Multimodal Technologies and Interaction

Article Design for Breathtaking Experiences: An Exploration of Design Strategies to Evoke Awe in Human–Product Interactions

Jialin Ke and JungKyoon Yoon *

Department of Design + Environmental Analysis, Cornell University, Ithaca, NY 14853, USA; [email protected] * Correspondence: [email protected]



Received: 11 October 2020; Accepted: 19 November 2020; Published: 24 November 2020


Abstract: From looking up at a skyscraper to the Grand Canyon’s vastness, you may have experienced awe in one way or another. Awe is experienced when one encounters something greater or more powerful than themselves and is associated with prosocial behavior through a diminishment of self-importance. In design research, most studies on awe have been conducted in lab conditions by using technologies such as virtual reality because of its efficiency to simulate typical awe-stimulating conditions (e.g., nature scenes). While useful in inducing awe and assessing its effects on users, they give little guidance about how design can deliberately evoke awe. Most attempts focus on the response of awe instead of its eliciting conditions. With an aim to support designers to facilitate awe, this paper explores design strategies to evoke awe. Based on appraisal theory, the cause of awe was formulated, and its relevance to designing for awe was investigated. The conditions that underlie awe in design were explored through a survey in which participants reported 150 awe experiences, resulting in six design strategies. The paper describes these strategies and discusses how they can be used in a design process, giving attention to addressing the experiential value of awe.

Keywords: design for emotion; positive emotion; awe; appraisal theory; design strategy; subjective experience; experience design

1. Introduction Positive emotions improve our health and well-being through broadening our mindsets, promoting creativity and bonding, allowing us to build our long-term intellectual, social, and psychological resources [1]. These beneficial effects have increased interest in designing for positive emotions [2]. More recently, designers are investigating how to elicit discrete and distinct positive emotions, such as pride [3], fascination [4], and surprise [5], because of their unique beneficial functions. Specifically, the emotion of awe is being increasingly explored for its transformative potential and is considered highly relevant to design regarding its effect on users’ behaviors [6]. Awe is considered transformative because it can reshape an individual’s worldviews, and change one’s perspective and identity [7]. Awe’s transformative power lies in its ability to take our breath away and make us feel mind-blown as we try to accommodate these new stimuli into our schema, a mental structure that helps us understand the world. Awe is an emotion that can be characterized by feelings of wonder and surprise, and is often felt in experiences involving nature, religion, spirituality, art, music, and architecture [8]. Awe has unique beneficial functions such as making people more prosocial, diminishing their sense of self, which results in certain behavior tendencies such as inclinations to share, collaborate, and engage in collective action [9]. Another beneficial function is that people feel more connected to others and view themselves as part of a larger entity such as “member of the universe” or “inhabitant of the earth” [10]. Awe even reduces aggressive behaviors [11] and promotes green consumption [12]. More importantly,

Multimodal Technol. Interact. 2020, 4, 82; doi:10.3390/mti4040082 www.mdpi.com/journal/mti Multimodal Technol. Interact. 2020, 4, 82 2 of 19 evoking awe has the potential to contribute to the well-being of oneself as well as to a collective [8]. Awe has shown to increase experiential creation, making people open to learning; and increasing their tendency to favor experiential products over premade ones [13]. To date, in design research, most studies on awe have been conducted in lab conditions, by using technologies such as Virtual Reality (VR) e.g., [14,15]. Virtual environments are believed to have a high potential to evoke awe and is a commonly chosen tool because of its efficiency to generate presence, immersion, and create an “other-than-self” experience for epistemic expansion [6]. However, this conventional approach would give little guidance for designers who want to create things that facilitate the experience of awe in the real world beyond highly controlled lab conditions. While VR can serve as an effective medium through which an awe experience can manifest, simulating suggestive awe-eliciting conditions would not inform how awe can be deliberately designed for. In addition, most attempts to elicit awe use nature imagery, whether its 2D images or videos, or 3D in a VR environment e.g., [9,14]. By only using nature imagery, the awe elicitation method focuses on only one aspect of the definition of “vastness,” the literal size and physicality, even though vastness can be anything that is “much larger than self, or the self’s ordinary level of experience” [8]. There is a wide range of awe elicitors beyond nature, including interpersonal elicitors, collective activities such as rallies and sports games, spiritual experiences, and cultural artifacts [16], but they have been largely unexplored in design. Although some awe-evoking art objects that go beyond nature imagery exist (for an overview of such examples, see [17]), they rarely explicate how they were created and provide few references to the underlying decisions in the process. Thus, while they offer designers inspiration to design for awe, they do not offer an explicit approach to achieve the intended emotional impact (i.e., elicitation of awe). This implies creating an awe experience in human–product interactions can still be challenging for those who want to evoke awe and utilize its experiential effects through their designs. This paper aims to explore design strategies to design for awe, so that it can serve as a reference for designers to develop an understanding of the experience of awe in human–product interactions and how awe can be purposefully evoked through design. Here, we define design strategies as pathways that designers can take to reach a design goal (both tangible and intangible), supporting them to systematically identify and consider certain factors related to the goal fulfillment, and how the factors can be effectively manipulated in the design process (e.g., design for interest by making the interactions novel and complex). This study generates a set of design strategies through a bottom-up and top-down approach. First, the top-down approach investigates the mechanism of awe through the perspective of appraisal theory. Meanwhile, the bottom-up approach explores the patterns of when and how people experience awe in relation to products through a survey in which participants report their personal experiences of awe and design examples. Through an analysis of a variety of designed artifacts that people consider evoking awe, we intend to learn what designs make people feel awe and what aspects of the designs are associated with elicitation of awe, and generate insights on ways in which products can be designed to evoke awe (i.e., design strategies). We first discuss the emotion of awe and its underlying causes based on appraisal theory to develop a theoretical foundation. Then we dive into the study methods and process through which six design strategies are formulated. Next, we describe each design strategy in detail with design examples and suggestions for implementation. The paper ends with a discussion on how the resulting strategies can be applied in design practice and the relevance of focusing on the long-term experiential value of awe, along with future research directions.

2. Cause of Awe There are many different theories explaining the experience of emotions in product design, such as Norman’s neurobiological approach [18], Hassenzahl’s approach based on universal psychological needs [19], or Desmet’s appraisal approach [20]. Appraisal theory says that emotions are elicited from a distinct set of appraisals or assessment patterns [21]. Appraisals serve to evaluate one’s needs and environmental conditions based on several factors such as control, pleasantness, and certainty, based on Multimodal Technol. Interact. 2020, 4, 82 3 of 19 which they would classify the situation as beneficial, detrimental, or irrelevant to their well-being, leading to positive or negative emotions [22]. These different emotions enable one to adapt to different environmental demands or opportunities [23]. What is noteworthy is that depending on the person, the same situation can result in different emotions because the ways people appraise the situation can be different, affected by their own values and concerns [24]. This implies that in human–product interactions, the types of emotion are not determined by the product itself, but by the personal concerns and contexts where the product is placed and how it is used, what meanings the user attributes to it, and how the user talks about it [25,26]. For example, a smart watch that controls multiple devices may inspire a person with its sophisticated features today, but the same person may be worried by it tomorrow when realizing that its potential to leak their private information. Hence, it is crucial to consider that the emotion can be evoked not only by the designed technology or its appearance but also by the relational meaning of the designed experience, such as personal associations, concerns, social implications of the design, which can serve as points of reference for design conceptualization and evaluation [26,27].

Appraisals of Awe Recent research has investigated distinguishing emotions from one another, and in particular, differentiating between positive emotions. Although positive emotions are less differentiated than negative emotions in terms of expressions and action tendencies [22], recent studies have shown that positive emotions could be differentiated by their appraisal patterns [28,29]. In Keltner and Haidt’s seminal work [8], they found that awe is evoked by appraisal of (1) perceived vastness and (2) a need for accommodation. Perceived vastness refers to anything that is experienced as larger than the self’s ordinary or normal range of experiences. Vastness can be both perceptual, in which something is physically bigger in scale, such as a grove of tall eucalyptus trees. Vastness can also be conceptual, in which an idea may embody immense implications, such as being in the presence of an idol. The second appraisal component is a need for accommodation, in which accommodation refers to the process of modifying our schemas to make sense of the expanded frame of the perceived vastness. Both appraisal dimensions are needed to experience awe because if either component is missing, then the experience is more likely to be closely aligned with a different emotion. For example, accommodation without vastness could be surprise, and vastness without accommodation could be worship or reverence [8]. Awe appraisals patterns have been further evaluated with various behavioral manifestations: awe appraisal patterns involve self-diminishment and high stimulus-focused attention, while decreased self-focused attention [10]. Tong [28] evaluated the appraisal patterns of 13 different positive emotions, in which its findings aligned closely with the findings of Shiota, Keltner [10]. Awe scored low on the “Achievement” factor, reflecting that a goal has been achieved through personal means and control, and likewise high on the “External Influence” factor, reflecting that the events are subject to non-controllable forces. Awe also scored low on the difficulty factor, reflecting the appraisal of a non-problematic and pleasant experience. Further, most recently, the Awe Experience Scale (AWE-S) has been developed to evaluate awe experiences, using six facets of the awe experience, namely vastness, need for accommodation, altered time perception, self-diminishment, physical sensations, and connectedness [30]. Appraisal theory is particularly useful for the purpose of the current study because it elucidates the underlying principles of awe and proves that the appraisal perspective offers a way of construing the causes of distinct emotions [31]. It was, therefore, decided to use the appraisal patterns of awe (i.e., perceived vastness and a need for accommodation) as a theoretical framework of the current study (top-down). However, the appraisal patterns are not directly applicable to design, because the framework itself does not show how the appraisals can be translated to the design of dynamic interactions with products. While useful in understanding the general conditions that cause awe, this might be too abstract for designers and limited in offering actionable insights in their attempts Multimodal Technol. Interact. 2020, 4, 82 4 of 19 to systematically evoke awe. Therefore, using awe experiences inductively derived from real-world examples stimulated by design and technology (bottom-up), the paper explored how to use the general appraisal patterns (top-down) as the basis for designing for awe.

3. Exploring the Causes of Awe in Human–Product Interactions An online survey (bottom-up) was conducted to explore the causes of awe in human–product interactions. The survey asked for personal experiences and designed artifacts because people are likely to remember moments of awe from their personal experiences due to its transformative and memorable nature [6]. The study consisted of three phases: (1) Collecting examples of awe experience and related designs; (2) analyzing the examples based on theoretical considerations stemming from appraisal theory (top-down); and (3) formulating design strategies.

3.1. Participants Fifteen participants were selected through convenience sampling to participate in this study. The recruited participants’ age ranged between 18 and 23 and all currently attending university.

3.2. Procedure The survey started with offering the concept of awe and a prototypical example. The participants were first given an example of what an awe experience might feel like:

“You are walking up a hill through thick woods. It was raining earlier, but the rain stopped a short time ago, and the sun is now shining. All of a sudden, you come to a clearing near the top of the hill and enter a beautiful meadow filled with wildflowers and butterflies. A clear stream is running through the meadow and there is a rainbow in the sky. Off in the distance you can see the snow-capped peaks of a nearby mountain range.”

This awe experience vignette was taken from Differentiation of Positive Emotions Scale (DOPES), a validated tool for measuring positive emotions [23]. Participants were provided with a blank PowerPoint presentation deck with instructions to describe awe experiences and awe-evoking artifacts. They were guided to first recall at least three different moments in which they experienced awe and to include a photo with a written description of their responses. Next, they were asked to find and report at least ten different designed artifacts that evoked awe, ranging from products, spaces, art, video, and so forth, and to include a photo and written description. AppendixA reports the included survey instruction.

3.3. Data Analysis For two weeks, 185 design examples were collected in total. Responses that did not relate to the definition of awe, based on its two appraisals of perceived vastness and a need for accommodation were excluded. The process resulted in the collection of 150 design examples of awe. A thematic analysis was conducted to search for patterns in verbal descriptions of the awe cases, in which repeated words or synonymous words were grouped together with their respective images to form a pattern [32]. For example, multiple awe cases used phrases like “bizarre,” “frenetic beats,” “energy,” “vigor,” or “cacophony of instruments.” These words were grouped into a pattern that described the design to be perceived as “unpredictable” and “fast paced.” Another example of phrases that were grouped included: “walking the same steps as the founders,” “glimpse into the past,” “clearly from the future and the past at the same time,” “connection with past and present.” These phrases allowed us to observe the pattern that many of the awe-evoking designs described a relationship with time. We decided to examine the design strategies underlying the chosen design examples following a method used in similar studies investigating how design can be manipulated to facilitate certain experiences, such as strategies to incite surprise [5], dilemma [33], and well-being related symbolic meaning [34]. The authors examined the images of products together with the descriptions of the Multimodal Technol. Interact. 2020, 4, 82 5 of 19

productMultimodal experiences Technol. Interact. through 2020, 4 the, x FOR lens PEER of REVIEW a theoretical framework, revealing the underlying5 of design19 strategies that are both more direct or literal (e.g., appearance and behavior) and more abstract or metaphoricalproduct experiences (e.g., symbolic through association). the lens of Ina theoretical this study, framework, the visual revealing analysis the supplemented underlying design the verbal descriptionsstrategies and that based are both on themore similarities direct or literal of keywords (e.g., appearance and design and qualities, behavior) the and design more abstract examples or were groupedmetaphorical via affinity (e.g., diagramming symbolic association). [35]. The In process this study, was iterativethe visual and analysis complete supplemented when no the more verbal changes weredescriptions made, resulting and based in a collage on the ofsimilarities awe design of keywords examples and per design affinity qualities, group. the design examples were grouped via affinity diagramming [35]. The process was iterative and complete when no more 4. Resultschanges were made, resulting in a collage of awe design examples per affinity group.

The4. Results affinity groups were then translated into concrete design strategies. The patterns that described the effectsThe of aweaffinity rather groups than were eliciting then conditions translated ofinto awe concrete were screened. design strategies. For example, The patterns one pattern that was that manydescribed people the effects contemplate of awe rather humanity, than eliciting humanity’s conditions progress, of awe and were innovation, screened. andFor example, what it means one to be human.pattern However, was that many this pattern people did contemplate not necessarily humanity, tell ushumanity’s anything progress, about how and the innovation, design was and made but somewhat ofit means the behavioral to be human. effects However, of awe. this Additionally, pattern did not other necessarily patterns tell could us anything be broken about down how the further and bedesign created was bymade a mix but of some diff erentof the designbehavioral strategies. effects of For awe. example, Additionally, one patternother patterns that emerged could be from the designbroken examples down further was and the be sense created of otherworldliness by a mix of different created design by strategies. the user’s For immersionexample, one in pattern the design. However,that emerged further from analysis the design revealed examples that immersion was the sense was of the otherworldliness combination ofcreated overwhelmingly by the user’s high immersion in the design. However, further analysis revealed that immersion was the combination of complexity and perception of hierarchy, rather than a standalone strategy. Lastly, each design strategy overwhelmingly high complexity and perception of hierarchy, rather than a standalone strategy. needed to relate back to the main two appraisals of awe: vastness and need for accommodation. Lastly, each design strategy needed to relate back to the main two appraisals of awe: vastness and The designneed for strategy, accommodation. novelty withThe design overwhelmingly strategy, novelty high with complexity, overwhelmingly for example, high complexity, could be related for to theseexample, appraisals: could the be overwhelming related to these complexity appraisals: ofthe the overwhelming design could complexity create a senseof the ofdesign vastness could as the user observedcreate a sense what of seemed vastness to as be the an user infinite observed amount what of seemed detail, to and be the an infinite novelty amount of the designof detail, stimulated and the needthe novelty for accommodation, of the design stimulated as the user the tried need to for adjust accommodation, their schema as tothe a user new tried perspective. to adjust their Onceschema the to strategiesa new perspective. were identified, they were categorized based on the three sources of product emotionsOnce proposed the strategies by Desmet were identified, and Roeser they [27 were] to categorized identify the based ways on the in whichthree sources awe was of product evoked in the interactionsemotions proposed with the by artifactsDesmet and (see Roeser Figure [27]1). to The identify first sourcethe ways of in emotion which awe comes was evoked from perceiving in the interactions with the artifacts (see Figure 1). The first source of emotion comes from perceiving the the design with the senses, such as seeing, touching, and hearing it (e.g., “I love my action camera design with the senses, such as seeing, touching, and hearing it (e.g., “I love my action camera because because of its clutter-free shape and hard texture.”). The second source of emotion comes from using, of its clutter‐free shape and hard texture.”). The second source of emotion comes from using, operating,operating, and and managing managing the the design, design, such such asas thethe enjoyment of of using using its itsfunctions functions or interactive or interactive qualitiesqualities (e.g., (e.g., “I am “I relieved am relieved because because of my of action my action camera’s camera’s automatic automatic backup backup function, function, which which enables me toenables keep andme to access keep and the access memories the memories of my family of my family trip.”). trip.”). The thirdThe third source source of emotionof emotion comes comes from the socialfrom implicationsthe social implications of the design, of the design, such as such emphasizing as emphasizing one’s one’s identity identity or relationship or relationship with with others (e.g.,others “the pictures (e.g., “the I posted pictures on I social posted media on social well media illustrate well my illustrate energetic my and energetic explorative and explorative character and gainedcharacter me some and fame gained in me the some photo fame community). in the photo community).

Figure 1. Three sources of emotions in human–product interactions (adapted from Desmet and Roeser [27]). Figure 1. Three sources of emotions in human–product interactions (adapted from Desmet and Roeser [27]). Based on these three overarching categories of perceiving the design, using the design, and social implicationsBased of on the these design, three overarching six design categories strategies of perceiving were further the design, categorized. using the design, The strategies and social were clusteredimplications and categorized of the design, based six on design their similarity strategies inwere terms further of their categorized. causes guided The strategies by the framework. were For example,clustered and design categorized Strategy based 4 and on their 5 on similarity novelty, in complexity,terms of their andcauses unpredictable guided by the framework. behavior were categorizedFor example, underneath design Strategy perceiving 4 and the 5 design on novelty, with complexity, perception-focus. and unpredictable Based on thebehavior narratives were and the context in which these strategies were used, the stimulation from perceiving the design itself was MultimodalMultimodal Technol. Technol. Interact. Interact.2020 2020, 4,, 82 4, x FOR PEER REVIEW 6 of 196 of 19

Multimodalcategorized Technol. underneath Interact. 2020 perceiving, 4, x FOR PEER the designREVIEW with perception‐focus. Based on the narratives and6 of the 19 context in which these strategies were used, the stimulation from perceiving the design itself was consideredcategorized what underneath evoked awe. perceiving In this the case, design the with design perception did not‐focus. need Based to be on used, the narratives nor did it and inspire the any considered what evoked awe. In this case, the design did not need to be used, nor did it inspire any associationscontext in with which social these implications. strategies were Figure used,2 showsthe stimulation how the from strategies perceiving were the classified design itself based was on the associations with social implications. Figure 2 shows how the strategies were classified based on the threeconsidered sources of what product evoked emotions. awe. In this case, the design did not need to be used, nor did it inspire any three sources of product emotions. associations with social implications. Figure 2 shows how the strategies were classified based on the three sources of product emotions.

FigureFigure 2. Overview 2. Overview of of design design strategies strategies withinwithin their respective respective emotion emotion source source categories. categories.

5. Six5. Strategies Six StrategiesFigure to 2. Design to Overview Design for forof Awe design Awe strategies within their respective emotion source categories. This5. SixThis section Strategies section describes to describes Design the forthe resulting Aweresulting six six strategies strategies to to design design for for awe. awe. Each Each of the of thesix strategies six strategies is is detailed with the following structure: how the strategy supports elicitation of awe, how the source of detailed withThis section the following describes structure: the resulting how six the strategies strategy to design supports for awe. elicitation Each of of the awe, six strategies how the is source emotion is related to the awe appraisal pattern, associated design examples provided by the of emotiondetailed iswith related the following to the awestructure: appraisal how the pattern, strategy associated supports elicitation design of examples awe, how providedthe source of by the participants, and how to apply the strategy to design a product in a concrete and specific way, i.e., participants,emotion andis related how toto applythe awe the appraisal strategy pattern, to design associated a product design in a concreteexamples andprovided specific by way,the i.e., implementation. The suggestions for strategy implementation were derived from the descriptions of participants, and how to apply the strategy to design a product in a concrete and specific way, i.e., implementation.participants’ awe The experiences suggestions in for relation strategy to the implementation chosen artifacts were and their derived aspects. from Note the descriptionsthat the implementation. The suggestions for strategy implementation were derived from the descriptions of of participants’implementation awe suggestions experiences are in based relation on the to ways the chosen that we artifactsobserved andthe strategies their aspects. being applied Note that in the participants’ awe experiences in relation to the chosen artifacts and their aspects. Note that the implementationthe collected suggestionsdata. There can are be based a wide on range the of ways alternative that we ways observed each of the strategies strategies can being be utilized applied in implementation suggestions are based on the ways that we observed the strategies being applied in the collectedto manipulate data. the There design. can Figure be a wide 3 proves range a comparative of alternative overview ways each of the of six the strategies. strategies can be utilized the collected data. There can be a wide range of alternative ways each of the strategies can be utilized to manipulate the design. Figure3 proves a comparative overview of the six strategies. to manipulate the design. Figure 3 proves a comparative overview of the six strategies.

Figure 3. An overview of the six strategies to design for awe.

5.1. Design Strategy 1—EphemeralityFigureFigure 3. 3.An An overview overview of Beauty ofof the six strategies strategies to to design design for for awe. awe. 5.1. Design5.1. DesignOne Strategy strategy Strategy 1—Ephemerality to 1—Ephemerality evoke awe is of byof Beauty Beauty creating a design that embodies ephemerality of beauty. The source of awe comes from perceiving the design and its association with the passage of time. Passage One strategy to evoke awe is by creating a design that embodies ephemerality of beauty. The Oneof the strategy time is in to line evoke with awe awe’s is by appraisal creating pattern: a design perceived that embodies vastness ephemerality and need for of accommodation. beauty. The source source of awe comes from perceiving the design and its association with the passage of time. Passage of aweThe comes temporal from scarcity perceiving of the design the design may lead and people its association to realize that with their the resources passage (e.g., of time time. on Passage earth) of of the time is in line with awe’s appraisal pattern: perceived vastness and need for accommodation. the timeare temporary is in line and with that awe’s they appraisalmay have witnessed pattern: a perceived moment that vastness they may and not need ever experience for accommodation. again. The temporal scarcity of the design may lead people to realize that their resources (e.g., time on earth) The temporalThis “once scarcity in a lifetime” of the mentality design may can leadcreate people perceived to realize vastness, that as their they realize resources that (e.g., this experience time on earth) are temporary and that they may have witnessed a moment that they may not ever experience again. is one small moment within the many years of their lifetime. The unpredicted change in perspective are temporaryThis “once andin a lifetime” that they mentality may have can witnessed create perceived a moment vastness, that as they they may realize not that ever this experience experience again. from one’s day‐to‐day view, to a lifetime view, stimulates a need for accommodation. This “onceis one small in a lifetime” moment within mentality the many can create years perceivedof their lifetime. vastness, The unpredicted as they realize change that in this perspective experience is one smallfrom one’s moment day‐to within‐day view, the manyto a lifetime years view, of their stimulates lifetime. a need The for unpredicted accommodation. change in perspective from one’s day-to-day view, to a lifetime view, stimulates a need for accommodation.

5.1.1. Examples Some examples that use this strategy to create a transient aesthetic experience include fireworks and water features such as fountains (Figure4a). Other examples of nature experiences are blossoming Multimodal Technol. Interact. 2020, 4, x FOR PEER REVIEW 7 of 19 Multimodal Technol. Interact. 2020, 4, 82 7 of 19 5.1.1. Examples Some examples that use this strategy to create a transient aesthetic experience include fireworks flowers,and thewater changing features color such of as leaves fountains during (Figure fall, or4a). sunset Other andexamples sunrise. of Onenature participant experiences described are walkingblossoming through flowers, a path the during changing the color fall and of leaves seeing during the changingfall, or sunset colors: and sunrise. “It was One a combination participant of all the colorsdescribed I liked, walking so I had through to stop a walking path during and the take fall a moment and seeing to justthe changing take it in colors: and appreciate “It was a combination how beautiful it was. Atof all that the moment,colors I liked, I felt so I thankful had to stop that walking I was and able take to a see moment something to just liketake thatit in and by chance appreciate [ ... how]” beautiful (Figure 4b). Use ofit was. transient At that materiality moment, I felt is thankful also often that used I was byable artists: to see something two participants like that by described chance [...]” a (Figure light sculpture 4b). installationUse of transient by TeamLab materiality in which is also the often light used beams by artists: change two orientation participants todescribed create aa uniquelight sculpture shape and patterninstallation every time: by TeamLab“[ ... ] light in which and music the light pirouette beams before change my eyes.orientation Entranced, to create I lose a a unique sense of shape time andand space, pattern every time: “[...] light and music pirouette before my eyes. Entranced, I lose a sense of time and space, embraced by an entity which swathes me in light and sound” (Figure4c). Similarly, Olafur Elaisson used embraced by an entity which swathes me in light and sound” (Figure 4c). Similarly, Olafur Elaisson used meltingmelting ice in ice his in arthis art piece, piece, Ice Ice Watch, Watch, to to evoke evoke aweawe by displaying displaying the the transience transience of nature’s of nature’s beauty beauty (Figure(Figure4d). 4d).

FigureFigure 4. Examples 4. Examples suggested suggested by by the the participants participants (Reprinted with with permission): permission): (a) Lincoln (a) Lincoln Center Center fountains,fountains, (b) leaves (b) leaves changing changing color, color, (c ()c TeamLab) TeamLab light light sculpture,sculpture, and and (d ()d Ice) Ice Watch Watch

5.1.2.5.1.2. Implementation Implementation To applyTo apply the design the design strategy strategy in a concrete in a concrete way, designers way, designers can create can products, create products, spaces, orspaces, installations or that satisfyinstallations two components: that satisfy two beauty components: and changing beauty appearance and changing of the appearance design. While of the beauty design. is a While subjective quality,beauty the general is a subjective goal should quality, be the to general create agoal design should that be people to create may a design appreciate that people and desire may appreciate to experience and desire to experience again [36,37]. In the collected examples, beauty was addressed by, in general, again [36,37]. In the collected examples, beauty was addressed by, in general, incorporating organic incorporating organic complexity, such as patterns in nature, using colors. For example, in the complexity, such as patterns in nature, using colors. For example, in the participant’s description of participant’s description of leaves changing color specifically points out that it was the “combination leavesof changingall the colors color” that specifically made her pause points and out reflect, that which it was reveals the “combination one way this of design all the strategy colors” can that be made her pauseimplemented and reflect, (Figure which 4b). The reveals participant’s one way description this design of TeamLab’s strategy canlight be sculpture implemented reveals another (Figure 4b). The participant’simplementation description possibility, of when TeamLab’s he described light sculpturethe movement reveals of light another and sound implementation as “pirouette possibility,” and when“swathes he described.” These verbs the movement imply organic of motion, light and which sound is another as “ waypirouette this strategy” and “ofswathes ephemeral.” These beauty verbs implycan organic be implemented. motion, which The changing is another appearance way this component strategy of of ephemeral the design beautycan be achieved can be implemented. through The changingmany means appearance such as using component shifting patterns, of the design making can the design be achieved disappear through or disintegrate, many means or using such as usingtransient shifting and patterns, non‐solid making materiality the design such as disappear water, fog, or wind, disintegrate, or light, oras usingevidenced transient in the and collected non-solid data. Three of the above four examples use manipulation of non‐solid materials to create a transient materiality such as water, fog, wind, or light, as evidenced in the collected data. Three of the above and ephemeral effect. If the design is beautiful but not changing in appearance, it will likely evoke four examples use manipulation of non-solid materials to create a transient and ephemeral e ect. If the other positive emotions such as inspiration or pride, but not awe. Only when beauty and transienceff designare is combined, beautiful butcan notwe get changing the effect, in appearance,in which the itperson will likely does not evoke try otherto analyze positive but rather emotions stands such as inspirationback and or appreciates pride, but the not design, awe. creating Only when that moment beauty andfor reflection transience on the are passage combined, of time. can we get the effect, in which the person does not try to analyze but rather stands back and appreciates the design, creating5.2. thatDesign moment Strategy for 2—Timelessness reflection on the passage of time. Another strategy that evokes awe is to create a timeless design. Timeless designs connote a sense 5.2. Designof endurance Strategy and 2—Timelessness are often considered as classics or icons. Similar to the previous strategy, the source Anotherof awe comes strategy from that perceiving evokes the awe design is to and create its association a timeless with design. the passage Timeless of designs time. However, connote this a sense of endurancetime the method, and are oftenthrough considered which the as association classics or is icons.formed, Similar is different. to the The previous enduring strategy, qualities the of source the of design remind people that the design has persisted beyond one’s own lifespan. This mentality can awe comes from perceiving the design and its association with the passage of time. However, this time stimulate perceived vastness, as they realize that they are only one of the many thousands of people the method, through which the association is formed, is different. The enduring qualities of the design remind people that the design has persisted beyond one’s own lifespan. This mentality can stimulate perceived vastness, as they realize that they are only one of the many thousands of people who have used or experienced the design. The unpredicted change in perspective from one’s lifetime to the design’s timeline of existence, stimulates a need for accommodation. In line with awe’s behavioral impact, fulfillment of the appraisals makes us feel small and insignificant in comparison. Multimodal Technol. Interact. 2020, 4, x FOR PEER REVIEW 8 of 19

Multimodal Technol. Interact. 2020, 4, 82 8 of 19 who have used or experienced the design. The unpredicted change in perspective from one’s lifetime to the design’s timeline of existence, stimulates a need for accommodation. In line with awe’s 5.2.1.behavioral Examples impact, fulfillment of the appraisals makes us feel small and insignificant in comparison. One5.2.1. designExamples example of this strategy is Marc Newson’s Ford 021c (Figure5a), which uses a neo-retroOne style design to achieve example timeliness: of this strategy “Marc is Newson’s Marc Newson’s [ ... ] Ford Ford 021c 021c remains(Figure 5a), my favoritewhich uses car a ever. neo‐ [ ... ] This isretro so clearly style to from achieve the future timeliness: and the “Marc past Newson’s at the same [...] time.Ford 021c It does remains not care my favorite about the car status ever. [...] quo. This It is entices me toso take clearly it for from a spin the likefuture no and other the car past does. at the” Another same time. example It does not is care the Capitolabout the buildingstatus quo. in It Washington entices me to D.C. (Figuretake5b) it whichfor a spin has like become no other a car timeless does.” landmarkAnother example through is itsthe decades-long Capitol building existence. in Washington “ What D.C. was truly awe-inspiring(Figure 5b) at thiswhich moment has become was realizing a timeless that landmark I was walking through the same its decades steps as‐long the founders existence. of this“What country was had whiletruly they wereawe‐inspiring doing the at work this moment that I had was only realizing read aboutthat I inwas history walking textbooks. the same” steps Participants as the founders listed of examples this of personalcountry experienceshad while they and were products, doing the orwork technology that I had only that read represented about in history human textbooks. race’s achievements” Participants and listed examples of personal experiences and products, or technology that represented human race’s expressed thoughts about how far we have come and where we will go in their personal lives or in achievements and expressed thoughts about how far we have come and where we will go in their regardingpersonal humanity lives or in as regarding a whole. humanity as a whole.

FigureFigure 5. Examples 5. Examples suggested suggested by by the the participants participants (Reprinted with with permission): permission): (a) Ford (a) Ford 021c 021c concept concept car, (bcar,) Nike (b) Nike Air ForceAir Force 1, ( c1,) ( Capitolc) Capitol building, building, and and ((dd)) Grand Central Central station. station.

5.2.2.5.2.2. Implementation Implementation CreatingCreating a timeless a timeless design design may may seem seem very very abstractabstract to to a a designer. designer. Some Some designs designs become become timeless timeless naturallynaturally with with age, asage, with as with most most landmarks landmarks and and architectural architectural designs designs like like the the Capitol Capitol building building or or Grand CentralGrand station Central (Figure station5c,d). (Figure However, 5c,d). However, as observed as observed in the collected in the collected design design examples, examples, there there are waysare to ways to apply this strategy in a concrete way, such as creating designs that are deprived of trendy apply this strategy in a concrete way, such as creating designs that are deprived of trendy aesthetics. aesthetics. The Nike Air Force 1 is an example of this implementation suggestion (Figure 5b). The The Nike Air Force 1 is an example of this implementation suggestion (Figure5b). The participant participant described the design as “iconic and simple,” “bland and minimalistic, yet these qualities are describedexactly the what design makes the as “shoesiconic awe and‐inspiring. simple”,” The “bland participant and minimalistic, attributed its yet timeless these qualities and iconic are qualities exactly what makesto the the shoes lack awe-inspiring.of ornamentation.” The As participantsuggested by attributed Lobos [38], its to timelessachieve timelessness, and iconic qualitiesdesigners tocould the lack of ornamentation.strive for simplicity As suggested by refraining by Lobosfrom aesthetic [38], to achievecues that timelessness, may indicate designerstime markers could such strive as for simplicityparticular by refraining trends. Another from way aesthetic to achieve cues timelessness that may indicate can be by time using markers a neo‐retro such design as particular style [39]. trends. AnotherMarc way Newson’s to achieve Ford timelessness 021c was described can be by usingthe participant a neo-retro as “ designclearly from style the [39 future]. Marc and Newson’s past at the Ford 021c wassame describedtime” (Figure by 5a). the Neo participant‐retro products as “clearly have from design the characteristics future and past from at the the same past time but ”are (Figure also 5a). Neo-retrotechnologically products advanced have design with characteristicsnew functionalities from [40]. the past but are also technologically advanced with new functionalities [40]. 5.3. Design Strategy 3—Conceptual Hierarchy and Presence of Higher Power 5.3. DesignThe Strategy strategy, 3—Conceptual conceptual hierarchy, Hierarchy and and presence Presence of of higher Higher power, Power mean to perceive a power dynamic in which we are lower in status relative to the designed object. The source of awe comes Thefrom strategy, the social implications conceptual of hierarchy, the design, and which presence allows us of to higher define our power, identity mean relative to perceive to the higher a power dynamicpower. in The which appraisal we are component lower in status“perceived relative vastness” to the is designed achieved when object. the The user source realizes of that awe the comes fromdesign the social is vastly implications more powerful of the through design, its which ability allows to significantly us to define exceed our the identity human relative capacity to in thesome higher power.way, The as well appraisal as the enormous component number “perceived of people vastness” that the design is achieved can affect. when The theresult user is a realizesshift in how that the designwe is understand vastly more our powerful identity: throughfrom a more its ability egotistical to significantly perspective, in exceed which the we human are the capacitycenter of the in some way, asworld, well to as a the mindset enormous in which number we are of peoplemerely thata subject the design of something can aff ect.greater, The stimulates result is a another shift in how we understandappraisal component our identity: “a need from for accommodation.” a more egotistical perspective, in which we are the center of the world, to a mindset in which we are merely a subject of something greater, stimulates another appraisal component “a need for accommodation.” Multimodal Technol. Interact. 2020, 4, 82 9 of 19

5.3.1.Multimodal Examples Technol. Interact. 2020, 4, x FOR PEER REVIEW 9 of 19

Participants’5.3.1. Examples responses included the Tesla Cybertruck (Figure6a): “ The car also has a presence when you stand next to it, it almost feels like a living beast, ready to roar to life.” Designs that evoke a sense of Participants’ responses included the Tesla Cybertruck (Figure 6a): “The car also has a presence powerwhen and you hierarchy stand next included to it, it almost being feels in like the a presenceliving beast, of ready an idol to roar or to leader, life.” Designs and looking that evoke up at a sense a massive monumentof power were and also hierarchy some included of the most being common in the presence awe examples. of an idol One or leader, participant and looking attended up aat concert a for onemassive of his monument favorite artists were also and some felt in of awethe most of the common artist (Figure awe examples.6b): “ An One inspiration participant for attended my music a and life, inconcert the flesh. for one There of washis favorite a tightness artists in and my throatfelt in awe and of I fought the artist back (Figure tears. 6b): I couldn’t “An inspiration stop saying for my ‘wow’. ” One participant’smusic and life, response,in the flesh. describing There was a listening tightness in to my a rock throat band and (FigureI fought 6backc), exemplifiestears. I couldn’t using stop immersion saying to evoke‘wow’. awe:” One “I participant’s remember sitting response, next describing to my record listening player to and a rock just band listening (Figure through 6c), exemplifies the entire albumusing with my eyesimmersion closed. I to felt evoke so physically awe: “I remember small amidst sitting the next sound. to my” record The artplayer piece, and just Drifter, listening by Studiothrough Driftthe entire of what album with my eyes closed. I felt so physically small amidst the sound.” The art piece, Drifter, by Studio appears to be a huge cement block floating in the ceiling (Figure6d), also conjures awe because its size Drift of what appears to be a huge cement block floating in the ceiling (Figure 6d), also conjures awe and placement in the air make it look more powerful. because its size and placement in the air make it look more powerful.

FigureFigure 6. Examples 6. Examples suggested suggested by by the the participants participants (Reprinted with with permission): permission): (a) Tesla (a) Tesla cybertruck, cybertruck, (b) artist(b) artist concert concert performance, performance, (c )(c listening) listening to to music, music, and ( (dd)) Drifter. Drifter.

5.3.2.5.3.2. Implementation Implementation The strategyThe strategy can becan manifested be manifested in design in design through through a variety a variety of means of means as long as long as the as designthe design appears and feelsappears more and powerful feels more than powerful its context than its with context the with user. the One user. simple One simple way is way to create is to create a stark a stark contrast betweencontrast the between design and the design its surroundings, and its surroundings, making themaking design the appeardesign appear more powerfulmore powerful and givingand it moregiving presence. it more It presence. is common It is to common place theto place design the ondesign a pedestal on a pedestal or stage, or stage, against against a backdrop a backdrop of the of the opposite color, or high up from the ground to make it stand out more and reinforce the opposite color, or high up from the ground to make it stand out more and reinforce the hierarchy. hierarchy. Some designs also rely on their sheer size or appearing massive relative to its surroundings Someto designs make the also design rely onfeel their more sheer powerful. size orDrifter, appearing for example, massive uses relative this strategy to its surroundingsby contrasting tothe make the designblock to feel humans more to powerful. create a sense Drifter, of scale for and example, hierarchy uses (Figure this 6d). strategy The participant by contrasting wrote, “how the could block to humansit be tothat create such a amassive sense concrete of scale block and could hierarchy hang like (Figure that? It made6d). me The realize participant that I am so wrote, small and “ how powerless could it be that suchin comparison a massive.” concreteAnother blockmanifestation could hang is to like use that? immersion It made and me surround realize that the I amuser so with small the and design, powerless in comparisonthereby making.” Another them manifestation feel small relative is to useto their immersion surroundings. and surround This approach the user was with commonly the design, therebyobserved making in them the collected feel small examples relative toof their physical surroundings. installations This and approach spatial configurations. was commonly Yayoi observed in theKusama’s collected Infinity examples Mirrors of physical was a commonly installations cited and design spatial that configurations. inspired awe. One Yayoi participant Kusama’s wrote, Infinity Mirrors“you was are asurrounded commonly by citedan infinite design expanse that of inspired light, with awe. a pool One of water participant underneath wrote, your “feet.you You are surroundedare closed by into the space, and truly feel transported to another dimension.” an infinite expanse of light, with a pool of water underneath your feet. You are closed into the space, and truly feel transported5.4. Design toStrategy another 4—Novelty dimension with.” Overwhelmingly High Complexity

5.4. DesignOne Strategy strategy 4—Novelty to evoke awe with is Overwhelmingly by creating a novel High design Complexity that is highly complex. The source of awe comes directly from perceiving the design and its complex qualities, which may include detailed Oneintricacy, strategy repeated to evoke patterns, awe or is an by abstract creating concept a novel that design is difficult that isto highlygrasp. complex.When viewing The an source of aweoverwhelmingly comes directly complex from design perceiving with those the qualities, design and the person its complex is likely qualities, to feel a perceived which mayvastness include detailedbecause intricacy, it is impossible repeated to patterns, quantify or what an abstractmay seem concept like an thatinfinite is di amountfficult of to repetition grasp. When or ineffable viewing an overwhelminglycomplexity. The complex design’s design novel withaspects those could qualities, lead people the adjust person their is likely perspective to feel to a make perceived a sense vastness of becausewhat it isthey impossible are experiencing to quantify or whatcope maywith seemthe complexity, like an infinite which amount can stimulate of repetition a need or ineforff able complexity.accommodation. The design’s novel aspects could lead people adjust their perspective to make a sense of what they are experiencing or cope with the complexity, which can stimulate a need for accommodation. Multimodal Technol. Interact. 2020, 4, 82 10 of 19

5.4.1.Multimodal Examples Technol. Interact. 2020, 4, x FOR PEER REVIEW 10 of 19 One example of a design that employs this strategy is Ai Wei Wei’s artwork of 100 million 5.4.1. Examples handmade porcelain sunflower seeds (Figure7a). The design is simultaneously novel and complex since it mayOne look example like sandof a design or stone that from employs afar, this but strategy once you is Ai approach Wei Wei’s closely artwork to it,of you100 million realize that the floorhandmade is laden porcelain with intricate sunflower seeds. seeds (Figure The complexity 7a). The design comes is simultaneously from the incomprehensible novel and complex number of seedssince and it may their look individual like sand or delicacy. stone from Similarly, afar, but two once participants you approach described closely to it, Agnes you realize Denes’ that works, the floor is laden with intricate seeds. The complexity comes from the incomprehensible number of such as the Fibonacci sequence pyramid (Figure7b): “ She hand wrote the sequence, and the pyramid of seeds and their individual delicacy. Similarly, two participants described Agnes Denes’ works, such numbersas the spanned Fibonacci a 10-foot sequence long pyramid table. (Figure This felt 7b): awe-inspiring “She hand wrote because the sequence, I can tell and it the took pyramid forever of numbers to make /feels very labor-intensive,spanned a 10‐foot long and table. I was This trying felt awe to‐ imagineinspiring thebecause number I can oftell hours it took that forever she to had make/feels to pour very into labor making‐ somethingintensive, so meticulous. and I was trying” The to process imagine the of understandingnumber of hours that abstract she had theories to pour into can making also be something awe-inspiring so becausemeticulous. of their” The vast process applicability. of understanding One participant abstract theories described can learning also be awe about‐inspiring quotient because topologies of their and its relationvast applicability. to the Mobius One participant strip (Figure described7c): “ learning... Not about only could quotient I connect topologies the math and its to relation the physical, to the but I madeMobius a broader strip connection (Figure 7c): too, “ that...Not this only was could the I reasonconnect I the did math the math. to the” physical, Another but participant I made a broader described M.C.connection Escher’s staircasetoo, that this drawing was the (Figure reason I7 d),did whichthe math. also” Another captures participant both novelty described and complexityM.C. Escher’s at the samestaircase time: “M.C. drawing Escher’s (Figure drawings 7d), which seem also impossible captures and both conceivable novelty atand the complexity same time, at especially the same his time: staircase “M.C. Escher’s drawings seem impossible and conceivable at the same time, especially his staircase illusions. illusions. The sense of awe comes from commonplace objects being manipulated in an unexpected way. I feel awe The sense of awe comes from commonplace objects being manipulated in an unexpected way. I feel awe because becauseI can’t I can’t understand understand what’s what’s going going on, but on, it seems but it familiar seems familiar and correct and at correct the same at time. the” same time.”

FigureFigure 7. Examples 7. Examples suggested suggested by the by participants the participants (Reprinted (Reprinted with with permission): permission): (a) Ai (a Wei) Ai WeiWei sunflower Wei seeds,sunflower (b) Agnes seeds, Denes (b Fibonacci) Agnes Denes sequence Fibonacci pyramid, sequence (c) Mobius pyramid, strip, (c) Mobius and (d) strip, M.C. and Escher (d) staircaseM.C. Escher illusion. staircase illusion. 5.4.2. Implementation 5.4.2. Implementation Novelty may be subjective since what is novel to one person, may not be for another. However, novelty canNovelty be more may concretely be subjective implemented since what is novel by considering to one person, a mismatch may not be between for another. expectations However, and novelty can be more concretely implemented by considering a mismatch between expectations and reality [5,41]. As described by the participant who wrote about M.C. Escher’s staircase, she ascribed reality [5,41]. As described by the participant who wrote about M.C. Escher’s staircase, she ascribed the sensethe sense of awe of awe to “ tocommonplace “commonplace objects objects being being manipulatedmanipulated in in an an unexpected unexpected way way.” Something.” Something that looks that looks new cannew have can have familiar familiar qualities qualities (i.e., (i.e., visual visual novelty), novelty), and something something that that looks looks familiar familiar may may have have new new qualitiesqualities (i.e., (i.e., hidden hidden novelty). novelty). For For example, example, aa mason jar jar made made from from lightweight lightweight plastic plastic will willcreate create hiddenhidden novelty novelty since since it looks it looks familiar familiar but but has has unfamiliarunfamiliar materiality. materiality. Complexity Complexity can canbe achieved be achieved by by incorporatingincorporating intricate intricate repeating repeating patterns, patterns, as as seen seen inin the collected collected data. data. For For example, example, one oneparticipant participant describeddescribed egg egg carving: carving: “seeing “seeing such such beautifulbeautiful intricate intricate patterns patterns on onthe theeggshell eggshell knowing knowing how fragile how it fragile is to it is to workwork with with inspires inspires a sense sense of of awe: awe: both both at the at work the workitself and itself at the and time, at theeffort, time, and eskillffort, of andthe artist skill.” of Optical the artist .” illusions, such as M.C. Escher’s staircase, can also create complexity, as well as novelty, since the Optical illusions, such as M.C. Escher’s staircase, can also create complexity, as well as novelty, since the effect of the design changes depending on the person’s location and perspective. The use of large effect of the design changes depending on the person’s location and perspective. The use of large numbers can also conceptually convey a sense of complex, infinite, and unquantifiable vastness since numbersnumbers can alsoor theories conceptually are an abstract convey representation a sense of complex, that can infinite, feel difficult and unquantifiableto grasp. For example, vastness the since numberssheer or magnitude theories are of Ai an Wei abstract Wei’s representation 100 million porcelain that can seeds feel and di ffiAgnescult to Denes’ grasp. 10 Forfoot example,‐long pyramid the sheer magnitudeof numbers, of Ai makes Wei Wei’s the design 100 million almost inconceivable, porcelain seeds as described and Agnes by the Denes’ participant: 10 foot-long “I was trying pyramid to of numbers,imagine makes the number the designof hours almost[…] into inconceivable,making something asso meticulous described.” byUltimately, the participant: the design “ shouldI was tryingnot to imaginebe easily the number quantifiable of hours or [ analyzable... ] into making based on something its appearance so meticulous to ensure.” Ultimately, its high complex the design character. should not be easily quantifiable or analyzable based on its appearance to ensure its high complex character. Multimodal Technol. Interact. 2020, 4, 82 11 of 19

5.5. DesignMultimodal Strategy Technol. Interact. 5—Rapid 2020, Changes 4, x FOR PEER and REVIEW Unpredictable Behavior 11 of 19

The5.5. Design strategy Strategy “rapid 5—Rapid changes Changes and and unpredictable Unpredictable Behavior behavior” means that the designed object or experience should not be fully controllable by the user, and its quality (e.g., appearance) keeps changing. The strategy “rapid changes and unpredictable behavior” means that the designed object or The source of awe mainly comes from perceiving the design and engaging its design qualities with experience should not be fully controllable by the user, and its quality (e.g., appearance) keeps one’schanging. senses. By The experiencing source of awe the mainly unpredictable comes from nature perceiving of the the design design and and how engaging it rapidly its design floods and overwhelmsqualities with the senses, one’s senses. its vastness By experiencing is perceived. the unpredictable Similar to nature the previous of the design strategy, and how the it rapidly inability to quantifyfloods or and immediately overwhelms analyze the senses, the design its vastness creates is perceived. a sense of Similar vastness to asthe we previous become strategy, overwhelmed the withinability the changes. to quantify The unpredictable or immediately behavior analyze the also design makes creates one realize a sense that of vastness she/he cannotas we become control the situationoverwhelmed and that with many the things changes. in lifeThe areunpredictable subject to behavior a higher also power. makes The one lack realize of control that she/he over the designcannot shifts control us from the oursituation day-to-day and that perspective, many things combinedin life are subject with overwhelmingto a higher power. new The information, lack of incitingcontrol a need over for the accommodation. design shifts us from This our strategy day‐to‐ couldday perspective, also be used combined in combination with overwhelming with the strategies new information, inciting a need for accommodation. This strategy could also be used in combination with “ephemerality of beauty,” “conceptual hierarchy and presence of higher power,” and “novelty with the strategies “ephemerality of beauty,” “conceptual hierarchy and presence of higher power,” and overwhelming complexity.” The design’s unpredictable nature is likely to enhance the other strategies “novelty with overwhelming complexity.” The design’s unpredictable nature is likely to enhance the in fulfillingother strategies the two in appraisal fulfilling components the two appraisal of awe: components perceived of vastnessawe: perceived and need vastness for accommodation.and need for accommodation. 5.5.1. Examples Participants’5.5.1. Examples examples included digital experiences such as videos and animations in which random andParticipants’ abrupt changes examples disorient included thedigital viewer. experiences One participant such as videos added and an animations example in of which a video in whichrandom objects and start abrupt to randomly changes disorient fly in many the viewer. directions One outparticipant of the blueadded (Figure an example8a): “ ofIt a was video completely in unexpectedwhich andobjects mind-blowing start to randomly since there’s fly in nomany indication directions that out something of the blue crazy (Figure like that 8a): will “It was happen. completely And when he opensunexpected the door, and we’re mind once‐blowing again since surprised there’s that no indication he’s floating that insomething space. The crazy sudden like that and will unexplained happen. And changes when left me inhe awe opens as I the tried door, to processwe’re once what again was surprised happening that as he’s quickly floating as possible.in space. ”The In sudden another and example, unexplained the changes participant left me in awe as I tried to process what was happening as quickly as possible.” In another example, the described going to a DJ set (Figure8b): “ Seiho spins a mix of frenetic beats while ripping insane keyboard participant described going to a DJ set (Figure 8b): “Seiho spins a mix of frenetic beats while ripping insane solos.keyboard The music’s solos. energy, The music’s his vigor, energy, and his flashing vigor, and lights flashing made lights this made video this especially video especially awe-inspiring. awe‐inspiring.” ”

FigureFigure 8. Examples 8. Examples suggested suggested by theby participantsthe participants (Reprinted (Reprinted with with permission): permission): (a )(a flying) flying objects objects video, (b) Seihovideo, DJ (b set,) Seiho (c) kineticDJ set, ( typographyc) kinetic typography by LUST, by andLUST, (d )and Light (d) myLight fire my by fire Sigmasix. by Sigmasix.

5.5.2.5.5.2. Implementation Implementation BothBoth components components of rapidof rapid changes changes and and unpredictableunpredictable behavior behavior appeared appeared critical critical to evoke to evoke awe. awe. If theIf design the design is just is just unpredictable unpredictable but but not not instantaneousinstantaneous enough, enough, the the user user would would be confused be confused or or frustrated.frustrated. If the If the design design changes changes its its appearance appearance rapidly rapidly but but predictable, predictable, the theuser user may may feel bored. feel bored. Rapid changes can be expressed in design by flashing lights, screens, or animations. A physical Rapid changes can be expressed in design by flashing lights, screens, or animations. A physical product, product, such as a kaleidoscope, could also quickly change in patterns and colors. These such asimplementation a kaleidoscope, options could are also exemplified quickly change in Seiho’s in patternsDJ set and and the colors.video of These flying implementation objects in which the options are exemplifiedchanges in inlighting, Seiho’s music, DJ set andand theimagery video ofwere flying characterized objects in whichas “frenetic the changes” and “ insudden lighting,.” The music, and imageryunpredictable were behavior characterized component as “frenetic means ”that and the “sudden product.” or The experience unpredictable should behaviorminimize componenthaving meansuser that controls the product or interfaces or experience to directly should manipulate minimize the design. having As observed user controls in the or data interfaces points for to this directly manipulatedesign strategy, the design. most As designs observed were in videos, the data installations, points for or this events, design in which strategy, user most controls designs were were videos,limited. installations, or events, in which user controls were limited.

5.6. Design Strategy 6—Active Participation in a Collective The last design strategy describes evoking awe through a participatory activity in which many people can partake simultaneously to work towards a common goal or interest. The source of awe Multimodal Technol. Interact. 2020, 4, x FOR PEER REVIEW 12 of 19 Multimodal Technol. Interact. 2020, 4, 82 12 of 19 5.6. Design Strategy 6—Active Participation in a Collective comes fromThe the last consequencesdesign strategy ofdescribes directly evoking using awe the through design a and participatory what the activity design in enables which many us to do. The design’speople can direct partake interaction simultaneously with multipleto work towards people a or common the representation goal or interest. of The many source people of awe creates a sensecomes of vastness from the consequences because they of are directly surrounded using the bydesign a sea and of what people the design or their enables visual us representation. to do. The design’s direct interaction with multiple people or the representation of many people creates a sense The user realizes that she/he is not alone, but rather part of a much larger community or group, and this of vastness because they are surrounded by a sea of people or their visual representation. The user shift in perspective induces a need for accommodation. As a result, they experience awe and its effects, realizes that she/he is not alone, but rather part of a much larger community or group, and this shift suchin as perspective feeling connected induces witha need others. for accommodation. As a result, they experience awe and its effects, such as feeling connected with others. 5.6.1. Examples Many5.6.1. Examples participants cited examples of going to a concert or working in a team as awe-inspiring moments,Many in which participants they are cited surrounded examples by of people.going to One a concert participant or working described in a team going as toawe see‐inspiring her favorite bandmoments, (Figure9 a):in which “ This they combination are surrounded of effects by made people. me feel One a senseparticipant of mystery described and strangeness. going to see I her felt very connectedfavorite to everyone band (Figure around 9a): me“This who combination shared my of loveeffects of made Beach me House. feel a sense I felt of mystery very close and to strangeness. being overwhelmed I felt with myvery emotion. connected” Some to everyone experiences around canme who also shared be an my abstract love of representation Beach House. I offelt contributing very close to tobeing a larger group,overwhelmed such as the with TeamLab my emotion. aquarium,” Some experiences where you can can also draw be an a fishabstract to contribute representation to the of contributing pool (Figure 9b). to a larger group, such as the TeamLab aquarium, where you can draw a fish to contribute to the pool By looking at the pool of swimming fish made by so many different kids surrounding your own fish, (Figure 9b). By looking at the pool of swimming fish made by so many different kids surrounding a visualizationyour own fish, of the a visualization community of that the facilitatescommunity a that new facilitates perspective a new is perspective created. is created.

FigureFigure 9. Examples 9. Examples suggested suggested by by the the participants participants (Reprinted with with permission): permission): (a) Beach (a) Beach House House concert,concert, (b) TeamLab (b) TeamLab aquarium, aquarium, and and (c )(c Quarantine) Quarantine StoriesStories by by RNDR. RNDR.

5.6.2.5.6.2. Implementation Implementation ThisThis strategy strategy can can be directlybe directly manifested manifested in in designdesign that that invites invites and and allows allows multiple multiple to participate to participate in itsin usage its usage simultaneously simultaneously byby incorporating incorporating multiple multiple affordances affordances that indicate that indicate collective collective use. The use. The experienceexperience can can be be further further facilitated facilitated by incorporating by incorporating some some aspects aspects that invite that its invite participants its participants to take to collective action toward a common goal. For example, one participant described the artwork of I WAS take collective action toward a common goal. For example, one participant described the artwork HERE by Laura Schnitger: “the sequin tapestry is made unique by the everyday people walking by and leaving of I WAStheir marks HERE […]. by The Laura exhibit Schnitger: itself is special “the because sequin people tapestry come is and made go, leaving unique behind by the traces everyday of themselves people walkingfor by andother leaving people their to see marks and interact [ ... with]. The.” If exhibitthe design itself cannot is special directly because engage people multiple come people, and go, then leaving a visual behind tracesrepresentation of themselves forof other other people’s people to presence see and interact and their with contribution.” If the design can be cannothelpful in directly encouraging engage others multiple people,to thencontribute a visual to the representation collective. TeamLab’s of other people’saquarium, presence for instance, and theirallows contribution the user to canupload be helpfultheir in encouragingdrawings others into the to contributedigital ocean, to and the collective.displays the TeamLab’s scanned drawings aquarium, of every for instance, individual, allows conveying the user to uploadeach their user’s drawings contribution into to the the digital collective ocean, presence. and displays the scanned drawings of every individual, conveying each user’s contribution to the collective presence. 6. Discussion 6. Discussion 6.1. Suggestions on How to Use the Design Strategies 6.1. SuggestionsThis paper on How introduced to Use the six Design design Strategies strategies to facilitate the experience of awe. A theoretical concept needs to be translated into actionable design strategies that can be applied efficiently in This paper introduced six design strategies to facilitate the experience of awe. A theoretical academic and design practice settings to create a real‐world impact. Löwgren [42] proposed that conceptdesign needs knowledge to be translated can be represented into actionable with the dimension design strategies of abstraction: that cangeneral be appliedtheory, on e ffitheciently one in academichand, and and design particular practice artifacts settings on the to other create hand. a real-world There is impact.an intermediate Löwgren‐level [42 ]design proposed knowledge that design knowledge can be represented with the dimension of abstraction: general theory, on the one hand, and particular artifacts on the other hand. There is an intermediate-level design knowledge that enables designers to bridge the two opposites. Examples of such knowledge include design strategies, patterns, and annotated portfolios [43]. By conveying real-world examples (bottom-up) and the underlying theoretical account (top-down), the six design strategies fit in the space of intermediate-level design Multimodal Technol. Interact. 2020, 4, 82 13 of 19 knowledge. Although we have not yet applied the strategies into design cases, we would like to offer some considerations for the utilization of the strategies. The resulting six strategies can make two major contributions to design processes. As a source of inspiration and confirmation, they can assist designers in (1) envisioning design ideas that evoke awe and (2) assessing their effectiveness. In this section, implications of the design strategies will be drawn for each of these two areas. The first area of application is to guide the early stages of design conceptualization where the six strategies can support designers to envision experiences that could enable intended users to feel awe. This study explored a variety of design elicitors and eliciting conditions beyond the simulation of nature experiences. Types of design examples ranged from art exhibits, interior spaces, architecture to physical products, videos, theories, and concepts. Some of the most frequently cited examples were art installations like Kusama’s infinity mirrors or TeamLab’s Borderless, and architectural spaces like Grand Central Station or the Oculus, a circular opening in the center of a dome or in a wall. These examples are congruent with the previous studies on awe-inspiring contexts such as musical theater [44], rock music festivals [45], immersive built environments [46,47]. Besides, beyond these suggestive contexts, the collection of design examples included a wide array of manifestations, e.g., consumer products, services, and social media. This comprehensiveness could make the resulting design strategies more widely applicable to varying design contexts because they illustrate how the experience of awe can be stimulated by means of various design manifestations. Besides, the strategies show three different ways in which users feel awe in relation to design: perceiving the design, using the design, and associating the design with its social implications. The accounts of these different ways of experiencing awe can support designers to explore diverse design directions beyond imitating typical awe-stimulating conditions (e.g., projecting nature imageries onto a large screen). Hence, it is expected that the six strategies categorized by the three emotion sources can spark inspiration and guide the process of concept generation in such a way that the design solution fits the given design context and users. The second area of application is to assess new designs’ potential to evoke awe. One of the strengths of using the appraisal framework is that designers are enabled to understand the underlying reasoning for why and how each design strategy could work to evoke awe. This understanding will hopefully equip designers to devise an overarching design goal (i.e., addressing vastness and a need for accommodation), against which they make more informed evaluations regarding the design’s effectiveness to evoke awe in the early stages of product development. For example, if their design does not seem to evoke awe based on user feedback, they can return to the appraisals and ask themselves: do the users appraise this design with vastness and need for accommodation? At a more concrete level, each of the strategies can serve as points of reference for examining the design. For example, designers could assess if the initial design concept stimulates their users to perceive a conceptual hierarchy (strategy 3) or enables the users to actively participate in a collective effort (strategy 5). Additionally, the analysis of the participants’ awe experiences and design examples showed three different ways in which awe can be experienced based on the emotion source framework [27,48]. Elucidating the underlying process of awe in human–product interactions and the different pathways through which awe can be evoked (i.e., the three sources of awe) is what makes the proposed design strategies concrete and useful for methodically assessing how the design would evoke awe.

6.2. Addressing the Experiential Value of Awe Holistically Apart from the strategies “active participation in a collective” and “conceptual hierarchy and presences of power,” other strategies did not involve direct interaction with the product (i.e., perceiving the design; see the sources of emotion depicted in Figure2). This implies that in experiencing awe, it may be inevitable that users have a limited sense of control. In a similar vein, the fourth strategy, “novelty with overwhelmingly high complexity,” and fifth strategy, “rapid changes and unpredictable behavior,” may lower users’ competence to some degree. In fact, the resulting strategies appear to align with the previous studies on the causes of awe; awe is evoked when one Multimodal Technol. Interact. 2020, 4, 82 14 of 19 appraises a lack of personal means and control [28]. Their usefulness in systematically evoking awe aside, these potential negative effects of using the strategies raise a question: “Is it appropriate to utilize these strategies to evoke awe at the risk of hindering users’ ability to control?” Previous work on usability and user experience focused primarily on short-term efficient use, functional effectiveness, and the immediate hedonic effects on users, following the utilitarianism that pursues a maximization of pleasure and minimization of pain [49,50]. In this view, the fourth strategy, “novelty with overwhelmingly high complexity,” and fifth strategy, “rapid changes and unpredictable behavior,” may appear to contrast with general design recommendations. Low novelty-complexity is associated with high usability, and high novelty-complexity is associated with low usability [51]. Indeed, while awe is considered a positive emotion due to its beneficial behavioral effects for oneself and others, it is known to involve negative experience as antecedents of awe [8]. Other similar positive emotions at the fringes of the distinction between positive and negative emotions are hope and relief as they require the appraisal of uncertainty in their elicitation (for an overview of how positive emotions can be distinguished from negative emotions, see [52]). We want to emphasize that here, the explicit transformational effects of awe, such as prosocial and sustainable behaviors [6,7,12], is the key driver of designing for awe. Although many design approaches mainly focus on minimizing negative emotions (e.g., making a user interface familiar, thereby making it less difficult to understand), we argue that making use of both positive and negative emotions is crucial because different situations demand different emotions [24]. Negative emotions can sometimes be inevitable and even beneficial. For example, as extensively studied in psychology (for an overview, see [53]), anger enables people to rectify an unfair situation instead of pursuing short-term comfort and avoiding arguments. Envious people are more determined to achieve their goals, and under certain circumstances, fear can make an experience more enjoyable and richer (e.g., riding a rollercoaster) [54]. According to Fokkinga and Desmet [54], the benefits of specific negative emotions can deliberately serve as a design intention in enriching users’ experience. They suggest that addressing the positive effects of negative emotions calls for creation of a “protective frame.” This frame refers to the mental construct that enables people to create a certain psychological distance between themselves and the stimulus [55] (e.g., enjoying the awe and terror being close to a lion in the cage). The frame is known to be the most critical factor that detracts the unpleasant aspects from the potentially negative experience while leaving the transforming effects intact [56]. Especially in well-being-focused design initiatives that focus on long-term effects of design, e.g., Positive Design [57] and Experience Design [19], it is suggested that design takes a more holistic approach by accepting that negative experiences are part of our life and should be embraced; certain well-being enhancing experiences (e.g., committing to one’s goals and developing strategies for coping) are not a straightforward process but involves setbacks and relapses. In accordance with these design initiatives, we argue that in designing for awe, the strategies that potentially engender a negative moment could be purposefully used for fostering the experiential value of awe in the long run. This implies that the product as a mediator of awe experiences should be in the focus of attention, and the process of evoking awe needs to focus on the design’s essence—wider effects of awe on experience and behavior. In this effort, we call for a balanced and sensible user-centered design approach that considers users’ acceptability, contextual factors, along with long-term benefits for users beyond instant gratifications.

7. Conclusions The exploration into designing for awe and transformative experiences continues to expand. In the fields of design and human–computer interaction, there has been a shift from building new products and technologies that simply support human activity, such as communication and productivity, to creating a design that can support fulfillment of higher needs such as transcendence [58]. In this study, we followed an appraisal theory approach toward designing for awe. Awe’s appraisals (i.e., need for accommodation and perceived vastness) served as the guideline to evoking awe. The main contribution Multimodal Technol. Interact. 2020, 4, 82 15 of 19 to the field of design is the six design strategies that help designers evoke awe. The particular design examples suggested by the participants were abstracted into broad design strategies that could be used to create new products with the potential of eliciting awe. Each strategy relates back to the appraisals by showing how the strategy is congruous with the appraisal pattern of awe. Based on the examples identified by the study’s participants, the strategies were further elucidated to explain how they could be applied to the design. We believe that the resulting design strategies and concrete design examples will help designers systematically create products that will enable users to experience awe, personal growth and transformation in the long run.

7.1. Limitations Many participants had difficulty finding ten compelling design examples, and some responses appeared to be non-awe related, referring to other positive emotions such as surprise and shock. This could be due to the lack of a consensual definition of awe. Our study used an excerpt that described the experience of awe through a vignette, which was taken from the Differentiation of Positive Emotions Scale [23]. The vignette describes entering a nature scene. However, because this was the only input for the participants, it might have biased people into more frequently talking about nature experiences. Recently a scale that measures awe experiences [30] has been developed that uses various keywords that are indicative of an awe experience, such as altered time perception, self-diminishment, connectedness, perceived vastness, physical sensations, and need for accommodation. We postulate that using these keywords with the vignette could have better helped participants’ understanding of the meaning of awe. It was occasionally difficult to interpret based on some participants’ descriptions as to whether or not awe was actually experienced because some of the explanations lacked detail as to what part specifically about the design they felt like evoked awe, or how they felt from experiencing the design. This leads to the second limitation: the study’s internal validity would have benefited from a second researcher to participate in the thematic analysis and the categorization of the strategies into the emotion sources. While thematic analysis is flexible for analyzing qualitative data, this flexibility can lead to inconsistency and a lack of coherence when developing themes derived from the data [59]. Hence, a future research opportunity would be to replicate this study, with different samples of participants and varying product types, and involve multiple researchers in the data analysis process to ensure internal validity. Although this study does not intend to cover all possible experiences of awe in human–product interactions, it is important to consider that the participants’ ages ranged between 18 and 23 may limit the types of design examples provided. People’s experiences with emotion-eliciting situations largely differ as they age [60], and the types of experiences and designs that they may be exposed to differ as well. Therefore, we invite initiatives aiming to refine and expand the resulting strategies across different samples, stimuli, and situations. The culture-specific sample of participants may also affect results because culture can play a role in the priming of people and influence subsequent judgment and interpretation. Depending on how people are primed, the way they appraise a design can vary [61]. This implies that the design strategies’ applicability might not be cross-cultural. Hence, it is important to conduct a user-centered and participatory research study when designing for emotion. It allows the designer to gain an in-depth understanding of the context and users’ concerns (e.g., goals, values, and aspirations) that reveals how different people from varying cultural backgrounds might react to the design, and whether the design evokes awe. Reflecting on our experience, it is suggested that design strategy implementation should be based on the insights shared and checked with the actual users, and not rely on the strategy alone, in order to make sure that the final design is developed to have the intended emotional impact.

7.2. Future Work The design strategies generated in this study can be used to inform the creative process of developing a product that evokes awe. It is assumed that some strategies would be more preferable Multimodal Technol. Interact. 2020, 4, 82 16 of 19 for designers or considered easier to address than others. Further research should be undertaken to investigate how the strategies can be effectively applied to design. The questions that could be asked include: how can designers be supported to choose an appropriate strategy that is highly relevant to the design challenge at hand? How can the strategies and related contents be effectively conveyed to designers? It would be beneficial to involve designers and other stakeholders who may use the strategies, which would help methodically address needs and expectations of those who will actually use the strategies in practice. Another future direction would be to conduct a study that evaluates whether users feel awe-inspired by interacting with the product, which was designed using the proposed strategies. We postulate that the effects of such product will be dependent on the utilized strategy and the design context (e.g., education, healthcare, shopping, etc.). Future research can focus on determining whether a certain design strategy is more effective for evoking awe experiences in a certain context than others. In particular, the study would benefit from investigating if the short- and long-term behavioral and cognitive effects of awe could be replicated in human–product interactions, such as the perception of small self [9,30], the shift of attention from individual interests and concerns to social collectives [16], and the promotion of systematic cognitive processing for persuasion [62].

Author Contributions: Conceptualization, J.K. and J.Y.; methodology, J.K. and J.Y.; formal analysis, J.K.; writing—original draft preparation, J.K.; writing—review and editing, J.Y.; visualization, J.K. and J.Y.; supervision, J.Y. Please turn to the CRediT taxonomy for the term explanation. Authorship must be limited to those who have contributed substantially to the work reported. All authors have read and agreed to the published version of the manuscript. Funding: This research was supported by Cornell Center for Social Sciences. Acknowledgments: We would like to thank Michael Goldstein for his constructive feedback on earlier versions of this paper. We express our gratitude to the copyright owners of the photographs for their permission to use them in the manuscript. We also would like to thank the reviewers for their very helpful comments. Conflicts of Interest: The authors declare no conflict of interest.

Appendix A. Instruction and Questions Used in the Survey What might awe feel like? In order to discuss awe experiences, I would like to provide an example of what an awe-inspiring experience might look like. Envision this experience for instance: You are walking up a hill through thick woods. It was raining earlier, but the rain stopped a short time ago, and the sun is now shining. All of a sudden, you come to a clearing near the top of the hill and enter a beautiful meadow filled with wildflowers and butterflies. A clear stream is running through the meadow and there is a rainbow in the sky. Off in the distance you can see the snow-capped peaks of a nearby mountain range. Your awe-inspiring experiences could have felt mind-blowing, breathtaking, made you say “wow”, gave you goosebumps, or even moved you to tears. These are just some of the common reactions that people have when they experience awe.

Appendix A.1. Section 1: Recalling Past Experiences of Awe Take a moment to think about past experiences that you’ve had that were awe-inspiring. You might want to answer: What happened and what were you doing? How would you express your feelings? How did you respond? What was on your mind? Write a short paragraph per memory, describing both the memory itself and what about the experience might have caused you to feel awe. Please also include an image that represents your memory as close as possible. Submit a minimum of 3 responses, one slide per response/memory.

Appendix A.2. Section 2: Awe Examples Find a minimum of 10 designs that would evoke the emotion of awe within you. With the term “design,” I mean any kind of artifact that you can imagine such as space, consumer product, Multimodal Technol. Interact. 2020, 4, 82 17 of 19

installations, online services, etc. These designs could be taken from websites, Instagram and social media, magazines, Youtube, something you randomly encountered during your day, and beyond. Please include an image and a short description of what aspect of the design or experience evokes awe.

Appendix B. Image Credits Figure4c (Title: Light Evaporating with People II, Credit: teamLab, Exhibition view of teamLab Borderless, 2019, Shanghai © teamLab, courtesy Pace Gallery); Figure4d (Title: Ice Watch, Credit: Ice Watch, 2014, by Olafur Eliasson and Minik Rosing, Martin Agryroglo photography); Figure5a (Title: Ford 021C Concept Car, Credit: Ford 021C Concept Car, 1999, Marc Newson Ltd. and Ford, Tommaso Sartori photography); Figure6d (Title: Drifter, Credit: Drifter, 2017, DRIFT and SkySpirit at Amory Show); Figure7a (Title: Sunflower Seeds, Credit: Sunflower Seeds, Ai Wei Wei, 2010, Photo: © Tate, London 2020); Figure7c (Reprinted by permission from Springer Science: Algebraic Topology: An Introduction, William S. Massey © 1977); Figure8a (Title: Dreaveler, Credit: Dreaveler, 2018, by Taehoon Park at Pause Fest Motion Response 2018); Figure8d (Title: Light My Fire, Credit: Light My Fire, 2008, by Florian Pittet, Ecal x SIGMASIX); Figure9a (Beach House live at the House of Blues in Boston, 2018, by John Hutchings on Vanyaland.com. Link: https://bit.ly/2IEWVpm); Figure9b (Title: Sketch Aquarium, Credit: teamLab, Exhibition view of teamLab Borderless, 2018, Tokyo © teamLab, courtesy Pace Gallery); Figure9c (Title: Quarantine Stories, Credit: Quarantine Stories, 2020, by RNDR. Link: http://quarantinestories.today).

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