Experience Enrichment

Experience Enrichment Rationale

My design was aimed at the needs of young adults who have recently moved out of the family home. The design attempts to charm my target market by appealing to their sense of independence and the freedom felt from living away from their guardians. The products that they purchase are familiar and reassuring while providing an occurrence of ownership. These products should be identifiable and nurturing to the needs of the target market.

For many of these people the task of washing the dishes can be uncommon, I wanted to establish a series of emotional response towards this particular washing up brush. The form is similar to that of a toothbrush, an everyday item that has a specific motion associated with its use. This provides a familiarity of use and understanding of the product enhancing the psychological pleasures. This idea of a “giant toothbrush” makes the product fun and inviting through novelty of use a common psycho-pleasure.

This product is designed to be inviting to the target market, through both the aesthetics and function. The large bulbous handle, bright colours and curved detailing are aesthetic styles used for younger children, approximately 5 years old. This was intentionally achieved to recall memories of childhood games and roll plays. It is this association that removes the notion of a chore and replaces it with a fond memory or game. The form reflects a basic human form allowing the user to feel as if they are interacting with someone. These themes of play and socialising are very significant to the lifestyles of this target market, stimulating both psychological and physical pleasurable experiences.

This washing up brush is to be constructed from a heat responsive material. A combination of two polymers can be used and rearranged at a molecular level altering the light reflecting properties of the material. This means the product changes colour when exposed a shift in temperature as hot water submersion or the users hand. This feature while appearing a novelty is actually informing the user to the task they are doing. The colour change encourages the user to use hot water for sanitation purposes. Holding this product will leave a lingering handprint acknowledging the ownership the user has over this product; a strong socio-pleasure important to those who are newly independent. It would appear that this product cares for its owner, a nurturing quality that may have been lost since leaving home.

Although this design could appeal to a variety of market groups, it specifically addresses the needs of young people who have recently left home. The product is inviting to use, evoking strong emotional connections from the user resulting both psycho and physio pleasurable experiences. It is this emotional recognition with the product that makes it attractive and impressive to own. This washing up brush facilitates accomplishments in both ownership of products and the success of completing a domestic task. These ideological pleasures are seen as an exhibition point to peers by means of socio-plea

Task 5 (video reflection): Don Norman: The three ways that good design makes you happy

Don Norman discusses the ways in which emotion can influence design. As consumers we respond to design in pre-determined way. This is often subconscious and as Norman explains this can be explained at three different levels.

Visceral a form of pre-programmed subconscious thinking. As humans we respond to particular colours and sensual stimulation, this is a biological instinct. Designers can utilise this in design, making products more inviting while encouraging consumers to continuing using the product the through a pleasant experience.
Although I feel that the appeal of a product is more than this there are large contributing factors such as social standards. As a young child I remember liking pink because that is what is expected of young girls. Truthfully I hated pink, but I believe that was what was expected of me and it gained me acceptance amongst my peers. This was in no way a subconscious but the rather an intentional choice to avoid being told I had made the wrong or unexpected choice. Choosing pink as a young child was never a pleasant experience and now refuse to issue girls, or encourage others to, with pink.

The behavioural level is what Norman describes as a subconscious response to seeking the comfortable and familiar with feeling in control. Our behavioural responses communicate a series of emotions reflecting our interpretation of the world.

Reflective thinking, is not a physical response. Reflection acknowledges the choices we have made and what that shows about us as a person. According to Norman this can often conflict with our visceral thinking, as we can be attracted to the new and different. Refletive thinking can gain us admiration or respect.
Perhaps it was my behavioural and reflective responses that influenced me to choose pink. As Norman said, my reflective and visceral choices were conflicted between the colours I really liked and what I believed was the safe choice. I think that Norman could have gone into more detail on these factors, but instead was more focussed on the positive response we have to design. We can have negative responses to design that perhaps makes us lean towards an alternative option. Fear can be just as influential in our choices, fear of what is best for or image, fear of certain products or experiences.

I found this video address some significant points but I also felt that Norman was unnecessarily positive. This particular focus seemed unbiased, making design seem simple and non-commercial. Marketers have a very large role in the designs and products we choose, and the ways in which designers exploit or behaviours and often weaknesses is glossed over.


Video Link:
http://www.youtube.com/watch?v=RlQEoJaLQRA&eurl=http%3A%2F%2Fstanz3ds.blogspot.com%2F&feature=player_embedded#t=35

Task 3: Product Sketcing

Task 3: Good Design

Task 1: Human Centered Design

The video Human Centered Design - David Kelley enlightened me to the applications design can have and the way in which design philosophies can create a whole new style of product. By observing behavioural patterns designers can tailor designs to be naturally instinctive and inviting to consumers.

This video is important to the design industry as it demonstrates a variety of ways in which human behaviours can be incorporated into design. This approach is not always about creating a new product but can be the enhancement of an experiencing using existing products. The interface used in the Prada New York store, is not necessarily a advance in technology but the rather the user interface and the way in which be behave in the store. The interface simplifies the experience, allowing for easy and more educated choices while shopping. Shoppers can feel more confident in the purchases they are making due to readily avliable information.

Human Centered Design highlights that design does not have to be the out put of products, but rather can provide an environment to which people can develop thier own experiences. I especiall liked the interactive displays found n the Science Museum, London. They provided and oppurtnity for interactive learning which could be shared with multiple user. The designs were familar and instinctive through thier connection the London Underground. This was a demonstration of the ways in which design can incoporate function through behavioural patterns while providing an aesthetic environment.

David Kelley's comments on the progress of design and the social standing of designers was particuarly insightful. As a student is encouraging to see that design is still developing and is being intergrated into different areas of society such as business straterisagtion. This video has given me ideas for my own designs and a new way of looking at design briefs.

Video Link: http://www.youtube.com/watch?v=eXndL3TNCmo

Task 1: Shape of scent

I specially like this task, as I designer I felt it challenged the way I consider a brief. A human experience encompasses all of our senses to evoke a variety of emotional responses. Scent greatly contributes to our experiences, either through learnt behaviours, past encounters or intrigued to a new occurrence. As designers it should be our aim to either enhance and/ or capture this experience. This is what I have tried to achieve through my clay model.

Inspired by my assigned scent, my sculptures were intended to be sophisticated yet intimate. They were intentionally minimalist, capturing the elegant and feminine form. This particular scent seemed familiar as engulfed the senses, it became inviting and comforting. My designs were whole forms, incorporating the idea of a cycle of rotation. This scent although heavy and soothing it began to develop throughout the experience; new layers would emerge evoking a different emotion. These forms attempted to display the contrast between comfort and mystery and they way in which they develop and intergrate together.