the role of design-11 (1)
TRANSCRIPT
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The Role of Design
Neil Alderman
University of Newcastle uponTyne Business School
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Outline
The nature of design and designers
Design and consumer culture
Design in industry and commerce Design factors in competitiveness
Design for innovation
Design case studies
Conclusions
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What is design?
A value-driven activity Types of design
Engineering design Industrial design Process design Graphic design
Architecture Interior design Ergonomics
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Design concerns
Function /performance
Form
Styling Useability Materials++++++++++++++++++++++ Things Places
Fashion Image Awareness
Communication
++++++++++++++++++++
Messages
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The design toolbox
Colours Shapes
Materials Movement
Odours SpaceTexture Imagery
Design involves the combination and
interaction of these elements in theenvironment of contact with theconsumer, user or other stakeholder
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What constitutes good design?
Sustainable
Accessible
Functional
W
ell made Emotionally resonant
Enduring
Socially beneficial
Beautiful
Ergonomic
Affordable
Metropolis Magazines design principles for the 21st Century
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What is a designer? Designer as maker
Concern with material things
Designer as knowledge worker
Designer as meaning signifier Providing for human experience Designer as cultural intermediary Designer as entrepreneur
Opportunistic, defining themselves Designer as active citizen / social
responsibility Contribution to quality of life
(Press and Cooper, 2003)
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Designing for experience
Implies putting people first
Design as the deep art of the useful
Designers tend to pursue the possible Implies need to design the experience
not the object
Design needs to understand the processof consumption
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Design and consumer culture (1)
Consumption / consumer culture: the creationof experiences with well-designed artefacts
Consumption moving beyond material well-
being to a concern with status and symbolicmeaning ideas of fashion, style and taste
The emotional relationship between the userand product is determined, to a large extent,
by the symbolic dimension of the product(McDonagh et al, 2002, 231)
Design as a medium of communication ofsymbols and signs
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Symbolic consumption
Material possessions as
symbols of identityOthersSelf
Instrumental meaning
Function
Symbolic meaning
Expression of self
Use related
Makes an activity
possible
Self expressive
Symbolising qualities
and values
Categorical
Symbolising group
membership and
social status
Source: derived from McDonagh et al (2002) after Dittmar (1992)
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Design and consumer culture (2)
People expect different things from the productsthey consume
Possessions can be seen as part of an extended self
(Belk, 1988) Possessions represent an individuals material capital
(Dant, 2006)
Material objects influence the way we relate to and
interact with society social and cultural relations [are] mediated via material objects (Dant, 2006, 290)
Designers need to understand users and createmeaningful forms of consumption for them
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Designing for diversity
Design for factors influencing identity Age groups Social classes
Ethnicity Lifestyle aspirations
E.g. SonyWalkman -> My First Sony Creates a preferred reading of a product
Alternative readings are possible Consumer culture is an active experience
E.g. Scooters
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Design in industry and commerce
The Cinderella subject VIPP model (Trueman and Jobber, 1998)
Value using design to increase product value
Image using design to create brand and productidentity
Process design as the core of the developmentprocess
Production use of design to reduce costs and savetime
Design spans different domains e.g. marketingand R&D
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Government promotion
The effective use of design is fundamental tothe creation of innovative products, processesand services. Good design can significantly
add value to products, lead to growth in salesand enable both the exploitation of newmarkets and the consolidations of existingones. The challenge is to integrate design
into business processes.CompetitivenessWhite Paper (1995)
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Design factors in competitiveness
Price v. non-price factors
Difficult to distinguish the contribution ofdesign
Difficult to identify success and failure
Difficult to measure
Design is integral to processes of creativity
and innovation1. Innovation
2. Identify
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Design in innovation The Dyson DC05 Designed in terms of function,
ergonomics, aesthetics,context/environment and maintenance
Exceed performance of competitors interms of filtration, dust pick-up and airwatts
Smaller and lighter than predecessor
Easy to manoeuvre, sit on stairs
Size, shape proportions, balance and colourin line with Dyson range
Easy to empty and clean
Reliable, robust, durable, tough, shockresistant quality materials
Source: Dyson website
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Design Case Studies B&Q - Power Tools
Challs - International Buster Range
Herman Miller - Aeron Chair
JCB Teletruk
For details see the handout. Source: Design Council
Questions:
What benefits have these organisations received from the
design projects described in the handout? How has design been used to enhance the business?
What aspects of the development of the products describedhere have been addressed through design?
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Design fors
Design for manufacture
Design for assembly
Design for safety Design for maintenance
Design for useability
Design for disability Design for sustainability
Design for recyclability
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Product attractiveness
Attention grabbing and desirable
Prior knowledge attractiveness Maintaining visual similarity for repeat purchasers
Functional attractiveness Looking as though it will perform well
Symbolic attractiveness
Reflection of the customers self-image Inherent attractiveness of visual form
Intrinsic beauty or aesthetic appeal
(Baxter, 1995)
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Product styling
Rules of visual perception Predisposition to identify pattern
Visual simplicity e.g. typewriter design Partly driven by technological change as well as
aesthetic considerations
Cute faces
Style channelling Fin designs on American cars
Customer demand Fords vinyl roofs
Visual themes run out of steam
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Designing identity
Translating the values of the organization intothe corporate identity
Backlash in 1980s from over-hyping of design
Branding: the blending of corporate reality products, services, communications and theinteractions among people, inside and outsidethe organization with designs intended to
convey and symbolize that reality (Walton, 1997,p.5 quoted in Press and Cooper, 2003).
Danger of overlooking the quality of the coreproduct e.g. Planet Hollywood
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Conclusions
Design can be seen as a core skill
Design is a significant contributor tovalue creation
Design is argued to enhancecompetitiveness
Boundaries between design and otheractivities are blurring over time
Ultimately, design and the creation ofmeaning is a negotiated process