available at: https://www.dezeen.com/2015/06/24/happaratus-power-glove-morten-gronning-nielsen-carves-objects-fingertips-graduate-royal-college-of-art-sho w-rca-2015/ [Accessed 12 Apr. 2017]. Lin, A. (2016). 2016 Maison & Objet- mottimes. [online] mottimes. Available at: http://www.mottimes.com/cht/article_detail.php?serial=896&type=1 [Accessed 6 Apr. 2017]. nendo. (2017). nendo. [online] Available at: http://www.nendo.jp/ [Accessed 29 Mar. 2017]. Ruelle, P. (2012). PANASONIC - Elisa. [online] Behance.net. Available at: https://www.behance.net/gallery/4874959/PANASONIC-Elisa [Accessed 12 Apr. 2017]. Ruelle, P. (2014). HOYO drill. [online] Behance.net. Available at: https://www.behance.net/gallery/21573095/HOYO-drill [Accessed 12 Apr. 2017]. Tirone, J. (2015). Black + Decker Sanders. [online] Behance.net. Available at: https://www.behance.net/gallery/17448213/Black-Decker-Sanders [Accessed 12 Apr. 2017]. Vourazeri, S. (2012). Strictly For Coffee Lovers: DECAFE by Raúl Laurí Pla | Yatzer. [online] Available at: https://www.yatzer.com/DECAFE-Raul-Lauri-Pla [Accessed 6 Apr. 2017].
9 | Webdesigner Depot. [online] Webdesigner Depot. Available at: http://www.webdesignerdepot.com/2009/05/the-evolution-of-cell-phone-design-between-1983-2009/ [Accessed 9 Apr. 2017]. Bibliography Garrett, J. (2011). The elements of user experience. 1st ed. Berkeley, CA: New Riders. Hassenzahl, M. (2003). “The Thing and I: Understanding the Relationship Between User and Product”. In Blythe, M.A., Overbeeke, K., Monk, A.F., Wright, P.C. (Eds.)Funology: From Usability to Enjoyment (pp. 31-42). 1st ed. Dordrecht: Springer Science + Business Media, Inc. Maslow, A. (1943). "A Theory of Human Motivation Psychological Review," Psychological Review, vol. 50. Nagyszalanczy, S. (2002). Power tools. 1st ed. Newtown, CT: Taunton Press. Unger, R. and Chandler, C. (2012). A project guide to UX design. 1st ed. Berkeley, CA: New Riders.
Images Chapter 1 Cordingley, T. and Billing, J. (2008). ReThink Hanger. [online] Co-oproduct.org. Available at: http://www.co-oproduct.org/index.php?option=com_fabrik&view=details&Itemid=695&formid=14&listid=14&rowid=48/plastic [Accessed 22 Apr. 2017]. Etherington, R. (2011). Rubber Table by Thomas Schnur | Dezeen. [online] Dezeen. Available at: https://www.dezeen.com/2011/01/24/rubber-table-by-thomas-schnur/ [Accessed 6 Apr. 2017]. Kohlmeyer, R. (2014). Scrap cars. [online] Umweltbundesamt. Available at: http://www.umweltbundesamt.de/en/topics/waste-resources/product-stewardship-waste-management/scrap-cars#textpart-1 [Accessed 22 Apr. 2017]. Lin, A. (2016). 2016 Maison & Objet- mottimes. [online] mottimes. Available at: http://www.mottimes.com/cht/article_detail.php?serial=896&type=1 [Accessed 6 Apr. 2017]. Lyngaas, K. (2014). A product lifecycle approach to sustainable fashion design. [online] sustainable fashion design by buddha jeans. Available at: http://buddhajeans.com/2014/05/17/a-product-life-cycle-assessment-approach-to-sustainable-fashion-design/ [Accessed 22 Apr. 2017]. Vourazeri, S. (2012). Strictly For Coffee Lovers: DECAFE by Raúl Laurí Pla | Yatzer. [online] Available at: https://www.yatzer.com/DECAFE-Raul-Lauri-Pla [Accessed 6 Apr. 2017].
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What's Hot (2016). The Latest and Greatest from the World of Cellphones â&#x20AC;&#x201C; What's Hot. [online] Whatshot.ky. Available at: http://www.whatshot.ky/2016/09/the-latest-and-greatest-from-the-world-of-cellphones/ [Accessed 22 Apr. 2017]. Chapter 2 Anglepoise.com. (2017). Anglepoise About. [online] Available at: https://www.anglepoise.com/about [Accessed 23 Apr. 2017]. Artemide. (2017). Artemide - COMPANY - DESIGNERS - Richard Sapper. [online] Available at: http://www.artemide.it/azienda/designer.action?designerid=18875 [Accessed 23 Apr. 2017]. Gizmodo (2017). Cite a Website - Cite This For Me. [online] Available at: http://gizmodo.com/5979263/22-beautiful-rotary-phones-from-the-past-century [Accessed 22 Mar. 2017]. McLeod, S. (2007). Maslow's Hierarchy of Needs. [online] Simply Psychology. Available at: https://www.simplypsychology.org/maslow.html [Accessed 23 Apr. 2017]. Mendini, A. (n.d.). cds-r | Rakuten Global Market: ALESSI Alessi Anna G. Anna G wine opener / chrome AM01 Z. [online] Global.rakuten.com. Available at: http://global.rakuten.com/en/store/cds-r/item/alessi-108/ [Accessed 24 Apr. 2017]. Nendo. (2017). nendo. [online] Available at: http://www.nendo.jp/ [Accessed 29 Mar. 2017]. Norman, D. (2002). Emotion & Design: Attractive things work better - jnd.org. [online] Jnd.org. Available at: http://www.jnd.org/dn.mss/emotion_design_at.html [Accessed 22 Apr. 2017]. Norman, D. (2003). NNg Photographs - jnd.org. [online] Jnd.org. Available at: http://www.jnd.org/NNg-Photographs/NNg-photographs.html [Accessed 23 Apr. 2017]. Pandemic, M. (2014). Review: Walther PPK .380 ACP - AllOutdoor.com. [online] AllOutdoor.com. Available at: http://www.alloutdoor.com/2014/12/10/review-walther-ppk-380-acp/ [Accessed 22 Apr. 2017]. Ruelle, P. (2012). PANASONIC - Elisa. [online] Behance.net. Available at: https://www.behance.net/gallery/4874959/PANASONIC-Elisa [Accessed 12 Apr. 2017]. Trope, C. (2015). Phone Finds Its Iconic FormCooper Hewitt, Smithsonian Design Museum | Cooper Hewitt, Smithsonian Design Museum. [online] Cooper Hewitt Smithsonian Design Museum. Available at: https://www.cooperhewitt.org/2015/11/30/phone-finds-its-iconic-form/ [Accessed 23 Apr. 2017].
Chapter 3 Bassir, H. (2015). RIDGID X5 Circular Saw. [online] Behance.net. Available at: https://www.behance.net/gallery/19738919/RIDGID-X5-Circular-Saw [Accessed 12 Apr. 2017]. Boschtools (n.d.). Power Tools | Bosch Power Tools. [online] Boschtools.com. Available at: https://www.boschtools.com/us/en/boschtools-ocs/power-tools-22064-c/ [Accessed 24 Apr. 2017]. Howarth, D. (2015). Happaratus "power glove" carves objects with its fingertips. [online] Dezeen. Available at: https://www.dezeen.com/2015/06/24/happaratus-power-glove-morten-gronning-nielsen-carves-objects-fingertips-graduate-royal-coll ege-of-art-show-rca-2015/ [Accessed 12 Apr. 2017]. Hunter, M. (2015). Makita Celebrates 100 Years of Power Tool Innovation. [online] Toolstop.co.uk. Available at: http://www.toolstop.co.uk/makita-celebrates-100-years-of-power-tool-innovation-a1474 [Accessed 24 Apr. 2017]. Rentals, U. (n.d.). United Rentals. [online] United Rentals. Available at: https://locations.unitedrentals.com/fl/orlando/669 [Accessed 24 Apr. 2017]. Ruelle, P. (2014). HOYO drill. [online] Behance.net. Available at: https://www.behance.net/gallery/21573095/HOYO-drill [Accessed 12 Apr. 2017]. Tirone, J. (2015). Black + Decker Sanders. [online] Behance.net. Available at: https://www.behance.net/gallery/17448213/Black-Decker-Sanders [Accessed 12 Apr. 2017]. Tirone, J. (2015). Black + Decker Sanders. [online] Behance.net. Available at: https://www.behance.net/gallery/17448213/Black-Decker-Sanders [Accessed 12 Apr. 2017]. WebQuartier (2012). Marc Hassenzahls Sicht der User Experience WebQuartier. [online] WebQuartier. Available at: https://www.webquartier.org/marc-hassenzahls-sicht-der-user-experience/#respond [Accessed 24 Apr. 2017]. Xu, C. (2015). power tool design by constance xu at Coroflot.com. [online] Coroflot. Available at: http://www.coroflot.com/constance%20xu/power-tool-design [Accessed 23 Apr. 2017]. Chapter 4 Chang, Y. (2017). Photomontage [Photomontage]. Chang, Y. (2015). Power tool Sketches [Sketch]. Chang, Y. (2017). Power tool Sketches [Sketch]. Chapter 5 Chang, Y. (2017). Photomontage [Photomontage]. Ruelle, P. (2014). HOYO drill. [online] Behance.net. Available at: https://www.behance.net/gallery/21573095/HOYO-drill [Accessed 12 Apr. 2017].
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Appendices Electronic Interview Hossein Bassir Senior Industrial Designer RIDGID Professional Power Tools hosseinbassir@gmail.com 1. Do you consider that it is important to add product semantics or emotional design when designing a new product? Short Answer: Yes it is, but not more than the function, it also has to be done efficiently, meaning it shouldn't exceed the limits of practicality, usability, brand, manufacturability, etc. Long Answer: Of course it is. We are attracted to beauty, however beauty is a little subjective. So the question is how to make meaningful yet beautiful objects? I personally always try to stick to the roots of the product in order to determine how the product should look like. This is not something that I can give one answer that covers everything. If not confined by pre-determined form languages (some brands have a solid set of rules you need to follow, for example RIDGID power tools) then I always try to strike a balance between form and function. I quote Johny Ive on this: "It is very important for a product to have a sense of hierarchy, what is important and what is not important" so if the emotional design or the beauty gets in the way of that hierarchy then it means form is working against function. in some cases, that is intentional, for example if you are creating concept designs for a hollywood movie, then you are not concerned with how this form affects the function, all you care about is to make a great impression. but obviously when you are designing for practicality you follow a different set of rules derived by human interaction and factors, manufacturing and assembly.
2. What aesthetic languages or sources of inspiration do you use when developing new concepts? For me it varies, depending on who the user is, what the product is, which country this product will be used in (culture is important). As I mentioned, sometimes brands have guidelines, for a brand like RIDGID or BMW you instantly know what the parameters are, sometimes brand guidelines are philosophical, thats where you need to have a better understanding of what certain forms would be expressed in words. Sources of inspiration are everywhere, everything is a mix! But it is very important to determine what works what doesn't. some of that is acquired skill, some of it personal taste.
3. What is difficult in terms of meeting requirements when designing a product? â&#x20AC;&#x201C; specifically power tools. This is a good question because it is specific to power tools. based on my experience designing for RIDGID I would say 1- Durability (or sometimes perceived durability), 2- Usability, 3- Safety and regulations, 4- Manufacturing limitations, 5- Cost limitations. As a designer tasked with designing power tools you have consider all of these factors before deciding on a certain design direction, or use them to guide steer the design in the right direction. Limitation is good for design process, limitations trigger innovation, that's where you prioritize important stuff and cut to the chase of product.
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I would consider myself a realist, I think form without function is meaningless, no matter how beautiful. Time tells the truth about this subject, an honest and efficient design withstands the test of time, in contrast, something that is just done to sway consumers without proper backbone fades away. Be mindful of modularity in design, specially in power tools. It is a funny coincident that I have worked on modular tools at RIDGID and I am currently working on a modular power tool system for another company. I think modularity must be used when it is needed, it's a technique, it's not a philosophy. Be aware that some make the mistake of designing a modular product for the sake of modularity, so use this technique properly.
Fin.
Module Personal Project - Research DES7053 YU-CHUNG CHANG yu-chung.chang@mail.bcu.ac.uk Birmingham City University