The three levels that Don Norman has deconstructed design into - visceral, behavioural and reflective, all help to form an understanding that connects design with emotion.
Although the visceral is subconscious [as is behavioural], it determines whether an object is desired or not, gives people a basis on which they can justify their likes or dislikes. Whereas the behavioural is an automated response which can be considered learned, but is still in the realm of the subconscious. Reflective on the other hand is the rationale behind why people desire certain objects, even though they may not be fully functional. The combination of the three allows designers to see what they can infuse into teir designs to make people want to use their items
Norman points out that that 'pleasant things work better', though the truth of the matter is that pleasant things are equally as functional as 'non-pleasant things' but we [as humans] do not desire to use what we deem unpleasant - wanting the beautiful regardless of its functionality.
By incorporating emotion into design, designers can ask themselves how they can make someone value the product more by making their product evoke an emotion - making the users experience enjoyable so that their item can be used many times.* Photo Don Norman, BBC News, http://news.bbc.co.uk/2/hi/science/nature/1761289.stm
The changes over time made to design shows how designers tackle the problems of society by means of design and shows how the world of design is constantly changing. Through the changes of technology also, the world gets to see what new creations designers come up with next.
The ability of a designer to give an object a personality and evoke certain emotions from a consumer is an idea that is intriguing. In a society influenced by the material, it is interesting to see that design is not centred around the the idea of what's 'cool' or 'in vogue' but rather that design is suited to human behaviour and reflects to a degree a certain personality o evoke a given emotion in the consumer.
As technologies advance, they give rise for designers to find the best ways to utilise the technology and materials in coming up with a design. Take for example the Prada store with its changing glass change room and the London Science Museum with its interactive wall of feedback and games table - in both cases the designs are made to interact with people and engage their senses.
The idea of human centred design is also a means of increasing sustainability; as the sentimental value of the product increases the willingness of a person to give it up will decrease. A concept which I think could work well as design pieces become classics.
Not only has human centred design challenged designers to give objects a certain level of personification, it has also opened up a new branch of design that engages the human senses. More than that, human centred design impacts more on society by considering the human side of things, designers can aim to create objects that help with sustainability. By understanding the way humans interact with their possessions and combining that with existing practices, designers [amateur to professional] gain a better understanding the process in which their product comes to be and consequently how much the owner of their design will value it as a result.
* Photo David Kelley, Designing Interactions, http://www.designinginteractions.com/img/interviews/DavidKelley.jpg
In groups of five we were asked to come up with the characteristics of the scent we were given in order to model a vessel in which the perfume could be contained. Having said that I for one forgot that we needed to design a vessel and opted for a sculpture.
In my group we pin-pointed the three main characteristics to be: bold, lingering and feminine.
Through each of the prototype models I tried to capture one element or another o the scent as it appeared to me. The shape in the top left corner resonating the boldness and lingering aspects most. The wave like top section attempts to convey a sense of slow dispersal while the base is smooth and solid, the surface [although it cannot be seen or touched] was smooth to represent femininity.
The shape to the bottom centre was an attempt to capture the boldness and the feminine nature of the scent through the soft curve and elegance of the shape while the line which cuts through represents the boldness of the initial smell [like the first impact of the smell].
The last shape in the top right however, I must admit was a result of a deleted creative store and thus it resembles a flower. A symbol of femininity anyone?
By combining the two successful prototypes [those being the on in the top left and bottom centre] I ended up with the shape below, which also tries to combine an element of mystery [as I found the scent quite mysterious as well].
The three levels that Don Norman has deconstructed design into - visceral, behavioural and reflective, all help to form an understanding that connects design with emotion.
