Editors:Hendrik N.j. Schifferstein & Paul Hekkert

ELSEVIERAMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD

PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO

PREFACE xix

BY D O N A L D N O R M A N

LIST OF CONTRIBUTORS xxi

Introducing Product Experience 8PAUL HEKKERT AND HENDRIK N.J. SCHIFFERSTEIN

PART

K B FROM THE HUMAN PERSPECTIVE 9

A Senses 9

I On the visual appearance of objects D DHAROLD T.NEFS

1. On visual appearance 111.1. Introduction 11

2. The physical world 132.1. Shape 132.2. Material IS2.3. Illumination 182.4. Color 19

VI CONTENTS

2.5. The SMI triangle 223. Object appearance 24

3.1. Shape 243.2. Material 283.3. Illumination 29

4. Perception 304.1. Perceptual organization 304.2. The SMI triangle 334.3. Additional cues 34

5. Conclusion 36

2 The tactual experience of objects 4 9MARIEKE H.SONNEVELDAND HENDRIK N.J. SCHIFFERSTEIN

1. Introduction 412. The meaning of touch 43

2.1. Touch: Physical encounters and awareness of oneself 432.2. Touch: A foundation for knowledge of the material

world 432.3. Touch: A foundation for feelings and emotions 442.4. Touch: A communication channel for affection 44

3. Tactual interaction 453.1. Active and passive touch 453.2. Exploration strategies 463.3. Motivations to move 46

4. Tactual properties of objects 494.1. Hardness, elasticity and plasticity 50

, 4.2. Temperature 504.3. Texture and patterns 504.4. Shape and size of the object 514.5. Weight and balance 52

5. Tactual sensations: Being touched by objects 525.1. The skin and the skin senses 535.2. The skin sensations 545.3. The body senses and sensations 555.4. Tactual sensitivity 55

6. The body language of objects 566.1. Personality 566.2. Intentions 576.3. Integrity: Tactual feedback 586.4. The perfect match 586.5. Familiarity: Feeling 'mine' or alien 586.6. Power match and being in control 596.7. Challenge of developing physical skills 596.8. Attention: Tactual transparency and tactual noise 606.9. Conclusion on the themes 60

7. The feelings involved in tactual experience 608. Educating the tactual senses 629. Future developments 63

CONTENTS VII

3 The experience of product sounds 69RENEVAN EGMOND

1. Whether to be silent 692. The domain of product sounds 703. Spectral and temporal structure of sounds 714. Product sounds 72

4.1. Spectral and temporal structure of product sounds 725. Process of auditory perception 776. Designing the experience of consequential product sounds 81

6.1. Recording 826.2. Analysis 826.3. Concept and sound design phase 856.4. Evaluation 85

7. Conclusion 86

4 Taste, smell and chemesthesis in productexperience 9 0ARMANDV. CARDELLO AND PAUL M.WISE

1. Introduction 911.1. Importance of taste, smell and chemesthesis to product

experience 911.2. Chemical senses as integrated perceptual systems 92

2. Taste 922.1. The experience of taste 922.2. The mechanisms of taste experience 93

3. Taste: Basic phenomena of taste experience 953.1. Taste adaptation 953.2. Repetitive taste experiences and liking 963.3. Combined taste experiences 963.4. Modifying taste experiences 973.5. Innate and early taste experiences and preference 993.6. The effects of learning on taste experience 100

4. Smell 1014.1. The experience of smell 1014.2. The mechanisms of olfactory experience 101

5. Smell: Basic phenomena of experience 1045.1. Olfactory adaptation 1045.1. Combined olfactory experiences 1045.3. Modification of olfactory experiences 1055.4. Innate versus learned odor experiences and preferences 106

6. Chemesthesis 1066.1. The experience of chemesthesis 1066.2. Peripheral anatomy and receptor mechanisms for experiencing

chemesthesis 1076.3. Processing peripheral nerve signals into chemesthetic

experiences 1076.4. Chemesthesis: Basic phenomena 107

VIII CONTENTS

7. Measuring chemosensory product experience 1097.1. Chemosensory experiences: Consumers versus experts 1097.2. Methods for quantifying chemosensory product experiences: Trained

panels 1097.3. Methods for quantifying chemosensory product experiences:

Consumers 1108. Context, information and expectations in chemosensory and product

experience 1128.1. Non-sensory influences on product experience 1128.2. The effects of context 1128.3. The effects of information and expectations 113

9. Age, gender, cultural and social factors in chemosensory and productexperience 1179.1. The effects of age 1179.2. The effects of gender 1199.3. The effects of cultural and social factors 120

10. Conclusion 121

5 Multisensory product experience 133HENDRIK N.J.SCHIFFERSTEIN AND CHARLES SPENCE

1. Introduction 1332. Comparing the different sensory modalities 1343. Sensory imagery 1374. Attention switching between the senses 1395. Cross-modal correspondences 1426. Interactions between various sensory domains 1467. Sensory (in)congruity 148

' 8. Sensory dominance 1519. Conclusions and directions for future research 154

B Capacities and skills 163

6 Human capability and product design 165JOHN CLARKSON

1. Introduction 1652. User characteristics 166

2.1. Anthropometry 1662.2. Capability 1672.3. Prevalence 168

3. Product design 1714. Vision 172

4.1. Visual acuity 1724.2. Contrast sensitivity 1734.3. Color perception 1734.4. Usable visual field 1744.5. Context of use 1744.6. Design guidance 1754.7. Prevalence data 175

CONTENTS IX

5. Hearing 1765.1. Sound detection 1775.2. Speech discrimination 1785.3. Sound localization 1785.4. Context of use 1785.5. Design guidance 1795.6. Prevalence data 179

6. Intellectual functioning 1796.1. Working memory 1816.2. Attention and performance 1826.3. Visual-spatial thinking 1826.4. Learning,, recall, and long-term memory 1836.5. Context of use 1836.6. Design guidance 1846.7., Prevalence data r 185

7. Communication 185"7.1. Perceiving 1867.2. Acting 1877.3. Context of use 1877.4. Design guidance 1877.5. Prevalence data 188

8. Locomotion 1888.1 r Walking and balance 1898.2. Getting up, down, in and out 1898.3. Context of use 1898.4. Design guidance 1908.5. Prevalence data 190

9. Reach and stretch 1919.1. Reaching out in front 1919.2. Reaching out to the sides 1929.3. Context of use 1929.4. Design guidance 1929.5. Prevalence data 192

10. Dexterity 19310.1. Force exertion without grip 19310.2. Precision gripping 19410.3. Power gripping 19510.4. Two handed tasks 19510.5. Context of use 19510.6. Design guidance 195'10.7. Prevalence data 196

11. Summary 197

Connecting design with cognition at work D 99DAVID WOODS AND AXEL ROESLER

1. Introduction 1992. Design and cognition at work: Impaired or

unimpaired micro-cognition 201

; CONTENTS

3. Design and cognition at work: Expanding the impact ofmacro-cognition 204

4. Contrasting micro- and macro-cognitive viewpoints 2065. Macro-cognition and expansive adaptations 2086. Inventing the future of cognition at work 210

S Designing for expertise 2 D SAXEL ROESLER AND DAVID WOODS

1. Introduction 2152. Perspectives on expertise 217

2.1. A history of the study of expertise 2192.2. What is expertise? 2222.3. Who are the experts? 2242.4. How expertise is acquired? 226

3. Innovation and the eminent level of expertise 2274. The implications of differences in user expertise for product design 2325. Summary and conclusion 235

PART71 FROM THE INTERACTION] PERSPECTIVE 239

9 Holistic perspectives on the design of experience 24 DGERALD C. CUPCHIK AND MICHELLE C.HILSCHER

1. Introduction 2411.1. The cognitive approach 2421.2. Contributions of phenomenology 243

1 1.3. Contributions of Gestalt psychology 2451.4. Contributions of Kurt Lewin's experimental phenomenological social

psychology 2472. Personal meanings of design products 247

2.1. Analyzing the discourse 2482.2. Factor analysis 2482.3. Reflections on the factor analysis 2512.4. Analysis of variance 2512.5. Reflections on the analysis of variance 252

3. Application 252

A The aesthetic experience 257

Product aesthetics 259PAUL HEKKERTAND HELMUT LEDER

1. Introduction 2591.1. Aesthetics 2601.2. Research in aesthetics 261 .

2. Organizational properties 2612.1. Unifying properties 2622.2. Complexity and variety 264

CONTENTS XI

2.3. Unity in variety 2653. Meaningful properties 266

3.1. Familiarity and prototypicality 2673.2. Originality, novelty and innovativeness 2693.3. 'Most advanced, yet acceptable' 2703.4. Product expression and association 270

4. Universal aesthetic principles 2714.1. A study on cross-cultural aesthetic universals 2714.2. Evolutionary aesthetics 2734.3. Cross-sensory aesthetic principles 276

5. Cultural and individual differences 2775.2. Sensitivity 2775.2. Knowledge and experience 2775.3. Culture 2785.4. The evolution of taste 279

6. Conclusions 2806.1. Implications for design and designers 2806.2. Future of design aesthetics 281

I I Aesthetics in interactive products: Correlates andconsequences of beauty 287MARC HASSENZAHL

1. Introduction 2872. Beauty'Defined' 2883. Correlates of beauty 291

3.1. What is beautiful is usable: — Myth or truth? 2913.2. Other correlates 293

4. Consequences of beauty 2954.1. Beauty as a source of value 2954.2. Beauty as appealing to self-referential goals 2964.3. Beautiful products work better 298

5. Summary and conclusion 299

B The experience of meaning 303

12 Meaning in product use: A design perspective 305STELLA BOESSAND HEIMRICH KANIS

1. Meaning in product use 3052. Product semantics 306

2.1. Product semantics applied 3072.2. Elements of product semantics 3082.3. Product semantics and product use 309

3. Affordances 3093.1. The introduction ofthe affor dance concept in design 3093.2. James Gibson's theory of affordances 3103.3. A contradiction in the theory and two arguments to explain it 3113.4. Affordances: A mixed blessing for design 313

XII CONTENTS

4. Anticipating meaning in product use 3174.1. The unpredictability of use on the basis of prior theoretical

considerations 3174.2. Imagining product use in design 3184.3. Conceptualizing product use for design: Situatedness 320

5. Usecues for research on product use 3225.1. Empirical approach 3235.2. Story of use 3235.3. Usecues for perception, cognition and action 3235.4. Observed usage 3245.5. Design outcomes 3245.6. Limitations 324

6. Usecues in the Delft design course 3256.1. A project example 3256.2. Reflection 329

7. Conclusions 329

I 3 Product expression: Bridging the gap between thesymbolic and the concrete 333THOMAS J.LVAN ROMPAY

1. Introduction 3332. The expressive object 334

2.1. Bodily expression 3352.2. Arnheim and the Gestalt school 3362.3. The ecological approach 3372.4. Discussion 338

3. The constructive individual 3393.1. Arousal and the aesthetic experience 3393.2. Dynamization and empathy 3393.3. Metaphor and analogy 3403.4. Learned meanings 3423.5. Discussion 343

4. The interactional stance 3444.1. Lakoff and Johnson on metaphor 3444.2. Image schemas 3454.3. Image schemas and product expression 3464.4. Variability in the perception of product expression 348

5. Conclusion 349

B 4 Semantics: Meanings and contexts of artifacts 353KLAUS KRIPPENDORFF AND REINHART BUTTER

1. Preliminaries 3531.1. Second-order understanding. 3541.2. Meanings 3541.3. Networks of stakeholders 3571.4. Interfaces 358

CONTENTS XIII

2. Artifacts and their various contexts 3622.1. Observing the meaningfulness of artifacts in context of their use by

others 3632.2. Interfacing with artifacts according to what they mean, thus being

part of their context 3662.3. Anticipating context of use from narratives involving particular

artifacts 3683. Three concluding observations 371

3.1. Meaninglessness 3713.2. The size of a context 3723.3. Metaphors revisited 373

4. Conclusion 375

C The emotional experience 377

I § Product emotion 379PIETER M.A. DESMET

1. Introduction 3791.1. Scope and structure of the chapter 380

2. Affect and emotion 3802.1. Core affect 3812.2. Attributed affect: Emotions 3822.3. Free floating affect: Moods 3832.4. Dispositional affect: Attitudes 3842.5. Differentiating between emotions 3842.6. Function of emotion 385

3. Approaches to product emotion 3863.1. Pleasure approach to product emotion 3863.2. Process-level approach to product emotion 3873.3. Appraisal approach to product emotion 389

4. Sources of product emotion 3914.1. Product emotion related to affect dispositions 3924.2. Product emotion related to goals 3934.3. Product emotion related to standards 3944.4. Mixed emotions 394

Consumption emotions 399MARSHA L RICHINS

1. Introduction 3991.1. Scope of the chapter 4001.2. Consumption emotions defined 4001.3. Product categories and consumption emotions 401

2. Setting the stage for consumption emotions 4022.1. Consumption hypotheses 4022.2. Prepurchase affective states 403

XIV CONTENTS

3. Eliciting conditions for consumptionemotions 4043.1. Purchase 4053.2. Influences of consumption situation 4053.3. Dissatisfaction 4073.4. Persistent consumption emotions 407

4. Individual differences in consumption emotionexperience 408

5. Research on consumption emotions 4095.1. Single emotion studies 4095.2. Broad range studies 410

6. Identifying and measuring consumptionemotions 4146.1. Differential Emotions Scale 4156.2. Pleasure-arousal-dominance dimensional representation 4156.3. Consumption Emotions Set 415

7. Future directions 4167.1. Theory building research 4177.2. Managerially oriented research 418

D Specific experiences and approaches 423

Product attachment: Design strategies to stimulatethe emotional bonding to products 425RUTH MUGGEJAN RLSCHOORMANSAND HENDRIK N.J.SCHIFFERSTEIN

1. Defining product attachment 4252. Relevance of product attachment for designers 428

2.1. Creating emotional experiences 4282.2. Stimulating sustainable consumption 429

3. Determinants of product attachment 4303.1. Pleasure 4303.2. Self-expression 432

4. Conclusion 437

Crucial elements of designing for comfortPETERVINKAND MICHIEL P. DE LOOZE

1. Attention for comfort in design 4412. Two entities: Comfort and discomfort 4413. Comfort and discomfort aspects of importance for design 4444. Comfort improvement is possible 4475. The cases 447

5.1. Case I: Discomfort on an assembly line 4495.2. Case II: Comfortable paint scraping 4515.3. Case III: Aircraft interior comfort 455

6. Conclusion 459

CONTENTS XV

19 Co-experience: Product experience as socialinteraction 46 BKATJA BATTARBEEAND ILPO KOSKINEN

1. From user experience to co-experience 4612. Interpretations of user experience in design

research 4623. A philosophical detour 4634. Co-experiencing mobile multimedia as a

process 4654.1. Lifting up 4654.2. Reciprocating 4664.3. Rejecting 467

5. Morphome: Designing for co-experience with prototypes 4685.1. Design prototype:. The 'IKEA' style study and system

scenarios 4705.2. The system prototype: Living inside a proactive home as

co-experience 4716. Discussion 473

20 Affective meaning: The IKansei Engineeringapproach 477SIMON SCHUTTEJORGEN EKLUND.SHIGEKAZU ISHIHARAAND MITSUONAGAMACHI

1. Introduction 4772. Kansei and Chisei 4783. Introducing Kansei in commercial product design 4794. The Kansei Engineering approach 4795. The Kansei is changing 480

5.2. Proximity of presentation 4815.2. Proximity of interaction 482

6. Kansei Engineering procedure 4826.1. Choosing the domain 4836.2. Spanning the Semantic Space 4836.3. The Space of Properties as a counterpart of the

Semantic Space 4856.4. Synthesis 4876.5. Model building and test of validity 488

7. Applications of Kansei Engineering in industry 4887.1. The Mazda Miyata case 4887.2. Developing a new hair treatment 4897.3. An example of engineering design for driving

feeling 4918. Reflections on Kansei Engineering methodology 493

8.1. Is Kansei Engineering innovative?. 4938.2. Reinforcing exterior design using interior qualities 4948.3. Reductionism versus holism 4948.4. Moving from quantitative to qualitative approaches 495

XVI CONTENTS

PART

FROM THE PRODUCT PERSPECTIVE 497

A Digital products 497

2 D The useful interface experience: The role andtransformation of usability 499JOHN M.CARROLL AND HELENA M. MENTIS

1. Usability 5002. Usability beyond simplicity 5013. Digital user experience directions 502

3.1. Desirable technology experiences 5043.2. Adverse technology experiences 5073.3. Unexpected technology experiences 509

4. Usability as an evolving concept 512

2 2 The experience of intelligent products 515DAVIDV.KEYSON

1. Background 5152. Understanding intelligent products 5163. Intelligent product functionality and

the user 5174. User experience issues 518

4.1. Perceived functional performance 5184.2. Understanding and sense of control 5194.3. Emotionally appealing and engaging 522

5. Experience driven design 5255.1. Guiding the experience design process 525

6. Central design considerations 5276.1. From'use to presence' 5276.2. From 'task-oriented to experience driven design' 528

7. Future 528

The game experience 531ED STAN AND JEROEN JANSZ

1. Introduction 5312. The game 532

2.1. Digital games 5322.2. Game features and experience 535

3. The player 5383.1. Gamers 5383.2. A framework for describing the game experience 5393.3. Conclusion and methodological outlook 551

CONTENTS XVII

B Non-durables 557

24 Experiencing food products within a physical and socialcontext 559HERBERT L MEISELMAN

1. Introduction 5592.2. Overview 5591.2. Background 5601.3. Terminology 561

2. Products are experienced differently in differentcontexts 562

3. Which contextual variables contribute to the productexperience? 5653.2. Effort to obtain food 5653.2. Eating duration 5673.3. Choice 5683.4. Convenience 5683.5. The physical environment 5703.6. Socialization/commensality 5723.7. Service 573

4. Designing products for a meal context 5735. How to test products to reflect consumer product

experience 576

25 The mediating effects of the appearance ofnondurable consumer goods and their packaging onconsumer behavior 58 BLAWRENCE L GARBER JR., EVA M. HYATT AND UNAL 6 . BOYA

1. Appearance as a carrier of brand equity 5822.2. Four roles for package appearance 5831.2. The role of color 583

2. The relativity of visual phenomena 5852.1. The relativity of color 5852.2. The relativity of visual novelty 586

3. Color experimentation in marketing 5884. The interaction of color and flavor 5905. The interaction of shape and size appearance 592

5.2. The importance of size to the consumer 5925.2. The importance of size appearance to the marketer 5925.3. Size/shape research 593

6. A method for empirical visual research 5956.1. Calibration for novelty of appearance 5966.2. Calibration for meaning inferred from appearance 597

7. Conclusion 600

XVIII CONTENTS

C Environments 603

2 6 Office experiences 605CHRISTINA BODIN DANIELSSON

1. Introduction 6052.2. The importance of office design for organizations 607

2. Environmental stressors and coping strategies in office environments 6073. A framework to understand office experiences 609

3.1. Physical structure 6103.2. Physical stimuli 6163.3. Symbolic artifacts 621

4. Discussion 625

27 The shopping experience 629ANN MARIE FIORE

1. The changing shopping experience 6292. Framing the shopping experience 630

2.2. Consciousness-Emotion-Value (C-E-V) model and Cognition-Affect-Behavior (C-A-B) models for explaining shopping experience 630

2.2. Amalgamation of C-E-V and C-A-B model components 6313. Perceived value and shopping experience 632

3.1. Typology of value 6334. Emergent marketing trends and the engaged consumer 639

4.1. Pervasive experiential elements 6394.2. Customized and interactive experiential elements 640

, 4.3. Holistic experiential elements 6414.4. Transient experiential elements 642

Closing reflections 649

HENDRIK N.J.SCHIFFERSTEINAND PAUL HEKKERT

INDEX 651