Project Scope Document by Ellen Tanoemarga

INDUSTRIAL DESIGN RMIT UNIVERSITY 2009

PROJECT SCOPE DOCUMENT An Investigation of

the Importance of Affordances in Everyday Objects

METHODS IN DESIGN RESEARCH + PRACTICE ELLEN TANOEMARGA S3129909 http://ellentanoemarga.wordpress.com/

table of contents

Design Proposal Literature Review Project Schedule Glossary Tute Participation Tasks Bibliography - Annotated Bibliography - Figures References

5-9 11-21 23-35 37-43 45 46-49 50-54

DESIGN PROPOSAL An Investigation of the Importance of Affordances in Everyday Objects keywords: affordances, features, user-experience, function, aesthetics.

that the products abstract Inthatmanywe usetimesin ourwe findeveryday lives confuse

and frustrate us. Mistakes in using everyday objects are common to happen because the lack of visual clarity. The key for this matter is affordances, which is the value an object has that tells its function. The fact is: there are pretty yet useless products out there or even the most efficient product to use yet it is not visually appealing at all. Thus, through this research I would challenge myself to create design that works well in both function and aesthetic aspects. I will also concentrate on the user-experience matter on

this research since an object with high affordances level communicates better with the user. There are several methods I am going to use in conducting the research: firstly understanding the common language between the designer and the user; which then will be continued by doing case studies. The designer also has to be critical and reflective, so that they would get the most accurate result as possible. I will also take this research to the level of prototyping the design in real material; and bring it out to the public for a reality check: has the design work functionally and aesthetically. 5

the proposal Many of the products that we use in our

everyday lives can be complex and confusing. This can lead to a level of anxiety and frustration with the products ubiquitous to our modern lifestyles. We sometimes still push the door that we supposed to pull or press the wrong button on our microwave. Products nowadays are either over-featured, too simple or merely having a wrong conceptual model (Norman 1988). People find difficulty in engaging themselves with everyday objects; and ironically, this problem is getting worse in the high-technology era. Technology disrupts more than to help. We have found

many redundant objects exist without having a purpose. An object consists of units of features of which ‘visual image’ is composed. There are several aspects that work as a proportional representation for visual information, such as shape, colour, size, texture, patterns and informational entities of an object (Rumelhart & Norman 1975). Through this arrangement of design elements, an object’s affordances will be apparent. Hartson (2003) discusses on Norman’s view about affordance, which is the visual value of an object that tells

the user its function; hence the users can acknowledge the operational essence of that particular object. So, what is the relation between affordances and user’s experience? An object that has high affordances level communicates better with the user. The users will be able to comprehend the designer’s intention and understand the value of the object they are using. Moreover, there will be a complete experience achieved by the user because the object’s usability and capability has been conveyed clearly. And the key point of

this is the appearance and the function of the object itself. Nevertheless, Margolin (2002) mentioned that due to the intense business competition, many of the everyday objects we found in the market today did not go through an enough design process. They rather go straight a way to the manufacturing procedure after a short period of design development. Therefore, the design happens to fail in creating its best affordance value. Furthermore, affordances also give a product a solid value towards its environment; because it is not redundant. A product can be placed in certain context and can function as it is intended to. A radio will function as a radio; in any context it is put in, it will always be a radio. In addition, through the superior technology aspect we are having now the concept of creating objects with high level of affordances will be very important. 7

People need to catch up with the technology development through objects they are using in the most understandable way. Therefore, through this design research I would like to explore the importance of affordances in objects people using everyday and also how to apply that concept to the real design practice in this modern era. Thus, people could also have a complete experience with it everyday. There are several approaches I would like to conduct for this research. Firstly, I 8

would look at the user common language which is important to help the designer creating a clear conceptual model of an object. People are having these shared meanings and representations for each object exist and knowing these are absolute must for the designers (Hartson 2003). Afterwards, the designer could add the creative bits from themselves through the arrangements of features on an object that give it a pleasing look. I would say that this is a vital characteristic a designer must have; the designers have to be able to establish themselves through their design in both practical and aesthetic way. The second approach is by collecting case studies on several different products in the similar area. This will always help the designers to know what is out there, what sort of things had been existed and made; thus, it will give them a broader perspective in designing and reveal some unnoticed issues from the earlier study.

In order to maximise these methods, the designers have to be both critical and reflective. By being critical, the designers are creating rooms for improvement and also make them to be fresh and innovative. While at the same time, regular review and self-reflection have to be done too. It is crucial for designers to actually stop once in a while and put themselves in the usersâ&#x20AC;&#x2122; shoes. This will help the designers evaluating their design by looking from userâ&#x20AC;&#x2122;s point of view. Therefore, through this research, I would like to bring the design development pro-

cess to user testing level to examine the design in real context. I am eager to challenge myself to use this affordances-focused method not only for digital or electronic products but also in home wares and furnishings. Having a working model or even a prototype in the intended material will be my goal for this project. I will concentrate on the features arrangement of an object and its practical aspect that give it affordances value, since my design intention is to be a responsible designer who designs for people so that the user can enjoy the product both functionally and aesthetically. 9

LITERATURE REVIEW An Investigation of the Importance of Affordances in Everyday Objects keywords: affordances, features, user-experience, function, aesthetics.

Fig 1. The Famous Teapot

Norman’s illustration of an object with wrong affrordances value.

People interact with various designed objects everyday, even in the smallest environment like the home; there are hundreds of products with different purposes. The designers’ role is to deliver those particular purposes to the user through their designs, both functionally and aesthetically. This following paper will discuss several design research methods for industrial designers that can be applied in the design process through the exploration of user-object interaction and the composition of object features. To begin, we have to be able to contextu-

alise the concept of designing for people, which means we also need to understand the meaning of affordances. Soegaard (2007) discusses Norman approach to affordance as the actual and perceived properties of an object; the level of affordance is determined by the user’s perception towards it, whilst Gibson’s state about affordance is the possibility that is perceived by an individual towards the environment, and it is highly influenced by the individual’s capability, experience, knowledge or culture. Thus, affordance is the main key in creating positive user experiences towards objects. 11

People â&#x20AC;&#x201C; Object Interaction As Margolin (2002) has discussed it, an American pragmatist philosopher John Dewey identifies that people and objects comprise the environment in which we are situated. Therefore, design in object is one of the most important aspects in creating experience. Design drives people to act, behave and react in certain ways, and the process of generating those experiences is called interaction. Margolin defines interaction to be both operative and reflective. The former means the way people use products and the latter means the way they think or feel about the prod12

uct, and give it meaning. The operative parameter of a product is limited by the product configuration, whilst the reflective parameter is not limited; the user can have any feeling about the product in many ways, depending on its operative value, poetic qualities and social significance. Emotional Relationship Towards Objects Furthermore, Bagnara & Smith (2006) observes Norman and Orthonyâ&#x20AC;&#x2122;s definition of two different roles of people in relation with objects; which are the designer and the user. They mentioned that functionality and appearance of a product became the most significant aspect of a product, because it creates affective reactions. Norman interpreted these emotional relationships into three different levels: visceral, behavioural, and reflective level. In the visceral level, people do automatic evaluation of a product where they classify it as a safe, harmful, inviting or dangerous object. It is unconscious and biological; meaning that it is the native re-

action of the people itself toward things in the world. In relation to the design product, it shows the importance of product’s looks. It tells the user its features language and also its appeal as a product which may attract people in the first place. This is the stage where visual interaction happens. The second level departs further towards its function. Norman calls it: behavioural level, when people actually expect something from a product. It involves people’s skill to learn and experience the product itself. The user will look forward to the

near future that the product will work as they expect it to. For example, people who bought a radio will expect that when they wind the tuner button, they would go to another station. Thus, when this expectation is not fulfilled, people will react emotionally and sometimes physically (such as hitting or kicking the product). It could happen because the product configuration does not fulfil the user’s need fully. Functionality still needs to be put first in designing objects, because without it, the product itself will be redundant experience to the user as Dewey (p.42) mentioned “a product that frustrated

Fig 2. Emotional and Physical Reaction towards Object

Illustrative imagery of the impact of the nonfulfilment from a product. Citypages blog image.

people does not give the user complete experience”. The third level is the reflective level where people self examine their own actions. It leads the user to the acknowledgement of the product and its articulated emotions. For example, they would feel gratitude, frustration, shame, or pride when interacting with a product. Bagnara & Smith (2006) explains the reason behind this through Norman’s view on people’s bonding to a certain product (because of its brand, or its personal value). This is aligned with Margolin’s (2002) reflec14

tive parameter that states: by having an experience with certain objects, the user will have self-awareness in varying degrees, dependant on everyone’s role in the society. Thus, when the designer has achieved this point, their next role is to maintain the brand identity and self-image of their designs. Aesthetics A designer’s aim is not only to create something functional but also something beautiful. Affordance is the key. People’s experience towards design objects should lead to “experience as satisfaction” (Margolin, 2002). What the designers need to consider is how to blend function and beauty together. Robert Clay (2009) states in his book ‘Beautiful Thing’, that “composition is the creative bit in designing”. By creating composition, the designer is challenged to balance the different elements of design harmoniously.

Clay revealed several ways which can be taken in consideration in composing objects during design development process: positive and negative space, distortion, personality, focal points, and visual grammar (hand-shake). As stated in another area of design (e.g. communication design), the importance of positive and negative space is crucial, yet sometimes it is overlooked. Designers should be able to compose the object elements to one and also think about how it will relate itself to its context. Distortion helps to emphasise certain meanings through exaggeration or skewing certain features of an object that

will result in an objectâ&#x20AC;&#x2122;s distinct personality. Another method is by having an apparent focal point which is very important in product design because the focal point leads the user thinking about the purpose of an object. It shows through the shapes or colour of the product features. Clay also pointed out visual grammar or â&#x20AC;&#x2DC;handshakeâ&#x20AC;&#x2122; which is the meeting point of two or more design elements, where there is acknowledgement amongst them; to be one concern in design process. This statement is agreed by Clivio (2009) who

Fig 3. Design Features

connection, pattern, textures. Mocoloco.com

says that “connecting various elements remains one of core questions in design, because connections are design element as well”. Visible connection indicates function while the invisible one leads the viewer to a thought that the product is self-contained and has undetectable structure. All of these considerations need to be kept in mind, so that the designers could avoid losing the essence of, and not creating any misinterpretation in their designs. Fig 4. A Way of Curing Featuristis?

Apparently, these are the only buttons we are using, aren’t we? storageandglee.blogspot.com

The other enemy of designers is ‘creeping featurism’. As Norman (1988) mentioned on his book ‘The Psychology of Everyday Things’, many designers are actually trapped in a tendency to add numbers of features they have in their design beyond all reason. Clivio, Hansen and Mendelli (2009) also stated similar concern that too many functions on a product could detract its original purpose. In order to counter this apprehension, many of the design nowadays put simplicity to the fore. Yet, again, Nor-

man (2007) defied that simplicity is not the answer. Design with very limited features could create ambiguity on its practice. Norman affirmed that with the statement: “what the users want is actually the usability of a product not the capability”. Design Research Models This following section will discuss several practical methods that are applicable for this research. The first one is ‘fly on the wall’ which basically is a method of observation by staying in a place silently and seeing how people engage with objects in their context. It could tell the observer (in

this matter; the designer) what sort of problems people tackle and what sort of interaction they have with the objects. By doing this observation, the designer could get an ‘honest’ data to be analysed before conducting more in-depth research, it is also help the designer to get a rough image about the future obstacles (IDEO, 2003). Secondly, action research can be done afterwards to narrow down the design scope. Action research is basically a cycle of planning, action and review process that must involves others. It means that the accumulated data and information are revisited / refined / re-evaluate in order to gain experience. Action research method assists people to generate knowledge in problem solving rather than giving them specific explanation. One of the action research techniques that can suit this project is critical incident analysis (Cherry, 1999), which helps the individual to learn from and through experience. It is done by asking the users to 17

document and reflect themselves upon a specific incident (e.g. discomfort, challenge, difficulty or surprise) during the day. Cherry refers this method by using Pedler, Burgoyne & Boydell’s term: “replaying the tape slowly”. Critical incident analysis method will be helpful to be conducted in the mid stage of development process, thus the designer could get more precise feedback from the user. The critical incident analysis could then be continued by asking the right questions without presumption. Laurel (2003) discusses Deasy’s view on reseach 18

discourse which saying many of them fails because of the faulty of underlying assumptions. It is important to ask the right question during a research execution. Explanatory questionings, such as: “what?”, “in what way?”, “tell me about” or “why?” will definitely help the researcher to identify the patterns of behaviour, motivation, needs and desires of the user which later on can be used in the design development process. Thirdly, a practical method that can be explored as a starting point in designing is quick and dirty prototyping. It is done by using any possible material available to quickly form a design possibility in the earliest stage. Then, the designer could continue the prototype making process in more detail, for example by doing prototyping with paper or cardboard. The designers now could explore more various design possibilities (with different arrangements of design features and elements), and also try them out to public or even themselves. In this stage, the essence of the prod-

uct itself is more distinguished and the designer could do some final detail refinement.

Fig 5. littleBits

Case Studies littleBits In order to make effective use of product affordances, a good conceptual model is a must; it is a mental simulation people have in mind about how a product works. This conceptual thought allows the users to predict the effect of their actions and to assist the designers communicating with the user through their design (Norman 1988). Nevertheless, because it is

conceptual, the designers find it hard sometimes to create so. littleBits by Smart Design and Eyebeam could be one of the innovative methods in generating a product conceptual model in the most tangible way. littleBits are simple electronic blocks that can be stuck and arranged together. Each of them was pre-assembled in tiny magnetic circuit boards with various functions. They are very useful for the non-engineers (including designers) to create design products that have electronic features, such as remote, mobile phone, joystick, etc. The only thing the designers need to do is simply organize them in any design they are intended to, just like Lego blocks. It is definitely a very quick and an effective way

Self-arranged electronic blocks developed by Smart Design and Eyebeam. These tiny modules can be easily pieced together for the purpose of creating various functional physical user interface concepts. Smart Design.

to get a mock-up of a product that simulates its function during the early stage of development process. Since it saves a whole lot of time and helps the designer to get a tangible sense of how the â&#x20AC;&#x2DC;inside bitsâ&#x20AC;&#x2122; of a product will function and also the boundaries in its design can be anticipated in sooner stage. The other example of effective design that successfully combined function and form together is OXO Good Grip product. OXO and Smart Design (2009) began their collaboration in 1990 when they were developing a user-friendly potato peeler for a 20

Fig 6. OXO Good Grips Kitchen Tools

Started from a potato peeler to a great success of kitchen utensils products. The collaboration between Smart Design and OXO began in 1990 when they sold for over $273 million in 2004. Smart Design.

vast spectrum of users. They developed their design by involving people (as the user) to try different design solutions for a good grip handle. They asked people from different groups, age, and capability to have experience with the product, thus it be used by a vast range of people in society. Yet, they do not only take the functionality upfront but they also work on the visual look of the object itself. Thus, by its good-looking appearance and practical value, OXO Good Grips product achieved success in the large market.

To conclude, borrowing Crossâ&#x20AC;&#x2122;s (2007) statement: â&#x20AC;&#x153;objects are a form of knowledge about how to satisfy certain requirements, about how to perform some tasksâ&#x20AC;?, it is very important for designers to perform the design process seriously. It has happened too many times that user satisfaction has been put aside because of the intense business competition among the manufacturers due to commercial concerns (Margolin 2002). Designers did not spend enough time in design development process for a product, which resulted in the lack of qualities of a product, and also negative experi-

ences to the user. Therefore, designers need to balance their thoughts and ideas together with sufficient research and understanding of the users. Consequently, the final product will have its intended meaning to the society because it functions and gives the user experience to the full. The designers will then be satisfied as well to know that their design intention is understood.

PROJECT SCHEDULE Week by Week Project Timeline 16 weeks per semester 32 weeks in total

their thoughts and ideas together with sufficient research and understanding of the users. Consequently, the final product will have its intended meaning to the society because it functions and gives the user experience to the full. The designers will then be satisfied as well to know that their design intention is understood. 23

Week by Week Project Timeline

The first half of the year will be mainly filled by doing research, which later on continued by the conception stage at the end of the semester. The whole design and production process will occur in the mid year ahead , then conclude by an exhibition at the end of the year. The documentation process occurs in the whole year, both in writtings and visual.

Legend: Research .... Concept .... Design .... Production .... Documentation .... 25

research

is the foundation to build a design project. By having a solid research through both theory and practical manner, the design process will later be more defined because the purpose and the background reasoning are clear. - determining subject area of design What I am going to design: a system/ a product? what sort of system/ product? e.g. transportation, furniture, kitchenware, etc. During this period, it is crucial for me as a designer to really consider the area of design I would like to explore. Creating a diagram or listing out points of issues

that are need to be investigated will help the designer to illustrate the extent of the project. - target market research It is very essential for the designer to know specifically who is going to buy or use their design. Through the understanding of the target market, the designer will design better; knowing the users capability, cultural background, economic background, age, sex, etc. - design proposal making The design proposal will help the designer to keep themselves back in track (especially in the design process later on). It will be developed and changed during research period. 27

- literature review References from the expertises and background theories from various studies will support the designerâ&#x20AC;&#x2122;s statement and strengthen its idea. - research action This is the research methods in practice; it can be done by interviewing people, surveys, questionaries and observation. The results of this practical manner will be documented for analysing later. The validity of the research result is critical. - case study It is important to know what has been made, why, whatâ&#x20AC;&#x2122;s the concept behind it; knowing our competitor, including 28

the pricing as well. - analysing and evaluating It is important not to put personal opinion or vague judgement to the results of the research action. To be analytical is the key. - self and peer review This review has to be done once in a while to see the research progress in a bigger picture.

concept

is an important stage of creating the structure of a design project. It is the pre-design process, the ultimate moment to decide what sort of things you would like to convey through your design. The research, of course, helps the designer during the concept making. If the research is the ground, the concept is the skeleton of a project. - brainstorming It can be done through thumbnail drawings and writings. The idea of brainstorming is to get as much idea out as possible. 29

- visual research It is good to have a bank image of things from internet, magazines, books, news, etc. - sketching and scribbling Start to building up and creating design ideas. - themes and mood board Making collage or collection of images to create the design particular mood or theme. This will help the designer in the latter design process to keep him/herself in track; so that the design will be in a 30

certain intended mood. - picking design probabilities Start to develop and re-sketching those ideas. - research on material and manufacturing consideration + cost issue To roughly get an idea of the manufacturing process which lead to the costing issue. And the target market should be one of the consideration.

design

Design is the creative bit of the project. In this stage, the designer is challenged to create something different, smart, innovative, fresh and thoughtful. Designers are known through their design and through their design, they could show their existence. - refining design ideas The refinement process includes resketching, form study, working on the details, dealing with functional issue, parts, dimension, etc. The technical issue is important here cause we do not want to make an ‘impossible’ design, yet be

cautious in getting ourselves being so boring or dull in design (designing without challenges). - mockups (cardboard mockups – more detailed mockups – 1:1 mockups) The essence of this stage is to work on the visual look: the size, the form, the proportional issue of the object, functionality, control, system, parts. - user testing Test the design by myself and to others to get the idea of obstacles users might need to face and also to bring up the capability of the design out. Thus the value of its affordances will be evident. 31

- scale model Bring the chosen design to the next stage of modelling by using a real / similar material of the final one in scale. Testing material is important here because the theory and the practice are different. - analysing the design To ask ourselves: what is wrong, what is supposed to / not supposed to. Is the material match with the design intention? Target market? Safety issue?

range, dimensions, parts, colour and materials, finishing. - CAD Including engineering drawings, rendering, exploded drawings, details, rendered in context. Having CAD file of the design will be really helpful because it gives the designer a precise detail and dimensions of the object. It is also very handy for getting a rapid prototyped model.

- detailing and refinement Finishing up the design details. Design 33

production

is the process of bringing a design to an existence. Because the process might involve other party, the designer should prepare a certain length of time for the un-expectable moment. - finding and contacting manufacturers/ suppliers It is always good to find several companies in the similar working area for comparison. Things should be asked: + what do they offer + sending them design proposal (drawings + dimensions + material) + asking for quotes

+ asking for suggestions and applicability (for manufacturing) + timing issue + cost - proceeding Giving it a week extra for the unexpecteds. - production process Record theirs, or if its not possible, research on that. - finishing Including assembling, or painting, polishing, sanding off, etc. The time issue with this depends on feasibility of the outcome product from the manufacturer.

- cost To be considered: does it match with the target market too? Is it worthwhile? - presentation To be done: branding (name), packaging, design description, finish looks. - exhibition displays, models, brochures, business card, design brief, folio (hard copy/ online). It is the time for establishing self as a designer.

GLOSSARY Design Research +

Practice Methodologies 15 definition of design research + practice terms

Critical Incident Analysis: A term by Pedler, Burgoyne and Boydell (1986) which helps an individual to be critical and reflective towards experiences he/ she encountered. Thus, the individual is learning from and through experiences. This technique focuses on the unpleasant incidents that might occur in an individual’s daily life which resulted in reflective and sustained behaviour. Whilst, it is relying on the individual’s memory of the events, we could say that this is a kind of reality testing of one’s interpretations and recollections.

Dyads: A form of focus group in qualitative research method that involve two people. It is a powerful method for exploring people who might feel awkward in research participation. They usually are a pair of friends interviewed by a moderator; this method most likely applied for children and teens. The discussion is pretty much relaxed and spontaneous by having a notion that most people find it uncomfortable telling lies in front of their friends. Visual Grammar: An analogy of visual punctuation on an object or sometimes 37

called as ‘handshake’, is where the design elements meet together. Just as there are rules of spacing and marks in writing, designers also have to consider the ‘meeting point’ of design elements. Each of the plane/ shape/ material has to hold its characteristic whilst they are arranged and placed in certain way that formulates the object to function and look aesthetically pleasing. The handshake, of course, is also determined by the material used and the manufacturing process. Conceptual Model: A determined figure people have in mind about a particular 38

object; its main elements, its implication/ operation procedure. It is about the control and the result. Creating good conceptual model is very essential in design process since it allows the user to understand the outcome of their actions towards an object. Designer is the one who create a conceptual model; a good conceptual model resulted in a successful experience the user gets from a product. When the conceptual model matches with the mental model user has in mind, we could say that the designer succeeded in communicating their design intention to the user.

Common Language: The corresponding perception between the user and the designer toward things. It is the essence of a participatory design method where the users are involved in the design process on the early stage. This is crucial for the reason that the designer and the user have different study background and way of seeing things. The existence of the common language will help them in avoiding misperception and misinterpretation of sketches, drawings or models; and the key for this is by having adjustments; either way the designers teach the users basic design languages or the

designers should convey their design ideas in the more general way. Product Milieu: A collection of material and immaterial products on this world, including objects, images, systems and services. Each of them has different life span and valued differently time by time. The quality of product milieu is when the user engages with others and what the user does towards the product. This term is used to explain that product is the central part of human development since through product, we can study the way people live, behave and interact. Modularisation: A technique of separating several features of a device and put them as sets depend on its specialisation; it is a way to organize complexity. The application of this technique is by creating barriers between each group of features with different function. This method is commonly applied in designing electronic devices. 39

Imponderabilia: A term by Bronislaw Malinowski; that explains factors of great significance that can not be precisely evaluated with mind nor sense, not even by computing or questioning; yet it has to be observed in its full reality. It is the native’s of something. For example the daily routine of a person’s life, a person’s behaviour towards things, a person’s manner that is reflected from the things surround him. Situatedness: A construction manner in design process of creating a specific state that has an interplay happening 40

among the user (including the inner situation of the user), situation and context by identifying the interaction between the users and the object in certain situation. This memory construction method extracts the users past experiences of consuming and integrating themselves with particular design artifacts; which can be used in assisting designers to understand what the users had experienced. This will help designers in refining their design to suit the users’ need. Creeping Featurism / Featuritis: A tendency to add great number of features to

a product so that it could do more things (usually happens in electronic devices). It is usually driven by the users demand while the designers just grant their wish without thinking about the violation which could be occurred on the design itself. The problem of creeping featurism could be very fatal; that providing more features on a product means increasing its complexity too. The best ways to treat this featurism are avoidance and organization. The former could be achieve by reflecting on the essence of the object itself, what it does; and also analyse its task, what can be made easier. The latter one means to

divide the features, separate and organise them into sets. Pruning (reducing visual bulk): A technique used by the designer to make the designs more pleasing visually by trimming, re-shaping, colour camouflaging, or even adding elements on. Style: An artistic wrapping of a product which consists of different combinations of design elements, such as form, texture, colour, material and pattern, which distinguish a product from another. Style is the expression of designerâ&#x20AC;&#x2122;s imagination that is made visible through the work; and also a distinctive manner that defines one designer to another. The works from a certain cultural era also can be classified from its style. For example, the design objects from Art Deco period mostly have an angular or a cubistic shape while during the Art Nouveau era; the work is mainly dominated by the floral patterns and curvilinear form. 41

First Sample / First Shot / First Article: The first moulded part from the earliest attempt of tooling. The part typically is not completed yet (might have some missing features, e.g. intended texture and colour). This initial bit will be used for evaluation of the defect parts like the shrinkage, mould flow, sink marks, warpage and residual stress.

density. It is very common to occur in an injection moulding process. The shrinkage level in moulded plastic material could reach 20% by its volume. Some causes of shrinkage are low injection pressure, short pack in hold time or cooling rime, high melt temperature of the material, high mould temperature and low holding pressure.

Shrinkage: The amount of reduction of an article (plastic material) that is caused by difference of the temperature in the processing booth and the ambient, which then resulted in the variety of polymer

Warpage: The distortion of a moulded part that caused by the differential shrinkage of the material. There are several factors that caused shrinkage variation: the orientation of molecular and fibre of mate-

rial, different temperature in the moulded part, different pressure across the mould and also over-packing and under-packing of material in different area of the mould.

TUTE PARTICIPATION TASK Readings + Peer Review

reading review and review of otherâ&#x20AC;&#x2122;s reading review

Self Reading + Review The Politics of The Artificial â&#x20AC;&#x201C; Victor Margolin. Chapter 1, The Experience of Products url: http://ellentanoemarga.wordpress. com/category/class-participation/

Peer Reading + Review Blending Quantitative and Qualitative Approaches â&#x20AC;&#x201C; VanderStoep, Scott W. Johnson, Deidre D. Chapter 1: Understanding Research Chapter 2: The Who, How and Why of Research url: http://pjodesign.wordpress.com/research-methods-for-everyday-life-blending-quantitative-and-qualitative-approaches/

bibliography

Bagnara, S. & Smith, G. C. (Eds.) (2006), ‘Designers and Users: Two Perspectives on Emotion and Design’ by Donald A. Norman and Andrew Ortony in Theories and Practice in Interaction Design, Lawrence Erlbaum Associates Publishers, Mahwah, New Jersey and London, pp. 91-103. Cherry, N. (1999), Action Research: A Pathway to Action, Knowledge and Learning, RMIT University Press, Melbourne. Clay, R. (2009), Beautiful Thing: An Introduction to Design, Berg, Oxford and New York. Chapter: composition Clivio, F., Hansen, H., Mendell, P. (2009), Hidden Forms: Seeing and Understanding Things, Birkhauser, Basel, Boston & Berlin.

Cross, N. (2007), Designerly Way of Knowing, Birkhauser Verlag AG, Basel, Switzerland. Chapter 3: Natural and Artificial Intelligence in Design Cuffaro, D. F., Paige, D., Blackman, C. J. (2006), Process, Materials, and Measurements: All the Details Industrial Designers Need to Know but Can Never Find, Rockport Publishers, Massachusetts. Gibson, J.J. (1986), The Ecological Approach to Visual Perception, Lawrence Erlbaum, London. IDEO, (2003), IDEO Method Cards: 51 Ways to Inspire Design, IDEO, San Francisco. Kiumarsi, V. & Nouri, M (2009), ‘Lack of Common Language: The Perception Problem between Designer and User in Participatory Design Process’ in Design Principles and Practices: An International Journal (Vol. 3 No. 2), Common Ground Publishing

Pty Ltd, Melbourne. Laurel, B. (Ed.) (2003),’Non-Assumptive Research’ by Dorothy Deasy in Design Research: Methods and Perspectives, The MIT Press, Cambridge, Massachusetts, London, England. Laurel, B. (Ed.) (2003), ‘Qualitative Method From Boring to Brilliant’ by Christopher Ireland in Design Research: Methods and Perspectives, The MIT Press, Cambridge, Massachusetts, London, England. Marcus, G. H. (2002), What is Design Today?, Harry N. Abrams Inc. Publishers, New York. Margolin, V. (Ed.) (2002), The Politics of The Artificial: Essay on Design and Design Studies, The University of Chicago Press, Chicago & London.

Norman, D. A. (1988), The Psychology of Everyday Things, Basic Books, New York. Norman, D.A. (2007), ‘Simplicity is Not the Answer’, jnd.org, viewed 12 August 2009, <http://jnd.org/ dn.mss/simplicity_is_not_the_answer.html> Santa Clara University (2009), Santa Clara University: School of Engineering, viewed 3 August 2009, <http://www.scudc.scu.edu/cmdoc/dg_doc/ develop/> Smart Design (2009), ‘littleBits: A Toolkit for Physical Interaction Design’, Smart Design: Interactive Experiences, viewed 31 August 2009, <http:// www.smartdesignworldwide.com/work/project. php?id=157> Smart Design (2009), ‘OXO Good Grips Kitchen Tools: Starting a Revolution, One Potato Peeler

at a Time’, Smart Design: Product Development, viewed 20 August 2009, < http://www.smartdesignworldwide.com/work/project.php?id=102 > Soegaard, M. 2007, ‘Encyclopedia: Affordances’, Interaction-Design.org., viewed 14 August 2009, <http://www.interaction-design.org/encyclopedia/ affordances.html> Universal Design.ie 2009, ‘3 Case Studies on UD’, Centre for Excellence in Universal Design, viewed 20 August 2009, <http://universaldesign.ie/exploreampdiscover/casestudiesandexamples/3case studiesonud>

figure references

Fig 1. The Famous Teapot (1988) Normanâ&#x20AC;&#x2122;s Psychology of Everyday Things Fig 2. Emotional and Physical Reaction Towards Object broken radio [Online Image]. Retrieved October 17, 2009, from citipages.com, <http://blogs.citypages.com/gimmenoise/broken%20radio.jpg> Fig 3. Design Features Various images [Online Image]. Retrieved October 10, 2009, from Moco Design, <http://mocoloco. com>

September 3, 2009, from Storage and Glee, <http:// storageandglee.blogspot.com/2009/08/cure-fortech-frustrations.html> Fig 5. littleBits [Online Image]. Retrieved August 31, 2009, from Smart Design, <http://www.smartdesignworldwide. com/work/project.php?id=157> Fig 6. OXO Good Grips Kitchen Tools [Online Image]. Retrieved August 20, 2009, from Smart Design, <http://www.smartdesignworldwide.com/work/project.php?id=102>

Fig 4. A Way of Curing Featuristis? simpleremote_500x375 [Online Image]. Retrieved

annottated bibliography

Bagnara, S. & Smith, G. C. (eds.) 2006, ‘Designers and Users: Two Perspectives on Emotion and Design’ by Donald A. Norman and Andrew Ortony in Theories and Practice in Interaction Design, Lawrence Erlbaum Associates Publishers, Mahwah, New Jersey and London, pp. 91-103. This chapter discusses the relationship between designers and users through the affective reactions. Norman and Orthony explain in details the three level of emotional response and also the designer’s and the user’s perspective towards objects. This source helps me supporting my idea of the importance of objects affordances in creating experiences for the user from the study of interactions and responses. Cherry, N. 1999, Action Research: A Pathway to Action, Knowledge and Learning, RMIT University Press, Melbourne.

This book discusses the action research and the action learning methods. By referring to various authors and expertises, Cherry describes her ideas in a very understandable way. This book is obviously worth to read for a design researcher to begin his study since action research is one of the great research methods in design. Clay, R. 2009, Beautiful Thing: An Introduction to Design, Berg, Oxford and New York. Chapter: composition This chapter provides different kind of basic conventions that might help people in composing object in either two or three dimension. I found this source accommodating for me to explain my point about the importance of aesthetic in product design. Cross, N. 2007, Designerly Way of Knowing,

Birkhauser Verlag AG, Basel, Switzerland. Chapter 3: Natural and Artificial Intelligence in Design This chapter mentions several methods in design research generally and continues on the expertise’s sayings about design itself. Cross also describes about design product specifically in the latter part of the chapter. This book does not give me a straight away answer or theory, yet it inspires to think more ‘designerly’. Clivio, F., Hansen, H., Mendell, P. 2009, Hidden Forms: Seeing and Understanding Things, Birkhauser, Basel, Boston & Berlin. This book has different sections of various product design issues; about the parts, handles, function or even product design in general. Each mini chapter begins with brief history or facts, and continues with description of ideas and thoughts. I found this book is really helpful for me knowing about different

issues in product design distinctively. IDEO, 2003, IDEO Method Cards: 51 Ways to Inspire Design, IDEO, San Francisco. This compilation of various method cards provides different ways of thinking for designers in doing their research. The cards are categorised into four different approaches: ask, watch, learn and try. I found this source helpful in giving me insight of research methods in the most tangible way. Laurel, B.(ed.) 2003, ’Non-Assumptive Research’ by Dorothy Deasy in Design Research: Methods and Perspectives, The MIT Press, Cambridge, Massachusetts, London, England. This chapter specifically explores on non-assumptive research method; Deasy clearly classifies this method into four areas: planning, methodology design, execution and analysis. I found this method

interesting and would like to apply this method to my design research. Margolin, V. (ed.) 2002, The Politics of The Artificial: Essay on Design and Design Studies, The University of Chicago Press, Chicago & London. Margolin presents this chapter by referring to John Deweyâ&#x20AC;&#x2122;s theory about the nature of experience and also the idea of the product milieu. The value of a product which is related to the culture of product development is also discussed in the latter section of the chapter. This book chapter gives me a clear idea about the connections among things in product experiences.

Norman, D. A. 1988, The Psychology of Everyday Things, Basic Books, New York. This book mainly discusses about affordances in design; Norman begins by explaining the frustra-

tion of everyday life by providing real case studies. He also explores the idea of conceptual models, understandability and usability in design. This book assists me by giving an in-depth idea about design for people, especially with the affordances theory. Norman, D.A. 2007, Simplicity is Not the Answer, jnd.org, viewed 12 August 2009, <http:// jnd.org/dn.mss/simplicity_is_not_the_answer.html> This particular article of Norman discusses the idea of simplicity phenomenon. Norman explores the underlying desire of human in having a product that is understandable, usable and enjoyable rather than having various capabilities that confuse people. This essay assists me in strengthen my point about the importance of affordances value in a product. Smart Design 2009, littleBits: A Toolkit for Physical Interaction Design, Smart Design: Interactive Experiences, viewed 31 August 2009, <http://www.smartdesignworldwide.com/ work/project.php?id=157> This site of Smart Design covers the way of designing for people. LittleBits is one of their works that I found relevant for my case study because it involves interactive experiences. It is the physical example of tools in designing. Smart Design 2009, OXO Good Grips Kitchen Tools: Starting a Revolution, One Potato

Peeler at a Time, Smart Design: Product Development, viewed 20 August 2009, < http://www.smartdesignworldwide.com/work/project.php?id=102 > This example is also taken from Smart Design site; OXO Good Grips products are the first revolution of universal product that hits its success in the market. I use it as my case study as well since it is both functional and aesthetically pleasing. Soegaard, M. 2007?, Encyclopedia: Affordances, Interaction-Design.org., viewed 14 August 2009, <http://www.interaction-design.org/encyclopedia/ affordances.html> This online article gives me a background concept of affordances by comparing the opposing Norman’s and Gibson’s theories about it. It gives me a brief and clear definition of each theory that helps me defining my idea.

Universal Design.ie 2009, 3 Case Studies on UD, Centre for Excellence in Universal Design, viewed 20 August 2009, <_ HYPERLINK “http://universaldesign.ie/exploreampdiscover/casestudiesand examples/3casestudiesonud” <http://universaldesign.ie/exploreampdiscover/casestudiesandexampl es/3casestudiesonud> This website describes the idea of universal design and I took its page about different case studies in that area. Each study is provided with historical background and numbers of facts which then explained briefly. It is a useful source in giving me a concise understanding in universal design area.