Cover image for Managing emotion in design innovation
Title:
Managing emotion in design innovation
Personal Author:
Physical Description:
xxix, 197 pages ; 24 cm
ISBN:
9781466567504
Abstract:
"This book presents an emotion centered research framework titled "emoha" for design innovation. It defines emoha and underlines the importance of the developed framework in culturalization of technology and thereby design innovation. The book explains the detailed research on product styling which leads to the creation of "Emoha" and how to use it in product design"-- Provided by publisher.

"Author's Preface How to Manage Emotions in Design Innovation In today's time frame, emotions are paramount to people, and emotional relationships are becoming more and more desirable. An extension of emotional relationships is the affinity we feel with the products that we consume in this physical world. It has become essential to explore a manner in which emotions play a vital role in the physical world with which we surround ourselves. Our ambitions, desires, and needs are all driven by our emotions. The products in the physical world support and propel these aspirations and can be seen as a reflection of our emotional desires. This has implications in the architecture design, interior design, fashion design, design of home appliances, automobiles, lifestyle products, etc. The physical world can thereby be seen as an extension of emotion-based human aspirations. Styling is an integral part of any product design and development process. During the styling process, a designer imparts emotive qualities to products. With the diminishing technological differences among products, these emotive qualities play an increasingly significant role in enhancing the desirability and sense of ownership towards the product. However, the absence of quantitative tools to evaluate and determine the emotive quality required in product innovation leads to uncertainty in the styling process. The Concept of Emoha This book proposes a new emotion-centered research framework for product styling that can be used for managing emotions in design innovation process"-- Provided by publisher.

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Summary

Summary

This book presents an emotion centered research framework titled "emoha" for design innovation. It defines emoha and underlines the importance of the developed framework in culturalization of technology and thereby design innovation. The book explains the detailed research on product styling which leads to the creation of "Emoha" and how to use it in product design.


Author Notes

Amitoj Singh is a pioneering PhD holder in the discipline of industrial design from India. His groundbreaking research has led to the development of the emotion-centered framework for product design. He is deeply interested in blending his rich industry experience and academic rigor to develop breakthrough and innovative products, services, and systems. Currently, he is leading product innovation projects at Samsung India Electronics Pvt. Ltd. Before joining Samsung, he was working as an assistant professor in the Industrial Design Program at IIT Delhi. He has various international publications and patents (applied) to his credit. His specializations include emotion-centered design, design research and strategy, and disruptive innovation management.


Table of Contents

List of Figuresp. xiii
List of Tablesp. xvii
Forewordp. xxi
Author's Prefacep. xxiii
Acknowledgmentsp. xxvii
The Authorp. xxix
1 Introductionp. 1
1.1 Importance of Emotions in Product Stylingp. 1
1.2 Need for Studying Emotions Associated with Motorbikesp. 2
1.3 Development of an Emotion-Centered Research Frameworkp. 5
1.4 Research Design and Methodologyp. 6
1.4.1 Case Study as a Research Strategyp. 7
1.4.2 Generation of Research Hypothesisp. 7
1.4.3 Generalization of Resultsp. 8
1.5 Social-Cultural Segmentation of Biking in Indiap. 9
1.5.1 Bread-and-Butter Biking Segmentp. 11
1.5.2 Travel-and-Comfort Biking Segmentp. 12
1.5.3 Social-Networking Biking Segmentp. 12
1.5.4 Dexterous and Exploratory Biking Segmentp. 14
1.5.5 High-Esteem Biking Segmentp. 15
1.5.6 Religious Biking Segmentp. 16
1.6 Styling Differences within the Biking Segmentsp. 18
1.6.1 Styling in Bread-and-Butter Bikingp. 19
1.6.2 Styling in Travel-and-Comfort Bikingp. 19
1.6.3 Styling in Social-Networking Bikingp. 19
1.6.4 Styling in Dexterous and Exploratory Bikingp. 21
1.6.5 Styling in High-Esteem Bikingp. 21
1.7 Generation of the Premise of Studyp. 22
2 Literature-Oriented Research Frameworkp. 25
2.1 Research Traditions in Design and Emotionsp. 25
2.1.1 Understanding of Emotionsp. 25
2.1.1.1 Theories of Emotionsp. 26
2.1.1.2 Cognitive Structure of Emotionsp. 27
2.1.1.3 Classification of Emotionsp. 28
2.1.1.4 Emotions Associated with Productsp. 29
2.1.1.5 Discussionp. 30
2.1.2 Current Approaches for Designing Emotion-Laden Productsp. 31
2.1.2.1 Understanding Product Emotionsp. 31
2.1.2.2 Investigating Product Emotionsp. 33
2.1.2.3 Expressing Product Emotionsp. 35
2.1.2.4 Personalization of Product Emotionsp. 37
2.1.2.5 Experiencing Product Emotionsp. 39
2.1.2.6 Sensing Product Emotionsp. 40
2.1.2.7 Discussionp. 42
2.2 Theoretical Applicability of the Research Hypothesisp. 43
2.2.1 Context-Specific Segmentation of Product Ownershipp. 43
2.2.1.1 Market Segmentationp. 43
2.2.1.2 Segmentation Approachesp. 43
2.2.1.3 Need for Context-Specific Segmentation of Product Ownershipp. 44
2.2.1.4 Social-Cultural Segmentation of Biking in India (as Presented in Chapter 1)p. 44
2.2.2 Directions for Investigating the Emotive Quality of Product Ownershipp. 45
2.2.2.1 Psychological Ownershipp. 45
2.2.2.2 Self-Concept and Self-Congruityp. 46
2.2.2.3 Person-Product Personality Gives an Emotive Quality to Product Ownership Experiencep. 47
2.2.2.4 Emotive Words Describe the Emotive Quality of Product Ownership Experiencep. 47
2.2.3 Research Objectivesp. 49
2.3 Significance of the Study for Motorbike Designp. 49
2.3.1 Designing Emotion-Laden Motorbikesp. 49
2.3.1.1 Form Follows Emotionp. 49
2.3.1.2 Emotion Follows Formp. 52
3 Evolution of Research Methodologyp. 55
3.1 Development of Biker-Bike Personality Measurement Instrumentp. 55
3.1.1 Phase 1: Compiling the List of Adjectives in English Languagep. 55
3.1.2 Phase 2: Online Word-Count and Frequency Study on Motorbike Websites in Indiap. 56
3.1.3 Phase 3: Mapping of Frequently Used Adjectives on Goldman's Evaluative Aesthetic Termsp. 56
3.2 Biker-Bike Survey Questionnairep. 67
3.3 Sampling of Bikes and Bikersp. 69
3.3.1 Profile of Respondentsp. 69
3.4 Data Collection Procedurep. 76
3.5 Techniques Used for Data Analysisp. 78
3.5.1 Qualitative Analysis: Ascertaining the Social Cultural Segmentation of Bikingp. 78
3.5.2 Quantitative Analysis: Emotive Quality of Biking Segmentsp. 79
4 The Sociocultural Segmentation of Bikingp. 81
4.1 Bread-and-Butter Bikingp. 81
4.2 Travel-and-Comfort Bikingp. 82
4.3 Social-Networking Bikingp. 84
4.4 Dexterous and Exploratory Bikingp. 85
4.5 High-Esteem Bikingp. 86
4.6 Identification of Biking Needsp. 87
4.7 Segment-Wise Comparison of Biking Needsp. 90
4.8 Mapping of Biking Needs on H-E-A-T Diagramp. 93
4.9 Mapping of Affective Experiences on the Circumplex of Emotionsp. 100
4.10 Discussionp. 102
5 Emotive Quality of Biking Segmentsp. 105
5.1 Biker-Bike Personality Relationshipp. 105
5.1.1 I Am Formal; My Bike Is Formal (Table 5.1)p. 105
5.1.2 I Am Friendly; My Bike Is Friendly (Table 5.2)p. 107
5.1.3 I Am Comfortable; My Bike Is Comfortable (Table 5.3)p. 107
5.1.4 I Am Professional; My Bike Is Professional (Table 5.4)p. 110
5.1.5 I Am Heavy; My Bike Is Heavy (Table 5.5)p. 112
5.1.6 I Am Traditional; My Bike Is Traditional (Table 5.6)p. 112
5.1.7 I Am Popular; My Bike Is Popular (Table 5.7)p. 115
5.1.8 I Am Emotional; My Bike Is Emotional (Table 5.8)p. 115
5.1.9 I Am Mean; My Bike Is Mean (Table 5.9)p. 118
5.1.10 I Am Aggressive; My Bike Is Aggressive (Table 5.10)p. 120
5.1.11 I Am Sporty; My Bike Is Sporty (Table 5.11)p. 122
5.1.12 I Am Sharp; My Bike Is Sharp (Table 5.12)p. 122
5.1.13 I Am International; My Bike Is International (Table 5.13)p. 125
5.1.14 I Am Extraordinary; My Bike Is Extraordinary (Table 5.14)p. 125
5.1.15 Synopsisp. 128
5.1.16 Discussionp. 129
5.2 Bike Personality Factorsp. 130
5.2.1 Describing Data with Mean Scoresp. 130
5.2.2 Parametric Test of Correlationp. 130
5.2.3 Factor Analysis (Principal Component Analysis) with Varimax Rotation Technique with Kaiser Normalizationp. 135
5.3 Biker Personality Factorsp. 139
5.3.1 Describing Data with Mean Scoresp. 139
5.3.2 Parametric Test of Correlationp. 139
5.3.3 Factor Analysis (Principal Component Analysis) with Varimax Rotation Technique with Kaiser Normalizationp. 143
5.4 Comparing Bike Personality of Biking Segmentsp. 146
5.4.1 Comparing Biking Segments on Bike Personality Factor 1p. 146
5.4.2 Comparing Biking Segments on Bike Personality Factor 2p. 152
5.4.3 Comparing Biking Segments on Bike Personality Factor 3p. 153
5.5 Comparing Biker Personality of Biking Segmentsp. 153
5.5.1 Comparing Biking Segments on Biker Personality Factor 1p. 154
5.5.2 Comparing Biking Segments on Biker Personality Factor 2p. 161
5.5.3 Comparing Biking Segments on Biker Personality Factor 3p. 162
5.5.4 Comparing Biking Segments on Biker Personality Factor 4p. 162
5.5.5 Comparing Biking Segments on Biker Personality Factor 5p. 163
5.6 Emotive Quality of Biking Segmentsp. 164
5.6.1 Emotive Quality of High-Esteem Bikingp. 165
5.6.2 Emotive Quality of Dexterous and Exploratory Bikingp. 165
5.6.3 Emotive Quality of Social-Networking Bikingp. 166
5.6.4 Emotive Quality of Travel-and-Comfort Bikingp. 166
5.6.5 Emotive Quality of Bread-and-Butter Bikingp. 166
6 Emotion-Centered Research Framework for Design Innovationp. 169
6.1 Salient Findings of the Studyp. 169
6.1.1 Emotive Needs Associated with Different Biking Segmentsp. 169
6.1.2 Emotive Quality of Different Biking Segmentsp. 170
6.2 Emotion-Centered Research Frameworkp. 171
6.2.1 Concept of Emohap. 173
6.2.2 Model for Emoha-Based Design Innovationp. 173
6.2.3 Design Method for Emoha-Based Product Innovationp. 175
6.3 Significance of the Studyp. 175
Referencesp. 181
Indexp. 191