Dissertations / Theses on the topic 'Experience design'
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1
Bergström, Emil. "Exploring User Experience designers experiences working with Machine Learning." Thesis, Högskolan i Halmstad, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-44633.
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The user experience (UX) design practice (c.m.p interaction design practice) has started to make profound changes in designing intelligent digital services using Machine Learning (ML) to enhance the UX. ML has the capability to enhance the user’s experience, for example, facilitating more accurate decisions or improving efficiency in achieving one's goals. However, research suggests that ML is a challenging design material in design practice, such as not envisioning the best-suited solution because of not comprehending data dependency when prototyping or the lack of tools and methods for evaluating the solution. Without a doubt, ML opens new doors for UX designers to be creative in their practice. However, research indicates that lack of knowledge transfer into UX design practice may hamper this potential. This paper explores how UX designers experience ML. The findings resulted in 5 experiences: 1) Absence of competence, 2) Lack of incentive for competence development, 3) Challenging articulating design criteria, 4) Mature vs. Immature customers, 5) Lack of support for ethical concerns. I discuss the implications of these findings and propose how we can understand UX design practice and opportunities for additional design research to support designers working with ML.
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Gomez, Rafael. "Experience design and automotive design." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16172/1/Rafael_Gomez_Thesis.pdf.
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This thesis centres on experience design and automotive design. The aim is to investigate the emotional experience of the driving activity. The research question driving the study is: "How can experience design influence the driving activity?" Experience design proposes to explore emotional aspects of interactions in context. A model of the human-product-environment relationship, using activity theory as its foundation, is presented. The model is used to situate the overall experience of driving.
An experiment exploring the overall emotional experience in real driving situations was conducted. Participants were required to drive around a specified route while performing particular tasks with the vehicle interface. A data triangulation approach was employed involving interviews, think-aloud protocols and observations.
Findings indicate that context together with the emotional state of the driver before driving impacts the overall emotional experience. Positive emotional states before driving with no interaction challenges in high-traffic contexts generated neutral overall experiences. However, positive emotional states before driving with interaction challenges in high-traffic contexts generated negative overall experiences. Negative emotional states before driving combined with interaction challenges in high-traffic contexts generated
positive emotional experiences. It appears that positive emotions associated with overcoming challenging interactions in high-traffic contexts reflect positively on the overall experience. Emotions elicited in low and mediumtraffic contexts did not affect the overall experience. Another finding suggests that extended visual interaction with interface in high-traffic context generates negative emotions.
It is proposed that vehicle interfaces should adapt appropriately to their surrounding context to support positive (and avoid negative) emotional experiences. In low and medium-traffic contexts interfaces may encourage interactions. In high-traffic contexts, if the driver is in a positive emotional state before driving interfaces may discourage challenging interactions. If the driver is in a negative emotional state before driving the interface may encourage challenging interactions.
In conclusion, this study proposes the application of current and upcoming technologies for future automotive interiors to enhance positive (and reduce negative) emotional experiences within the driving activity.
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Gomez, Rafael. "Experience design and automotive design." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16172/.
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This thesis centres on experience design and automotive design. The aim is to investigate the emotional experience of the driving activity. The research question driving the study is: "How can experience design influence the driving activity?" Experience design proposes to explore emotional aspects of interactions in context. A model of the human-product-environment relationship, using activity theory as its foundation, is presented. The model is used to situate the overall experience of driving. An experiment exploring the overall emotional experience in real driving situations was conducted. Participants were required to drive around a specified route while performing particular tasks with the vehicle interface. A data triangulation approach was employed involving interviews, think-aloud protocols and observations. Findings indicate that context together with the emotional state of the driver before driving impacts the overall emotional experience. Positive emotional states before driving with no interaction challenges in high-traffic contexts generated neutral overall experiences. However, positive emotional states before driving with interaction challenges in high-traffic contexts generated negative overall experiences. Negative emotional states before driving combined with interaction challenges in high-traffic contexts generated positive emotional experiences. It appears that positive emotions associated with overcoming challenging interactions in high-traffic contexts reflect positively on the overall experience. Emotions elicited in low and mediumtraffic contexts did not affect the overall experience. Another finding suggests that extended visual interaction with interface in high-traffic context generates negative emotions. It is proposed that vehicle interfaces should adapt appropriately to their surrounding context to support positive (and avoid negative) emotional experiences. In low and medium-traffic contexts interfaces may encourage interactions. In high-traffic contexts, if the driver is in a positive emotional state before driving interfaces may discourage challenging interactions. If the driver is in a negative emotional state before driving the interface may encourage challenging interactions. In conclusion, this study proposes the application of current and upcoming technologies for future automotive interiors to enhance positive (and reduce negative) emotional experiences within the driving activity.
4
Park, Ji Yong, and n/a. "Interactive user experience design : creating an effective online experience." Swinburne University of Technology, 2007. http://adt.lib.swin.edu.au./public/adt-VSWT20071004.120754.
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Designing for user experience is central to good web design, particularly in e-commerce
settings. However, the relevant dimensions and processes of designing for user experience
have been variously defined. This project develops an approach to web design that defines
the key dimensions of user experience, including interactivity, participation, and flow, and
web site design of the user experience. The idea of Interactive User Experience
Design is advanced as a model for designing from the perspective of user experience.
The project reviews relevant dimensions of user experience, proposes a model integrating
key design dimensions of this experience, surveys design literate university students on
effective online experiences, and develops a prototype for a hypothetical commercial web
site that incorporates elements of co-creation and identity play. This practice-based
project contributes a new proposal for web-based design and new knowledge in the form
of an approach to user experience design.
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Findik, Nur. "Design Of Experience Sampling Tools For Reporting Student Experience In Design Education." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614957/index.pdf.
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Considering the continuous design activities that are performed throughout the design projects, design students go through several stages of decision makings, and sometimes they experience problematic situations in between consecutive supervisory meetings. Revealing all experiences during the discussions with supervisors, thus communicating the ideas could be sometimes difficult. In order to provide a better guidance, it is also important for supervisors to understand students&rsquoprocess in between these meetings. There are available tools used in the fields like education or health in order to monitor an individual&rsquo
s daily life in relation to the context (e.g. time, place, activity) and personal circumstances (e.g. emotions, feelings, ideas). These tools are developed based on experience sampling method (ESM), a research method focus on collecting self-reported data from participants in order to measure their daily life experiences, especially during a long period of time. Since the target group and experience has different characteristics for each context, design of experience sampling tools are also gaining importance to address these specific experience according to individuals&rsquo
needs and expectations. Aiming at assisting design students to do regular self-reporting on their experiences, this study presents a background research for designing experience sampling tools that would be used by students and supervisors to keep track of students&rsquo
experiences throughout design projects. In this sense, this study intends assisting students self-reporting activities, translate the main design requirements of experience sampling tools into the context of design projects, as well as revealing guidelines for the future implications of ESM tools in design education
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Wang, Nan. "Mody : a smart commuting experience." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-172962.
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Due to the current urbanization trend, people are spending more time than ever on their daily commute. However, commuting in megacities often results in irritating scenarios. Especially when using public transportation. This project tried to provide an alternative way of commuting that would allow people to refresh themselves during the journey and prepare for their activities in the best way possible. Rather than looking at the commute as a transition from A to B, this project tried to envision different scenarios of daily life and implement smart solutions that would enhance the experience through seamlessly integrated technologies—based on the technological expertise from the sponsor Huawei. In this concept, smart sensors combined with data collection would provide a tailored experience for the customer at different depth levels. The process includes brand research and topic selection to set up the design goal. Basing on the valuable material got from the first step, the design moved to the next step and tried to find the solution for the thesis topic. This is processed by gathering information from the website, brainstorming the ideation. Then the author built up the prototype by sketching, rendering, and 3D modeling. The user experience got developed basing on the robust design. The author started with user research and analyzed and set up personas. The result is an interior design concept with a particular focus on its interaction and user experience. The seating position supports the user experience by changing in harmony with individual preferences and time of the day. Three unique travel modes provide different levels of control over the overall experience based upon the user's request and their trust in the smart system.
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Hager, MaryAnn. "Experience and design : refined experience of natural context and the architectural design process." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28132.
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This inquiry explores the experience of natural context, and the implications of refined awareness for the architectural design process. Firstly, it consists of the Theoria; a description of experience as generic. Secondly, it consists of the Praxis; my own experiential descriptions of natural context with concomitant design explorations. Thirdly, it consists of the Thesis; a description of design experience as generated by the refined experience of natural context. The Thesis describes the following intrinsic traits of design experience: a poignant design trigger (punctum); the inextricable co-presence of actual with potential experience; the subtle rhythm of focus with emanation; and spontaneous continuity. These traits are distinctive to a design process tempered by refined experience.
This inquiry is written by a designer for the designer. The research method is direct experience, both of the natural context and of the design process. The discourse is first person descriptive. The inquiry adopts the premise that direct experience and personal discourse are valid bases for communication on an essential level. The intention is to speak to the designer through vicarious experience rather than through the acceptance of a hypothetical argument.
This inquiry focusses on the early stages of design experience. In terms of the traditional design process, I have focussed on the pre-design stage, design inception and early sketch development. Further stages of the process, including the act of building, remain for further study.Applied Science, Faculty of
Architecture and Landscape Architecture (SALA), School of
Graduate
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Draper, Christijan D. "Ships Passing in the Night? E-Learning Designers' Experiences with User Experience." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5487.
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This qualitative study investigated the extent to which a diverse sub-set of e-learning designers were aware of UX principles and practices, where their e-learning design practices overlapped with established UX practices, and where UX principles might benefit e-learning designers. E-learning has grown dramatically as an area of focus in instructional design within the last decade and a half. This growth suggests a need for a better understanding of design tools, concepts and principles that can guide an e-learning designer to design better and more effective instruction. One field of design that has potentially had an impact on e-learning design recently is user experience (UX) design. Both fields of UX and e-learning are concerned with designing interactions with technology, but while there are some shared ideas and terms between the two, there has been no research into the perceptions and understanding of UX tools by practicing instructional designers. Nine professional e-learning designers were interviewed to understand their perspective and experience.The findings of this study resulted in four themes and several subthemes. In general the participants of the study were not familiar with the formal practices of UX design. Many were also not familiar with several of the seminal works of the UX design field. The emergent themes suggest there are similar concerns between UX design and e-learning design. There were varying perceptions of the role of an e-learning designer as well as a broad spectrum of perception of what qualifies as good e-learning design. Participants reported the e-learning design field has numerous practitioners who lack formal training in instructional design principles in addition to limited training in other design disciplines. Participants also discussed constraints that could impact their ability to embrace UX practices. Findings suggest e-learning design practitioners and students of the field would likely benefit from a greater awareness of, or even formal training in UX practices. Additional research into the shared practices of UX and e-learning design could also likely open new opportunities to advance the practice of e-learning design.
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Tucker, Matthew R. (Matthew Ryan). "The imperative of experience and strategies for designing experiences at scale." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/113533.
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Thesis: S.M. in Engineering and Management, Massachusetts Institute of Technology, System Design and Management Program, 2017.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 76-80).
In recent years, intense competition, fueled in large part by globalization and digitalization, has been accelerating the process of commoditization of products and services. Even when design is deployed to shape the product and distinguish it from competitors, the design often remains product-centric and easy to replicate. These dynamics have created an abundance of material wealth in developed economies, and people are often choosing to devote discretionary income to paying for fulfilling, unique experiences. In response, more companies are beginning to offer experiences to their customers as a way of differentiating themselves. Experiences, first recognized as a distinct economic offering in the late 1990s, are more holistic and subjective than products or services, appeal to higher order needs than the purely functional, and facilitate the development of customer-company relationships in place of transactional exchanges. The imperative of offering experiences presents significant challenges for nearly all companies, as they will be required to shift from being product-centric to being customer-centric. Recognizing that experiences reflect many technology products in their complexity, this thesis seeks to combine the fields of human-centered design and systems design to make experience design more accessible to all companies. Then, based on analysis of design systems and transmedia, it presents the concept of creating a design platform that permits extension and further development of the experience. This strategy balances consistency with the ability to respond to customer needs and adoption of new technology platforms. Finally, ideas for future research into this nascent field are presented.
by Matthew R. Tucker.
S.M. in Engineering and Management
10
Park, Ji Yong. "Interactive user experience design creating an effective online experience /." Australasian Digital Thesis Program, 2007. http://adt.lib.swin.edu.au/public/adt-VSWT20071004.120754/index.html.
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Thesis (DDes) - Faculty of Design, Swinburne University of Technology, 2007.[Submitted in total fulfillment of the requirements of the degree] Doctorate in Design, Swinburne University of Technology - 2007. Typescript. Includes bibliographical references (p. 63-74).
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Seeger, Ida. "User eXperience : Design, teknik, business – men vad innebär det egentligen?" Thesis, Högskolan i Gävle, Industridesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-30764.
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User Experience, UX, som till en början främst användes inom IT-världen och sägs härstamma från HCI (Human Computer Interaction) används idag i allt större utsträckning. Den här studien syftar till att förtydliga vad UX innebär, hur definieras det samt hur ser yrkesrollerna ut inom UX. Denna studie är en jämförelse mellan teori och praktik för att se om praktiken matchar litteraturen. Ytterligare fokus ligger på organisationers UX-mognad samt vad det innebär för någon som är yrkesverksam inom UX. Vad innebär det för designers när mognaden är låg respektive hög? I den här studien användes huvudsakligen metoderna litteraturstudie, semi-strukturerade intervjuer där deltagarna alla är aktiva utövare inom UX och en enkät om upplevd UX-mognad. UX kommer från användbarhet, då användbarhet anses för snävt för att täcka alla områden man jobbar med vid utvecklingen av en produkt eller tjänst. I teorin beskrivs UX till större del som ett användarfokuserat arbetssätt där användaren ses som experten istället för designern. Eftersom det idag finns en uppsjö av digitala produkter och tjänster har UX blivit viktigt för att kunna uppnå ökad konkurrenskraft på marknaden. Därav har allt fler organisationer börjat intressera sig för UX. För att veta vart en organisation befinner sig i UX-mognaden finns en mängd olika UXmognadsmodeller som kan vara användbara för att fastställa detta samt guida hur en organisation kan avancera. Om UX-mognaden är låg innebär det att ingen eller få jobbar med UX i en organisation. Är det få som jobbar med UX innebär det att de får ta på sig en väldigt bred roll, det blir ett väldigt stort ansvar. Är det verkligen rimligt att en person ska behöva bära det ansvaret? Är däremot UX-mognaden är hög så jobbar hela team eller hela organisationen med UX på något sätt. Det underlättar för designer och bidrar till att skapa ett bättre samarbete inom organisationen. Men om allt fler använder sig av UX och det blir en del av flertalet olika yrken, vad kommer då hända med rollen?
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Walker, James. "Experience as an Experiment." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3036.
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My work is an exploration of new media that demonstrates the influence a community has on visual communication. The community reveals content as objects go unnoticed after they become a permanent part of the landscape and assumptions are made from cultural archetypes. Through exploration, immersion, and reflection, I am able to recognize the invisible and expected, establish a familiarity with a community, and design responses that communicate directly to it.
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Purohit, Tejas. "NIO Horizon : Future autonomous flight experience." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-161309.
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What if future air travel was highly sustainable and appealing? What if you could hop from building rooftop to rooftop or better, from a city to an island without the worries of ground congestion and gridlocks? And how would it look like if NIO decided to take this opportunity and broaden their product offerings? These were some of the initial question that guided the project towards a mode of mobility which is new and challenging to realise. Admittedly It was also exciting to imagine what would future of autonomy look like in something other that a car and to see if A.I. driven technologies and fresh architecture ideas could enhance this experience. And remove the safety and social acceptance stigmas from this type of mobility. Furthermore to see how the design would be influenced by specific target user group & their needs. From Post-it ideation to Alias mock-up and Virtual reality software to validate ideas, the process saw use of several tools. Initial stage included several basic CAS layout proposals which allowed for fresh ideas which were translated into detailed sketches on paper and in Photoshop. Two loops of mid-level detailed CAS were generated and then through combination of both, and additional analogue material the final loop of Alias was completed and then handed to In-house CAS team for refinement and physical prototyping support. Throughout the process there were several check points with the mentor, interior director & university tutors which gave valuable input & direction to the project. The final outcome is a Vertical take off landing vehicle which shows a holistic idea of how future NIO products could look like. A small fleet and a shared model make this realistic and accessible mode of mobility. Passengers are welcomed to a NIO house which also acts as a sky-deck for the vehicle. Open interior layout of the vehicle poses unique and exciting possibilities for either enjoying personal time or a dialogue during the journey. Key functions such as ambient air, music or photo-chromatic glass can be activated by interacting with the two A.I. units placed on top of each seating zone. Use of recycled & vegan materials and lightweight construction of the seats allow for a bigger surface area but optimized weight. The overall welcoming gesture of the interior space aims for attracting a wide group of passengers.
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Wang, Haihong. "Co-designing hair care experience." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1291052568.
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Coxon, Ian. "Designing (researching) lived experience." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/11513.
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Thesis (Ph.D.)--University of Western Sydney, 2007.A thesis submitted to the University of Western Sydney, College of Arts, Education and Social Sciences, School of Communication Arts, as a requisite component in fulfilment of the requirements for the degree of Doctor of Philosophy, under a joint supervision arrangement with the University of Applied Sciences Cologne, Köln International School of Design. Includes bibliographical references.
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Rosenberg, Daniel Ph D. Massachusetts Institute of Technology. "Transformational design : a mindful practice for experience-driven design." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/101502.
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Thesis: Ph. D. in Architecture: Design and Computation, Massachusetts Institute of Technology, Department of Architecture, 2015.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 297-301).
After our initial hype over the digital revolution, we are realizing that interactive technologies, such as personal computers, smartphones, and tablets, are changing our daily experiences exponentially, without necessarily improving the way we live. Although contemporary design practitioners are increasingly interested is a more human-centered design, they objectify the experiences of the people they are designing for by not considering their own experiences during the design process. As a result, these designers do not have the means to observe, talk and reflect about the implications that their design practices and products have on their own experience and that of others. I propose a radical alternative to contemporary practices conceiving and developing new interactive technologies. I call this Transformational Design-a mindful, hands-on, and collaborative practice that allows designers to bring forth their own experiences within their creative process (designer's experience) and then talk and think about the experiences of others (user's experience) in terms of what they have directly experienced. This practice combines Mindfulness practice (Vipassana) with exploratory design (Shape Grammars) using interactive materials, including sensors, microcontrollers, and effectors. In this dissertation, I present the foundations of Transformational Design, including the conceptual guidelines-a vocabulary and models-along with the exercises to apply them in practice. In these exercises, participants express their experiences and design by putting together interactive and recycled materials. They also play as users and designers, exchanging their expressions and products, and then observing one another. I built this practice by simultaneously conceiving the foundations and exploring them in workshops with many others. In total, I conducted 14 workshops with 188 participants in Chile, India, and the US. I have found that with Transformational Design, participants can become mindful, and then express their experiences as a construction: can bring forth new experiences by engaging with their designs in ways they have not done before; and can begin reflecting on how these experiences change the lives of others in ways they could not have predicted. It is my hope that this practice will pave a meaningful alternative path, one that designers can use to begin reflecting as they are putting together new technologies, for themselves and others.
by Daniel Rosenberg.
Ph. D. in Architecture: Design and Computation
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Lundquist, Martin. "Autonomous Bus Passenger Experience." Thesis, Umeå universitet, Institutionen för tillämpad fysik och elektronik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-149064.
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Time keeps on changing our perception of what is possible in our personal life and around us. Over time, jobs such as elevator operator was essential to make the elevator keep its speed, stop parallel to the floor and keep passengers safe in case of emergency. Nowadays elevator passengers just have to enter their destination and wait to be transported there. An operator would be superfluous for this, today, simple procedure. This paper aims to create a set of interaction strategies to provide an efficient and pleasurable journey for the passenger traveling with an autonomous bus, as well as evaluate concepts where these strategies have been applied. The strategies and concepts will be developed from an extensive user- and literature research where the situation of today will be analysed and looked upon with the eyes of tomorrow, to find challenges and needs. Findings shows that passengers have to trust the vehicle and service. At the same time vehicle and service providers have to provide a reliable and consistent service. Four design directions were created to establish this trust between the user and vehicle and service. To enable control and give passengers an efficient journey, passengers have to be provided with adequate and reliable information. The information regarding the bus’s behaviour should be communicated in a transparent way so the bus’s intentions and actions are understandable from a passenger point of view. Also, passengers have to be enabled to stay safe when using the bus, during commuting and emergency, through giving them cues in how an emergency should be handled.
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Song, Minkyu. "Personalized Shopping Experience for Social Impact." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439306405.
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Knobel, Martin. "Experience design in the automotive context." Diss., Ludwig-Maximilians-Universität München, 2013. http://nbn-resolving.de/urn:nbn:de:bvb:19-162239.
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Various experiences in modern life are in one or another form connected to car rides. However, the automotive industry so far only regards driving as the only relevant experience, a perspective which consequently dominates the field of interaction design for vehicles. Yet, the car is an exceptionally potential space for experiences that go beyond the actual driving task, such as intensive conversation or exploration. So how is it possible to design for special situations like those, and thereby create positive emotions for drivers and passengers alike?
To meet this objective it is necessary to use the human, instead of the function, as the starting point. The design approach of "Experience Design" defined by Marc Hassenzahl provides exactly this focus on the human and concentrates first on their experience. Here, positive emotions are specifically created through the fulfilling of psychological needs.
Experience Design enables the precise analysis of experiences in advance of the design by clarifying with the help of psychological needs why a considered experience is viewed as positive. Furthermore, Experience Design supports the composition of an Experience Story, which is attuned to the desired psychological needs and which defines the experience to be designed. This experience can then gradually be translated into an interaction design. Finally, with the help of technology, the created experience can be lived through in situ by participants and later analysed. Based upon this design approach and by means of methods drawn from the fields of human machine-interaction as well as psychology, four studies on the design of experiences through interaction products in the automotive domain are presented. The created experiences are divided into "Experiences at Group Drives in the Car for Pleasure" and "Experiences While Commuting Alone". These experiences take place in different scenarios, namely: in a motorcade, an exploratory cruise, a commuting ride, and while driving considerately. Out of the practical application of Experience Design in these studies a best practice for the use of the employed methods is developed. Thereby, this work brings to light the possibilities for using technology to design experiences that go beyond the mere act of driving. Furthermore, the challenges of designing experiences in usability-focused environments are shown. Thus, this work is aimed at offering inspiration to designers and researchers particularly in the automotive domain for designing experiences and thereby furthering innovation.Viele unterschiedliche Erlebnisse im Leben sind auf die eine oder andere Weise mit Autofahrten verbunden. Jedoch wird in der Automobilindustrie das Erlebnis im Auto bisher gleichgestellt mit dem Fahrerlebnis selbst, was folglich auch das Interaktionsdesign in Fahrzeugen bestimmt. Dahingegen bietet gerade das Auto Raum für Erlebnisse, die über die eigentliche Fahraufgabe hinausgehen, wie intensive Gespräche oder Entdeckungen. Wie also lassen sich derartige Erlebnisse gestalten, und wie kann dies auf eine Art und Weise geschehen, dass bei FahrerIn als auch Mitfahrenden positive Emotionen ausgelöst werden? Zu diesem Ziel sollte beim Menschen und nicht bei der Technologie angesetzt werden. Der von Marc Hassenzahl aufgestellte Designansatz „Experience Design“ bietet eben diesen Fokus auf den Menschen und konzentriert sich auf das Gestalten von deren Erlebnissen. Hierbei werden durch das Erfüllen psychologischer Bedürfnisse gezielt positive Emotionen erzeugt. Experience Design ermöglicht, Erlebnisse im Vorfeld der Gestaltung genauer zu analysieren, indem anhand psychologischer Bedürfnisse geklärt wird, warum ein betreffende Erlebnis positiv empfunden wird. Weiterhin unterstützt Experience Design das Konzipieren einer Erlebnisgeschichte, welche auf die zu erfüllenden psychologischen Bedürfnisse ausgerichtet ist und das zu gestaltende Erlebnis definiert. Dieses Erlebnis lässt sich dann Schritt für Schritt in ein Interaktionsdesign übertragen. Schließlich kann das gestaltete Erlebnis von StudienteilnehmerInnen mithilfe der Technologie in situ durchlebt und analysiert werden. Aufbauend auf diesem Designansatz und mittels Methoden insbesondere aus den Bereichen Mensch-Maschine-Interaktion sowie Psychologie werden vier Studien der Gestaltung von Erlebnissen durch Interaktionsprodukte im automobilen Bereich vorgestellt. Die gestalteten Erlebnisse lassen sich untergliedern in Erlebnisse bei gemeinsamen Fahrten in unbekannten Gegenden sowie in Erlebnisse beim alleine Fahren auf bekannten Strecken. Sie finden in unterschiedlichen Szenarios statt, nämlich in einer Kolonnenfahrt, einer Entdeckungsreise, einer Pendelfahrt und im rücksichtsvollen Straßenverkehr. Aus der praktischen Anwendung von Experience Design in diesen Designstudien wird eine „Best Practice“ zur Verwendung der benutzten Methoden erstellt. Damit werden in dieser Arbeit Möglichkeiten aufgezeigt, wie über die Fahraufgabe hinausgehende Erlebnisse mithilfe von Technologie gestaltet werden können. Diskutiert werden weiterhin Herausforderungen des Gestaltens von Erlebnissen in Umfeldern, die auf Benutzbarkeit spezialisiert sind. So soll diese Arbeit Designer und Forscher insbesondere im automobilen Bereich dahingehend inspirieren, Erlebnisse zu gestalten und damit neue Wege für Innovationen zu finden.
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Marshall, L. "Healthcare environment design and patient experience." Thesis, Canterbury Christ Church University, 2018. http://create.canterbury.ac.uk/17671/.
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The design of healthcare environments has been shown to produce positive effects for patient outcomes, particularly in mental healthcare. However, relatively little is known about patient experience of design within physical healthcare environments. In this study, fourteen cancer patients were interviewed about their experiences of using a newly built cancer centre that incorporates art and design. Grounded theory methodology provided a framework for the analysis of results and the construction of a theoretical model which represents a first attempt at explaining the relationship between healthcare environments and patients with respect to emotional wellbeing. Results show that central aspects of this particular healthcare environment – orientation, physical aspects of design, and atmosphere – were not like a hospital and these led to diverse patient experiences depending on the individual context, in other words the personal histories and preferences that patients brought. Implications for research and clinical practice, including the benefits of drawing upon helpful aspects of environments as part of a holistic approach to treatment, are discussed.
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Reily, Todd R. (Todd Richard). "User experience design of complex systems." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77063.
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Thesis (S.M. in Engineering and Management)--Massachusetts Institute of Technology, Engineering Systems Division, System Design and Management Program, 2012.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 104-105).
Over recent years, the global marketplace and its consumers have developed a mutual recognition for the rising prominence of design that delivers high quality user experience. For the provider of products and services, such design has emerged as a critical differentiator that creates new opportunities for revenue and drives customer loyalty. For the consumer, design can often surpass commoditized technical specifications as a basis for making purchase decisions. Nevertheless, despite their best intentions, many organizations still fail to successfully integrate design strategies into their existing processes and culture. This research examines the critical factors that enable successful implementation of design strategies under current market conditions in a way that produces sustained customer loyalty and revenue. Methods utilized in this research include one-on-one interviews, online surveys, and comparative case studies to ensure proper balance and perspective. The interviews were conducted with design leaders at organizations such as Philips and Frog Design. They covered the role that design plays at organizations, including the conditions necessary for successful design strategies and the barriers that they generally face. Surveys conducted for this research examined the personal experiences of 120 managers, engineers, and designers on the development of consumer-facing products, services, and systems. The result of these methods was a series of findings that supports the notion that a holistic "systems-based" approach offers competitive advantages to organizations looking to successfully implement a design-oriented strategy. It is this perspective that allows organizations to realize solutions that balance business objectives, technical capabilities, and design principles to meet customer intentions. It is proposed by this thesis that a systems-based approach has become necessary due to the ever-converging nature of today's networked products and services, particularly in the consumer marketplace. This thesis concludes with a framework of methods and principles for conceiving and designing user experiences for a complex market of convergent products and services. The framework borrows methods from Systems Thinking, Design Thinking, and User Experience Design to create a singular process that provides the clarity and simplicity necessary for a user experience amidst the complexity of a system design process.
by Todd R. Reily.
S.M.in Engineering and Management
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Šolín, Petr. "Návrh metodiky UIX designu pro mobilní aplikace." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-150209.
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This thesis describes the design methodology for User Experience Design and its use in the creation of mobile applications. The theoretical part focuses on defining the field of User Experience Design (UXD) in conjunction with the definition of user experience. It then focuses on the role of UX Designer and his knowledge especially in the field of design of cognitive and memory operations. The main goal of the theoretical part of the thesis is to make up a comprehensive procedure for creating mobile UX applications serving as company's manual or guidance in creating a user-friendly application. The main goal of the practical part is the author's design of methodology UX Design for mobile applications. The methodology is proposed based on the author's experience gained from the project positions as UX designers and graphic designer. A secondary goal of the practical part is the application of created the methodology on a case study of creating mobile applications.
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Coxon, Ian. "Designing (researching) lived experience." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/11513.
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After many years of research focusing on different aspects of human experience conducted both within design research and outside of it, no clear understanding of experience or ways it might be researched have yet been developed. Many conferences, academic papers, and design studies have described partial structures, formulas and hypotheses that have so far provided inadequate understandings of what constitutes experience and how it might be understood (especially in design){Engage, 2005 #263, p.68}. The first difficulty is that there are no suitable design research methods available to enable design researchers to study experience. Secondly, the nature of what is being studied (what constitutes experience) is unclear and thirdly (due to the absence of the first two) no well reasoned way has yet been found to make this type of information useful to designers. This research project set out to find a way to understand everyday human experience from the point of view of design, but first the tools and methods to do this kind of research had themselves to be researched. The personal experiences of a niche group of transport users were chosen as the research vehicle for an explorative research project. Using hermeneutical phenomenology to guide the philosophical orientation as well as many aspects of the methodological approach, field research was conducted in Australia and Europe. From this approach, taxonomy of the vehicle experience (ToE) was developed. A process of deeply (hermeneutically) exploring the information contained in this taxonomy produced a second set of methods (The SEEing process) that causes a deep understanding of the experience to emerge in the design researcher. Both these methods were successfully trialled in Australia and Germany and an analysis of the results is presented. The ToE-SEEing methodology described in this paper provides firstly, a structured approach to understanding a specific experiential situation. Secondly, the methods enable a fundamental and clear understanding of the deeper essences of the experience to be seen with a degree of clarity, such that informed design can take place. This methodology will be helpful to those for whom it is important to have a deep understanding of the experience they wish to design for, and it will be especially helpful for informing those responsible for decisions (design or otherwise) effecting the quality of others experience with goods or services. ToE-SEEing has been shown to be teachable, learnable and useful as a design methodology.
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Zeng, Hui. "Experience-Oriented Ecological Design: A Methodological Framework to Improve Human Experience in Urban Public Space Ecological Design." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/32908.
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This thesis proposes that sensory experience should play an important role in setting up a direct relationship between people and the natural environment, and it is based on the premise that contemporary urban public space ecological designs. Are often deficient in this regard. In order to develop a design methodology that addresses both ecological function and sensory experience, the author examine both contemporary western ecological design and classical Chinese garden design. The former focuses on the ecological functions of the environment, while the latter typically emphasizes the sensory qualities of the landscape. Drawing from the strengths of both approaches, an experience-oriented ecological design framework is proposed with the goal of improving human experience in urban public spaces. The framework emphasizes both sensory experience and ecological functions in two phases of the design process â site analysis and site design. The framework is applied to a design for Bridge Park in Buzzards Bay, Massachusetts. The design is evaluated to assess efficacy of the framework for the design urban public spaces that address both sensory experience and ecological processes. The evaluation suggests that the framework could be an effective tool for designers, and also draws conclusions regarding the potential role of sensory experience as a tool for creative discovery in the design process. Finally the paper raises questions regarding the desirability of employing sensory experience as a didactic tool to enhance environmental awareness.Master of Landscape Architecture
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Aghanasiri, Maliheh. "User Experience Designer+ Multidisciplinary Team: Guideline to an Efficient Collaboration." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1490352781463361.
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Wheatley, Donna. "Branded spaces : mental mapping architectural design and experience." Thesis, The University of Sydney, 2011. https://hdl.handle.net/2123/29287.
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In commercial architecture projects, there is often an expectation for architects to integrate
qualities intended to evoke defined user responses. This expectation has become increasingly
prevalent in today’s world of pervasive branding where all assets are considered to have
marketing value. This can be good news for designers by virtue of expanding areas of demand
for their advice, but there has been little in the way of examining this field empirically.
Architectural theory focuses attention on the role of marketing strategies in the external design
of major new buildings and urban spaces rather than on the experience during occupancy of
designed spaces. However, the alignment of spatial qualities of workplaces with corporate
branding is an explicitly practised strategy.
The success of delivering preconceived spatial qualities in new workplaces that are appreciated
by users is the subject examined in this thesis. Users’, clients’ and architects’ perspectives are
considered by constructing mental maps that capture the structure of their thoughts and feelings
about a designed environment. The structural characteristics of these maps are investigated
using network analysis due to its ability to address complexity and interconnectedness.
Conclusions about the significance of spatial elements are drawn from the pattern of association
in the mental maps. The thesis finds that the mental maps representing experience of built
environments consist of constructs that fall into four thematic categories. The differences in
outcomes between stakeholder groups suggest that a range of spatial qualities important to users
go unrecognised by clients and architects.
The results from mental mapping suggest that integrating corporate brand values into a design
appears to be achievable, and that their successful incorporation would also be a desirable
practice from the point of view of the users. The mental maps have a capacity to act as a conduit
for all parties involved in spatial design to communicate with one another. By introducing new
research methods from outside the standard architecture discipline, new insights into
architectural response, perception, and new ways of structuring approaches to design are gained.
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Fan, Siyuan. "Integrating design into interactive personal medicine education experience." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378195790.
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Harrison, Anna. "Principles of experience design for airport terminals." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/83947/1/Anna_Harrison_Thesis.pdf.
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In this thesis, the issue of airport terminal design is examined from a novel perspective: that of the passenger rather than the airport operator. A qualitative approach, based on interviews with 199 passengers at Brisbane International Terminal was adopted.
The outcomes of this research make the following three key contributions to existing knowledge: (i) identification of a paradox in the Level of Service metrics, (ii) development of a conceptual model of passenger experience and six design principles and (iii) contribution towards advancing the theoretical knowledge about passengers and their experience in airport terminals.
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Schneider, Oliver Stirling. "Haptic experience design : tools, techniques, and process." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/60233.
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Haptic technology, which engages the sense of touch, offers promising benefits for a variety of interactions including low-attention displays, emotionally-aware interfaces, and augmented media experiences. Despite an increasing presence of physical devices in commercial and research applications, there is still little support for the design of engaging haptic sensations. Previous literature has focused on the significant challenges of technological capabilities or physical realism rather than on supporting experience design. In this dissertation, we study how to design, build, and evaluate interactive software to support haptic experience design (HaXD). We define HaXD and iteratively design three vibrotactile effect authoring tools, each a case study covering a different user population, vibrotactile device, and design challenge, and use them to observe specific aspects of HaXD with their target users. We make these in-depth findings more robust in two ways: generalizing results to a breadth of use cases with focused design projects, and grounding them with expert haptic designers through interviews and a workshop. Our findings 1) describe HaXD, including processes, strategies, and challenges; and 2) present guidelines on designing, building, and evaluating interactive software that facillitates HaXD. When characterizing HaXD processes, strategies, and challenges, we show that experience design is already practiced with haptic technology, but faces unique considerations compared to other modalities. We identify four design activities that must be explicitly supported: sketching, refining, browsing, and sharing. We find and develop strategies to accommodate the wide variety of haptic devices. We articulate approaches for designing meaning with haptic experiences, and finally, highlight a need for supporting adaptable interfaces. When informing the design, implementation, and evaluation of HaXD tools, we discover critical features, including a need for improved online deployment and community support. We present steps to develop both existing and future research software into a mature suite of HaXD tools, and reflect upon evaluation methods. By characterizing HaXD and informing supportive tools, we make a first step towards establishing HaXD as its own field, akin to graphic and sound design.Science, Faculty of
Computer Science, Department of
Graduate
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Haugen, Kent Robin. "Mobile News : Design, User Experience and Recommendation." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for datateknikk og informasjonsvitenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-22982.
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As news consumption is shifting towards the digital domain, with mobile devices in particular, mobile news applications are becoming increasingly popular.This thesis focuses on a combination of mobile applications, with the use of recommender systems, in a news application's perspective, by identifying the state of mobile news applications available today and analyzing how they are accomplished, as well as developing a mobile news recommender application, as a use case associated with this project to see how this can be realized from a developer's perspective.Most of the commercial applications examined in this project follows a similar design pattern concerning user interfaces and user interaction, but there are some that breaks with this trend. The use of personalization and recommendation techniques as an underlying technology for news applications are becoming more wide spread, especially the use of active personalization making use of implicit user feedback.
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Tse, Chun Joe, and 謝俊. "Contractors experience in design & build projects." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31251572.
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Aguirre, Alejandro S. B. Massachusetts Institute of Technology. "Design of an automated cocktail mixing experience." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/83681.
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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2013.Cataloged from PDF version of thesis.
Includes bibliographical references (page 36).
This thesis describes the design concept development of an automated cocktail mixing device and user interface that is capable of dispensing a variety of alcoholic and non-alcoholic ingredients to produce a myriad of drink recipes. The design consists of twelve containers, each connected to an electronically controlled valve, mounted over a circularly symmetric frame that houses a cup while ingredients are dispensed into it. A user study was conducted in which participants responded to questions regarding their drinking habits, drink preferences and perceived experience/knowledge of mixing cocktails. In addition, participants were asked to rate a variety of functionalities that might be found in an automated cocktail mixing device based on how important or crucial they perceived them to be. The responses collected through this user study were used to drive the direction of the design concept development. The automated cocktail mixing device design concept was modeled using CAD software in order to better understand the spatial constraints and requirements of the assembly components. This model, combined with the user study and proposed user interface functionalities, serve as the foundation for the further development of the product.
by Alejandro Aguirre.
S.B.
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Cameron, Nancy G. "User Experience Design in Online Nursing Education." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/7045.
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Tse, Chun Joe. "Contractors experience in design & build projects /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948386.
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Zhang, Pei. "Experience capitalization to support inventive design studies." Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAD002.
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L'expérience joue un rôle crucial dans la résolution de problèmes. Dans les activités inventives de résolution de problèmes, l’expérience est composée de deux parties : l’une est le savoir-faire spécifique acquis dans la pratique de la résolution de problèmes passés, l’autre est la connaissance supplémentaire provenant d’autres domaines dans lesquels la résolution de problèmes a déjà été acquise et est utilisée pour résoudre. Cette thèse propose une nouvelle façon de résoudre des problèmes d’invention en capitalisant l’expérience tirée d’activités de résolution de problèmes antérieures. La première contribution est basée sur l'utilisation du raisonnement à partir de cas pour collecter et accéder rapidement aux expériences. La deuxième contribution consiste à proposer une nouvelle façon de classer les effets physiques basé sur l'utilisation de Wikipédia. Pour mettre en œuvre l'approche proposée dans la thèse, une application Web appelée CBRID (Raisonnement à partir de cas pour la Conception Inventive) est développée. Par ailleurs, nous avons mené une série d’expériences pour évaluer notre approche en termes d’efficacité et d’efficienceExperience plays a crucial role in the resolution of problems. When in inventive problem solving activities, experience is composed of two parts: one is the specific know-how knowledge acquired in the practice of solving previous problems, the other is the additional knowledge from other domains where the problem solver is previously acquired and is used for problem solving. This thesis aims at proposing a new way to solve new inventive problems by capitalizing experience obtained from past problem solving activities. The first contribution is based on the use of the case-based reasoning for collecting and rapidly accessing the experiences. The second contribution consists in proposing a new way to classify the physical effects using Wikipedia. To implement the proposed approach, a web-based application called CBRID (Case-based reasoning for Inventive Design) is developed. A particular case of ''cloth hanger'' is studied to illustrate the problem solving process based on the proposed approach. In addition to that, we conducted a set of experiments to evaluate our approach in terms of effectiveness and efficiency
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Arrighi, Pierre-Antoine. "Modèles d’intégration des designers créatifs dans les processus de conception industriels." Thesis, Paris, ENMP, 2014. http://www.theses.fr/2014ENMP0016/document.
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De décisifs et puissants enjeux d'innovation ainsi que de renouvellement del'identité des objets bouleversent le monde industriel. De telles aptitudes créativessont usuellement associées aux designers industriels. Cependant, ces professionnelsne sont actuellement pas intégrés dans les processus numériques deconception.Afin de décrire ce paradoxe, nous formulons l'hypothèse que, l'omniprésencedans l'industrie de modèles de la conception de type séquentiel, qui juxtaposentcréativité et développement produit, entrave l'intégration des designers industrielsau sein des processus industriels. En effet, en compartimentant la conceptionen silos, ce type de modèles généralistes inhibe les méthodes spécifiquesdes concepteurs créatifs. Bien plus, les outils numériques adjoints au modèle séquentielétant calqués sur sa logique, ils reproduisent et les inconvénients d'unetelle structuration.En mobilisant quatre disciplines académiques qui traitent des outils numériques,à savoir les sciences informatiques, cognitives, de gestion et les théoriesde la conception, nous élaborons un nouveau modèle «dit stratifié». Ce dernierrévèle les modes de raisonnement empruntés par les concepteurs créatifs ainsique la nature des produits élaborés dans les environnements logiciels. A ce titre,l'entreprise Dassault Systèmes ainsi que la suite CATIA se sont révélés un substratde recherche idéal. Comme attendu, notre nouveau modèle propose desassertions inédites qui sont validées au cours de notre travail. Nous avons alorsdémontré que :1/ Certains ateliers de conception favorisent simultanément robustesse et générativité.Nous qualifions cette nouvelle propriété d'«originalité acquise».2/ Les avatars dans le logiciel ne résultent pas d'un raffinement progressif del'objet mais sont plutôt l'instanciation d'une base de règles paramétrée.3/ Les designers industriels requièrent des outils distincts de ceux employés parles artistes 3D ou les ingénieurs, de par la nature de leur conception. Plus exactement,ces professionnels génèrent des modèles conceptuels selon une logiquede singularité de masse.Ces résultats offrent ainsi la perspective engageante de l'émergence d'unenouvelle génération d'outils numériques de conception. Ces outils inédits serontaptes à intégrer les designers industriels et à proposer de l'innovation à la deMany studies show that industrial design is key to triggering, fostering andsustaining innovation. However, the unique capacities of creation and innovationof industrial designers make it challenging for them to thrive within industrialenvironments.The challenge for companies is to create the optimal work environment forthose professionals, while ensuring their work can be integrated smoothly intothe existing industrial design processes. We assume this dilemma is partiallystemming from the intensive use of sequential design models in the industry.Design tools were developed on the assumption that creative front end andproduct development should be separated.We introduce here a new model, aiming at depicting accurately the reasoningmodes and the nature of the object being designed with the digital ComputerAided Design (CAD) suites. This model is the result of the joint mobilization offour academic fields : computer, cognitive and management science and designtheories. Dassault Systèmes and their CATIA software have proven to be an excellentresearch environment for such questions. As we have been thinking, thenew model (laminated) makes three new hypothesis. Those unheard assertionshave been suggested and validated with this thesis :1/ Some specific design workshops are able to provide simultaneously robust andgenerative design capacities. We call this characteristic «acquired originality».2/ The object representations within by the software are not the result of successiverefinements but derive directly from a parameterized set of rules.3/ Industrial designers have specific requirements for CAD tools, different fromtheir engineers and artists counterparts because what they design is fundamentallydifferent. IDs generate conceptual models using a mass singularity technique.Those results sketch the emergence of a new generation of CAD tools forindustrial designers and able to foster innovation
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Wirstad, Gustafsson Ella. "Defining and Evaluating Design System Usability for Improved Developer Experience." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-295151.
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The recent growth of the software industry has drawn attention to strategies aimed at improving collaboration within the development team. Shown to frequently encounter dilemmas associated with cross-disciplinary work are User Experience designers and software developers, whose effective collaboration are essential for the success of the development process. Design systems have evolved as a response to the demand for efficient collaboration as a collection of reusable patterns and documentation used to establish a common language within software development teams. The popularity of using design systems within software development projects has grown rapidly in recent years, but little research has yet been conducted on its usability in development work. The goal of this thesis is to study design systems from a developer perspective, and evaluate its ability to facilitate the collaboration within software development teams. By building upon previous work on developer experience, this study proposes a method for assessing design system usability from a developer perspective. In this study, participating software developers were tasked with implementing user interface design in code with the help of a design system, followed by interview questions based on the Cognitive Dimensions Framework. Thematic analysis was used to analyze the data. Results provide insights into design system usability and developer experience. Findings include aspects of design system usability in general, such as the importance of developers' autonomy and flexibility of the system, as well as implications from the tested method in particular, such as the relevance of context of implementation. The results implicated an inherent dilemma of approaching design system development through conventions and best practices rather than with a systems theory and systems thinking perspective.Senaste tidens tillväxt inom mjukvaruutvecklingsindustrin har resulterat i ett ökat intresse för att effektivisera samarbetet inom utvecklingsteamet. Två yrkesgrupper som påvisats stöta på dilemman associerade med multidisciplinärt arbete är de som designar och utvecklar mjukvara, vars samarbete är avgörande för utvecklingsprocessens framgång. Designsystem har vuxit fram som ett svar på en ökad efterfrågan på effektivt samarbete som en samling återanvändbara mönster och dokumentation som syftar till att etablera en gemensam vokabulär och inom mjukvaruutvecklingsteam. Trots att användandet av designsystem inom mjukvaruutveckling har ökat under de senaste åren har inte mycket forskning gjorts på dess användbarhet i utvecklingsarbetet. Denna uppsats syftar till att studera designsystem från ett utvecklarperspektiv, och utvärdera dess förmåga att facilitera samarbetet inom mjukvaruutvecklingsteam. Genom att ta avstamp i tidigare forskning kring utvecklarupplevelse föreslår denna studie en metod för att bedöma användbarheten och utvecklarupplevelsen av ett designsystem. Deltagande mjukvaruutvecklare fick i denna studie i uppgift att implementera gränssnittsdesign i kod med hjälp av ett designsystem, följt av intervjufrågor baserade på ramverket för Cognitive Dimensions. Tematisk analys användes för att analysera data. Resultaten ger inblick i användbarhet och designsystem i allmänhet, så som vikten av utvecklarens autonomi och systemets flexibilitet, samt implikationer från det testade design systemet i synnerhet, så som implementationskontextens relevans. Resultaten antyder att det finns svårigheter med att närma sig mjukvaruutveckling med designsystem genom konventioner och god praxis snarare än med ett systemteoretiskt perspektiv.
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Önal, Özgür Özcan Can. "Designing for experience:Example experience design projects on workspace/." [s.l.]: [s.n.], 2006. http://library.iyte.edu.tr/tezler/master/endustriurunleritasarimi/T000385.pdf.
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Thesis (Master)--İzmir Institute of Technology, İzmir, 2006Keywords: Design patterns, experience design, designing for experience, user experience, experience patterns, workspace activities. Includes bibliographical references (leaves. 94-95).
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Bailey, Justin Gray. "The Airliner : capturing the essence of experience in visual form." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1540.
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By breaking design down from a whole composed of individual parts, I work to create user experiences derived from spaces and the objects within them. These spaces and objects are brought together in their relationship with the human presence. By translating an experience into a physical environment, I, as a designer, am afforded the opportunity to introduce my own perception into the minds of others who enter the space.
In working with the idea of creating an experience as visual form, I wanted to create a space that evoked an experience we don't get in our everyday lives, a feeling of ascending into flight. Human designed environments have the ability to transport us from our current surroundings and into a unique environment that can affect us not just visually, but emotionally and physically through multiple senses of perception.
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Aguilera, Alderete Paulina. "Food Stories: A Design Method for Understanding Meaning Through Identity, Emotion, and Experience." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin153563433451446.
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Sampson, Ellen. "Worn : footwear, attachment and affective experience." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1811/.
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This research by practice explores our relationship with and attachment to shoes. Focusing upon the shoe as an everyday object, and on the embodied experience of wearing, it examines how through touch and use we become entangled with the things we wear. Drawing on anthropological and psychoanalytic perspectives on attachment, affect and the self, it asks: How can the act of wearing create attachment between the wearer and the worn? What is our relationship with the used and empty shoe – the shoe without the body, the shoe no longer worn? It suggests that our particular relationship to footwear is located in our intimate and tactile relationship to it; that touch and duration of wear create attachment. This research suggests that through use and wear shoes become, not only a record of the wearer’s lived experience, but also an extended part of them - a distributed aspect of the self. That the affective power of the worn shoe is a result of this intermingling, the cleaving of garment and self. Despite a growing body of research on footwear, the worn and the used shoe is absent from much of fashion research. The shoe tends to be interpreted as a symbolic, metaphorical, or imaginary artefact; its material qualities and the embodied experience of wearing the shoe are seldom referred to. This research seeks to place the artefact, the shoe, at its centre. Through an iterative process of making, wear, and observation, it aims to make apparent the intimacies of our relationship with shoes. Rather than record the narratives which we apply to footwear, it seeks to highlight the material traces of these relationships: to present the ways they are embodied within the artefacts themselves. This research is research through practice, into the nature of our relationships with shoes, through making artefacts and images (installation, film and photographs). It is material culture research enacted through the production of artefacts. It situates itself as art practice; the shoes produced are not footwear in a conventional sense but instead are objects designed to amplify and make explicit their role as records of gesture and experience. These empty shoes are records of an absent performance, of gestures which are lost to the viewer, so that only their traces, the marks upon the shoe, remain.
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Bahlenberg, Robin, and Xing Yan. "Anthropomorphic design and anticipated user experience : A two-step provocational design study of the user experience of smart anthropomorphic products." Thesis, Umeå universitet, Institutionen för informatik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-161105.
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We often see anthropomorphic designs in movies as highly intelligent robots, created to make our lives easier, but anthropomorphic is far more common than that. From cameras that look like eyes to face and voice recognition technology and avatars used by companies to support their brands. Despite this, relatively little research has been made about anthropomorphism in smart everyday products, and how that affects the anticipated user experience. Two provocative studies were conducted, where the participants provided their first impressions to picture prototypes. This generated an understanding of the general opinion of anthropomorphic designs, and when added a smart daily product. These studies showed that people are open to the idea of anthropomorphic designs, but the practicality and functionality are crucial. Through identification of multiple themes and thorough analysis, this study can serve as a blueprint to aid future studies about the anticipated user experience of smart daily products with anthropomorphic elements.
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Neubauer, Marie, and Matilda Marcelius. "The Customer Buying Process - a tedious affair or a pelasant experience?" Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21230.
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Services constitute an ever growing part of the western economy. A lot of people are employed in the service sector and almost every day most of us come into contact with a service of some kind. A special kind of service is the self-service concept that leaves the customers to manage on their own. At IKEA, the international home products retailer, customers choose, pick up, transport and assemble the products themselves. This makes it important to give special attention to store layout and how things in the store are organized.Connections were made between the preparations customers do at home and the actions they perform in the store. To create a more positive shopping experience by making it easier for the customers to find their way in the store and pick up the products they want, focus was laid on a digital map based on an electronic shopping list.
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Spencer, Nicholas. "An investigation into the experience of designing." Thesis, Northumbria University, 2009. http://nrl.northumbria.ac.uk/2344/.
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Cross (1999 & 2006) describes a taxonomy of the field of design research, stating that there are three main categories, based on people, processes and products: (i) Design epistemology - study of designerly ways of knowing; (ii) Design praxiology - study of the practices and processes of design; (iii) Design phenomenology - study of the form and configuration of artefacts (Cross, 1999: 6). Cross highlights that design is a socio-cultural activity and therefore the description of designing cannot be complete without taking the opinions and experiences of designers into account, rather than just studying the objects and processes of their work. Dorst (1997: 19) argued that design researchers have paid insufficient attention to the experience of designing and that by improving our knowledge of this phenomenon a more complete account of design activities would be achieved. If design researchers can develop a more comprehensive account of design activities it will contribute to bridging the gap between design theory and design practice. In design methodology there has developed two fundamentally different ways of approaching design, formalised into two paradigms: 'rational problem solving' (also known as technical rationality) (Simon, 1969) and 'reflective practice' (SchOn, 1983 & 1987). Simon defined designing as an instrument of rational problem solving where, in its best and purest form, it is a process of optimisation. Within the paradigm of rational problem solving, problem solvers (designers) are goal-seeking information processing systems, operating in an objective and knowable reality. Under the paradigm of rational problem solving, studying the inner environment, experience or phenomenology of designers is unimportant and illogical. Sch6n criticised the prevailing positivist paradigm, of technical rationality, stating that it fails to account for practical competence in divergent situations. Schiin's theory of design as reflective practice, attempted to address the dilemma and balance between rigour and relevance, focusing upon acts of intelligence within situations of uncertainty and developing an epistemology of practice, which places technical rationality within a broader context of reflective inquiry. In the constructionist paradigm of design as reflective practice the designer is placed in a central role in design activities. However, while the theory of design as reflective practice places the practitioner centrally, describing the action-orientated steps in reflective inquiry, it objectifies the practice of design; and therefore, the theory of reflective practice, as defined by SchOn, falls short of an understanding of the experience of designing. Progress can be made toward developing the theory of reflective practice and further increasing the theory's relevance to design as it is practised by developing our understanding of the experience of designing. This study is concerned with the experiences and conditions that occur as expert designers practise reflective practice within design practice. It develops our knowledge of design as it is experienced by providing descriptions of the design experience based upon the reflections of expert designers. This thesis describes an embedded multiple-case study with multiple units of analysis, where qualitative data about the experience of designing were obtained from eight semi-structured interviews with expert designers. Based upon the process of conjecture and refutation the thesis presents a discourse analysis to test theoretical propositions and draw conclusions about the experience of designing. The findings of this data analysis support the following conclusions: The design process of uncertainty resolution generates emotional fluctuation and disquiet. When operating in situations of volatility and ambiguity, expert designers use creative thinking as a coping mechanism to escape their fear and uncertainty. Creative thinking is used to frame and reframe the design situation in an attempt to create conceptual certainty and synthesis explored through propositional change experiments. Contextualised by the challenge of the design situation the creative element of the design experience is stimulated by: iterative attempts to escape the discomfort of uncertainty and manifest clarity through the creative moment; attempts to protect the conceptual certainty and joy of a design proposition; and the need to do better and have their propositions accepted and considered valuable by other people. The significance of the study is that it moves beyond design practice theory and descriptive models of design processes; it focuses on the practise of design practice, describing the experience of expert designers' professional activities. The key contribution is to further our understanding about, and help describe elements of, the experience of designing, relating those descriptions to the theory of design as reflective practice. This study frames designers' activities from the perspective of their experience and their relationship with uncertainty, thereby providing new ways to understand designing.
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Hart, Jennefer. "Investigating user experience and user engagement for design." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/investigating-user-experience-and-user-engagement-for-design(d0f13517-fea8-4188-84a3-198c7d3ede71).html.
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Understanding the interactive experience of using digital technologies is a complex process. Traditional methods of evaluating interactive technologies originate from usability, which focuses on ease of use, ease of learning and performance. User Experience (UX) emerged from the recognition that usability alone does not account for the more subjective emotional responses experienced when interacting with a product. Although the term UX has become widely accepted within the area of Human Computer Interaction (HCI), its definition still remains unclear, making it difficult to evaluate and design for. This thesis adopts a hybrid perspective by bridging the division between the reductionist and holistic approaches to UX research. Using a multi-methods approach that combine the strengths of both quantitative (objective) and qualitative (subjective) methods, will provide deeper insights into the users’ judgement process of interactive products. Various theories have been proposed to understand UX, yet no consensual UX theory or model has emerged. The importance of aesthetics in influencing decisions about a products quality gained much attention in early UX research with conflicting results, sparking a surge of research into understanding the complexities of user quality judgement. Past UX research has focused on the multi-constructs of pragmatics, hedonics and aesthetics, and how these may influence user judgement, which can vary depending on the context, task and user background. However, little attention has been given to the impact of interactive design features upon UX. Findings from this thesis clearly show that interactivity is an important element within UX in both short and long-term usage. This thesis expands the existing process model of user quality judgement, through a series of three studies to reveal the importance of interactivity, and how initial perception and judgement of a products quality can change over time. The first two studies identify the importance of interactivity in positive influencing UX. Both studies revealed that affective and hedonic ratings increased as a result of interaction, demonstrating the powerful effect of interaction, and showed clear differences for websites that contained enhanced interactive features, despite the presence of usability problems. Further exploration using cluster analysis revealed three sub-groups that categorised users not only by their interactive style preferences, but also by their predispositions towards technology. This perspective of user sub-group analysis is a contribution to the field which bridges population-level quantitative analysis with qualitative findings that focuses on the individual ethnographic interpretations of experience. Considerable UX research has focused on short-term evaluations, based on users first impressions pre and post-interaction, with few studies capturing long-term usage. The third study reports on an ecological longitudinal investigation into how UX changes over time and long-term product use. A group of novice iPad users were tracked over six months to reveal that despite poor usability, hedonic ratings remained high, yet over time usefulness and utility were dominating factors affecting UX and product adoption. The influence of both device and app revealed that although users found the device more pleasurable, it was the variety of apps contained on the device that facilitated positive UX. The overall findings from this research provided some valuable methodological insights and aided the creation of set of practical UX heuristics that can be used to inform both future research and design practice.
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Chamorro-Koc, Marianella. "Experience, context-of-use and the design of product usability." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16360/.
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This study argues that including aspects of user experience relevant to the user's knowledge of a product's context-of-use in the early stages of product design can enhance the design of product usability. To explore these issues, research was undertaken to respond to three research questions: (i) What aspects of user experience influence people's understanding of product usability? (ii) What is the nature of the differences between users' and designers' understandings of product usability? (iii) How can context-of-use and human experience enhance the design of product usability? Findings from the study have shown that experience, context-of-use and knowledge about a product's usability are interrelated. Conceptual principles and design principles were established based on findings to explain (i) the relationships between aspects of experience and areas of product usability and (ii) differences between designers' and users' concepts of product usability. These principles responded to the first two research questions. Causal relationships found between experience and product usability suggested the need to implement them in an accessible manner for a product design process. A design tool -- named the Experience and Context Enquiry Design Tool (ECEDT) -- was devised to exemplify the implementation of findings. A trial run verified that the type of information that ECEDT brings to designers could assist them to address usability and experience issues during the early stages of the design process. This result responded to the third research question of the study. This study's conceptual principles and design principles contribute new knowledge to design theory and practice. This knowledge contributes to design theory in providing greater detail about the differences between designers and users than that addressed by existing theory; it contributes to design practice as it informs designers about the aspects of human experience that prompt users' understanding of a product's use. In doing so, it can potentially assist in the design of products that embed new technological applications, and support the design of product usability.
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Gran, Hornsten Anders, and Jacob Holst. "Emotional Triggers - Experience design as an added value." Thesis, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23525.
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Arbetet har genomförts med målet att skapa ett mervärde för Sony Ericssons produkter, utan att fokusera på telefoner. Vi har undersökt hur man kan öka användarens band till en teknologisk produkt som man alltid bär med sig. Vi har, genom att anordna en workshop, studerat användare och deras attityd gällande personalisering av mobiltelefoner. Vidare har vi besökt Milano och Berlin, och studerat hur mobiltelefoner kommuniceras hos återförsäljare och hur de används, för att få ett globalt perspektiv. Studierna har resulterat i att vi funnit en brist i hur personliga teknologier svarar mot människors känslor. Vi har baserat på detta skapat ett koncept vi kallar Selectíf som innebär en serie riktlinjer, eller kriterier för att skapa tillbehör till mobiltelefoner. Dessa tillbehör skall ta större hänsyn till emotionella aspekter och fokusera mindre på att vara funktions orienterade. Selectíf-produkter sätter känslorna i främsta rummet och skapar därmed ett mervärde baserat på emotionella band.We have in this thesis studied the area of emotive design as a way to create a stronger user experience. Functionality and features are still important to break new grounds and develop artifacts that can make our life easier, but the value of the product must beconsidered in a new way and communicated on new level, an emotional level.We have within the thesis, in collaboration with Sony Ericsson,investigated how emotions can be evoked by personal technologies.The human computer interaction is today so advanced that we might not always reflect over the impact the technology has on us. Our personal technology is getting more sophisticated which could allow stronger emotional bonds between the user and a device. What we have created is a concept for designing what we call emotional triggers.To find out what triggers users’ emotions towards technologyin order to create an added value, we have studied the relationshipbetween users and their mobile phones. These studies included a workshop where we aimed to find out how users perceive their mobile phone and also how willing they are to personalize it.Furthermore we conducted trend research in Berlin and Milan to see international differences in mobile usage and also tocompare it to other industries such as the fashion industry.The result is a concept we call Selectíf. The concept is a set of design criteria for designing add-ons that are made to illustratemore emotional values of a technical device. The concept is based on the notion of a series of add-ons and we have also createda first prototype, called Selectíf no1 based on the criteria.The prototype focuses less on technology and more on a user’s emotional needs and illuminates how personal technologies canbe designed to be more emotive and thereby create a stronger user experience.
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Moattar, Kayrokh. "Våler Church : A Contemporary Experience of Sacred Architecture." Thesis, KTH, Arkitektur, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-100149.
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The History of Architecture has been all about religious buildings. With distribution of sources of power and wealth, new paradigms have emerged. Architecture today is about villas, skyscrapers, stadiums, etc. as well as churches. The financial support of the church is not in the same way as in middle ages; neither the way in which they are used. The question of this thesis project is this transformation of an architectural tradition and how it should be adjusted to our time’s conditions.
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Acklin, Claudia. "Design management absorption in SMEs with little or no prior design experience." Thesis, Lancaster University, 2013. http://eprints.lancs.ac.uk/64556/.
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This thesis studies, how eight SMEs with little or no design experience absorb new design management knowledge, how they build design management capabilities during innovation processes, and how able or unable they are to turn potential into realised absorptive capacity. Furthermore, this thesis investigates, why some SMEs absorb design knowledge more easily than others. – To answer these questions the literature review explores several building blocks from strategic management, innovation, and organisational studies, and connects them to design and design management studies to understand this fundamentally interdisciplinary topic. The empirical foundation of this thesis is an action research project conducted with eight SMEs in Switzerland from different trades. During cooperation with the author of this thesis and through collaboration with external designers, different design and design management approaches and tools were introduced to support the absorption of new knowledge. Individual company projects were facilitated from the formulation of an innovation hypothesis to the launch of new offerings. The data from over 80 workshops was analysed using a critical framework, the Design Management Absorption Model to evaluate the progression of absorption of new design management knowledge. The model suggests that absorption processes unfold in steps of acquisition, assimilation, transformation and exploitation of design management knowledge – and if successful – yield internal as well as external outcomes. It was concluded that there are three different types of companies with respect to design management knowledge absorption, some that reject design after initial attempts due to limited resources or differences in culture and value systems, some that make a basic use of design to improve their offerings but do not fully integrate the knowledge design management knowledge, and some that adopt design and design management to an extent that it starts to act as a dynamic capability enhancing a company’s strategic flexibility. The three types have different perceptions of how far they have progressed with respect to their knowledge absorption causing an absorption gap.
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Hagen, Ulf. "Lodestars for Player Experience : Ideation in Videogame design." Licentiate thesis, Södertörns högskola, Medieteknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-16312.
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The design and development of commercial AAA videogames is a difficult and complex endeavor. It involves large development teams that together aim to create high quality, entertaining games that sell well. Up to now, very few scholars have documented or problematized this practice. This thesis presents a study of the design practices in big game development studios that make commercial AAA videogames. The study focuses on the so called ideation part of videogame development, in which the design ideas are generated, developed and communicated in the work team. The primary data comes from interviews conducted with seven Swedish game developers, but a large quantity of secondary data has also been used. The study shows that the design practice in many studios is to focus on the player experience instead of game features. To secure the intended player experience, the studios have moved away from "big design up front" in the form of classical game design documents, and are instead using a variety of verbal, visual and audial tools to articulate and communicate their vision of the game-to-be. In the thesis, I coin the term lodestars to denote these articulations of the main game concept and the intended player experience. I then move on to describe, exemplify and categorize them. The main purpose of lodestars is to allow everyone in the development team to make design choices in line with a commonly shared design vision in order to create a unified player experience.