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情感设计是新产生的设计方式吗?情感设计,通常被视为一个新兴的工业设计师的议程。讨论这个命题,主要通过三个设计师的作品,并联系他们的生活背景和生活的时代。其中一个设计师应该是生活在19世纪或者20世纪初,一个生活在20世纪中期,另一个生活在20世纪或21世纪初。

前言

随着社会的发展进步,他们在使用和购买产品的时候更加注重产品的情感体验,而不单单只关注于产品的可用性和实用性。人们不会因为他们需要做咖啡、煮水或挤柠檬汁而买我的咖啡机,水壶,和柠檬榨汁器,而是因为其他的原因。阿尔贝托·艾烈希曾经说过,越来越多的人购买更具知识水平和精神价值的产品。相信情感设计在产品选择中发挥着越来越重要的作用。情感设计过程中需要考虑到人们长久使用这种产品所产生的一种经验和感觉,并分析它如何影响他们的生活。莱昂内尔·老虎(加拿大人类学家)定义这个概念,把它分解为四类:

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. 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. Accessed 20th Jan 2010. Constructivism used a lot of abstract and geometric shapes, like the art work of De Stijl (Figure 1). Brandt’s tea pot and ashtray are shown below (Figure 2 & 3). Both use simple, geometric shapes, and predominantly metal which fits in with the culture at the time. Although it appears as though she is challenging the norm in some ways by avoiding block colour and lines, she has mostly used curves.

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.
 

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