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Explain Service design

Service is Value co-creation. An exchange of value between parts. One part, the service provider, performs a certain activity that results in some benefit that includes a specific output and involves certain experiences. The other part, the service user, sees value in the output, the experience, or both combined and is willing to pay for it or exchange something else of equivalent value. Service design is the process of designing and organizing the resources, processes, and interactions that make up a service in order to improve its quality and effectiveness. It involves defining and designing the service offering, as well as the customer experience and the interactions that take place between the service provider and the customer. Service design is an interdisciplinary field that draws on a variety of disciplines, including engineering, design, business, and psychology, to create and deliver value to customers. It is a holistic approach that considers all aspects of the service, from the customer's perspective, to ensure that it meets their needs and expectations. Happen over time in predefined frequencies. There are several key elements to service design: - Service value proposition: This defines the unique value that the service offers to customers, and how it meets their needs and expectations. - Service experience: This refers to the overall experience that customers have when interacting with the service, including the physical environment, the interactions they have with service providers, and the emotional response they have to the service. - Service touchpoints: These are the points of contact between the service provider and the customer, such as phone calls, emails, or face-to-face interactions. - Service Tools: Such as a Blueprint, this is a visual representation of the service process, showing how the service is delivered, who is involved, and what resources are used. But also tools such as persona, stakeholder map and journey map. Service design is an ongoing process that requires continuous improvement and iteration to ensure that the service is meeting the needs of customers and delivering value to both the service provider and the customer. In service design it is important to know the following terminology: - Provider = The one creating/offering/sells the service - Consumer = The one buying the service - User = The one using the service - "Moment of truth" = The interaction at that moment when the value is created - Service offering = The created value presented to the user - Service encounters = The touchpoint the user shares with a service - Touchpoints = material face of the services and comprise the artefacts that support the service interactions - Service channels = the media that person access the service touchpoints - Service scapes = the stage for service interaction Service is created collaboratively Provider creates a service and a value, but it is only co-produced when there is a who sees value in it. The service provider offers the possibility of a certain activity that results in some kind of value -> user understands a value from service or the consequence of service and is willing to pay for that value. We have to focus on the experience the user will get through the service. Base the entire design on your understanding of people and those who might enjoy the product: Ethnographic studies, prototypes, visualisation, and your entire design background. Tools to use Persona, Journey map, service blueprint, stakeholder map. Persona - What: an imaginary character who contains the most common traits of the user base. - How: Construct a detailed character using the information you have gathered about your user base, often containing: -- Demographics -- Patterns -- Goals -- Possible quotes -- Images, etc - Why: Having a representation gives a clear focus for the design Journey Map - What: A visualisation of a person's experience over time - How: The user experience is simplified into several steps which make sense in the given context. Each step is then evaluated based on for instance which type of action is taken, who makes the actions, how it is perceived, which feelings are experienced, which stakeholders are involved, etc. - Why: Help find gaps and/or explore solutions for better user experiences (current/future exploration) - Factors to consider when creating and evaluating journey maps 1. Reliability: is it based on research or your assumptions 2. State of the map: - Current state: existing experiences with the service -> opportunities to improve the service - Future state: potential experience of someone with the service -> to understand and experiment + choosing steps to be prototyped & tested 3. Main actor perspective: customer vs emplyee 4. Scope and scale: focus on key parts and visualize them from a few seconds to some decades 5. Focus: - Product-centered: contain only touchpoints -> will miss many many potential problems - Experience-centered: reflect also situational context and how touchpoints are embedded in overall experience 6. Lanes and level of depth: depends of the subject matter -> modify Service Blueprint - What: The relation between the user and everything behind the user. Extension of a journey map that connects customer experiences with front and backstage employer and support processes. -- Customer actions -- Sellers actions (visual (frontstage), digital (backstage)) -- The evidence for each stage - How: Focus primarily internally on the company rather than the user 1. Define each specific customer action 2. Estimate required execution time 3. Define which interactions the customer has with the company 4. Organise the company interaction in frontstage and backstage 5. Define every piece of evidence presented It is important to have time indicated - Why: Describe and evaluate a specific service encounter and spot potential improvements. Journey map vs blueprint A journey map is experience-centred, a high abstraction level aims to visualize the experience from beginning to end, and a time perspective is less important than a sequence of experiences. Blueprint is process-oriented, specifically focus on one experience or transaction, aims to visualize a specific process that it aims to improve. Time is a central concern. Stakeholder map - What: A structured overview of every stakeholder and their relation to the company and each other. - How: 1. List every stakeholder related to the product. 2. Divide into sectors: a. Customers (alternative: essential stakeholders) b. Internal stakeholder (alternative: other stakeholders) c. External stakeholders (alternative: other stakeholders) 3. Define relationships and value-exchange of each - Why; Describe and evaluate a specific service encounter and spot potential improvements Research in Service design - Ethnographic tools: contextual interviews and observations, shadowing - Mobile ethnography - Desc research = about the service provider, competitors, stakeholder, etc. - The 5 whys = revealing subconscious stakeholder motivations 1) Why does it take so long to serve a customer? 2) Why there is always a queue of people in lunch time? 3) Why we do not have enough personnel in busy periods? 4) Why there is not enough room for more staff? 5) Why there is so much equipment around? 6 Principles of service design 1) Human-centered (Consider the experience of all the people affected by the service) (Here it is nice to use Persona and stakeholder map) 2) Collaborative (All stakeholders should be actively engaged in the service design process. Value is co-created.) 3) Iterative (Exploratory, adaptive and experimental approach, iterating toward implementation) 4) Sequential (The service should be visualized and orchestrated as a sequence of interrelated actions) (Here we can use journey maps) 5) Real (Needs should be researched in reality, ideas prototyped in reality and intangible values evidenced as physical or digital reality) fx toilet paper folded so you know which way it goes. 6) Services should sustainably address the needs of all stakeholders throughout the entire service and across the business. Keep the big picture, but remember that it is impossible to consider every single aspect of a service and there will always be two perspectives, the customer and the service provider. (Here we can use blueprint) Goods vs Service (sneaker example) Goods are end-products. The consumer is the recipient of goods. Value is determined by the producer and embedded in goods. Customers are passive. Services are goods that transmit embedded knowledge into the process of value creation. The customer is a co-producer of value. Value is perceived and determined by the customer. The customer is active, firms can only make a value proposition. Products are not opposed to services but products are part of services. Service can be identified by 4 key qualities: 1) Intangibility 2) Heterogeneity 3) Inseparable 4) Perishable Service prototypes - Service prototypes are staged experiences and processes that repliceate any chosen part of a service from frontstage to backstage - often with increasing fidelity and in varying context. Used to explore, evaluate and communicate service ideas during different activities within the service design process. CAn focus on end-to-end, a single step or zoom in on a specific backstage process. More rough than ready fidelity. Stimulated or actual context and audience. USe paper/cardboard/theatrical techniques. - Future journey map, digital final prototype, video prototype, acting. What to remember: - Service designer can design everything that can make service interaction more interesting and effective for all stakeholders - Services are co-produced and value is constituted - Services are intangible, heterogeneous, inseparable and perishable - 6 principles of service design - Basic tools and methods

Explain the PKM modal

Before the 1980s there no focus on how the public inference of advertisers intentions influenced the publics interpretation of advertisements. That led to the Persuasion Knowledge Model (PKM), which emphasised how consumers develop and use knowledge of persuasion to cope with marketers claims. The model sets up a symmetrical relationship between agents (marketers) and taget (consumers). With respect to a persuasion episode (fx an advertisment for a service), each party is depicted as having knowledge of the other party, knowledge of the topic (the service) and knowledge of persuasion. With these different forms of knowledge in place, the persuasion episode occurs in hte interaction between the agents persuasion attempt and the target persuation coping behaviour. The model is entirely defined from the target's perspective. "Persuasion attempt" refers to the target's perspective on an agent's behaviour and "agent" is defined as whomever the target considers to be responsible for such an attempt. "coping behaviour" refers to an activity that is conducted on equal terms with that of the agent, an activity which is often successful. In the PKM's terms, products would be "persuasion attempts", users would be "targets" and designers would be "agents". Since product and adverts are not same there are three factors that comes when comparing: 1. Products are less obviously persuasive 2. Products are less flexible in what they make claims about 3. Products are less articulate in making those claims -> compared to advertisement, people may less readily identify that: - a product is influencing them - influence was intended - specific strategies have been employed to realize those intentions What If PKM is applied on products? Three key research questions regarding the inference of persuasive intentions in product experience: 1. What inferences do users make about design intent? 2. With what do these inferences vary? 3. What are the effects of these inferences? 1. axe example: it is noticed. it is desired. benefits are understood. Attachment to it. etc. Users might consider persuasive intentions to be related to or moderated by various other motivations and constraints such as limited resources, regulations and/or issues of product family etc. 2. Many factors affect to inference of intentions: characteristics of user, product, and relationship between these two. - Inference of intentions are more common with -- older people = more persuasion attempts through the course of their live -- marketers, designers, writers = acting as agents changes responses as a target -- decorative products than technical performance constrained products incompatible. -- expert users of a particular product (i.e. knowledge of the product line -> reason about design decisions) -- more likely when users are trying to understand how a product works 3. Is the user feeling protected and appreciated or tricked and exploited: - Misleading attempt: "they've put stripes on the side to make it look thinner than it is" -> decline the supposed intended interpretation. - Attempted to assist them: "they've used traffic-light colours so that I'll know when it's safe" -> accept the supposed intended interpretation Change-of-meaning -> the meaning of an agent's action changes once that action is recognized as a persuasion attempt. - The human efforts behind the influencing technology > acceptable - The benefit of some other party such as a commercial enterprise -> attempted persuasion is not acceptable

What is service?

"In economic terms, service occurs when there's a value exchange between parts. One part, the service provider, performs a certain activity that results in some benefit that includes a specific output and involves c ertain experiences. The other part, the service user, sees value in the output, the experience, or both combined and is willing to pay for it or exchange something else of equivalent value.". - Lara Penin

Explain the Framework: Embodied Design

"Interaction is not only what is being done, but also how it is being done. Interaction is the means by which work is accomplished, dynamically and in context." - Dourish Our computer sees us as a giant finger with an eye and ears. It does something for the way we interact with our computer. Maybe we can design it in a better way. Embodiment - Things are embedded into the world. - Exist in the real life world (not digital) - A picture of an object is just an idea - Interaction where the object is - We can understand an object - External knowledge comes from our body existing in the world - Requires radically new ways of computation and interaction Primary focus: Thinking and interaction happens at the same time, always. "We know more than we can tell" - Michael Polanyi. Involve me and I will understand. We can teach people more than they can know. We present 5 ways to make embodied interaction design 5 themes for embodied interaction design Individual corporeality 1. Thinking through doing 2. Performance Social affordance 3. Visibility 4. Risk 5. Thick practice 1. thinking through doing (individual corporeality) - Learn by doing and thinking - bodystorm (baby game where the baby first a figure into a hole of the same form) -- Gestures help thinking and communicating (is a person pointing or have open arms, we speak with our body) - Epistemic action (tetris) -- Pragmatic action = manipulating artefacts to directly accomplish a task -- Epistemic action = to better understand the context of the task -- Better understanding the content of the task -- Learn by exploring - Thinking through prototyping -- Successful products designs result from a series of "conversations with materials" - On representation -- Can we represent the most relevant constraints? Think VR, maybe we can represent some problem even better here. Physical representation help understand which constraints exists. 2. Performance (individual corporeality) - Action-centered design (paper plant workers feeling vs computer informing the state of a process) -- Knowledge from the world can be precise and powerful -> tacit knowledge - Hands (surgeons, musicians rely on their hands and what they are interacting with) -- are complex, capable and expressive -- Using our hands speed up performance and thinking - Motor memory (pin code) -- knowdledge in the body -- fx rembembering the shape of a pincode instead of the numbers -- know how to do something without thinking Reflective reasoning is slow - Tacit knowledge is much faster (you don't think about steering a car, you just does it tacit) 3. Visibility (Social affordance) - Situated learning (stibitz) -- we learn by doing and seeing others do - Visibility facilitates coordination (air traffic control) -- the life of the product and its visibility tell of their use 4. Risk (social affordance) - no risk = no dedication - Physical actions always involve risk - Trust, commitment and responsibility comes from risky actions - Risk gives a sense of commitment and responsibility for one's actions - Risky actions require our attention to control the outcome - painting with water colours vs illustrator. 5. Thick practice (social affordance) - Consider the existing physical knowledge before replacing it with a digital version. - There is often much knowledge stored in the physical world which cannot exist comparably in the digital world. - It is hard to make physical music into a computer - Think FinalScrath where there is some musical software combined with input from analoge vinyle and turntables. Or think Guitar Hero vs Rocksmith

Postmodernism form based on ?

Irony Sarcasm Humour Meaning

What is service design?

"Service design is a practical approach to the creation and improvement of the offerings made by organizations... It is a human-centered, collaborative, interdisciplinar y, iterative approach which uses research, prototyping, and a set of easily und erstood activities and visualization tools to create and orchestrate experiences that meet the needs of the business, the user, and other stakehold ers. " -Marc Stickdorn et al. 2018

What are the three considerations that are particularly important when implementing eco-design?

- Environmental and social or ethical considerations - Integrating life-cycle thinking into product design - A consideration of the core benefits of a product -- What function or what solutions to a given problem does the user expect? -- of what benefit is the product to the user? -- How does the user use the product?

A&C primary design features

- Nature and animal design elements - Rococco inspiration - Plain, linear shaped and symmetry in patterns - Material properties should not be hidden or changed

What was the main ideological design difference between the two movements, Memphis and Alchymia?

- Alchimia was focused on radical and anti-design to redesign old masters' works, work against pale mass production and consider human relations to objects: memories, feelings, sensations and sensuality. - Memphis aimed to chock and shake the design world with stepping on the toes of 'good taste', main idea was to criticise the cold, boring, and functionalistic modern design. Visual means were ornamentation and fun and wit. In contrast to Alchimia Memphis was focused on everyday objects instead of art pieces shown in galleries and therefore products were designed to be affordable and mass produceable.

What is Cubism, Dadaism and constructivism?

- Cubism: the perspective can come from many perspectives. -- Cubism is an art movement that originated in France in the early 20th century. It was characterized by the use of geometric shapes and fragmented forms to depict objects and figures in a way that was abstract and expressive. Cubism rejected traditional techniques of perspective and representation, and instead sought to depict the world in a way that was more intuitive and expressive. - Dadaism: Wanted to criticis capatalism. Would get everyday items and put them on display. Criticise the society that led to the war. -- Dadaism was an art movement that emerged in Europe in the aftermath of World War I. It was a reaction against the violence and absurdity of the war, and sought to subvert traditional artistic and cultural values. Dada artists used a variety of mediums, including painting, sculpture, collage, and performance art, to challenge the conventions of art and society. - Constructivism. Took place in Russia. Build from small pieces and combine them together. Later applied to posters. The Socialist movement used it. -- Constructivism was an art movement that emerged in Russia in the early 20th century. It was influenced by the Russian Revolution and the idea of creating a new, utopian society. Constructivist artists sought to create art that was functional and served a social purpose, and they often used industrial materials and techniques in their works. Like De Stijl, Constructivism was also influential in the development of modern architecture and design.

What are the conditions required for studying co-experience?

- Ordinary social setting: more than one person has to be involved in the evaluation in an areal context, not in a studio or laboratory - Naturalistic research design and methods: people have to be able to author their own experiences to allow for creativity. Data must be gathered and treated using empirical and up-to-date research methods by combining several methods or tools. - Openness: Research design: study should be seen as an intervention. The designers' task is to observe and interpret how people use, explore and create experiences with the prototype - A sufficient time span: The prototype usage ought to be observed for long enough: for a few weeks at least reflecting the frequency of use and social interaction. It is difficult to get an idea of how people explore and redefine the technology in their actions - The sequential unfolding of events: designers have to pay special atten to how events unfold over time and in context, and what may hinder or enable peoples ability to co-experience.

Name some Bauhaus in the north

- Wood as an alternative to metal - Alvar Aalto (Finland) - "Beauty is harmony of purpose and form" - Kaare Klint (wood, leather, chairs, Kirkestolen)

What is the primary philosophy of Bauhaus?

- no ornamentation bout form - simple geometric shapes as a basis. but not mixing shapes - colours are important, but only as meaning, not ornamentation - industrial design - focus on ease of manufacturing in the last phases of Bauhaus - "less is more"

A&C primary design materials

- stained glass - textiles - wood - metalwork - ceramics - mosaic

A&C primary philosophy

-Nature as inspiration - Ornaments should be based on forms found in nature - Prints should represent the medium it is printed on - Man > Machine - artefacts should represent its craftsmanship - No copying - Every detail should have a purpose - Artefacts should be beautiful - encourage an emotional relationship - Useful and beautiful - 'emotional' relationships to things. Pleasure in crafting will offer quality and durance for the people - Form follows: Craftmanship and Nature - Stood apose to the Industrial Revolution

What are the 3 dimensions of co-experience?

1) Explorative-Organized - Explorative co-experiences are not planned in advance, they happen because a possibility has presented itself at a suitable moment. - Organized experiences are planned beforehand and prepared for New technology allows for more spontaneous communication and also new use of communication 2) Synchronous-Asynchronous - Both for co-present and mediated communication - Mediated communication is often both synchronous or asynchronous -> delays ranging from seconds to days - Challenges to develop new technologies and support + integrate the older technology platforms 3) Creation-Interpretation - Relate to the ways in which the participants make things and experience relevant and meaningful for each other - Creative use finds new possibilities for existing functionality - Creativity can also be the production of new content - Creating performances of ourselves with media allows more freedom in creativity and experimentation than real life

What kind of metaphorical means there are?

1) Form 2) Interaction 3) Material 4) sound 5) Movement 6) Smell 7) Name 8) Graphics

What are the 6 Principles of service design and tools/ methods used during them?

1) Human-centered Consider the experience of all the people impacted by the service (i.e., the service provider, the customer and/ or the user, as well as other stakeholders and even noncustomers). Being human-entered requires methods and tools that help the design team to understand the needs of the stakeholders. Tool: Persona 2) COLLABORATIVE All stakeholders should be actively engaged in the service design process. Service design process is usually based on co-designing with the. stakeholders where a designer acts as facilitator. Tool: Stakeholder map 3) ITERATIVE Service design is Exploratory, adaptive, and experimental approach, meaning that it is iterating design solutions and the process towards the implementation. Starting with small, cheap attempts and experiments, allowing them to fail, learning from the failure, and adapting the process along the way. 4) SEQUENTIAL Services are dynamic processes that take place over a certain period of time through the various moments, steps, or "touchpoints"' that make up a service experience. Every service has 3-steps: pre, actual and post-service period The service should be visualized and orchestrated as a sequence of interrelated actions. Journey mapping is viable tool for visualizing this. Tool: Journey Map 5) REAL Needs should be researched in reality, ideas prototyped in reality, and intangible values evidenced as physical or digital reality. Evidencing can occur in a variety of forms: bills, mail, emails, brochures, signs, souvenirs or other products. Service evidence can, therefore prolong service experiences beyond the mere service period far into the post-service period. 6) HOLISTIC Services should sustainably address the needs of all stakeholders through the entire service and across the business. Remember to also consider as many aspects of the services you can, but remember that it is impossible to manage everything! Tool: Blueprint

Name and explain Datschefskis 10 environmental innovation principles

1. Cyclic-mined = making use of recycled metal, glass or plastic, by becoming more recyclable or both 2. Cyclic-grown = The product becomes more cyclic by making use of grown materials such as wood, leather and wool, by becoming more compostable or both 3. Alternative energy in use = the product becomes more solar by using renewable energy in use, sometimes by using solar-generated electricity 4. Alternative energy in manufacture = The product becomes more solar by using a renewable energy source for its manufacturing process 5. Substitution of materials = The product becomes sager as a result of the substitution of toxic materials or components by safer materials or components. 6. Stewardship sourcing = A stewardship sourcing. The product becomes safer- in the habitat-preservation sense- by getting raw materials from low-impact sources and also more social by getting raw materials from fairly traded sources. 7. Utility = The product becomes more efficient by providing greater utility for the user, such as in a multi-function products or in rented products. 8. Durability = The product becomes more efficient in material usage as it lasts longer. 9. Efficiency = The product becomes more efficient in its use of energy, water, and materials, both, in manufacture and in use 10. Bio-everything = The product becomes more cyclic, solar and safe as a result of using living organisms or biomimicry techniques

Name and explain Datschefskis 5 design requirements for sustainable product

1. Cyclic: made either from organic materials and be recyclable or compostable or from minerals that are continuously cycled in a closed loop 2. Solar: use solar energy or other forms of renewable energy that are cyclic and safe, both during use and manufacture 3. Safe: non-toxic in use and disposal and its manufacture should not involve toxic releases or the disruption of exesystems. 4. Efficient: in manufacture and in use, should require 90% less materials, energy and water compared to products providing equivalent utility manufactured in 1990. 5. Social: The product's manufacture and use should not impinge on basic human right or natural justice

Name and explain the 7 steps of the eco design process

1. Identify the task + radicalness of the approach 2. Analyse a reference product + given task/problem 3. Generate and select ideas: sketching 4: work out realistic solutions through details 5: Make a final assessment of draft 6: progress to realisation and market launch 7. Evaluate the success or product -> iterate the design

What are the 5 key principles for designing for co-experience?

1. People are involved and present HCD process 2. More than one person is involved in the study 3. Interaction and co-experience takes place in a real context 4. People are involved as creative actors engaged with available products that support experiences to form 5. Experiences are followed over time

How to plan for the evaluation of co-experience?

1. Prepare the storyboard and/or sketches/visualizations of the design 2. Prepare interview questions and script for the evaluation 3. Rin a pilot walkthrough of your questions and evaluation script 4. Iterate questions and script if needed 5. Recruit two or three participants for the evaluation 6. Prepare for the evaluation: cameras, recoding devices, forms... 7. Conduct the evaluation by following your script

Name Dieter Rams 10 rules for good design. He also has two important quotes

10 rules for good design: 1. Innovative 2. Useful 3. Aesthetic 4. Understandable 5. Unobtrusive 6. Honest 7. Long-lasting 8. Thorough 9. Enironmentally friendly 10. As little design as possible "Less, but better" "good design is as little design as possible"

What is De Stijl?

1917 - 1931 Key features: - Inspiration from art (Constructivism and Dadaism). Reduction to the essentials: form and color. - Abstraction and universality - Cubes as starting point -Z opening it with different visual means (windows, balconies...) - Limited range of materials, forms & structural methods - Horizontal and vertical composition - Color replaced ornamentation -- Primary colours & primary values -- Divides space into unites and directs movement Important person is Piet Mondrian: - Dutch painter and theoretician - Made some nice abstract art - made formal and colour vocabulary - Three primary colours. Three primary values. Two primary directions. De Stijl (Dutch for "The Style"), also known as Neoplasticism, was a Dutch artistic movement founded in 1917 by the painter, designer, and critic Theo van Doesburg. It was based on the idea of reducing art and architecture to their fundamental elements and reducing color to the three primary colors (red, yellow, and blue) and the three primary values (black, white, and gray). De Stijl artists sought to create a universal, abstract visual language that could transcend cultural differences and appeal to the modern world. The De Stijl movement was influential in the development of modern architecture, design, and art, and its ideas continue to influence artistic practices today. Some notable De Stijl artists include Piet Mondrian, Gerrit Rietveld, and Bart van der Leck.

Which historical events led to Streamline?

1927 - Economic recession 1929 - the Wall Street crack The great depression (1929-1939) There have been 2 world wars - many poor veterans Development of the aeroplane - Donald Douglas set up rules -- Fly with 12 people -- Land and take-off with 1 motor -- take off from any airport - BUilds DC1 in 1933 More financial freedom Many Bauhaus teachers and students fled to the USA and spread their teachings. The buildings were beginning to be more modern, but nothing happened to the cars. They needed to get out of the depression and get the economy running again. Look into a positive future and get there with speed. Could redesign a car and sell it as this year's model.

When was Ulm school of Design? and where was it?

1953-1968 - in Germany in the city Ulm

Explain Acquisition, Scripting, Appropriations, Assembly, Normalisation and Practice

Acquisition = Is important when trying to understand the rationales why people get new products. It can happen because of social comparison, creation of self-identity, mental stimulation and novelty, Matching or the "Diderot Effect, or Specialization. Scripting = Aims to script the actions and practices of those who use and consume the products. Designer can make this through materials or semiotic signs intentionally or not and they can be relatively open (flexible) or closed (prescriptive). Appropriations = Users of the products can ignore designers scripts and use the product in different way it was designed to be used. Assembly = Refers to the ways how artefacts relate to each other and can happen both in design phase (e.g., product families and technological fit) and when objects are put into use (e.g., collections of interior objects into coherent set). Normalisation = the changing relation between artifacts and their environments (i.e.., the from objects of desire to routinization) Practice = Embraces aspects of the other 5 into a framework for analysing the co-constitutive relation between objects, images, and forms of competence

What was the technical background for Streamline?

Aerodynamical research and vessels. Fluid flows Looking to the animal kingdom and making areoplanes after their shapes of birds and fish

What was Alchymia?

Alchymia (1976-92) was a group of designers and architects based in Milan, Italy, who were active in the 1970s and 1980s. The group was founded by Alessandro Mendini and Ettore Sottsass, and was known for its experimental and innovative approach to design. Alchymia was inspired by a number of different influences, including art deco, pop art, and the surrealist movement. Its designs were characterized by bright colors, geometric shapes, and unusual materials such as plastic and laminate. The group's furniture and home accessories, which included tables, chairs, vases, and lighting, were often described as playful and kitschy. Like the Memphis Group, which was also founded by Sottsass, Alchymia was a reaction against the minimalist and functionalist aesthetic that dominated the design world in the 1970s. Its members believed that design should be expressive and fun, and that it should challenge traditional notions of taste and style. Despite its short-lived existence, Alchymia had a significant impact on the design world and is still influential today. Its bold and playful approach to design inspired a number of other designers and movements, and its furniture and home accessories continue to be highly sought after by collectors.

Ulm focused on designing:

For true industrial mass production Things that personal taste changes cannot make look old fashioned and dated Electronic appliances Public transportation Corporate identities

What is Art Deco?

Art Deco is a style of art, architecture, and design that emerged in the 1920s and was popular into the 1930s. It is characterized by geometric shapes, bold colours, and the use of a variety of materials, including glass, steel, and plastic. Some key features of Art Deco include: - Art Deco buildings often feature geometric shapes and patterns, such as zigzags, chevrons, and sunburst. Fx The Chrysler Building - The style is known for its use of bold, bright colours, such as gold, silver, and bright red. - Art Deco was influenced by a variety of artistic movements, including Art Nouveau, Futurism, and Cubism. It was also influenced by ancient Egyptian and Aztec art. - The style was popular in a variety of media, including architecture, furniture design, and fashion. - Art Deco buildings are often ornate and decorative, with a focus on luxury and glamour. They were often built for public spaces such as movie theaters, hotels, and department stores. - Strong interest to geometric shapes -> making objects spectacle and festive -- counter movement to modernism: mysterious, dark, exotic -- INspiration from Africa and antic - Stylized ornamentation: -- zig-zag, circles, hexagons, triangles, fountains and sunbursts - Rhythmic line composition -Three cord of colors: enhanced each other 1. warm red or dark yellow 2. Cold or neutralizing white, glass, metal, chrome, glossy grey 3. Black - Luxurious materials -- ivory, snake skin, crystal, exotic wood, Bakelite

A&C important people

Augustus Pugin Theory + practice No decoration, everything should have a practical purpose - it should be pure The forms should be based on the natural forms - should be appropriate and significant Principles (not agreed by the A&C movement): 1. No features that aren't necessary for the construction, convenience or propriety 2. All ornament should consist of enrichment of essential construction of the building (no decoration) Principles (agreed by the A&C movement): • Ornaments should be based on forms found in nature and they should be appropriate and significant • Patterns of wallpapers should be twodimensional, never shaded and the leaves of plants should be drawn out or extended to display their geometrical forms John Ruskin Theory only. Did not do any practical work. Worried about producing, but not considering the user - Only design the absolute necessities - Never demand an exact finish unless it has direct purpose - Never encourage copying for anything other than restoring Design standards: 1. Never encourage the manufacture of any article not absolutely necessary 2. Never demand an exact finish for its own sake, but only for some practical or noble end (man rather than machines) 3. Never encourage imitation or copying of any kind, except for the sake of preventing records of great work to disappear William Morris Some theory, but mostly practice Look good, good quality, good materials The buyer should feel the creators emotions through the product Quality = endurance Price should be available to the poor Using old methods for fabric printing "A total destruction of 'purpose, sense and life'" "Men living amidst such ugliness cannot conceive of beauty, and, therefore, cannot express it"

What was Ulm school primary philosophy?

Bauhus inpired Functionalism and ergonomics Design all aspects of life - "from spoon to city" - Max Bill - design contributes to a higher form of art Good design, not what people want Against Streamlines focus on style and appearance. Forster great designers and social awareness & critique The product over the designer Products should be neutral and ergonomic A mathematical approach to layout: grid, golden ratio and the golden spiral A unique way of teaching

What were the primary materials of Postmodernism?

Cheap mass produceable laminates & plastic + metal in furniture Unusual combination of materials Painted metal in lamps Plastic in appliances

What is co-experience?

Co-experience design is a design approach that focuses on creating experiences that involve collaboration and interaction between people. It is based on the idea that experiences are more meaningful and memorable when they are shared with others, and that the process of co-creating an experience can itself be a valuable and rewarding part of the experience. Co-experience design can be applied to a wide range of contexts, including physical spaces, events, products, and digital experiences. It involves designing for interactions between people, and considering how those interactions can be meaningful and enriching for all parties involved. In co-experience design, the focus is on creating an environment or context in which people can come together and co-create an experience. This might involve designing for physical spaces that encourage collaboration and interaction, or designing digital platforms and tools that facilitate communication and collaboration between people. Co-experience design is a holistic approach that considers all aspects of the experience, including the physical environment, the interactions between people, and the emotional response of those involved. It is an iterative process that involves continuous testing and feedback to ensure that the experience is meeting the needs and expectations of all parties involved. There are 3 types of experiences Experience = constant stream of self-talk that happens when we interact with products fx a walk in the park An Experience = Can be articulated or named; has a beginning and end; inspires behavioural and emotional change. Fx watching a movie Co-Experience = creating meaning and emotion together through product use fx playing a coop game with friends Co-experience - User experience in social context - Experiences are created together, or shared with others - Certain experiences are worth sharing - Social situations greatly influence co-experience Co-experience can be experienced in co-present social interaction but also in technology-mediated co-experience. Fx some groups interact with a robot together and have a co-experience but in co-present but then one member of the group facetime another friend and then the new friend is a part of the co-experience but mediated through technology. 3 Dimensions of co-experience 1) Explorative-Organized - Explorative co-experiences are not planned in advance, they happen because a possibility has presented itself at a suitable moment. - Organized experiences are planned beforehand and prepared for New technology allows for more spontaneous communication and also new use of communication 2) Synchronous-Asynchronous - Both for co-present and mediated communication - Mediated communication is often both synchronous or asynchronous -> delays ranging from seconds to days - Challenges to develop new technologies and support + integrate the older technology platforms 3) Creation-Interpretation - Relate to the ways in which the participants make things and experience relevant and meaningful for each other - Creative use finds new possibilities for existing functionality - Creativity can also be the production of new content - Creating performances of ourselves with media allows more freedom in creativity and experimentation than real life Experience design does not exist because it is impossible to design something that lies in people. We cannot design a user experience but we can design for a user experience. Designing for experience requires: - Awareness and empathy for sensory experience - Emotion and action - The evolving values and meaning in products and their social material and cultural contexts. Key principles for designing co-experience: 1. People are involved and present HCD process 2. More than one person is involved in the study 3. Interaction and co-experience takes place in a real context 4. People are involved as creative actors engaged with available products that support experiences to form 5. Experiences are followed over time Conditions required for studying co-experience - Ordinary social setting - Naturalistic research design and methods - Openness - A sufficient time span - The sequential unfolding of events Planing the evaluation fo co-experience 1. Prepare the storyboard and/or sketches/visualizations of the design 2. Prepare interview questions and script for the evaluation 3. Rin a pilot walkthrough of your questions and evaluation script 4. Iterate questions and script if needed 5. Recruit two or three participants for the evaluation 6. Prepare for the evaluation: cameras, recording devices, forms... 7. Conduct the evaluation by following your script

What is experience + give an example

Constant stream of "self-talk" while we are conscious Constantly assessment of our goals with people, products, & environments that surround us at any given time Example: Vacuum cleaning, Knitting

Explain cradle-to-cradle

Cradle-to-cradle (C2C) is a design framework and philosophy that aims to create products and systems that are environmentally responsible and resource efficient. The term "cradle-to-cradle" refers to the idea that products and materials should be designed for reuse and recycling, rather than for disposal. The C2C framework was developed by William McDonough and Michael Braungart in the 2002 book "Cradle to Cradle: Remaking the Way We Make Things." It is based on the principles of ecological responsibility and technical innovation, and it seeks to create a closed-loop system in which waste is eliminated and all materials are either reused or recycled into new products. The C2C framework consists of five main principles: 1) Use renewable energy and resources: Products should be designed to use renewable energy sources and to be made from materials that can be easily harvested or renewed. 2) Use safe materials: Products should be made from safe, non-toxic materials that are not harmful to human health or the environment. 3) Maximize diversity: Products should be designed to support diversity and to be adaptable to different environments and cultures. 4) Optimize for cyclical, not linear, use: Products should be designed for reuse, recycling, and renewal, rather than for disposal. 5) Foster symbiotic relationships: Products should be designed to create positive relationships between humans, other species, and the environment. The C2C framework has been applied to a wide range of products, including buildings, clothing, and consumer goods. It is often seen as an alternative to traditional "cradle-to-grave" approaches, in which products are designed for single use and then discarded, and it is seen as a key tool for creating a more sustainable future. - Like good gardening: to make the planet thrive in cooperation with nature - Encourages manufacturing of products with the goal of upcycling in mind - Vision of upcycling is based on a system of lifecycle development - After products have reached the end of their useful life, they become either: -- Biological nutrients: are materials that can re-enter the environment -- Technical nutrients: are materials that remain within closed-loop industrial cycles Remember the circles Biological cycle for consumption products production -> product -> use -> biodegradation -> biological nutrient -> plants -> production Technical cycle for service products production -> product -> use -> takeback -> disassembly -> technical nutrient -> production

Explain cradle-to-grave

Cradle-to-grave refers to the entire life cycle of a product, from its raw material extraction and production to its use and disposal. It is a term often used to contrast with the concept of "cradle-to-cradle," which emphasizes the reuse and recycling of materials rather than their disposal. The traditional "cradle-to-grave" approach to product design has been dominant for much of modern history. Under this approach, products are designed for single use and then discarded after they have reached the end of their useful life. This has led to the proliferation of waste and pollution, as well as the depletion of natural resources. In contrast, the "cradle-to-cradle" approach seeks to create products and systems that are environmentally responsible and resource efficient. It aims to eliminate waste and create closed-loop systems in which materials are reused or recycled, rather than discarded. This approach is seen as a key tool for creating a more sustainable future.

Nordic National Romanticism (1890-1910)

Denmark - Taking it back to remenis vikings, and castles. - Tipicilly some animals is used. Finland - Hoped for impendence from Russia. - Karelia area is the main inspiration Nordic National Romanticism was an artistic and cultural movement that emerged in the late 19th and early 20th centuries in the Scandinavian countries of Denmark, Finland, Iceland, Norway, and Sweden. It was a reaction to the Industrial Revolution and the modernization of the Nordic countries, and it sought to promote a sense of national identity and cultural pride through art and architecture. Nordic National Romanticism was influenced by a number of factors, including the revival of interest in folk art and traditional craftsmanship, a desire to reclaim the cultural heritage of the Nordic countries, and a sense of nationalism that emerged in the late 19th century. It was characterized by a focus on the natural beauty of the Nordic landscape and a desire to incorporate elements of traditional Nordic architecture and design into modern buildings and objects. One of the most famous examples of Nordic National Romanticism is the Helsinki Central railway station, which was designed by Eliel Saarinen and completed in 1919. The station is an example of the Finnish National Romantic style, which was characterized by the use of traditional Finnish motifs and materials, such as brick and granite, in a modernist design. Other notable examples of Nordic National Romanticism include the Royal Palace in Stockholm, Sweden, and the National Museum of Iceland in Reykjavik. Nordic National Romanticism had a significant influence on the development of modern Scandinavian architecture and design, and it continues to be influential today.

What is Frog design in postermodernism?

Designbureau. Founded in 1969 as Esslinger Design by Hartmut Esslinger. In 1982 frogdesign, San Francisco, CA. Starts as an Industrial design bureau - today it is a strategic design bureau "Form follows emotion" "No matter how elegant and functional a design, it will not win a place in our lives unless it can appeal at a deeper level, to our EMOTIONS" "We belive consumers don't first buy a product, they buy VALUE in the form of entertainment, experience and self-identity." MEANING - EMOTIONS - VALUE Brand model: Circle with these three parameter around VALUE PRODUCT ASSOCIATIONS (positive and negative) In the middle: ESSENCE Think Harley-Davidson "What we sell is the ability for a 43-year old accountant to dress in black leather ride through small towns and have people be afraid of him" Man sælger et brand.

When was Streamline?

Late 1920-1950

Explain Eco-design

Eco-design, also known as environmentally conscious design or sustainable design, is the practice of designing products and systems with a focus on minimizing their environmental impact. This can include using materials that are environmentally friendly, reducing waste and energy consumption, and designing products that are easy to repair, reuse, or recycle. Eco-design approaches can be applied to a wide range of products, including clothing, furniture, buildings, and even software. The goal is to create products that are not only functional and efficient, but also sustainable and responsible, both for the environment and for society as a whole. To implement eco-design, designers must consider the entire life cycle of a product, from raw material extraction and production to transportation, use, and disposal. They must also consider the social and economic impacts of their design choices, as well as the environmental impacts. This requires a holistic, systems-based approach to design that takes into account the complex interrelationships between different factors, such as material choice, production processes, and end-of-life disposal. Eco-design is an important aspect of the broader field of sustainable development, which aims to meet the needs of present generations without compromising the ability of future generations to meet their own needs. By designing products and systems that are more sustainable, we can reduce our impact on the environment and help to create a more sustainable future for all. We see at lot of product that use the cradle-to-grace framework where products are made and then they die. The products are made to be cheap and easy to sell, there is no consideration for pollution of the air, sea and ground water, plants, animals and so on. They ignore regional and local characteristics, one size fits all, global products and universal solutions. Houses is build we no regard for the natural environment and many shame looking houses are just put up. Monofulture in farming is taking over. Maximum efficiency in production -> other species are removed to place farms. Products are filled with chemicals that can be harmful. And we use a huge amount of plastic. In 1970s there was the energy crisis that made people think but it was too short to have a real impact, we moved on. What should we do? Blame and shame is not the right approach. Don't romanticize the problem or make it ethical. Instead decide to do something different. Over time upcycling, reuse and rethinking innovation forn ew use is the best for effectiveness. We ensure quality and performance improvements. The best for efficiency right now, short term, is recycle and reduce. But over time that is just not enough. We should use cradle-to-cradle - Like good gardening: to make the planet thrive in cooperation with nature - Encourages manufacturing of products with the goal of upcycling in mind - Vision of upcycling is based on a system of lifecycle development - After products have reached the end of their useful life, they become either: -- Biological nutrients: are materials that can re-enter the environment -- Technical nutrients: are materials that remain within closed-loop industrial cycles Sustainable product design The following three considerations are particularly important when implementing eco-design: - An environmental and social or ethical considerations - Integrating a life-cycle thinking into product design - A consideration of the core benefits of a product -- What function or what solutions to a given problem does the user expect? -- of what benefit is the product to the user? -- How does the user use the product? The goal is to minimize the consumption of natural resources and energy and the consequent impact on the environment while maximizing benefits for customers. Sustainable product design is more than ecodesign. It integrates and tries to balance the social and ethical aspect of the products life-cycle with environmental and economic considerations. It tries to - minimize adverse sustainability impacts - maximize sustainable value throughout the life cycle of the product, building or service - increase stakeholders' quality of life, while at the same time achieving major reductions in resource and energy use This will require a significant emphasis on stimulating new ideas through higher levels of creativity and innovation. From repair to rethink: the 4 Rs 1. repair 2. refine = increasing the eco-efficiency of existing products = emphasis is on end-of-pige or repair modifications to existing products 3. redesign 4. rethink both point 3 and 4 are fundamental changes to the material, technology and how we live, calling for creativity and innovation in product development and design. The 7 step of the eco design process 1. Identify the task + radicalness of the approach 2. Analyse a reference product + given task/problem 3. Generate and select ideas: sketching 4: work out realistic solutions through details 5: Make a final assessment of draft 6: progress to realisation and market launch 7. Evaluate the success or product -> iterate the design Datschefskis 5 design requirements for sustainable product 1. Cyclic: made either from organic materials and be recyclable or compostable or from minerals that are continuously cycled in a closed loop 2. Solar: use solar energy or other forms of renewable energy that are cyclic and safe, both during use and manufacture 3. Safe: non-toxic in use and disposal and its manufacture should not involve toxic releases or the disruption of exesystems. 4. Efficient: in manufacture and in use, should require 90% less materials, energy and water compared to products providing equivalent utility manufactured in 1990. 5. Social: The product's manufacture and use should not impinge on basic human right or natural justice 1. Cyclic-mined 2. Cyclic-grown 3. Alternative energy in use 4. Alternative energy in manufacture 5. Substitution of materials 6. Stewardship sourcing 7. Utility 8. Durability 9. Efficiency 10. Bio-everything

Explain the Framework: Design and Emotion

Emotions are... - Personal (e.g., two people can have different emotion towards same product) - Temporal (e.g., the emotions change over time) Fx a cat product can start by bringing joy, then sadness when the cat die, but the maybe nostalgic when you remember the cat by the product - Compound (e.g., products can elicit multiple emotions simultaneously as they are elicited by the product's: aesthetics, function, brand, behavior and associated meanings) Products elicit multiple emotions at once. Three levels of the human brain: - Reptile brain - Emotional brain - Rational brain Emotion != Mood Moods are Unintentional and long-lasting. Emotion is intentional and quick Go through the model: Concern: - The individual preference for the state of the world - Product matches preferences => beneficial - Product does not match preferences => not beneficial/hamful Product: - A-emotion: Representattion of the material or people (Event/object) - R-emotion: REpresentation of something besides the martial -> meaning and values (fantasy from stimuli) (imagnied) Appraisal: - Non-intelligent and automatic assessment - Meaning attached to the product -- Beneficial => pleasant emotion -- Harmful => unpleasant emotion -- Not relevant => no emotion Emotion: - Breif and temporal - Emotions can affect mood and vice versa - Emotions are intentional and predictable - Emotions are personal - Emotionals are compound 5 types of product emotion Aesthetic (Attitude): Personal preference. - Product must appeal to our senses - Product holds special meaning to the individual - Attitudes can be -- Inborn -- Learned Surprise (Novelty) - Positive if pleasant surprise. - Negative if unpleasant - A one-time emotional response Instrumental (goal): Want - Products to reach our goal - Can be abstract (emotional/mood) or concrete (specific) - Incentive to invest resources -- Helpful = satisfaction -- Not helpful = disappointment --Can be Abstract (emotional/mood) or Concrete (specific) Social (Standard): Should - Products represent "how things should be", our standard - Reflects our standard, and the standard others set on us Interest - From challenge and promise: fascination, boredom, inspiration etc, - products make us laugh, aroused, bored etc "empty" -> novelty -> surprise emotions goal -> motive compliance -> instrumental emotions attitude -> intrinsic pleasantness -> aesthetic emotions standard -> legitimacy -> social emotions "empty" -> challenge & promise -> interest emotions Overall, Desmet's multilayered model of product emotions suggests that a product's ability to evoke emotions is complex and multifaceted and that understanding the different layers of product emotions can be a useful tool for designers looking to create emotionally resonant products. Emotion driven design - Not merely styling -> thorough understanding of emotional meanings that indented users can have - Also, negative emotions are essential in some cases - Paradoxical emotions= positive and negative simultaneously --Pieces of art for example -- It may be rewarding for designers to investigate the possibilities of designing paradoxical emotions because this may result in products that are unique, innovative, rich, challenging - and therefore desirable.

Explain the impact of Ulm in the north

Finland: Metro Denmark: B&O USA: Apple

What is postmodernism?

Form follows A richness of meaning From a design perspective, postmodernism can be understood as a reaction against the modernist aesthetic that dominated the design world in the mid-20th century. Modernism was characterized by a focus on functionality, simplicity, and the use of industrial materials such as steel and glass. It was associated with a belief in progress, rationality, and the power of human reason. Postmodernism, on the other hand, rejected the idea that there is a single, universal aesthetic that is appropriate for all contexts. It celebrated diversity and difference, and argued that design should be expressive and playful, rather than functional and rational. In terms of aesthetics, postmodernist design was characterized by a number of different features. It often incorporated elements from different historical periods and cultural contexts, creating new and often unexpected combinations. It also often used bright colors, geometric shapes, and unusual materials. Postmodernist design was also marked by a sense of irony and a playfulness that challenged traditional notions of taste and style. It rejected the idea that design should be serious and functional, and instead argued that it should be expressive and fun. Postmodernism had a significant impact on a number of different fields, including architecture, literature, art, and cultural theory. It influenced the way we think about design, and has had a lasting impact on the way we understand the relationship between form and function.

What is Streamline?

Form follows speed and progress. Technologies to improve life (vacuums, street lights, vehicles) Americans' version of Bauhaus Increased social mobility New technologies: city lights, electricity and vehicles Consumerism as an economic model Optimistic worldview: "everything is going to be better tomorrow" Optimisation of processes Streamline Moderne is a style of architecture and design that emerged in the 1930s and was popular into the 1950s. It is characterized by smooth, curved lines, long horizontal forms, and a focus on functionality and the use of modern materials such as glass, steel, and concrete. Some key points to note about Streamline Moderne include: - Streamline Moderne was a response to the Art Deco movement, which was characterized by ornate, decorative designs. Streamline Moderne was more minimalistic and focused on functionality. - The style was influenced by the sleek, aerodynamic shapes of airplanes and ships, and was intended to convey a sense of speed and modernity. - Streamline Moderne buildings often featured curved lines, rounded corners, and horizontal bands of windows. They often had flat roofs and were built with modern materials such as glass, steel, and concrete. - The style was popular for a variety of building types, including movie theaters, gas stations, and public buildings such as train stations and airports. - Streamline Moderne was associated with the idea of progress and modernity, and was seen as a symbol of the future. It was particularly popular in the United States during the 1930s and 1940s, but was also found in other parts of the world.

Arts & Craft vs Art Nouveau

Forms are taken from plant and animal kingdom vs forms are taken from plant and animal kingdom Detail of the surface using dots, lines, etc. vs the line is a more prominent design principle than in A&C Clearly outlined contours vs figure-background Tendency to symmetry in the pattern composition vs symmetry breaking and asymmetry Arts and Crafts and Art Nouveau are two artistic styles that emerged in the late 19th and early 20th centuries. While they have some similarities, they also have some significant differences. Arts and Crafts was a social and artistic movement that began in Britain in the 1880s and spread to other countries, including the United States, in the early 20th century. It was a reaction against the mass production and industrialization of the Victorian era, and it emphasized the value of traditional craftsmanship and the importance of designing objects that were both functional and aesthetically pleasing. The Arts and Crafts movement was characterized by a focus on simplicity, functionality, and the use of natural materials, such as wood, metal, and stone. Art Nouveau, on the other hand, was a popular style of art and architecture that emerged in Europe and the United States in the 1890s. It was characterized by its use of ornate, flowing forms and intricate, decorative details, inspired by nature. Art Nouveau artists and architects often used curves and sinuous lines to create a sense of movement and fluidity in their work. Unlike the Arts and Crafts movement, which focused on simplicity and functionality, Art Nouveau was more concerned with aesthetics and decorative elements. Overall, while both Arts and Crafts and Art Nouveau were influenced by a desire to create more aesthetically pleasing and functional objects and buildings, they had different approaches and emphasized different aspects of design.

Ulm form based on:

Functionalist and ergonomic design mathematical principles: Golden ratio & spiral Grid

What did Postermodernism focused on designing?

Furniture Lights Appliances Architecture

When was Bauhaus? Name each school.

Germany 1919-1933 - Weimar 1919-1925 - Dessau 1925-1932 - Berlin 1932-33

What Krippendorff means with "Design is making sense (of things)"?

He means that the sentence describes the relationship between the cognition of the designer and the user

What is the Cyclical model of design & consumption?

In the cyclical model of design and consumption, the design process and consumption process are combined into a one, meaning that consumer practices stimulate New designs; and new products stimulate new consumer practices.

What is Streamline primary philosophy?

Industrial design - machine-made mass products "beauty of the machine" True and rational New interpretation of functionalism derived from engineering sciences New manufacturing methods and materials in industrial production Shape is ornamenting - Tomorrow is going to be better - Aerodynamics - Style was based on aerodynamical research Bridging science and art - Engineering plus art - Modern and efficient Design from natures efficient shapes Aerodynamic shapes - the teardrop Speed, efficiency, precision and dynamic Designing for maximizing sales -should not be made so well that it does not need replacement - fashion - not great for the environment but we don't think about that cause we need people to buy stuff.

Art Noveau / Jugend

Inspired by natural forms and A & C Movement - curved lines of plants and flowers, and whiplash forms - Sense of dynamism and movement: asymmetry "sudden violent curves generated by the crack of a whip" -Hermann Obrist Use of modern materials, such as iron pillars and railings, sculpted and curved in naturalistic designs One major objective was to break down the traditional distinction between fine arts (painting and sculpture) and applied arts and apply it to industrial production conditions Furniture is very organic Fonts is experimental In illustrations, the graphics are very lively, high is lively organic, woman is looking away. Art Nouveau and Jugendstil are two artistic styles that emerged in the late 19th and early 20th centuries. Both styles were characterized by their use of organic, flowing forms and a strong emphasis on decorative elements. Art Nouveau, which is French for "new art," was a popular style of art and architecture that emerged in Europe and the United States in the 1890s. It was characterized by its use of ornate, flowing forms and intricate, decorative details, inspired by nature. Art Nouveau artists and architects often used curves and sinuous lines to create a sense of movement and fluidity in their work. Jugendstil, also known as "Young Style," was a similar artistic style that emerged in Germany and Austria in the late 19th and early 20th centuries. It was named after the German art magazine Jugend (Youth), which was founded in 1896 and featured the work of many Jugendstil artists. Like Art Nouveau, Jugendstil was characterized by its use of organic, flowing forms and decorative details, but it also incorporated elements of folk art and traditional craftsmanship. Both Art Nouveau and Jugendstil had a significant influence on the fields of art, architecture, and design, and their decorative, organic style can still be seen in many modern designs.

How services can be identified (4 key qualities)?

Intangibility: Services are largely intangible, while goods can be sensed, touched, felt, and tasted Perishable: Services cannot be stored, rend ering them perishable and requiring the syncronisation of demand and suppl y. Example: if there is unfilled seats in airplane, they cannot be sold anymore when the plane has departed. Heterogeneity: Because service encounters are largely unique (or at least those encounters based on humanto-human interactions) and inseparable from their cultural contexts, service provisions are performed and experienced in an irregular, heterogeneous fashion. In contrast, goods tend to result in variable experiences. Example: Theatre visit. Inseparability: The production and consumption occur simultaneously; in contrast with products or goods (mass-produced products), users need to be present during the delivery process of services. It is the interaction between provid ers and users that defines the service deliver y. Example: ord ering food in the restaurant

What are the ethical concerns of Persuasion and nudging ?

It should always be possible to understand the type of the persuasion to which one is exposed To avoid manipulation and domination, good nudges should be seen as choice advisors that should never be forceful. People should always be able to ignore or undo them

Name three locations of post-modernism

Italy (Alcymia and Memphis) Denmark (Verner Panton) (Design for people on the move. Furniture should be portable/able to disassemble/assemble) Las Vegas (Leaning from Las Vegas- book by Venturi. If we look at Las vegas we see square buildings plastered with signs, you cannot see the architecture nor the mountains in the background. We need to look at if it is a Duck or a Decorated Shed)

Explain "Learning from Las Vegas". Duck or decorated shed?

Leaning from Las Vegas- book by Venturi. If we look at Las vegas we see square buildings plastered with signs, you cannot see the architecture nor the mountains in the background. You have no idea of what is important and what is not. Everything is designed to get your attention. What is it we want with this? What can we learn?We need to look at if it is a Duck or a Decorated Shed. The duck: "The architectural system of space, structure, and program are submerged and distorted by an overall symbolic form" Subordinates program to symbolic form. The building looks like a duck. Fx a building shape like a teapot cause they sell te. The decorated shed: Architecture "where systems of space and structure are directly at the service of the program, and ornament is applied independently of them" Decoration are attached to the building where needed. The building looks like a duck but is just a shed behind the facade. Think of all displays and interfaces on fx an iPad, it looks different on the facarde but behind it is mostly the same.

What is the key characteristics of Streamline

Looking into positive future Industrial design as profession New interpretation of functionalism derived from eneering - Aerodynamical and streamlined forms in all products -- Teardrop (fish and bird shapes & aerodynamical researh) -- Flowing contour and rounded edges - Speed and efficiency -- sppeed lines and whiskers MAYA principle - Loewy HCD & Ergonomics New manufacturing methods and materials in industrial production - Pressing metal plates - Bending of steel and plywood - Chrome blanding - Enclosing electronics under uncluttered decorative surface Consumerism -> restyling: year models in cars

Name the important people of Ulm School of deisgn. (There are 6)

Max Bill (Founder and first rector of Ulm. "From spoon to city". Makes a chair that can be sat and carried. A clock for time taking and seeing) Inge Scholl (Founder of HfG. Part of the White-Rose organisation (against nazis). Wanted to invest money to educate people to avoid another rise of nazis. Believed in education to better the world) Hans Gugelot (Instructor in Products. Modular designs. Metro, lufthansa, Braun. Made a electrical razor, perceived as the best razor in the world, became a staple in Braun Inc and the use of black and silver. Möbelsystem that you could build yourself Ikea style.) Otl Aicher (. Instructor in Graphics. Graphic design using grids. Metro, Lufthansa logo. Typeface Rotis. Olympic Games identity and icons. Corporate identy for Braun with Gugelot) Thomas Maldonado (Design = system thinking. System design were the product line looks like it belongs and works together as a system i.e. flatpack and modularity. Co-founder of the Ulm Model. Became the second Rector 1956) Dieter Rams (Collaborator with Ulm in Braun, joined Braun in 1955. Head of product deisng 1961-95. 10 rules for good design. "Less but better")

Which were the primary materials of Ulm?

Metal, Plastic, Wood, combination of metal and wood

What is a metaphor?

Metaphor is way of expressing meaning that depart from the literal (Steen, 2002) Two objects or ideas that are seem to be different are brought together because they share an underlying property (Lakoff & Johnson, 1980)

Explain the Framework: Products Metaphors and Ambiguities

Metaphors Metaphor is the departure from the literal "Ways of expressing meaning that depart from the literal" In linguistic we can say that "Every child is a snowflake" In product design, we use metaphors to: - enhance products meaningfulness and appeal - a tool or method during the design process to help -- identify, frame and solve design problems -- break away from the limitations imposed by problem constraints -- justify design decisions - render the values and meanings, designers, with to assign to a product into physical form -> helps designers translate abstract concepts into concrete product properties which eventually communicate functional, social, psychological and cultural meanings to users. - Used to bridge knowledge from one object to another. Target(product) + soure(remote entity) = product metaphor The source must be relevant to the target in some way: - nature, art history, culture, existing products How product metaphors differentiate from linguistic metaphors? 1. In product metaphors, target and source are literally merged and incorporated in a physical product 2. Designers are responsible for making the physical manifestation of the features they wish to map from source to target tangible and perceivable to users via the formal properties of the target 3. Product metaphors can be multimodal How do we apply metaphors to product features? 1. Select a relevant and meaningful source to the target product 2. mapping = the metaphor is physically applied by transferring source cues to the target Source(remote entity) -metaphorical mapping-> target(product) We look at 8 different metaphorical means: Form, interaction, material, sound, movement, smell, name and graphics Fx with Elephant. - 1. source selection: it could be the tusk. - 2. Mapping. The metaphor is physically applied by transferring source cues to the target form the lists above. Now our target = fire extinguisher where we have form, interaction and name "firephant". Benefits of metaphors: A designer has the intention to provide users with some kind of experience, and will choose a source to associate with the product according to his intention. Pragmatic: - to enable the fulfilment of instrumental and functional goals - Reduce learning time and cognitive load - Goal is to turn a complex product or interaction into a clear and comprehensible one, through: - Providing product Identification = what is it designed for - How to use or operate the product - fx the giant cigarette ash tray thing Experiential: - Intention is to promote rich sensorial, emotional or meaningful product experience through: 1) Prose and poetry = telling a story through the product 2) Ideology = attaching an ethical/moral message to it 3) creating something fun or witty Prose & Poetry: - Trying to tell a story - Symbolic meaning - fx the surveillance camera made to look like friendly eyes Ideology: - Promoting an ideology - fx The bike stand that fills the same as a car would Fun and Wit - Make people smile through the design - fx the beaver pencil sharpener Metaphors in product design: - To enhance meaning - to add value Ambiguities Remember the semantics lecture. Design is a sense creating activity. The products should be understandable to the user. Use context dependent. Fx we see the wine bottle opener amibious, some thinks it is Anna Gili some thinks it is a saint. Metaphors can be ambiguous in their interpretation which results in many meanings. William Empson has complied a list: "When two things are said to be alike which have different properties" = metaphors. (fx the giant baseball glove chair) "Two or more meanings are resolved into one" = using two different metaphors at once. (fx the Desk lamp with only three wheels, it can only turn around itself.) "Two apparently unconnected meanings are given simultaneously" = Two ideas that are connected through context can be given in one word simultaneously Fx flying lightbulb "Two or more meanings that do not agree but combine to make clear a complicated state of mind in the author" = Fx Metal that seems "blown up" like a balloon to present a "soft" and light "chair" "Full contradiction, marking a division in the author's mind" = Two words that within context are opposites Fx Furry teaset

Name the imporant people from Postmodernism. (There are 6)

Michele De Lucchi (Mephis guy. Made some kitchen applicants think toaster and steaming iron and some patterns) Ettore Sottsas (Founder of both Studio Alchimia and Memphis. Made the room divider, a typewriter and some patterns. The user shouldn't be guided, but feel. Design through scenarios. Establish a socio-phycological scenario for what chosen people would use his product for in the future - kind of a forecast for objects) Robert Venturi ("Form follows a richness of meaning" things don't just mean one thing, open to interpretation, evokes many levels of meaning and combinations of focus. "Less is a bore". "Form follows emotion". Made the weird house where you cannot figure out the material or what part is what. "I like complexity and contradiction in architecture". Learning from Las Vegas book where he reevaluate the statement that architecture is the decoration of construction.) Hartmut Esslinger (Frog. "Form follows emotion". Made some TV's and computer. Founds the Frog designbureau in 1969 as Esslinger Design) Peter Shire (Memphis. Made a chair and a table. Both has a red sphere on them) Alessandro Mendini (Studio Alchimia. Made the corkscrew girl and a chair. Design for the good life. Design through collages. Collages that combine that which is refined with what is banal - the stylish with the kitschy)

Which were the primary philosophy of postmodernism?

Modernism is boring More focus on the humane over the artificial which Ulm focused on. Ambiguity in design Design should be interpreted Geometric shapes Many colours - from neon to pastel Repeating patterns Mixing different patterns Kitsch and irony in design - heavy with symbols The human must be set free to avoid facism.

What is MAYA?

Most Advanced. Yet Acceptable. "The adult public's taste is not necessarily ready to accept the logical solutions to their requirements if the solution implies too vast a departure from what they have been conditioned into accepting as the norm." Made by Raymond Loewy Apple also uses this to create the new iPhone and iPod. Classic became nano, shuffel and touch all to see what was right for the consumer.

What are the primary materials of Streamline?

Ny manufacturing methods and materials in industrial production pressing metal plates Bending of steel and plywood Chrome landing Enclosing electronics under uncluttered decorative surface Plastics Metals - Stainless steel - Aluminium Anything new and exciting - Anything which the designer can fully control industrially Clear coolours, but not only the Bauhaus primary colours.

What were the primary materials of Bauhaus?

Painted wood Tubular steel Glass Fabric

Go over each phase for Bauhaus? (three are 5)

Phase 1 (1919- ca. 1922/23) - Weimar phase - Inspired by A&C and the De Stihl design school - Design as new education - Set basis for modern art teaching - First part of the phase, the focus was on producing everything by craft. Second part was more formal, basic shapes and colours. Phase 2 (ca.1922/23 - 1925) - People was not satisfied with the teaching and outcome of the school. - Itten fired and Lazlo hired. New foxus of teaching: standardization of components. Mechanized mass production. New industrial material technology. - Second phase: Haus-am-Horn (Collective project gesumtkunstwerk. Goal was to make low cost low time houses, make houses for everybody. Economic and functional). The exhibition opens in Weimar with the credo "Art and Technology—A New Unity." - Playing with colour and combining shape. Remember the baby cradle. Geometrical patterns of textiles. - Sponsorship ended in 1925 and they had to move Phase 3 (1925 - 1928) - Move to Dessau - How can we manufacture things by machine - Strengthen ties with the industry - Industrial collaboration phase - Industrial mass production - Universal font - Gropius resigns and Meyer becomes director. Phase 4 (1928 - 1930) - Analytical phase - Meyer as headmaster - Marginalizes the importance of art to design in favor of rationalization. - "design = function x economy" - Efficiency over design - Condense rationalism to pure math - Marxist philosophy, not popular with the nazi's Phase 5 (1930 - 1933) - Move to Berlin in 1932 - Material and aesthetic phase - Mies van der Rohe as headmaster - "Less is more"- van der Rohe - Aesthetics and more elegance and curves. Nothing excess, no footlist, few walls, simple steel chairs. - Leads to ULM

Explain the 6 phases of Ulm

Phase 1. (Founding: New educational ideas 1947-1953) - Max Bill, Inge Scholl and Otl Aicher turned HfG into a design school and founded the first ideas of what the Ulm should be. In a democratic society "good design" should be accessible to all and can lead to a better life. Phase 2. ("A new Bauhaus" 1953-1956) - Moved to new building designed by Max Bill. - Link to Dessau Bauhaus -- Designer artist. Gives the form for a product + technology of materials and mass production methods -- Every department, theory and practice - Many old lecturers from Bauhaus -- former Bauhaus instructors: Itten, Albers and Klees - New instructors -- Tomás Maldonado. Hans Gugelot. - "To participate in the making of a new culture, from spoon to city" - Max Bill. Make the Ulm Chair "Something to sit on and something to carry with" Makes the kitchen clock. Timekeeping and efficiency. Both an alarm clock and a normal clock. Phase 3. (Design and science 1956-1958) - Thomás Maldonado as new Rector - Design + science + technology - The designer vs artist craftsman -> artist engineer - First version of the Ulm model - The product is more valuable than the designer - The golden ratio - the golden spiral - Argument design using math - Industry started to trust the school with large scale project i.e. Hamburg metro and Lufthansa identity Phase 4. (Planning mania 1958-1962) - More focus on science and planning than on the design process - More scientists than designers in the management of the school -- "Computers will free design of its weakness" -> human error -- Grid, golden ratios, stackable porcelain, student accommodation - Going to the extremes - Crisis: Science is dominant over design Phase 5 (The ulm model 1962-1966) - Solved the crisis of hegemony of science over design by Aicher, Gugelot, Zeischegg, Maldonado and Ohl -- The leaders forced changes into the school constitution -> the press got involved -Ulm model of training: -- Balance between theory and practice --- Design = practical utility --- Theory = experimental studies -- Both are used together - Focus on design of -- electronic products -- mass transportation: busses, heavy duty machinery -- personal transportation: cars, mopeds - Greater focus on environmentalism - Funds were not solid anymore Phase 6 (Death and collapse 1967-1968) - The crisis led to a situation where the press kept eye on what happened in the school. - Student and teacher disputes in the media lead to defunding of the school. Students and teachers wore each other out. - The school collapsed with no funding and students and teachers destroying each other.

What is the historical bagground leading to Bauhaus?

Post WW1 Mass poverty Emerging of the nazi party Desire to going back to the basics and start over with design Standardisation of the mass product Emerging Cubism, Dadaism and Futurism Bau Haus = "build house" Fonts as a way of rebilling. Nazi gothic font vs new bauhaus font The school eventually genereated a lot of tension towards the emerging nazis

What historical happenings led to Ulm school?

Post WW2 in Germany. Not very nice place to be Cold war has begun. Propagnada was used as a weapon. Germany was in the middle between Russia and USA and split up in east and west Berlin. Capitalism vs communism. Market economy vs planned economy.West Germany had American money to support design and western thinking. Designing for global market. East Germany was centrally lead by Marxist principles. Design for own market. Inge Scholl (one of the founders og HfG) - Part of White-Rose organisation (against nazis) - Wanted to invest money to educate people to avoid another rise of nazis - Belived in education to better the world Hochschule für Gestaltung (HfG) - The school is founded by Inge Scholl, Otl Aicher and Max BIll. Private founded. In a democratic society "good design" should be accessible to all and can lead to a better life - Education to prevent future Facist/Nazi - 4 departments: -- Product design -- Architecture -> industrialized building -- Information studies -- + motion pictures (from 1961) - Institutes: research and development projects for industry

Who are the important people of Streamline? (There are 4)

Raymond Loewy (MAYA. Rejected Bauhaus. Simplicity is function + beauty. Made many products and illustration, locomotives, cars, household products, package design and corporate identities. Glamorous star designer. Pecil shaper, refrigerator, speeding bullet train. Greyhound identity. Lucky Strike package) Norman Bel Geddes (Concept design. Futurama and suburbs. Made car, ship and plane concepts, very big and utopian.) Walter Dorwin Teague (Dean of Industrial Design. Personalization of products by having multiple colours. Texaco tank station, the Doodlebug bus/car thing, a camera and lamp) Henry Dreyfuss (Human Centered design. The measure of Man & Woman, made an entire book about a man and a woman, how they sit and stand and what their body measurements are doing so. Vacum cleaner for ergonomics walking. Tractor for ergonomic sitting. Iron for standing and ironing. Water pump and so on)

Explain the Framework: Pursuasion and nudging

Primary focus: Make the user take desirable action while balacing the motive with the user freedom We can use Crilly's Target-Agent persuasion model Nudging vs Persuading Persuasive technologies are merely technological solutions whereas nudging is done by designing our material surroundings in a way that they influence us in a positive sense. Nudging (fx ren KBH) - Mild push/poke gently to warn of negative outcomes - Designing our surrounding to influencing the users in a positiv way -- fx placing the salad first to fill the plate and nudge to eat healthy Nudging can make users think about their actions and their impacts Nudging should be choices, not forced onto the user No consequence from not following the nudge Nudging for healthy eating: reducting plate size and healthy food first works best Persuading (fx the cable that lights up when in use) - Guide user behaviour - Often about personal wellbeing (eating, sleeping, hygiene etc.) - Positive feedback for positive actions - Negative feedback for negative actions - Forcuses on the quality of the motives of the designer - Think about the outcomes if the users doesn't use the design in the proper way - The outcomes are intended but can be impressionable - The user who is put under the persuasion needs to know it is being persuaded - "Instead of simply designing an object, designer is creating a persuasive argument that comes to life whenever a user considers or uses a product as a means to some end" Persuading with product - Persuasion, as rhetoric, is to inform and persuade Products can tell a story of how to use them best Persuasive technologies can be either informative (how to work the product) or persuasive (try to persuade/nudge towards better usage) Informative vs persuasive intentions Informative intentions (fx the axe) - Inform, entice or seduce users into certain beliefs or actions. - Designers communicate with the user: -- What is it? -- Who is it for? -- How to use it? -- Which qualities? - Use of colours/ blocking and shapes to explain interactions. Persuasive intentions (fx the shower thermostat) - Change attitudes and make users change bad habits - Awareness or unpopular issues - Focuses mainly on long term interests - Not only about the user and designer - there are other stakeholders (manufacturer, marketers, retailer) Example Coca Cola (Open Happiness) Does it actually make you happy when you open a soda? What does it say about other similar products? Persuasive technologies always have intended, reasonably predictable, and unintended outcomes -> need to be taken into account when designing these technologies. We can use the PKM model. The Persuasion Knowledge Model. Each party has information of the other party, knowledge of the topic and persuasion.

What is product metaphor and how it differentiates from linguistic metaphor?

Product metaphor is any kind of product that is shaped to reference the physical properties (e.g., form, sound, movement, smell, and so on) of another distinct entity for particular expressive purposes. -Nazli Cila, 2013 Product metaphors differentiate from linguistic metaphors in three ways: 1) Target and source are literally merged and incorporated into the physical product 2) Designers are responsible for making the physical manifestation of the features they wish to map from source to target tangible and perceivable to users via the formal properties of the target 3) Product metaphors can be multimodal

What is Product semantics about?

Product semantics is a study of the relationship of the cognitive meanings of the designer and the user of the designed product. Designer objectifies the meaning into form of the product that is then seen and made sense by the user in the use context. The idea of studying product semantics is to inform the the product design process.

What are product-service systems?

Product service systems are business models that ensure coherent delivery of products and services. Instead of owning the product, it is shared or paid per use, which makes it al so Environmentally friendlier business model. Example: Car rental/sharing services, users experience getting their needs met (transportation), without owning car (physical goods) that performs the function.

Ulm school form follows?

Scientific method and knowledge in industrial design of the future

What is an experience + give an example

Something that could be articulated or named A number of product interactions and emotions-> schematized with a particular character in one's memory and a sense of completion Often inspires emotional and behavioral changes in the experiencer Has a beginning and an end (e.g. watching a movie or concert). Example: Theater evening

When applying product metaphors, what are the steps of the process?

Step 1) Select a relevant and meaningful source to the target product Step 2) Mapping = the metaphor is physically applied by transferring source cues to the target Fx the elephant. Firsts choose a source like the tunk and then the mapping using interaction and form and then it becomes a fire extinguisher.

Ulm Introduced:

System design ULM model for education Mathematical based design principles for proportioning form and function

What are the the key components of product metaphor?

Target(product) + Source(Remote entity) = Product Methaphor

What is the Arts and Craft movement?

The Arts and Crafts movement was a social and artistic movement that began in Britain in the 1880s and spread to other countries, including the United States, in the early 20th century. It was a reaction against the mass production and industrialization of the Victorian era, and it emphasized the value of traditional craftsmanship and the importance of designing objects that were both functional and aesthetically pleasing. The Arts and Crafts movement was led by a group of designers, artists, and writers, including William Morris and John Ruskin, who believed that the mass production of the Industrial Revolution had led to a decline in the quality and beauty of everyday objects. They argued that the division of labor and the use of machines to produce goods had led to a loss of individual creativity and skill, and they called for a return to traditional methods of craftsmanship and a focus on the beauty and functionality of design. The movement had a significant influence on the design of furniture, textiles, ceramics, and other decorative arts, and it is still influential today in the fields of architecture, design, and craft.

What is the Bauhaus?

The Bauhaus was a school of art, design, and architecture that was founded in Germany in 1919. It was one of the most influential schools of art and design of the 20th century and is known for its contributions to modernist design. The Bauhaus was founded by Walter Gropius, who believed that art, craft, and technology should be integrated in order to create a new, functional form of design. The school's philosophy was based on the idea that good design should be functional, practical, and aesthetically pleasing, and that it should be accessible to everyone. The Bauhaus was a pioneer in the field of modernist design and had a significant influence on the development of architecture, furniture design, and other design disciplines. It is known for its use of simple, geometric forms and its emphasis on functionality and mass production. Many of the school's faculty and students went on to become influential designers and architects, and the Bauhaus has continued to be influential in the field of design to this day. Form follows Function - The Bauhaus School was an art and design school founded in 1919 by Walter Gropius in Weimar, Germany. - The school's goal was to create a new kind of art and design education that would bridge the gap between the arts and crafts and the rapidly changing technological world. - The Bauhaus School was known for its innovative curriculum and teaching methods, which emphasized practical skills and the integration of art and technology. - The school was home to a number of influential teachers, including Ludwig Mies van der Rohe, László Moholy-Nagy, and Josef Albers. - The Bauhaus School was influential in the development of modern architecture, design, and art, and its ideas continue to influence artistic practices today. - The school operated in several locations in Germany before it was closed by the Nazi government in 1933.

What is Ulm school of Design?

The Hochschule für Gestaltung Ulm (Ulm School of Design) was a German design school located in Ulm, Germany. It was founded in 1953 by Inge Aicher-Scholl, Otl Aicher, and Max Bill, with the goal of promoting a holistic and interdisciplinary approach to design education. The school was known for its innovative curriculum, which emphasized the social and cultural context of design and the importance of critical thinking and problem-solving skills. The Hochschule für Gestaltung Ulm was in operation from 1953 to 1968, and during that time it became influential in the fields of graphic design, product design, and information design. Many notable designers and educators, including Muriel Cooper, Hans Gugelot, and Otl Aicher, taught at the school. The Hochschule für Gestaltung Ulm also had a strong focus on research and collaboration with industry, and it was involved in a number of influential design projects during its existence.

What were the Memphis Group?

The Memphis Group (1981-1988) was a design and architecture collective founded in Milan, Italy in 1981 by Ettore Sottsass and a group of young designers and architects. The group was named after Bob Dylan's song "Stuck Inside of Mobile with the Memphis Blues Again," and was known for its bold, colourful, and often irreverent style. The Memphis Group was inspired by a number of different influences, including popular culture, art deco, and pop art. Its designs were characterized by bright colours, geometric shapes, and unusual materials such as laminate, plastic, and terrazzo. The group's furniture and home accessories, which included tables, chairs, vases, and lighting, were often described as playful and kitschy. The Memphis Group's designs were a reaction against the minimalist and functionalist aesthetic that dominated the design world in the 1970s. Its members believed that design should be expressive and fun, and that it should challenge traditional notions of taste and style. Although the Memphis Group was active for only a few years, its designs had a significant impact on the design world and are still influential today. The group's bold and playful approach to design inspired a number of other designers and movements, and its furniture and home accessories continue to be highly sought after by collectors.

Explain the Ulm school teaching model?

The Ulm Model was a design education model developed at the Hochschule für Gestaltung Ulm (Ulm School of Design) in Germany in the 1950s and 1960s. It was developed by a group of designers, educators, and researchers, including Inge Aicher-Scholl, Otl Aicher, and Thomas Madonado, who were interested in promoting a holistic and interdisciplinary approach to design education. The Ulm Model emphasized the importance of integrating design education with the social, cultural, and technological context in which design occurs, and it sought to prepare students to be responsible and ethical designers who could address complex design problems in a creative and innovative way. The model also placed a strong emphasis on practical, hands-on learning and encouraged students to work on real-world projects with industry partners. The Ulm Model was influential in the development of design education and had a lasting impact on the fields of graphic design, product design, and information design. It has been widely studied and has influenced design education models in other countries around the world. The education of the school was 4 years. I year basic course and then 3 years in specialized department -> diploma. 50/50 practical work/lectures and seminars. This should raise the general level of industrial design in the future. Not just aim to produce highly qualified designers but to foster critical social and cultural awareness. Ergonomic, functional, universal and long lasting products. No interest in products which appreance is regulated by a personal taste. The 1st Ulm "model" of teaching - Against "artist designer" = superior being -- technical products need neutral look and ergonomics of one designers personal taste expression -> Ulm Model: Desigers more modest, cautious role: part of the team with scientists, researchers, sales people, technicians -> Socially responsible shaping-gestaltung-of environment -> 1st step towards next crisis: hegemony of science over design

What is the goal of sustainable products design? - can you give examples that achive this?

The goal is to minimize the consumption of natural resources and energy and the consequent impact on the environment while maximizing benefits for customers. Chulha - Philips design (Oven for rural places) Bambulance (ambulance made from bambu) Sustainable product design is more than ecodesign. It integrates and tries to balance the social and ethical aspect of the products life-cycle with environmental and economic considerations. It tries to - minimize adverse sustainability impacts - maximize sustainable value throughout the life cycle of the product, building or service - increase stakeholders quality of life, while at the same time achieving major reductions in resource and energy use Will require a significant emphasis on stimulating new ideas through higher levels of creativity and innovation.

Explain the golden spiral and how it is used in design products

The golden spiral is a mathematical construct that appears in the natural world and is based on the golden ratio, which is a mathematical ratio that is approximately equal to 1.618. The golden spiral is created by drawing a series of connected quarter-circles whose radii increase according to the golden ratio. The result is a spiral shape that is often found in nature, such as in the patterns of seashells, pinecones, and the shapes of some animals. It is called Phi. The golden spiral has been used in art and design as a way to create aesthetically pleasing compositions and patterns. It is believed that the golden spiral is attractive to the human eye because it is based on the golden ratio, which has been found to be aesthetically pleasing in many different contexts. The golden spiral has also been used in mathematics and physics to study the properties of spirals and the patterns that occur in nature.

Which historical events led to Postmodernism?

The world between crisis and believing in the future The world is becoming more structured - cities are planned, not developed. Everything is planned out and defined. Straight lines. Precise measurements. Even if we have parks in the square cities, they are square in the middle fx central park. Architecture meant to discipline people Modernism is boring - the death of modernism After WW2 Germany: Questioning: the free idiosyncratic human The human: working in a strong system The emergence of Ulm Italy: Questioning: General system The human: released to think/create freely, released from systems The emergence of Italian Radical designs Distrust of authority Set the individual free Convideo - the good life and happiness Erotic design Emerging Pop Art

What do persuasion and nudging aim to do? Why it is important to nudge or persuade people? What is the difference between persuasion and nudging?

They both aim to develop methods to influence human behaviour by design without taking control away from the people. Without nudging or persuading users will not necessarily act in ways that are best for their own long-term interests or the interests of the economic, social and natural systems they interact with. Persuasive technologies are merely technological solutions whereas nudging is done by designing our material surroundings in a way that influence us in a positive sense.

What was the main design features of Postmodernism?

Unusual combinations of elements Bright colours + pastels Rich patterns

What is co-experience + give an example

User experience in social contexts, when experiences are created together, or shared with others. Example: tandem bicycling

What value co-creation means?

Value is co-created with customers through relational exchanges in interaction experiences. Instead of delivering preproduced offerings, firms can only offer value propositions, which customers then transform into value through use. In this context, customer experiences can be viewed as internal and subjective responses to any contact with a company and are increasingly important to differentiating and adding value to a firm's offerings

Explain the important people of Eco-Design. There are 2 people and 1 pair

Viktor Pananek (Austrian designer. Desing as political instrument. Made a book in 1970 - Design for the real world. "design for need instead of design for desire". Instead of supporting mass consumption, designers should focus on societal challenges. Made a Tincan radio) William McDonough & Michael Braungart (Cradle-to-Cradle: remkaring the way we make things 2008. Materials should not be wasted but reused in the products to follow) Datschefski (Made 5 design requirements for sustainable products and 10 principles for eco innovations)

Name all the important people of Bauhaus (there are 10 on the list)

Walter Gropius (the first headmaster. Focus on arts&craft tradition in the beginning. Introduces the Master/apprentice model. And also Vorkurs, 1st-semester preliminary course. Helps create the education of Bauhaus, Vorkurs -> specialization -> creates a model for design teaching and building things in the end. Gesamtkunstwerk=incorporates many different art forms in one, "total work of art". All should return to crafts, there is no essential difference between the artist and the craftsman. Resigns in 1928 to Hannes Meyer.) Johannes Itten. (Director of Vorkus. Material, characteristics, composition, and colour. Made the colour circle) Wassily Kandinsky (Fine arts master. Launches the idea of visual grammar that initiates from the biology of vision, book about colour theory. A dull shape like a circle deserves a dull colour like blue. A shape with intermediate interest like a square deserves an intermediate colour like red. A dynamic interesting shape like a triangle deserves an energetic, luminous, psychotic colour like yellow. So, the colour and shapes should match.) Lazlo Moholy-Nagy (New director of Vorkurs after 1923 as the people did not like the teaching style and the outcome, it was too simple an arts and crafts show, where is the modern touch and refineness. New focus on teaching. Standardization of components. Mechanized mass production. New industrial material technology. ) Marcel Breuer (Master in wood workshop and master in architecture workshop from Dessau. His designs embodies the Bauhuas objective to combine art and industry. He made some nice chairs ) Marianne Brandt (Showing that in Bauhaus both men and women could get education, however Marianne did have to fight to get to do metal work. She was pretty good at it. Made a lot of lamps and some coffee and tea set. Became deputy head of Metal worhshop) Le Corbusier (Buildings: "Machine for living". Furniture: "Machines to sitting in". Five rules for a New Architecture: 1. Houses must be erected using columns. 2. The roof should have ererraces. 3. No load-bearing walls: The open floor plan. 4. Houses must have ribbon windows. 5. Pillars are pulled under the House. Floor plans continue beyond the pillars and gives the facade the appearance of a thin membrane.) Herbert Bayer (An ex-student of Bauhaus. Made the "Universal font" based on sans serif. Follow eye movement. Directed printing workshop. Introduced constructivist approaches to visual communication. Page layouts.) Hannes Meyer (the second headmaster. "Design = function x economy". Strong politiciation of the school, marxism, communism and socialism. Unpopular choice -> several faculty members resign. Very unpopular by the nazis. He resigns in 1930.) Ludwig Mies van der Rohe (third and last headmaster. "Less is more". Ideal of creating something so beautiful it cannot be further reduced. Everything is super simple. No footlist, few wall. Simple steel chairs. Moved school into Berlin. )

Impact of A&C movement

We have platforms now that sell directly to the buyer Companies who care about creating beauty in homes using real materials Digital craftsmanship Fashion, patterns are still applied Some think about the environment The Arts and Crafts movement had a significant impact on the fields of design, architecture, and craft in the late 19th and early 20th centuries. It led to a revival of interest in traditional craftsmanship and a focus on the design and functionality of everyday objects. One of the main impacts of the Arts and Crafts movement was the development of a new aesthetic in design. The movement rejected the ornate, mass-produced objects of the Victorian era in favor of simpler, more functional designs that emphasized the materials and techniques used to create them. This led to the use of natural materials, such as wood, metal, and stone, and a greater emphasis on craftsmanship and attention to detail. The Arts and Crafts movement also had an impact on architecture. It rejected the ornate, Victorian-style architecture in favor of simpler, more functional designs that incorporated natural materials and were inspired by traditional craftsmanship. This led to the development of the Arts and Crafts style of architecture, which was characterized by the use of natural materials, such as brick and stone, and an emphasis on functionality and simplicity. In addition to its impact on design and architecture, the Arts and Crafts movement also had a significant influence on the craft industry. It led to the development of new craft schools and the establishment of organizations, such as the Society of Arts and Crafts, which promoted traditional craftsmanship and supported the work of craftspeople. Overall, the Arts and Crafts movement had a lasting influence on the way that objects and buildings were designed and made, and it continues to be influential today in the fields of design and craft.

What would Arts and Craft movement think of Eco-design?

We see today that we have a lot of factories that mass produce and pollute the earth. There is no man made craft, it is just made for the masses. Completly against what arts and craft belived in.

Explain the Framework: Semantics and Products & Practices (Also called Products and Practices & meaning)

When we design we make sense of things. Calling attention to something and give meaning. We want to design products that are understandable to the user. Applying meaning to a product The designer aims toward harmonic and aesthetic objects Impacted by: - Time (Trends) and culture - own aesthetic preferences - users' taste and values However, designers should consider the users' perspective in the design. Design is a paradox: new and innovative, but must also be recognisable and able to make sense of. Think of the figure, where you have the user on the lift looking at the product and seeing how the product is designed, and the designer on the right designing the qualities of the product. In the middle, we have the product and the product semantics which should be accounted for when designing the product. So what is product semantics? Product semantics refers to the meaning and symbolism associated with a product, as well as the way that a product communicates its intended use and purpose to its users. Product semantics can include both the physical characteristics of a product, such as its shape, size, and material, as well as the cultural and psychological associations that a product evokes in its users. Product semantics is an important aspect of product design, as it helps designers to create products that are intuitive and easy to use, and that communicate their intended purpose and function effectively. By considering the semantics of a product, designers can create products that are more meaningful and resonant with their intended users. Product semantics can also play a role in branding and marketing, as the meanings and associations associated with a product can influence its perceived value and appeal to consumers. Making sense of non-familiar object and familiar objects. Non-familiar-objects: - tangible qualities -- what is it? -- what is it for, what does it do? -- who is it for? -- how is the quality? Familiar objects - Immaterial qualities (feelings) -- who gave it to me/who does it remind me of? -- what is the affection? -- does it still fit my home? Why is product semantics important? Form follows function (don't use) - the user is left out - how the user understands the product is considered irrelevant - it is just good design. - users could struggle to find meaning in the product. Form follows meaning (use this) - The meaning users apply to products is central to the design - Users' understanding and meaning are considered in the design - Designers need to discuss both the contexts in which their forms are used and how these forms are making sense of or what they mean to someone other than themselves. The user will always put products into context and give them meaning according to what they have experienced before. A product is never just a product. No one can presume that form (i.e. the designers objectified meaning) and the users meaning are the same -> the product semantics studies how they relate We need to work in a cyclical model of design and consumption. Think like a double diamond. New product opportunities -> design -> product -> new consumption (practices) -> back again to new product design. then the circle starts over. We use context for products and practices. Products and practices Offer important insight into the symbolic significance of physical objects and the relation between products and practices Practice is a mix of the following points: Acquisition Scripting Appropriations Assembly Normalisation Practices Acquisition - Why do you acquire the product? -- Social status -- Self-identity -- Stimulation -- Matching -- Specialised tools Scripting - What to do with the product - Whether intentional or not, the designer defines the abilities and limitations of user of a product Appropriations - When users find ways to use products in a way they were not intended for - The designer can consider these to understand the meaning users might apply to the product Assembly - Users match products to create a desired aesthetic - Designers can create uniform design languages in product families to help the user Normalisation - Over time products become normal to have, and lose some of their meaning Practices - Embraces aspects of the other 5 into a framework for analysing the co-consitutive relation between objects, images and forms of competence. Think of fire fighters. - How practices are sustained by provisional networks of practical knowledge, including that which is embedded in material objects

When was the arts and crafts movement? - Also mention Art Noveau and Jugend

When: Arts and Crafts Movement: 1850-1914 (England) Art Noveau: 1880-1910 (France) Jugend: 1890-1910 (Germany)

What is the difference between good and bad persuasion design intentions?

With good persuasive intentions designers aim to: raise awareness of unpopular issues, change entrenched attitudes, & discouraging habitual actions With bad persuasive intentions, designers aim to: disguise a product's shortcomings, encourage interactions that the user would not otherwise engage in, & suggest possible benefits that the product does not truly offer

What is the difference between pragmatic and experiential intentions?

With pragmatic intentions designers aim to: reduce the cognitive load associated with determine the level of the instrumental meaning, function, and use of a product - turn complex product or interaction into a clear and comprehensible one, through: -- Providing product identification= what is it designed for -- Conveying information about how the product is to be used or operated With Experiential intentions designers aim to: promote rich sensorial, emotional or meaningful product experiences through: -- Prose and poetry = telling a story through the product -- Ideology= attaching an ethical/moral message to it -- Creating something fun or witty.

Is there a difference when people try to make sense of unfamiliar and familiar objects and if yes what is it?

Yes, when people perceive unfamiliar objects they focus on qualities of the product, such as what is it, who made it, contsruction technique... and when they perceive familiar objects they instead try to make sense out of it through feelings, such as who gave it to me, how much I like its appearance, who it reminds me off....

Who is Peter Behrens?

• Father of German industrial design • Artistic director for AEG (1907-1914) • Member of The Deutscher Werkbund that was inspired by the Arts & Crafts Movement • revive the status of craftsmanship and apply it to the industrial production • product standardization "Design is not about decorating functional forms—it is about creating forms that accord with the character of the object and that show new technologies to advantage"