Trans RINA, Vol 156, Part C1, Intl J Marine Design, Jan - Dec 2014 Design Visceral Appearance Utility Designer
Behavioural Expectation- induced reactions
Perceptually -induced reactions
Reflective Intellectually- induced reactions
User
gain pleasure from products that meet their functional and supra-functional needs, as defined in the most comprehensive terms. Indeed, now that adequate product functionality is the norm, supra-functional factors are being recognized as more important. Emotional bonding, symbolic representation, tribal connections, subculture references, and so on all
form part of the language
Figure 3: The Designer’s View of the vessel differs from the User’s view, adapted from [19].
Differences between designer and user perspectives of the same product are particularly evident with respect to the role of emotions. The designer may intend to induce emotions through the design, but because emotions (which are a special, but particularly salient form of affective reaction) reside in the user of the product rather than in the
product itself, the emotions the user
experiences are not necessarily the same as those intended by the designer. While, some of the emotions the user might experience might have been intended by the designer, some might not. Some might be just the opposite of those intended by the designer. Product- induced emotions are often
quite idiosyncratic,
depending, for example, on memories the product invokes or on the particular circumstances of use. Yet other emotions result from concerns outside the object, such as the status it might or might not bestow [7].
Designers have more control over users’ Visceral and Behavioural reactions than Reflective ones, but even here, the control is indirect at best. The attempts of designers to influence these reactions are characterize as attempts to provide emotional affordances. In other words, designers can do things that provide opportunities for the experience of emotions in users,
just
building in physical affordances, they can influence the possibility of an object being manipulated and controlled. But whether affordances are actually made use of is beyond the designer’s control [7.]
1.1(b) Empathic Design and DDI
The perceived comfort/pleasure of crew on a commercial vessel is a combination of the emotional response to the visual impact of the aesthetics of the
vessel
exterior/interior and that of the interaction of the user (crew) with the environment. Design must therefore meet user (crew) needs, both functional and emotional, and been informed by human factors (ergonomics). People
©2014: The Royal Institution of Naval Architects
defining product personality and product semantics [9]. People relate to products in individual and interesting ways. Different people relate to the same product in their own particular way, depending upon its characteristics and their own. Material possessions serve as symbolic expressions of who we are. The clothes we wear, the household items we buy, the car we drive, all enable us to express our personality, social standing, and wealth. The nature of a product can be described as a product personality, and it is this, that determines the relationships that users develop with different products [8].
Effective marine designers cannot rely solely on their own experiences in the development of new products for users unlike themselves. Their ability to create successful products is enhanced through gaining empathy with the user, which requires them to expand their “empathic horizon”. Empathy is “our intuitive ability to identify with
other people’s thoughts motivations, emotional and feelings and mental models, for designers learning about – their values,
priorities, preferences, and inner conflicts” [10]. Empathy is “the altered subjectivity that can come from immersion into a particular context” [11]. A view that is helpful
human
communication during their designing process. Empathic design research deepens the designer’s understanding in the designing process.
Intangibles such as feelings,
emotions, dreams, aspirations, and fears can provide the designer with critical cues, triggers, and inspiration that provide the essence to more balanced and functional products. It requires designers to develop new ways of seeing, thinking, and experiencing as they generate more visionary ideas and concepts. Empathic design research builds on the synergy
of individuals [10]. Industrial Designers qualitative research as, by developing
relationships [12] and is the essence of qualitative design research
combine this with more traditional objective
research data (e.g., market research, socio-economic and anthropometric) to fuel their creativity, develop inspired products, and ensure more relevant design outcomes.
To facilitate design innovation marine designers should consider implementing a Design-Driven
Innovation
strategy as is often employed within product design. People do not buy products but buy design meanings. People use things for profound emotional, psychological, and socio-cultural reasons as well as utilitarian ones. Analysts have shown that every product and service in consumer as well as industrial markets has a design meaning. Marine designers should therefore look beyond features, functions and performance, and understand the real design meanings users give to vessels.
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