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情感设计是新的吗?情感设计通常被视为工业设计师一个新兴的的议程。通过三个设计师的作品和他们生活的背景及生存的时代来讨论这个话题。第一个设计师应该生活在19世纪末或20世纪初,第二个应该生活在20世纪中期,第三个应该生活在20世纪末或21世纪初。 前言
通常，使用产品的时候注重情感体验比单纯地注重他的实用性、可用性和生产制造的宗旨更重要。阿尔贝托·艾烈希曾经说过，越来越多的人购买物品的时候更加注意对象的知识水准和精神食粮。人们不会仅仅因为需要煮咖啡,烧开水或挤柠檬就买我的咖啡机,水壶,和柠檬榨汁机，而更多地是因为其他的原因，如情感体验。
Is design for emotion new? Design for emotion is commonly presented as an emerging agenda for industrial designers. Discuss this proposition through the work of three designers and in the contexts of their lives and the times in which they lived. One designer should have lived in the 19th or early 20th century, one in the mid-20th century and one in the late 20th or early 21st century. Introduction:
Often emotions experienced whilst using a product can be more important and relevant than the task the product is intended to carry out or the usability of it. Alberto Alessi states “More and more people buy objects for intellectual and spiritual nourishment. People do not buy my coffee makers, kettles, and lemon squeezers because they need to make coffee, to boil water or to squeeze lemons, but for other reasons. Samantha Porter.
Designing for emotion. Slide number 7. Available: http://learn.lboro.ac.uk/file.php/1455/RealPeoplePg.pdf . Last accessed 15/01/10. It is believed that design for emotion plays an increasingly important role in product selection. Design for emotion involves considering the feelings someone would experience whilst using a product, and how it has impact upon their lives. Lionel Tigers (a Canadian Anthropologist) has defined this notion by splitting it into four categories:
Physio – pleasure is used to describe the pleasure a user achieves from the effect a product has on sensory organs relating to touch, smell and sound. An important factor of this is how the product is held and touched during its use. A good example is a car – if it has a quiet engine that you can’t hear it will be more pleasurable to use than a car that has a loud spluttering engine. Also, the smell inside a new car is likely to affect the experience the user has whilst using it
Socio – pleasure is enjoyment related to relationships with others. An object may provide a way for the user to interact with people. Often products affect and display social status, often by various brand names. Some designs, if they are unique or unusual, may provide a starting point for conversation, encouraging interaction and therefore providing socio-pleasure. A good example of this is the Arco floor lamp, it’s a unique design that people are likely to comment on.
Ideo – pleasure describes pleasure obtained as a result of people’s individual values and the way a product considers these, it entirely depends on personal opinion. If someone is concerned about the environment, and a product is recyclable then they are likely to enjoy using it more because it follows their values
Psycho – pleasure Considers the usability of a product and what the experience of using it is like. For example if a product is time consuming, difficult and confusing to use and is it won’t be very pleasurable to use it. For example a product that doesn’t have psycho pleasure is Starke’s fruit juicer. It’s very visually pleasing, but isn’t easy to use. 19th – 20th century - Marrianne Brandt
Between 1919 and 1933 Bauhaus was becoming the centre point of design in Germany. The school of Bauhaus created many ideas and principles that are still used to influence design now. The leader of the Bauhaus school (Walter Gropius) wanted to combine art and creation by teaching art, hand work, industry and design together so that the school provided education in several forms; it was the start of modernism. Modernism was the start of moving on from historical styles, unnecessary detail and decoration, the style focused on function before form. Initially, the Bauhaus was inspired by expressionism, and then by De Stijl, an artist from the Netherlands which is apparent in Brandt’s work.
Marianne Brandt was a German designer who lived from 1893-1983. She initially studied fine arts, before enrolling at the Bauhaus school. After doing a foundation course, in 1934 she moved on to study in the metal workshop; subsequently she worked there and was the first woman to do so. Brandt is relatively well known for being one of few women associated with the Bauhaus movement.
The Bauhaus design style can be summarised as being sleek, minimal and geometric. Emphasis is laid on how well something functions rather than its aesthetics. At the time, steel tubing and other non-traditional materials were beginning to be used in design, possibly as a result of people being taught at the school of Bauhaus to use alternative materials. Brandt’s most well known designs are the teapot and ash tray. Her products were heavily influenced by the design style of her metal teacher who liked constructivism, which can be described as; “A movement in modern art originating in Moscow in 1920 and characterized by the use of industrial materials such as glass, sheet metal, and plastic to create nonrepresentational, often geometric objects.” The American Heritage Dictionary of the English Language, 4th edition, published by Houghton Mifflin Company. http://www.answers.com/topic/constructivism. Figures 1, 2 & 3 - De Stijl’s art, Brandt's Work
The tea pot demonstrates how function played an important role with respect to consumer products around this time – it has a built in strainer, non drip spout and heat proof handle made out of ebony. It has been designed for ease of use and comfort rather than aesthetics. This targets psycho pleasure, the product has been made pleasurable to use and interact with; it’s usable as ebony has been used to ensure that the user doesn’t burn themselves whilst using it. Both of the designs have socio-pleasure. They incorporate relatively new design styles and materials that could be a talking point. Therefore designing for emotion was on the agenda when Brandt designed these products. Mid 20th Century – Carlo Mollino
Prior to the war Italy hadn’t really played a big part in the world of design. However, things began to change once the war ended and Italy became better known for design. The North of Italy was industrially rich; here they experienced an increase in economy in two main areas – design and export. One of the first industries to grow was steel, resulting in an increase in products made of it such as furniture and cars.
Carlo Mollino was an Italian designer who was born in 1905 and lived in Torino which was part of the industrially rich North. Mollino was predominantly an architect, but worked in a variety of fields, covering a diverse range of things including design, photography and writing. He has been described by the following description; “Designer, architect, genius obsessed with drugs, sex and extreme decoration. Crazy, artistic, stingy, obsessed with taxes. Sex maniac, master architect, drug addict, genius.” Paolo Frello. (1996). Carlo Mollino article. Available: http://www.dolcevita.com/design/mollino/mollino.html. Available at http://www.dolcevita.com/index.htmHYPERLINK "http://www.dolcevita.com/index.html"l. Last accessed 30/01/10.
A lot of furniture in Italy at this time was inspired by abstract and dynamic contemporary art; Mollino’s work is a good example of this. The unique form of his work made him become known for using organic style because he used naturally occurring forms such as tree branches, the human form and animal bodies to inspire his work. Mollino was greatly intrigued by the Egyptians tombs and the occult (hidden knowledge of the paranormal) and these inspired his work, particularly his architecture. Mollino’s work can be said to display the characteristics of Bel Design which are elegancy, experimentation and innovative thinking, the style also used a lot of plastic.
An example of design being inspired by natural forms is the furniture shown below (figures 5 and 6). Figure 5 is said to reflect parts of the female body, the back representing a woman’s torso. Figure 6 is the Ardea chair, inspired by the form of the Ardea bird. The furniture design tended to focus on form rather than function, which is the opposite of Brandt’s work. Mollino also designed a race car to use himself called Bisiluro (Figure 4), to race in ‘Le Man’s’ 24 hour race in France. He heavily looked into the specific detail of the design, and strived to make something that provided great satisfaction to the user. He wanted it to drive well and run effortlessly, and wanted it to win him the race.#p#分页标题#e# Figure 4, 5 & 6 - Bisiluro Race Car, Mollino’s Chair, Ardea Chair Figure 7 - Desk
Mollino’s furniture products would provoke socio-pleasure, they are unique, different designs that stand out and are likely to become talking points. With the racing car Mollino accomplished psycho pleasure because he made it a pleasure to use, he considered all the parts in depth so that they were as efficient as possible. It also gave socio pleasure because he designed it to use in the car race. It would therefore receive attention from people watching it, a sign of social status which can be important to males. It was likely to have been a talking point as he had designed it himself and was then driving it. Mollino has designed for emotion, but in a different way to Brandt. Late 20th/early 21st Century – Jonathan Ive
In the 1980’s computers became a common thing in the workplace, and electronic consumption was increasing in general. These types of goods were all very dull, repetitive and chunky (figures 8 & 9). They were often associated with business rather than recreation and fun. Bright colours were beginning to become trendy and plastics were being used a lot more. Rapidly, the trend changed to consumers desiring sleek, simple, and minimal designs, people wanted things that were less bulky and more transportable. Throughout this time recyclability has been becoming an ever increasing factor for the consumer to consider whilst buying a product. Figures 8 & 9 – 1990’s Computer, Walkman
Jonathan Ive is a current world wide recognised designer who has greatly affected people’s opinions and experiences of design. He worked his way up by beginning to studying Art and Design at Newcastle Polytechnic University, then after this he co-founded a design consultancy company called Tangerine. Here he worked on a wide range of products, from power tools to televisions. In 1992 he got offered a job at Apple in California. This was where he designed his most successful and well known products including the iPod, iMac, iBook, and Powerbook G4. During his time at Apple he earned the role of vice president, and now currently holds the position of senior vice president.
Ive has always been interested in making the experience a user has with a product as enjoyable as possible. He noticed that computers were always made out of grey, dull colours which wouldn’t provide a particularly pleasant, exciting or unique user experience. He wanted to change this, and make the goods accessible and desirable to all. He did so by adding bursts of colours to make the user experience more enjoyable and less repetitive. At the time, bright colours were desirable because they were the current trend; plastics were also being used a lot. Another iconic product that was introduced in 1998 was the Hannibal tape dispenser designed by Julian Brown (figure 7). This is relatively similar to the iMac with respect to the bright colours used, and the way that it’s transparent so the internal parts can be seen (figure 8). The way the colour was created was carefully considered. Ive used gumdrop colours for inspiration, and went round confectionary factories to look into this more.
More recently recyclability of products has become more relevant to people when buying products. Ive considered this factor within his work and strove to design products that were as good for the environment as possible. He therefore has achieved ideo-pleasure, something that neither Mollino nor Brandt have done in such a noticeable way. The time when iMacs were brought out (1998) was when the use of computers was beginning to play bigger parts in people’s lives; he wanted computers to be accessible to all, not just business people. It was therefore important that the product is aesthetically pleasing so it’s something that people would want to display in their home. The iMac’s used to be a status symbol and people who had them often wanted them to be on display; Ive therefore achieved socio-pleasure.
Ive has designed for emotion with respect to the iMac’s by changing the way a user would feel whilst using an already existing product by developing it. He initially targeted psycho pleasure with his designs because he wanted to make the process of using a computer more enjoyable, but in the long run has achieved socio pleasure by creating iconic products that everyone wants to use and have in order to fit in, which currently is an important factor, everyone wants to have the same thing. It’s a social achievement and talking point to own his goods. Ive has also achieved physio pleasure, for example the iPhone which is easy and pleasurable to hold, touch and interact with. Will all of his products, Ive has considered how easy they are to use and interact with and has tried to make it as simple as possible, this targets psycho pleasure. It’s a fun and enjoyable experience to use his products. Figures 10, 11 & 12 – Hannibal tape dispenser, iMac’s, iPod Conclusion After looking at different designers from three different time periods, it is apparent that designing for emotion is not new. Brandt designed the tea pot with the sole purpose of usability, providing psycho pleasure; people would have used it because it was the most practical at doing the desired task, not due to its appearance. Additionally Mollino designed his furniture following the “function follows form” notion, resulting in creating talking points therefore achieving socio pleasure. With the race car he also uses psycho and socio pleasure. Ive has successfully managed to incorporate all four of Lionel Tigers pleasures into his various designs. Emotions role in design may be a lot easier to see nowadays because designers like Ive have bought it to the surface; however both Brandt and Mollino have displayed characteristics of designing for emotion. Designers now may be more conscious of it as they need to be aware of consumers desires to have the specified emotional needs fulfilled. |
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