Overblik Program 15.april

Transkript

1 1) Gennemgang af skitser Overblik Program 15.april 2) Forelæsning & discussion af artiklerne: If kettles are from Venus (Product Personality Profile PPP) Design as Communication 3) Drawing gym 3) Opgave til næste gang

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3 Most of us are so used to electric kettles by now that we might even have forgotten how a standard whistling kettle works. Here s the Musical Kettle concept by Naoki Kawamoto that is interesting to look at and listen to. This kettle can spew out sounds according to your favorite tune when the water has reached its boiling point The Turtle Tea Kettle - for those who want debris free drinks. All you need to do is add loose tealeaves to the glass container, close the cap and fill the kettle with water. Heat it up on the stove and wait for it to whistle.

4 If kettles are from Venus by Deane McDonagh & David Weightman The nature of a product can be described as a product personality - a product personality profile (PPP)...and it is this that determines the relationships that users develop with different products.

5 If kettles are from Venus xxx People relate to products in individual and interesting ways. Different people relate to the same product in their own particular way depending on its characteristics and their own

6 If kettles are from Venus xxx Study: 66 respondents mainstream products: electric kettles, televisions, cars The aim: to elicit individuals views of products that they used regularly, possibly sharing them with others within the home environments.

7 If kettles are from Venus xxx Respondents are requested to imagine a product as a person with a particular personality and lifestyle (age, gender and occupation)

8 If kettles are from Venus kettles Analysis electric kettles: females have purchased the majority of kettles. penguins and birds predominated kettles = both male and female creatures, equal numbers kitchen environments = female domain male responses = functionality, descriptive words female responses = references to ergonomics and appearances.

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10 If kettles are from Venus kettles The kettles = docile trustworthy creatures capable of doing a job with little fuss. kettles = younger than themselves - a mystery

11 If kettles are from Venus televisions Analysis televisions: 46 % purchased by men, 20% by women, 20 % joint Female responses: coloured by negative emotional terms Male responses: concerned with the utility of product and significance of the viewing experience.

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13 If kettles are from Venus television Analysis televisions: predominance of large animals as creatures (bears, whales) UK National Statistics: female 161 min television, video etc per day male 175 min television, video etc per day

14 If kettles are from Venus cars

15 If kettles are from Venus product personality profile Product personality profile (PPP): metaphorical approach Designers need to clarify and validate their analysis through direct contact with consumers

16 Design as Communication

17 Hvilken ville I vælge?

18 Hvilken ville I vælge? Til jeres mor

19 Design as communication xxx The relationship between how designers intend products to be interpreted and how they are subsequently interpreted has often been represented as a process of communication - designers inteded meaning are contained in products - and passively received by consumers Instead consumers construct their own meanings (p.425)

20 Design as communication xxx...consumers actively construct their own meanings as they engage with products, and therefore that designers intentions are not relevant to this process aim: the relationship between intention and interpretation (426).

21 5 Perspektiver relationship between intention and interpretation 1) the product has been viewed as employing a language that consumers read; (Gros, Giard, Rheinfrank and Evenson) 2) the product has been considered as part of a sign system with which consumers construct meaning; semiotic theories 3) the product has been considered as an instrument of persuasion or argument; rhetorical perspectives are then applied. 4) the product has been viewed as component social interaction; system theory

22 5 Perspektiver relationship between intention and interpretation Finally, 5) the product has been considered as the message or medium in a sender receiver process; models of the communication process are then applied.

23 Modeller/diagrammer Kommunikation og design: Shannon

24 Modeller/diagrammer Kommunikation og design: Maletzke

25 Modeller/diagrammer Kommunikation og design: Maser

26 Design som kommunikation attacking design as communication 1) the models are attacked for alledgedly implying that meaning is contained in messages rather than being contructed by people 2) the models are attacked for alledgedly implying that the originator of the message has authority over what the meaning of that message should be.

27 Design som kommunikation attacking design as communication Instead critics claims meaning is actively contructed by people there need not be correspondance between intent and response. no objective content (like shanon claims)

28 Design as communication xxx consumers form interpretations that influence how they think, feel and behave. Interpretations based on: form functionality the values that a product are seen to embody.

29 Medium og budskab Produkttype som meningsgiver I sig selv

30 Formsprog Værdier i artefaktet

31 Formsprog Kulturelle associationer

32 Formsprog Køn og form

33 Formsprog Personlighed og karakter

34 Form Som kommunikation Interpretations are based on form and functionality, whilst more complex responses include assessment of the values that products are seen to embody and judgments on the cultural associations that they evoke.

35 Formsprog Personlighed og karakter

36 Formsprog 3 typer Design which bears resemblance (stereotype/iconic/strong) Design which bears resemblance (nuanced/interpretated) By association

37 Køn og formsprog Resemblance -stereotypical

38 Køn og formsprog Resemblance -interpretated,nuanced

39 Køn og formsprog Associationer

40 Intention and interpretation Unintended use no one can presume that form (the designer s objectified meaning) and (the user s) meaning are the same

41 Intention and interpretation Unintended use

42 Intention and interpretation Unintended use as inspiration

43 Design som kommunikation opsummerende - consumers construct meaning criticising the process model, claiming that their strict left-to-right progression (+noice) fails to account for how consumers actively approach products with their own motivation and experience... consumers do not passively receive some meaning contained within the product, but actively construct meaning as they engage with that product within a given context (p.436)

44 Design som kommunikation opsummerende - leder til problem The problem of authorship: if meaning is not contained in products and consumers can interpret products without access to the designer, then the designers intentions do not have any authority over the interpretations of the consumer.

45 Design som kommunikation relevance of relating intentions to interpretations we might therefore question the relevance of relating intentions to interpretations if designers are not free to translate their intentions directly into product features and if those features do not contain meanings that consumers can extract. (436)

46 Design som kommunikation relevance of relating intentions to interpretations the death of the author/designer the rise of the reader - as the ultimate interpreter of a creative works (437)

47 Design som kommunikation relevance of relating intentions to interpretations A tendency: Attention is turned away from the designers intention towards the context in which products are produced and consumed. Co-design, co-creation

48 Design som kommunikation the design stance consumers will predict how it will behave as it is designed to behave if a user can develop a good idea of what a system is designed to do, they can reliability predict that system s behaviour without understanding how it works.

49 Design som kommunikation relevance of relating intentions to interpretations 1) designers are motivated to constrain, or otherwise influence consumer interpretation of products 2) consumer interpretation of products can involve some inference of what the designers intentions might have been.

50 Design som kommunikation relevance of relating intentions to interpretations the effectiveness of a design is defined by the degree of correspondence between the intentions of designers and the interpretations of consumers:

51 Intention and interpretation it is important for designers to anticipate how their work might be interpreted because it is interpretation rather than intention that determines product use. Diskuter med sidemanden 5 min., hvad det betyder for designpraksis eks. fordele og ulemper

52 Folk skaber deres egen mening udfra deres erfaring, værdier, motivation og evner

53 Design as communication Defending: constructing a good text Communicators craft texts with intended meanings - Users construct interpretations A product is an instance of a certain type: performance, functionality and qualities

54 Design as communication Do they have a good text?

55 Design as communication Prototypical design?

56 Design as communication Prototypical design?

57 DENNE SPØRGEGUIDE BRUGES TIL HJEMMEOPG: Funktion _ Kommunikerer formen tydeligt brugen? _ Er der gjort ergonomiske overvejelser? Hvordan ses det? _ Vurder om formen er hensigtsmæssig i forhold til funktionen. Form _ Hvilke former karakteriserer produktet: linier, grundformer, materiale _ Hvilken personlighed/karakter og køn vil I tilskrive produktet. Formsprog Beskriv hvad formen kommunikerer Kommunikation _ Har produktet værdier, der ligger ud over det funktionelle? _ Hvem skal produktet bruges af? Hvordan ses det? _ Hvad tror I designerens intention med produktet er? Stemmer den overens med den fortolkning I har af produktet? _ Hvad kunne skabe støj på kommunikationen? _ Vurder designet i forhold til begrebet design som masse kommunikation? (type af afsender/ modtager, hvor er den købt solgt, hvad kommunikerer den når den er i hjemmet, hvor placeres den) Perspektivering og afsluttende vurdering _ Vurder produktet på baggrund af ovenstående iagttagelser. _ Lykkes designerens kommunikation?

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63 Styleboards og målgruppe

64 Styleboards Formål _ Skabe konsensus _ Stilmæssig retning _Formsprogselementer _Visuelt referencepunkt

65 Styleboards Hvordan Lån fra: Arkitektur Produktdesign Naturen Grafik Møbler Stemninger Kunst...

66 Hvad er elegant? Styleboards Eksempel

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71 Styleboards Opgave _Et ord kan have mange betydninger _ Et styleboard er ikke et facit, men inspiration _ Styleboarded danner udgangspunkt for jeres designproces

72 Styleboards Opgave Fokus på former når I udvælger billeder. (Ikke betydning eller materiale)

73 Til næste gang

74 næste forelæsning aflevering - Læs: Pencils Before Pixels + Drawing as a Means to Design Reasoning -desuden form-og fladeundersøgelser, - se kursusplan

75 Tak for i dag!

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77 Teknisk tegning Angiv mål - mm som standard

78 Teknisk tegning Målestoksforhold _ Rum skala 1:20 _ Møbel skala 1:10 eller 1:5 (aldrig 1:2) _ Produkt skala 1:1 _ Tegn mennesker, hænder o.l. For at vise skala

79 Teknisk tegning Stregtykkelse og stregfarve Grå : bagved Fed : snit Stiplet : skjult

80 Opstalter Views

81 Opstalter Views US View EU View

82 Visualisere objekter Fra 2D til 3D og tilbage igen

83 Visualisere objekter Fra 2D til 3D og tilbage igen

84 Visualisere objekter Fra 2D til 3D og tilbage igen

85 Visualisere objekter Fra 2D til 3D og tilbage igen

86 Visualisere objekter Fra 2D til 3D og tilbage igen

87 Visualisere objekter Fra 2D til 3D og tilbage igen

88 Visualisere objekter Fra 2D til 3D og tilbage igen

89 Visualisere objekter Fra 2D til 3D og tilbage igen