Designing Engagement: a Method for Improving Multisensorial Properties of Products

Designing engagement: A method for improving multisensorial properties of products.

A thesis submitted to the Graduate School

of the University of Cincinnati in partial fulfillment

of the requirements for the degree of

Master of Design

in the Myron E. Ullman Jr. School of Design

College of Design, Architecture, Art and Planning by

Norberto Sanchez Eliserio

LDI Universidad Autónoma de Nuevo León

Committee Chair: Claudia B. Rebola, PhD.

Committee members: Juan Antonio Islas Muñoz M.A.

4/2/2019

iv ABSTRACT

The adoption of a medical device represents a challenge for new users.

Beyond their function, medical objects communicate on behalf of the user.

The people around the user interpret the messages transmitted by the object and create views and stigmas toward the product and the user.

These situations complicate the already challenging position of older adults.

Like medical products, objects oriented for older adults neglect the users’ needs and force them to accept a product that ignores their values and identities on behalf of convenience and safety.

These circumstances urge industrial design to address the absence of product engagement for a growing population of older adults, especially when the product possesses complex social meaning that impacts the user’s wellbeing, such as medical devices. Industrial design has neglected the necessity of good medical design, medical products are traditionally designed to be reliable, safe to use, efficient, and profitable leaving aside the phycological, social, and emotional needs of the user.

v This thesis proposes a design method based on semantic attribution and its relationship with object materiality. The method aims to promote product adoption, by using the multisensorial properties of the object to encode semantic attributes that align with the user identities. This thesis explores the inclusion of virtual reality as an assistive platform for the methodology.

A series of studies were conducted to evaluate the method and its incorporation into the design process. Initial findings generate: a refined analysis tool; evidence of converging results on the product interventions despite the experience or background of the participants; and evidence of the manifestation of behavioral patterns between designers and users.

vii ACKNOWLEDGEMENTS

This thesis is dedicated to my family for their entire support during this process.

To the Masters of Design professors and colleagues for sharing their time, knowledge and friendship.

I hope this thesis inspires other designers to expand the boundaries of our discipline.

viii TABLE OF CONTENTS

ABSTRACT v

ACKNOWLEDGEMENTS viii

TABLE OF CONTENTS ix

LIST OF TABLES xii

LIST OF FIGURES xiii

GLOSSARY, LIST OF SYMBOLS AND ABBREVIATIONS xvii

CHAPTER 1 INTRODUCTION 1

CHAPTER 2 LITERATURE REVIEW 4 2.1 Design process: Definitions and evolution 4 2.1.1 Design process: Descriptive and Prescriptive methods. 5 2.2 Sense and material Driven design 10 2.2.1 Sense - driven Design 10 2.2.2 Material-driven and material meaning 12 2.3 Modern design methods driven by meaning and materiality 13 2.3.1 CMF Design: Color, Material and Finish 13 2.3.2 Material-Driven design. 15 2.3.3 Product design based on semantic attribution. 16 2.4 Human Factors and human center design methods 17 2.4.1 Human Centred, Inclusive, Universal and transgenerational design. 18 2.5 Aesthetic, to dignified and expand their identities case of studies. 22 2.6 An aging population: Understanding the phenomena and design opportunities 25

ix CHAPTER 3 Theoretical Foundation 28 3.1 User and object relationship and its role on product adoption: Identity, perception and meaning attribution 28 3.2 Virtual reality: exploring materiality aspect through technology 32 3.3 Product evaluation a sensorial perception through VR. 33

CHAPTER 4 METHODOLOGY 38

CHAPTER 5 Research Development 42 5.1 Academia stand and curriculum analysis 42 5.2 Expert Interview CMF design_ Julia Andreasson 45 5.3 Expert interviews Design for healthcare products and Designing Healthcare entrepreneurships 48 5.3.1 Expert interviews Jorge Trevino Innovation for healthcare at Worrell 48 5.3.2 Top and Derby: A case of study of home-healthcare crowdfunding that dignifies the user. 52 5.4 Case of Studies 56 5.4.1 Study #1.- Mobility aid object (canes) 56 5.4.2 Study #2 Sleep apnea mask, Analysing method bias. 64 5.4.3 Study #3 VR as a tool for visualization, analysis and engagement 73

CHAPTER 6 Discussion 80 6.1 Design intervention Studies discussion 80 6.1.1 VR as a tool for visualization, analysis and engagement reflections 81 6.2 Thesis discussion 83 6.2.1 Object materiality and user identity relationship for product adoption. 84 6.2.2 Empathy and behaviour 85 6.2.3 Materiality and VR 87

CHAPTER 7 Significanns 88

CHAPTER 8 Conclusions 89

x 8.1 Expanding the study 89 8.2 Workflow, technologies, and VR platform challenge. 90 8.3 Design Education, VR training, and Future Practice. 90

Bibliography 91

APPENDIX A: Study #1 sample images 97

APPENDIX B: Study #2 sample images and analysis tool 100

APPENDIX C : ID academic programs reviews 105

xi LIST OF TABLES

Table 2 Population projection United states 25

Table 1 Population projection European union and Asia 25

xii LIST OF FIGURES

Figure 1 Simple 4 stage model of the design process ...... 5

Figure 2 French’s model of design process ...... 6

Figure 3 Archer's Model of Design process / Archer’s Three-phases

summary model of design process ...... 7

Figure 4 Eight stages of design process positioned with the symmetrical

problem solution ...... 9

Figure 5 Naoto Fukazawa Juice Skin for Haptic exhibition ...... 11

Figure 6 Karana sensorial approach ...... 12

Figure 7 Becerra CMF Indicator ...... 14

Figure 8 Material Driven Design (MDD) method ...... 15

Figure 9 framework for brand experience analysis ...... 17

Figure 10 Comparation Noyes’s Human information-process model and

Norman´s three levels of design process ...... 19

Figure 11 Viktoria Modesta, self-define Bionic artist ...... 22

Figure 13 Lilly Huma Pen SAVVIO ...... 23

Figure 12 Top & Derby Chatfield cane ...... 23

xiii Figure 14 Hypothesis simplified diagram ...... 28

Figure 15 Analysis framework based on Hermeneutic circle & Design

semantics as second-order understanding by Krippendorff ...... 29

Figure 16 Proposal of the method intervention on the design process .... 31

Figure 17 Older adult referring to sensorial perception using VR ...... 32

Figure 18 Tobii Pro Vr analytics Understand the consumer journey ...... 34

Figure 19 Autodesk Vred VR interactions ...... 35

Figure 20 Workflow proposal ...... 37

Figure 21 Research methodology diagram...... 41

Figure 22 Top and derby: Chatfield walking stick ...... 52

Figure 23 top and Derby product communication material ...... 55

Figure 24 Study #1 Mobility aid object product samples ...... 57

Figure 25 Method analysis tool proposal V1 ...... 58

Figure 26 Study #1 Mobility aid participants MA2(right) and MA3 (left)

outcomes ...... 60

Figure 27 Participant MA1, session similarities between the reference

object and the proposal ...... 61

Figure 28 Participant SA3 "empathy gesture" ...... 62

xiv Figure 29 Method analysis tool proposal V1 ...... 66

Figure 30 DreamWear Full Face CPAP Mask with Headgear by Philips

Respironics ...... 67

Figure 31 study#2 Participant SA1_ Sleep apnea mask process and

Outcomes ...... 68

Figure 32 DreamWear Full Face CPAP Mask with Headgear by Philips

Respironics ...... 69

Figure 33 Participant SA2 Outcomes ...... 69

Figure 34 study#2 Participant SA3_ Sleep apnea mask process and

Outcomes ...... 70

Figure 35 Analysis tool proposal ...... 72

Figure 36 VR reflection override environment...... 73

Figure 37 VR interactive session set up ...... 74

Figure 38 VR experience focus points ...... 75

Figure 39 Participant VR2 "Empathy gesture" and experience...... 76

Figure 40 Participant VR3 experience...... 77

Figure 41 Participant VR3 experience ...... 78

Figure 42 Study #1 Mobility aid reference image #1 ...... 97

xv Figure 43 Study #1 Mobility aid reference image #2 ...... 98

Figure 44 Study #1 Mobility aid reference image #3 ...... 99

Figure 45 Study #1 Mobility aid reference image #4 . Error! Bookmark not

defined.

Figure 46 Study #2 Mobility aid reference image #1 ...... 101

Figure 47 Study #2 Mobility aid reference image #2 ...... 102

Figure 48 Analysis tool fill from participant SA1 insights...... 103

Figure 49 Analysis tool fill from participant SA2 insights...... 104

xvi GLOSSARY, LIST OF SYMBOLS AND ABBREVIATIONS

Art Center College of design, Human centered design, HCD User Experience, Ux

ACC Industrial Design, ID User Interface, UI

Augmented reality, AR Instituto Tecnológico de Virtual Reality, VR

Computer Assisted Draw, Estudios Superiores de

CAD Monterrey, ITESM

Color, Material, Finish, CMF Facultad de Arquitectura de la Universidad Autónoma de College of Creatives Studies, Nuevo León, FARQ-UANL CSS

xvii CHAPTER 1 INTRODUCTION

As a driving force, technology has shaped society and the economy since the first industrial revolution. The close ties of industrial design with the user makes design sensitive to the driven forces that affect society.(Kenʼya Hara, 2007; Schwab, 2016).

During the second industrial revolution, the emerging of the mass production model profoundly influenced the design process and the materiality of the products. That influence is still present in the current design process.(Cross, 2008, 2011) . Additionally, the third industrial revolution, pushed an already technology-driven society even farther.

Industrial design has reacted to these changes, in the digital age, design has produced products where most of the user interactions happen on a screen, in the digital space.

However, humans still live in a physical world and require physical artifacts to interact with, in this context the object materiality becomes the primary interface for human- product interaction, making the user’s senses the channel to experience and perceive the artifacts.(Kenʼya Hara, 2007; Yoon, Pohlmeyer, & Desmet, 2016).

This understanding urges design to adapt its practice to assess that objects are a medium for self-projection and social communication(Davis, Murphy, & Haines, 2013; E. Karana,

Hekkert, & Kandachar, 2009). Industrial design requires an adaptation of its practices that allow designers to identify user values and translate those into semantic attributes and communicate them through the product materiality.

The adoption of objects with complex meanings such as medical devices represents a challenge for new users. Beyond their function, medical objects communicate on behalf of the user. The people around the user interpret the messages transmitted by the object and create views and stigmas toward the product and the user. These situations complicate the already challenging position of older adults. Like medical products, objects oriented for older adults neglect the users’ needs and force them to accept a product that ignores their values and identities on behalf of convenience and safety.

Industrial design has neglected the necessity of good medical design, medical products are traditionally designed to be reliable, safe to use, efficient, and profitable leaving aside the phycological, social, and emotional needs of the user. As stated by King (King &

Chang, 2016) there is a large gap between the aesthetic sensibility of a medical and a consumer product.

The aims of this thesis are: one, to create a method that improves product adoption using the object materiality to reframe the semantic attribution of the object; two, to create the tools and map the workflows required for the implementation of a method based on semantic attribution and object materiality; and three, to evaluate the possibilities of virtual reality as a complementary platform for conceptualization (VR sketching) and evaluation

(VR Prototyping experiences.)

The initial research offers a comprehensive review of the traditional design process,

(Cross, 2008; Jones, 1992; Kumar & ebrary, 2013), the analysis of sense driven design and sensorial perception theories and their impact on the user (Koren, 2010; Menzi &

Hara, 2010; D. A. Norman, 2013), as well as a review of emerging models such as material driven design(E. Karana, Barati, & Rognoli, 2015; E. Karana et al., 2009; E. K.

Karana & Hekkert, 2010), semantic driven design for brand adoption(Gonzalez, Val,

Justel, & Iriarte, 2017), and the analysis of CMF as a design specialization for the use of object materiality to improve product communication.

After the research, a series of studies were conducted to evaluate the method and its incorporation into the design process. Initial findings generate: a refined analysis tool; evidence of converging results on the product interventions despite the experience or background of the participants; and evidence of the manifestation of behavioral patterns between designers and users.

CHAPTER 2 LITERATURE REVIEW

2.1 Design process: Definitions and evolution

As a discipline, Design translates abstract concepts into tangible experiences: products that fulfill human needs. Embedded with meaning and values, these products transmit a set of semantic references to the user (Gonzalez et al., 2017). Objects become the media used by designers to communicate with the user, and materiality the channel used by the product to deliver its message.

With the intent to define a design process that enables this translation, where three approaches to the design process are analyzed and compared, it is important to mention that even when several forces drive this process, they share tasks and even tools to accomplish the goal.

2.1.1 Design process: Descriptive and Prescriptive methods.

Nigel Cross’s (2008) work offers a compressive approach to what could be considered the traditional design process. Highly influenced by engineering, descriptive and prescriptive methods influenced design practices and education over the last four decades. Following the engineering influence, these methods are presented as flow diagrams.

The Descriptive process (see Figure 1) describes the sequence of activities that take part in the design process.

Cross (2008) offers an analysis of the different intents to Figure 1 Simple 4 stage model of the design process map the diverse design processes as well as the way that design happens and how designers think. In the descriptive method, Cross identified four stages:

Exploration, Generation, Evaluation, and

Communication.

The Descriptive process (see Figure 2) starts with the assumption of a need (problem) that generates an early concept (solution) that will be iterated and refined. Cross describe these processes as a heuristic process, where experience and intuition play a critical role.

French's process presents evolution to these design methods, with a refined structure based on goals and activities, maintaining the four-stage basic structure and defining specific tasks to complete goals.

Similarly, Jones (1992) mentions this method considers designers as a “black box” where designers are capable of producing with confident, successful solutions without being able to say how.

Figure 2 French’s model of design process

As a response to the Descriptive process, the Prescriptive process emphasizes the needs of analytic work. Based on a three-phase structure, Analyze, Synthesis and

Evaluate, these processes, providing a structured approach, focus on understanding and defining the "real problem" before taking any action.

Focusing on logical solutions, these methods integrate external factors such as the designer experience and external factors as another element to the process.

Figure 3 Archer's Model of Design process / Archer’s Three-phases summary model of design process

Archer's work (see Figure 3) offers an adequate representation of the prescriptive- process that shows the correlation between the different tasks to improve the understanding of the problem, as well as a direct reflection of this could be appreciated

on Jones’s (1992) work. Jones defined this process as “Glass Boxes” where designers externalize their “design thinking” or rather “mystical” capabilities.

The discussion of the design process takes part due to the argument that systematic approaches restrict the creative thinking of designers, and Cross ( 2008) mentions that usually the more successful processes are the result of coping with a flexible structure between this process. Furthermore, the review of the process presents the constant diverging and converging nature of the design process. But the complexity of the design issues faced by designers forced them to evolve the design process to adapt to this change.

To propose a modern design process becomes a difficult challenge due to the large amount of design methods developed in the last few years and the increased complexity to the role of the designer. More than ever the integration of diverse disciplines contributes to the design process.

The rational methods help designers to have a clear and organized approach to the process, by dividing the problem into subproblems (see Figure 4) allows them to allocate the strengths of the teams where they are needed.

Figure 4 Eight stages of design process positioned with the symmetrical problem solution

In summary, the process presented were driven by technology, efficiency, and production feasibility. The development and refinement of human factors, challenges designers to understand and reflect upon the human condition. As an element of change, new forces and theories were introduced into the design process that force it to evaluate and propose design methods and reflect on the design process. As will be introduced later diverse design philosophies aim to fulfill these gaps in the process.

2.2 Sense and material Driven design

2.2.1 Sense - driven Design

"if we were to reset the motivation for the manufacture of objects on the side of the senses, we would have a design process that begins not from technology but from sensorial perception, which would progress parallel to the various scientific disciplines. From this, we can imagine a world that would be called "Sense-Driven." Kenya Hara

The work presented by Hara ( 2004, 2007) reveals the relevance of considering the sensorial experience as part of the design process. While not against technology-driven developments, Hara analyzes the relevance of object experience through the sense, stating that the technology becomes pointless if we can’t stimuli and awaken the senses of the user and he reflects on how the “digital era” is numbing the senses through the commodity of living.

Hara's work becomes complex to translate into a clear practice for designers, due to the required level of reflection on the practice, the human condition and the user motivations.

However, his work presents an approach to understanding how materiality earns meaning through experiences and how the exposure to sensorial experiences builds a "sensorial library," or an Atlas of sensations and emotions associated with memories, as a basis for object understanding as present by Noyes(, 2001), through materiality designers can recall that memories to evoke feelings, sensations and emotions.

The difficulty of this approach as well as another Japanese influenced process is that due to cultural attributes these sense driven approaches rely on the experience and reflection.

It’s hard to translate it into a procedural process to be applied by non-experienced designers. These approaches present a philosophical reflection that is embedded in the

Japanese culture and is hard to use without developing the required sensitivity. As well the cultural attributes of the audience require a deep understanding of how the users perceive the elements.

However, it’s easy to appreciate the philosophy in practice. At Haptic ( 2004) Hara challenged designers to present a design intervention based on the concept of "awake the sense." If we observe the example of “Juice skin” (see Figure

5) by Naoto Fukazawa, the object uses our memories and translates them into an object that cannot be read differently from the intended objective, in this case, the juice box Figure 5 Naoto Fukazawa Juice Skin for Haptic communicates the juices but beyond the type of exhibition juice the object communicates the sensations associate with the fruit, awakening the senses, and recalling information from memories even before you can consume it.

On his work, Hara acknowledges that this kind of Sensory-Perception design is in an early stage and requires study and further development. As stated by King and Chang( 2016) by engaging multiple senses at every scale and detail, it makes the overall experience transcend its individual parts.

2.2.2 Material-driven and material meaning

Karana (E. Karana et al., 2009) offers a systematic approach to material perception. Recognizing the growing relevance of product semantics and emotions in design, her research isolates the material perception properties of the object with the aim of helping designers create meaning Figure 6 Karana sensorial approach through them.

Her study identified 13 sensorial properties (see Figure 6) and manufacturing process and analyzed a series of objects through these parameters. The result shows a comparative ranking of the sensorial experience.

Karana’s framework introduces a correlation between CMF and sensorial perception.

Attributes, to be expressed through the product materiality, allows modified the user perception of the product.

2.3 Modern design methods driven by meaning and materiality

2.3.1 CMF Design: Color, Material and Finish

" Color, material, and finish Design is an emerging professional discipline which focus on design and specifying colors, material and finishes to support functional and emotional attributes if products” Liliana Becerra.

Becerra( 2016) presents CMF as a specialization on the design process that can be conducted by a variety of design professionals. CMF aims to use emotional and functional properties to evoke and enhance the object perception.

Becerra’s CMF design process is developed in six stages: one, information gathering; two, establishing a narrative; three, creating a CMD strategy; four, understanding part break up; five, creating CMF palettes; and six, CMF/Development (Becerra, 2016.) The

CMF focuses on an assortment of tools used by other design disciplines at the time and integrates new ones. The CMF indicator will provide a base point for developing future tools.

According to Becerra, CMF must be developed in parallel to the design, the nature of the process aims to elevate the perceived value by aligning aesthetic attributes, brand language, and user values. The method presents a challenge that relies on the designer's experience and the correct translation of cultural attributes into design insights.

Becerra’s Indicator (see Figure 7) is a Figure 7 Becerra CMF Indicator representation of the theories of the semantic differentiations the method evaluates on a scale of relevance, to identify an assign value to CMF values.

2.3.2 Material-Driven design.

Material-driven Design (Karana et al., 2015) continues the work introduced by Karana.

On material experience and meaning through materials, the method aims to assist designers in conveying the previous concepts of materials meaning and experiences.

Grounded in four premises the method presents the following structure (see Figure 8).

The method presents a sequential approach that focus on the designer journey from tangible to abstract and back from abstract to tangible.

The method consists in four stages:

1. Understanding the material. 2. Creating material experience vision. 3. Manifesting material experiences patterns. 4. Design material / Product concepts.

The methodology offers a design process guided

Figure 8 Material Driven Design (MDD) method by the exploration of the material, however the attempts to assign semantic attribution on this process result in a complex challenge. On top of that, the method is based on a practical exploration, therefore the capacity to recreate and duplicate outcomes became complicated. Never the less, the Methodology offers a fresh interpretation for experimentation and experiences based on object materiality

2.3.3 Product design based on semantic attribution.

Design based on semantic attribution presents a framework for brand development

(Gonzalez et al., 2017). On his work Gonzalez argues that, once Maslow’s hierarchy is covered, user attention is transferred to the emotive elements of the product. When users perceive products in an emotive way, technology and efficiency does not provide brand advantages. It’s worth mentioning that the hypercompetitive context we now live in results in a scenario where quality is taken for granted and is no longer a brand differentiator.

The quest for meaningful experiences bring us back to the core of Human Centered

Design, focusing on experience, emotions, expectations, and feelings (D. A. Norman,

2013).

The process explores how the “value proposition” aligns brand and user values. Also, how experiences reinforce the bonds between brand and costumes (Brakus, Schmitt, &

Zarantonello, 2009.)This method defines four categories for consumer insights: Sensory,

Affective, Behavioral and Intellectual; and introduces a tool to map them in the attempt to fill the communication gap. It is notorious that this approach overlaps the driven forces introduced by Human-Centered Design and Sensory-Perception.(Ken’ya Hara, 2010; D.

Norman, 2005)

Even when the framework focuses on brand development, the introduction tool reveals the meaning-adoption relationship delivered through the object (see Figure 9). Aligning Figure 9 framework for brand experience analysis customer's values with the correct semantic attributes, expressed through the product materiality, allows the modification of the user perception of the product.

2.4 Human Factors and human center design methods

In the beginning, human factors focused on the improvement of tools and machinery to affect the production efficiency. Most recently, socio-technological events, such as war, pushed it to solve communication issues between machine and user. Analyzing the history of this discipline it’s possible to identify that the work was conducted by phycologists and engineers, and even when psychology drives some of this theory, the practice is to focus on perception, behavior, and rational thinking to generate efficiency.

At this point it's essential to establish a difference between human factors and ergonomics, Chapanis (1999) clarified the problem with the following definitions.

• Human Factors (Ergonomics) as a body of knowledge about human abilities and limitations and other characteristics relevant to design. • Human Factor Engineering (the practice of ergonomics) as the application of human factor information to the design of tools, machines, systems, task, jobs, and environment for safe, comfortable and effective human use.

Human Factors also focuses its attention on the interaction between humans and machines (Noyes, 2001) as well as on the psychological, emotive and social aspiration of the user should be including in this category

2.4.1 Human Centred, Inclusive, Universal and transgenerational design.

Designing with the user and their limitations as the axis of the design process has been a discussion topic in the design community over the last couple of decades. Multiple methods and philosophies have resulted from this discussion. With the overall goal to create access for the user, the analysis of four design approaches were conducted.

Comparing their proposal and highlighting the similarities they share, allows us to compare them with the engineering description of the process that maps a systematic approach to describe designer labour.

Human-centered design (HCD,) introduce a four-step methodology where the user became the center of attention. It requires a deep understanding of the user, environment

and technology needed (D. A. Norman, 2013; Yoon et al., 2016). In his work Norman introduced a psychological approach to understand how users process their interactions with the objects.

Norman’s theory presents a close relationship to the theory introduced by Noyes’s (see

Figure 10) with the differentiation that on Noyes’s Model the user’s memory acts as a buffer zone before the understanding in these areas reside in the sensorial and position experience that will be introduced later.

Figure 10 Comparation Noyes’s Human information-process model and Norman´s three levels of design process

In contrast, Inclusive and Universal Design aims to create products and services that meet the requirements of the whole population, or at least one as large as possible, creating accessible and conscious products for the audience it serves. HCD presents a

systematic approach to meet the user’s needs by learning and experimentation, in contrast, Inclusive and Universal Design presents philosophies on the practice, creating accessible and better products without sacrificing satisfaction or revenue.

Like Inclusive Design, Universal design presents an approach where the Design grants access to the largest possible audience, without the need for adaptation or specialized design. As a philosophy, it does not present a rigid structure. Instead, it is guided by seven principles. (Clarkson, 2003; Persson, Åhman, Yngling, & Gulliksen, 2015).

Principles of Universal Design

• Equitable use • Flexibility in use • Simple and intuitive to use • Perceptible information • Tolerance for errors • Low physical effort • Size and space for approach and use.

Differing from previous philosophies, Transgenerational Design considers older adults as the primary audience and relies on the fact that a solution for older adults should be an effective one for a younger audience as well. In his, work Pirkl (1994) states that design constantly neglects the needs of the older adults. Framed in a context where the markets are aware of the aging phenomena, the inclusive approach expands from the primary audience to the rest of society.

Even when all the previously mentioned philosophies aim to grant access and serve as many users as possible, their nature defines their approach to the problem. Similar explorations are introducing barrier-free design, design for all, and cooperative design among others. Even when the overall goal is shared, the way to achieve it becomes a differentiator among them. It is important to remark that they don't offer a structured method and instead a set of principles that prioritize the needs of the user.

2.5 Aesthetic, to dignified and expand their identities case of studies.

The multiple characteristics of a product can expand and even transform the reality of the user. When the multisensorial attribute of the object enables a communication that transcends the human condition, the user can extend its identity to the product. The semantic communication of the object becomes responsible for communicating and defining the social construction of the object.

Product engagement is not about the technology, the function or the aesthetic, it's about allowing the user to align and expand its identity through the product. These extensions on the user identities are reflected in the case of

Top & Derby cane's, and the prosthetic limbs of

Victoria Modesta(Walker, 2016).

Victoria Modesta, (see Figure 11), a performing artist originally from Russia, finds with the customization of her prosthetic leg a way to express and enhance her performance.

Contrary to the traditional approach of prosthetic development that mimics the lost limb, Modesta takes a radical approach where the object Figure 11 Viktoria Modesta, self-define Bionic artist materiality aligns with the identity she projects

during her performance. Visual and material properties of the leg are used to deliver experiences to the audience.

On the other hand, initiatives as the Chatfield cane (see Figure 13) by Top and Derby and

Savvio (see Figure 12) by IDEO for Eli Lilly utilize the material attributes of the object to dignify the user. While Savvio uses the aesthetic and materiality to deliver a premium sensorial experience that blends with other

Figure 13 Top & Derby Chatfield cane personal possessions, the Chatfield cane from

Top and Derby deflect the attention from the user to the cane ( Van Hemert, 2013). In the

Savvio case, the materiality removes any possible resemblance to a clinical aesthetic and avoids the traditional form factor of an insulin syringe. Savvio uses a stylish, simple aesthetic that blends with their possessions. Figure 12 Lilly Huma Pen SAVVIO

User research has shown that people view their pens as “a tangible expression of their medical condition and therapy.”(IDEO, 2000)

At the time Top and Derby focused on the object materiality of non-medical standard materials to deliver a non-expected experience for the product category.

The company designer acknowledges a change of perspective from a medical to a social model. Designer Matthew Kroeker describes the typical cane options as “soulless,” where traditional product reinforces the disability perception. They reframed the object materiality with a disruptive CMF and a refined, crafted product to impact the user’s perception. Additionally, sensorial characteristics such as weight, sound, touch, etc. delivered an unexpected experience to the user.

2.6 An aging population: Understanding the phenomena and design

opportunities

According to the United Nation Organization report, any person older than 60 years old can be considered an older adult. The aging phenomena is affecting countries all around the world.

In the United States it is projected that in the next thirty years as much as one fifth of the population will be an older adult (Clarkson,

2003; US Census Bureau, 2017, 2018). In

Asian and European countries, this number Table 1 Population projection United states could reach as much as one third. As a secondary concern the oldest older population

(over 80 years) is increasing rapidly.

Even when Human center design puts the users at the center of their activity Kose’s (Clarkson,

2003) stance is that older adults want good design, not special design. “Seniors citizens do not change their status suddenly when they turn

65". Reflecting on the HCD and inclusive Table 2 Population projection European union and Asia philosophy mentioned before, older adults, as

any other audience, possess the need to conserve their own identity. Therefore, the objects should not alienate them by projecting unique adaptations, instead allowing them to extend their persona through them.

For this, culture plays an essential role in the identity of the product. Taking Japan as an example, their approach to universal access is evident in their design practice. The

Japanese culture possesses an identity of efficiency and independence, as well as understands their role within a bigger system. Therefore, when we translate this into design attributes the product is required to fulfill the needs for younger users as well as work for the older adult population.

Kose (Clarkson, 2003) frames six requirements needed for good design: Safety,

Accessibility, Usability, Affordability, Sustainability, and Aesthetics.

This is in contrast with the seven principles of universal design: Equitable use, Flexibility in use, Intuitive use, Perceptible information, Tolerance for error, Low physical effort, Size and space for approach and use. Kose introduces the value of aesthetic as a requirement for good design. Aesthetics can be better explained by Koren definitions. For the interest of this study, Aesthetics comprehend the superficial appearance of things starting a cognitive process in which the user is aware of the sensory and emotive qualities of objects (Koren, 2010). These concepts can be extended to western culture as well. In his work Norman mentions that an object that looks better works better (D. A. Norman, 2013)

Within the context of healthcare and well-being for older adults, Davis (Davis et al., 2013) presents a study that analyzes the criteria through how older ladies select footwear.

The relevance of the study as pointed out by Davis is that footwear selection is a significant risk factor for falls and produces a high impact on their healthcare and wellbeing. The study reveals that the main criteria for selection is aesthetics follow by comfort. The study is evidence on how the footwear became a communication element that allow the older adults to project their identity to the society.

CHAPTER 3 THEORETICAL FOUNDATION

3.1 User and object relationship and its role on product adoption: Identity,

perception and meaning attribution

This thesis proposes a design method (analysis tool) based on materiality (shape, form, color, material, etc.) to deliver sensorial experiences, and affects the object perception.

The method aims to use the attributes of the object to improve product adoption. The method relies on the following premises.

The object poses embedded meaning and acts as a social element of communication.

The user-object conversation occurs through the object materiality. Materiality becomes the first interface that the user experiences, this renders the indicative function of the product and the affordances and meanings to the user. The object acquires this meaning through a process of semantic attribution, this process assesses

Figure 14 Hypothesis simplified diagram meaning to the elements of an artefact.

The method proposes to use designers’ abilities to encode semantic attributes and trigger their effects on the user through sensorial experiences (see Figure 15Figure 15).

Figure 15 Analysis framework based on Hermeneutic circle & Design semantics as second-order understanding by Krippendorff

During the Semantic Attribution process, the user divides the object and assigns meaning to the individual elements to build the general sense of the Object

(Krippendorff, 2005). At the time Sensorial experience recalls sensations, emotions, and even behavior from the user’s memories (Kenʼya Hara, 2007).

The meaning of an object emerges from the interaction of the users with it, and the object’s meanings are not fixed. According to Krippendorff, the human participation with artifacts is characterized by conceptual openness, meaning is constructed on previous experience and expand on them. (Krippendorff, 2005).

Therefore, the construction of positive experience that uses the object materiality has the potential to affect the user experience and ultimately the perception of the society. A similar phenomenon is presented in enclothed cognition, where the experience of wearing clothes triggers associated abstract concepts and symbolic meaning on the user, where the symbolic meaning of the clothes recalls an specific state or connotation of the user.

(Adam & Galinsky, 2012)

Designing engagement requires the effective translation of human factors into design elements as well as ergonomic conditions and behaviors translating into touchpoints and interaction. As presented by Mussweiler (2006), the interaction and behaviors are associate with an identified stereotype on the users. Slow movements are generally associated with older people, this bias toward behaviors reinforces stereotypes and stigmas. Therefore, the materiality of the object is required to anticipate the perception of the user behavior. Also, the future behavioral expression resulting from the CMF selection.

The proposal intervenes in the design process in several phases, mainly in the analyses and synthesis, conceptualization and validation, with the analysis and synthesis phases being the essential intervention (see Figure 16).

Figure 16 Proposal of the method intervention on the design process

3.2 Virtual reality: exploring materiality aspect through technology

Now more than ever older adults are engaging with technology, where in the past social media, smartphones, and tablets were mainly adopted by younger populations the increase of older adults using VR grows fast as a medium to stay connected and interact.

Additionally, the technological advances in Virtual Reality enable a new possibility to interact and evaluate design concepts. Improvements on the comfort and usability of VR equipment delivers an immersive experience to the users. Contrasting with traditional visualizations tools such as sketch or 3D modeling, the VR offers a Safe interactive space where product designers and customers can interact with the product before any physical representation. VR immersion deliver experiences that uses the user’s ability of retrieve memories on sensorial perception (Menzi & Hara, 2010).

The virtual reality experience also offers a sense of novelty that is well received by older adults. As shown on the reference

(see Figure 17) one of the participants mentions "my brain is saying if you reach out with my hand touch this, you will touch a cold white metal." (min 3:24(FBE,

2016)) Figure 17 Older adult referring to sensorial perception using VR

Stelick ( 2018) explores how the sensorial perception in VR affects the perception in the real world. In a controlled environment, participants were immersed in a VR experience and receive a sensorial (taste) stimulus. Results reveal that the perception was affected based on the VR experience.

Therefore, the convention of the previous analysis tool and the immersion achieved through VR provide not only an appealing experience that allows analysis for the product, as well as an immersive and interactive space for designers to conceptualize concepts.

3.3 Product evaluation a sensorial perception through VR.

Virtual reality as a non-mainstream technology still faces the challenge of defining its identity. From a product analysis view, VR offers immersive experiences where designers can interact and visualize products. Moreover, VR offer researchers the possibility to study user behaviors and interactions with the product in the early stages of the process.

This without the higher cost related to product prototyping and fast and unlimited iterations.

Former works on the topic have been conduct by Stelick (Stelick et al., 2018), Söderman

(Söderman, 2005), and Park(Park, Son, & Lee, 2008). In their work, they analyze the workflow and limitation of VR. Söderman’s study asserts that the degree of realism of a product visualization is correlated to the user’s familiarity to the product. The more the

user knows about the object, the more relevant the detail of representation became.

Participants focus on details.

Söderman’s (2005) work reveals the scale and reference issue faced by VR, where users can’t assess the scale of the object in comparison with a physical model. As well, Jung approach focuses on the interactiveness of the experience.

The technological limitation of their time, and the analysis methods used for the data analysis diminish the value of VR for product evaluation. Prior studies evaluate the user experience with a set of questions about the elements of the study, similarly to the focus group; this can easily be biased, misleading or vague.

Recently launch technologies such as

Tobii pro "eye-tracking" Figure 18 (Tobii

Pro” 2018) offer an unparalleled opportunity for visual analysis on VR, where the hardware and software map the focal points observed by the user.

Creating maps where the user focuses Figure 18 Tobii Pro Vr analytics Understand the consumer journey their attention, the tool reveals focus points. In contrast to the questioner methods, this allows analyzing the product experience from the user point of view.

As well the main market introduction in 2018 of real-time rendering hardware (Nvidia RTX) produces an unprecedented level of realism on the virtual environment. Moreover, several platforms such as Unity or Autodesk VRed (see Figure 19) allow interactive experiences where multiple users can interact simultaneously with a product on multiple geographic locations.

In addition to the lower cost associated with the required hardware, the improvements in VR’s headsets UX, and the established strong reception by older adults with the VR experience, the possibility of a useful product

Figure 19 Autodesk Vred VR interactions analysis platform becomes a latent possibility.

As well as an evaluation tool, VR as a technology allows us to track the user experience and identify focal points in the objects. In combination, the early awareness factors produced by designers, the novelty aspect of the technology, the convenience, and flexibility of a software experience that delivers a close to real live sensorial perceptions, and the capabilities for evaluation from a user point of view, present an excellent opportunity to include the technology in the design process.

The study proposes a Workflow base on the available technologies in 2019. As seen in the diagram the study proposes a workflow to integrate VR into the design process. At this moment, the implementation of the technology requires a cross platform effort, but the possibilities of the workflow present potential advantages for the design process.

The studies aim to test the compatibility of the proposed methodology and the workflow

(see Figure 20) to integrate it into the design academia and professional practice in the years to come.

Figure 20 Workflow proposal

CHAPTER 4 METHODOLOGY

This thesis proposes a three-stage methodology, first stage focusses on the interview and analysis of the design professionals from three angles, Design education,

Professional design (CMF), and Design in healthcare industries and business. Each includes one to two expert opinion bases on their professional experience.

From Design academia, the study focuses on understanding the current structure of the curriculum that allows students to gain awareness on materiality and semantic attribution on the objects. The study takes a multicultural approach expanding the analysis of the

Industrial Design curriculums across the US and Mexico. The interviews serve a cross- reference to understand the stand of academia on semantic training for undergrad students.

• Professional designers’ criteria (1-2) • Formal design education • 3+ Professional Design practice

From Professional CMF designers, the study aims to retrieve insights and clarification previous found practice and relation of the CMF process in product development. As an

ID specialization, the practice of CMF based on materiality and communication represent an exciting point of view to retrieve insights. From product consumer industries.

• Academic Design professionals (1-2) o 3+ Years in curriculum development o 3+ Years of professional practice

Finally, Designers involved in healthcare developments, the study aims to retrieve the experience and perspective on the semantic attribution model and the role of the object materiality. The hypothesis is introduced to the experts to analyses their responses to the proposal, as well as the intention to make cross-reference with the academic stand.

• Field Experts (1-2) o Designers involve on the Healthcare industry o 3+ Years of Professional experience.

Additionally, on this first stage, a set of mobility aids are selected and analyzed to determine which object to use for intervention on the first test workshop. The material must be selected to represent diverse design solutions.

The second stage of the research focus on the intervention of the design methodology, and to establish and test a viable workflow that not only integrates the semantically driven methodology but as well integrate VR experience to designers and users.

Three studies on a co-design style aim to test the effectiveness of the method. Leading the participants, they will explore and provide feedback on the method and workflow.

• The first study aims to determinate how to share the methodology, including but not limited to the presentation of material, user definition, object decomposition, element for semantic analysis and differentiation, and the use of VR to recompose the object into a proposal. • The second study aims to remove the identified bias in the study. The study introduces a new object typology to compare the differences between users previously exposed to the methodology and new users. • Finally, the third study turns the result of the previous studies into a VR experience to evaluate the previous studies. Moreover, to test the strengths and challenges of VR as a method for product analysis base on element decomposition.

Finally, the third stage of the research focuses on the synthesis of the experience to refine the design method guidelines, as well as to propose workflow and a framework for platforms/tools for implementation based on the insights provided by the users.

As such this research aims to answer three questions. How is materiality defined and used by professional designers and academy practitioners? What is the message and attributes sent from the object and how the user receives them? How the target audience

of the project (older adults) receives the message and interacts with the objects under the influence of their physical context?

Figure 21 Research methodology diagram.

CHAPTER 5 RESEARCH DEVELOPMENT

5.1 Academia stand and curriculum analysis

Several schools of Art and Design Industrial Design (ID) curriculum were analyzed to evaluate how academia acknowledges the training of object communication.

The colleges were picked to sample various areas of the US and Mexico. The sample is formed by; "College of Design, Architecture, Art, and Planning (DAAP)," "Center of

Creative Studies (CCS)," and "The Art Center College (ACC)." (See Appendix C)

Mexico simple includes "Instituto Tecnológico de Estudios Superiores de Monterrey

(ITESM)" México city campus, and "Facultad de Arquitectura de la Universidad Autónoma de Nuevo León" Monterrey, México.

After an evaluation of the design process, methods, and driving forces, the analysis found evidence of the exclusion of the conscious use of semantics on product development, however, it is expected from designers to possess this sensibility jn their practice.

All Colleges follow a similar structure based on skill development. The design methods used by them orbit around the four stages process model, and combination with Human- centered design, and recently the inclusion on research methods. Also, it has been observed that ID programs tend toward a segmentation on sub-categories.

A study of the US-based college's curriculums shows a lack of formal training on Object communication. Curriculums include a "Design or Visual communication" formal training on sketch or illustration skills. At the ACC "Design psychology" presents an opportunity for this training, but the content is not available for study. CCS offers another approach; students receive education on liberal arts as part of their formation. "Philosophy" and

"Psychology" might present the opportunity for this training. Finally, DAAP, Offers at present a similar panorama to ACC.

Contrasting with the US, Mexican colleges include in the curriculums course oriented on formal training on "object communication." ITESM offers it as "Language and meaning of objects,” a first-year optative for ID students. As well as FARQ-UANL offers "Semiotics" a fourth-year elective for the Design "Management" and "Creative Design" accentuations.

M.C. Oscar Gonzales, Director of Center for Innovation and Industrial Design at FARQ-

UANL explain the problem of the object communication faced by the students.

On Gonzalez experience, students are not capable of embedding messages on the object materiality; this led students to a functional approach that neglects the user and project needs and aesthetics of the project (see appendix), ending on adoption challenges.

As a professor of "Design for Healthcare" a third-year course for ID, his student often faces this challenge. As can be seen in the appendix the challenge comes after the

research stage where students are not able to translate the research insight into object attributes.

Student research reflects context and problem recognition, by using journey and empathy maps, persona development among other tools, students craft archetypes of the users.

However, the end concepts, present a functional approach with an engineering solution and aesthetic.

In contrast, ITESM-Mexico presents a different scene. M.P. Moises Hernandez,

Coordinator for the Industrial design program, presents an indirect approach based on the awareness of the object materiality.

Hernandez stated that since he became the director the first change in the academics was to ban digital deliveries on the final presentation. Students require final prototypes for their final critique.

According to Hernandez, this has two functions first, through modeling and prototyping the student learn about manufacturing and gain awareness of the object materiality and communication. This iterative process engages the students in critiques that boost their formation. Second, the student develops criteria and generate grounded and realistic projects. The constant prototyping process makes the student think about the making process, the technologies and tools require to make it possible.

To achieve this Hernandez, implemented a model that showcases the final exhibition on design events outside the campus, bringing the design out of the college and to the public.

Hernandez expects that by 2020 the ITESM will migrate to an academic model that removes the courses. Learning outcomes will come through the interaction of student and faculties on a multidisciplinary approach. Hernandez has performed an active effort in bringing faculties and invite collaboration with professionals that embrace and can transmit this knowledge to the students.

5.2 Expert Interview CMF design_ Julia Andreasson

Color, material, and finish represent a significant aspect of the object materiality, as found in the literature review CMF is now considered a new design sub-discipline. To understand the design process of CMF, the utility, and stand of the product materiality, a research interview was conducted with Julia Andreasson, CMF Design manager at

SharkNinja. Even when the company is not on the medical product market, the experience of Julia on the consumer product in a fast pace industry such as home appliance can provide meaningful insights.

During the interview Andreasson explains the role of CMF, CMF receives the same story and participates in the same design meetings to define the product with ID. As explained

ID leads the project, and CMF complements the work produce by ID. In Andreasson’s opinion, ID determines most of the object identity, functionality and interactions before

they pass it to CMF, and CMF is an ID auxiliary, releasing pressure from the ID department on the CMF specification for prototyping and production.

The interview reveals how CMF complements the design communication aspects, as well as the designers of the discipline, are more sensitive to trends. During the interview,

Andreasson was questioned about the use of CMF to extend the life cycle of the product was asked for a suggestion on CMF for product development.

Effectively Andreasson responds that the use of cmf to extend the shelf life of product is reasonably common, by accentuated some details they can extend the selling period without significant tooling development.

On the color and material aspect, Anderson provides a basic guideline on the communication of the object, to use soft-touch materials in areas that require a grip interaction communicate better with the user as well as improve the tactile experience over a glossy surface. On color Andreasson suggests that if the intention is to make the object blends with the environment. Dark, subtle colors are a better option, dark grey and black with satin or gloss finish are used to reflect technology. As well she advises how to disrupt the product by using polarizing colors " colors like rose gold" can be useful to disrupt a market where the product strategy is to stand out of the normal perception.

Finally, Andreasson comments that at least in the consumer product area, color is not the deal breaker, where shape holds the more weight on the purchase decision.

The visual characteristic of the shape seems to be a significant determinant with the object perception where color and finish performs as complementary aspects for product communication. In the following interviews, with professionals in the healthcare industry, the aims are to retrieve the process and the relevance of the elements that construct the object materiality on a medical product.

5.3 Expert interviews Design for healthcare products and Designing Healthcare

entrepreneurships

5.3.1 Expert interviews Jorge Trevino Innovation for healthcare at Worrell

The healthcare-oriented design presents a series of challenges: several regulations by various agencies, intellectual property claims and technological challenges. Furthermore, when a design goes to mass production the affordances that designers craft into the products can get lost, affecting the adoption of the object.

Worrell senior designer Jorge Trevino shared the design process followed by his team.

In his practice Trevino has worked on over a hundred projects on healthcare innovation, he focuses on the products that are on the edge of healthcare and high-end consumer electronics. Also, he has experience in the challenges of designing for operating rooms.

Trevino started his explanation on how they face the project, as mentioned by him,

"sometimes you do not have time for deep, and you have to use your knowledge of previous projects, sometimes we have the time and budget to conduct deeper research that allows us to think deeper on the problem."

Trevino’s process starts with the creation of inspiration boards that reflect the identity of the product they are looking to communicate.

In Trevino’s experience, designs are made for more than one user at the time, "We design for the salesman, the doctor or physician, the patient, and the people around them." The social impact of the product is evident at this point. In Trevino experience, the product materiality and aesthetic elements hold a dialog with the persons involved. Trevino recalls an experience on a project base on a childbirth tool. "Imagine this moment where the mother is exhausted, the father is nervous, it is stressful for the doctor that must bring this tool to extract the child. This product has to communicate that is not going to hurt the mother or the baby, have to communicate control and security for the doctor and have to be friendly with the people around, for example, the father." In Trevino’s experience, the aesthetic and materiality of the object are what makes it possible for the success of the instrument.

Trevino recalled a tool used when he consults a client, " we ask them to think on their competition and their products as a transformer." The goal of this process is to reveal the identity of their product; this way his team helps the client to understand the identity and communication of their product. They define what the product should be to establish better communication. The materiality is not limited to the aesthetic it affects the confidence of the users. In Trevino experience elements such as the sound became significant differentiation on the perception of a tool, as well as color and texture are vital elements that enable communication with the object.

Trevino addresses the relationship of the materiality and function of the object. Glossy and matte, texture or color, not only define the object but act as a functional element for its usability. " For example, the black hides the blood, so you cannot see how much blood is on the tool, and eventually the blood makes the instrument slippery." In this case,

Trevino mentions that the solution includes changing the materiality of the object in this case color to be able to track the status of the tool.

Trevino recalls a different situation " sometimes you want to hide the object" he mentioned a project where a data collecting device must live at the patient’s house. The device will collect data from the patient and send it to a cloud service. " in this case the design must blend with the environment and should not be intrusive. You want it to look more like a high-end consumer electronic than medical equipment.

An overlook of Trevino's practice, the presented design process became a standard 5 stages process. Trevino's team key activities correspond to Style development and style definition, Conceptualization, Concept detailing, Development (Final CAD) and

Engineering Follow up. On each stage, Trevino’s team holds and reviews the functional and aesthetic aspects of the product with the client.

In Trevino’s experience, the medical field might be the one that requires more effective communication from the product to the user. In his opinion, an engineer and a human factor can perform the design work if the functionality is the goal, the designer-added- value is the capacity to encode the object with a semantic element — the ability to provide

the required message for every user involved. Trevino comments that he encourages his team to practice empathy with their users as well to find the beauty in the product even if that implies to have a non-pleasant one. Trevino team philosophy resembles King’s (King

& Chang, 2016) approach to understand industrial design.

The interview with the expert clarified and collaborated some of the proposals for the methodology. As well as through his personal experience Trevino provided firsthand insights that contrast with traditional consumer product CMF.

5.3.2 Top and Derby: A case of study of home-healthcare crowdfunding that dignifies

the user.

Top and Derby is a self-describe home-healthcare products start-up. Back in 2013, the company started as a crowd funded entrepreneurship with a divergent vision " we are just designing beautiful home healthcare products that work, and that people can be proud to own."

Company Designer Matthew Kroeker explains the motivation behind the company. Kroeker states that when they reviewed the industry, they found an area for opportunity in home healthcare products. The Chatfield walking cane (see Figure

22) became the company’s first product. Kroeker stated that the motivation of the product was to disrupt the clinical aesthetics of the object to avoid a generic product obtained at a drugstore and to create products users feel proud of use. Figure 22 Top and derby: Chatfield walking stick

Questioning Kroeker about their process, it reveals a standard five-stage process: research, concept, prototyping, testing, and iteration. The difference in their process is the driven forces. During the interview, Kroeker speaks about the importance of the object materiality, and how they use it to interact with the user. Sensorial characteristics such as

material and weight play an essential role. The material selection plays a double function the object builds toward the perception of craftsmanship. According to Kroeker, this communicates with the user about the care that the designer and manufacturer pay to the user to make them feel appreciated.

During an interview the way the company thinks of their user removes the clinical stigma out of them. "We want to create a sense of pride in the person," "They want to own it, they want to be seen with it. They do not want to hide. Often people just want to hide their disability, to be invisible. It is the opposite like they want to see with this object. They love that people notice it. They say, "oh people complimented on my cane, I love it when I think."

Kroeker said, "Yes we want that emotional response from people in that sense of pride. I think that people feel like, and older people they want to feel like you know, maybe that they are a little younger than they are. They want to feel like they can go for whatever.

And I think we kind of succeeded in that. What someone like in the 70s. Well, maybe they say they go to Starbucks, and they go out that evening, and they kind of feel like they have more of a place in society maybe and maybe the cane has helped a little bit."

Also, the multisensorial perception of the object and the element composition, in a simple view the object can be decomposed in three elements; the handle, the shaft and the feet.

The inner construction of the element changes the perceived characteristic of the object.

As an example, the core material of the handle is solid cast aluminum piece, that is cover

with a molded silicon layer, this not only adds color and a soft touch look to the handle, as well as add weight, that changes the balance. Additionally, this produces a characteristic sound when it is lean against a surface or object.

Kroeker states that when the user has a first interaction with the cane, it is possible to see the impression of it, the extra sound and texture close the experience, it is something different that they do not expect.

Another differentiator in their process is the technological approach. "So, we tackle our products in a very kind of low-tech way. Like we just use form and materials to create a better product. Where most where I can say yes, most people out there are saying whatever. If they are going to attempt to redesign the cane, it is going to be something that has batteries on it. And that is something that's worth buying, but that is not us it is not." Kroeker assert.

Kroeker interview reveals interest insights about the approach to a health product, the removal of adjustable pieces in his experience builds toward the clinical perception and

is a relative unused feature for the user. Material's tactile perception has a sensitive impact on product perception, product simplification, and subtle joints and adjustment build toward a sense of ownership in the product. The unexpected sensorial inputs: as unexpected the sound and weight of the product can affect the quality Figure 23 top and Derby product communication material perception of the object significantly. Even when

Kroeker pointed that the added weight was a risk, the balance of it on the shape becomes the wow factor of the product, in combination with the matching color pallet the sensorial inputs transmitted by the product to the user became a focal point.

Comparing the experience of Kroeker and Trevino both present a similar approach to the project, both reflect and encourage object materiality as an element of communication, in both cases they address the need for a clear communication identity of the product.

Trevino’s context provides a more complex panorama but the motivations behind both interviews produce similar results. The subtle communication, the empathy with the user the sense of connection with the object. Comparing with Andreasson experiences, the use of disruptive material and colors use by Kroeker reflect the polarizing aspect mentioned by her. As well Andreasson observations on the form align with the information gather from Trevino.

5.4 Case of Studies

Several case studies were conducted to test the hypothesis. The studies present semi- controlled scenarios and intervene in medical products that the mechanical or technological component does not dictate the object materiality. As well the studies aim to provide insights for the refinement of the analysis tool and reveal limitations and provide insights to refine the methodology and contribute to the analysis tool development.

5.4.1 Study #1.- Mobility aid object (canes)

The case of study aims to test the effectiveness of the analysis method, the integration of it into the design process, and the usage of VR as a concept development tool.

Three participants with a multicultural background integrate the study sample.

Participant MA1 shows a third year undergraduate ID student. The participant has limited professional experience and a basic training on the use of the VR platform. Participant

MA2 shows an international (Asian) second-year Graduate design student. The participant has limited professional experience and advanced training on the use of the

VR platform. Finally, Participant MA3 shows an international (Latin) first-year Graduate design student. The participant has over ten years of professional experience and basic training on the use of VR for concept creation.

To remove external influences the study isolated participants in individual sessions for the method explanation and analysis phase, each participant received an explanation session of the methodology followed by a guided session for product analysis. During the analysis phase, each participant received a set of product samples that contained the sales material for analysis (see Figure 24).

Figure 24 Study #1 Mobility aid object product samples

Participants were asked to select the product that was more likely to be adopted and rejected by the user base on the object communication. The selected objects were used as samples to be analyzed using the proposal method (see Figure 25). Once the analysis were complete participants had a 30 min session for concept development using VR. At the end of the session, the participants explained their design decisions and shared their experiences providing feedback for further development.

Retrieve the object identity , perception, and communicated properties

hat is the object communicating hat is your first impression of the bject

Retrieve the user identity and identify stigmas

ho is the user of this product Refer a user that will own this object

bject defragmentation and elements impressions

hat is the object composition ist the perceive elements from the object

Semantic attribution and differentiation here does the communicate aspects of the object are reflected How the element materiality create the perceive message ich messages and elements are more relevant

Conceptuali ation base on user identity and semantic attribution on object materiality

Figure 25 Method analysis tool proposal V1

5.4.1.1 Study Development

During the study Participants identified reference object two (review appendix A page 2) as the one with better communication and assessed a perception of quality and craftsmanship. According to participants, the handle became the dominant element of communication. During the process of user identification all participants referred to the user as “someone like Steve Jobs," a user that cares about their image and would use the object in public.

In contrast, participants identified concept one (review appendix A page 1) as the one with the worst object-user communication. Participants associated the product with clinical references such as " morbid, function-oriented, cheap, disability ..." among others.

During the process of user identification, participants set the user as an older adult with significant mobility problems, at this point the bias of the object communication confirms the stigma toward the product.

Participants set the dominant element for communication in the stick. The "C" shape in combination with the material and finish, communicate a cheap product. The overall size of the product and additional accessories were considered intrusive. Moreover, the participants identified as a given good for a medical institution not as a desirable object they would purchase and own or use and probably as a product that users would keep hidden in their home.

After the analysis, participants were asked to intervene in the products based on the perceive characteristic and their meanings. All participants have a 30 minute session for conceptualization, during the study all participants decided to intervene on the object with the poorest object communication (see appendix A page 1).

5.4.1.2 Study Results

After the concept creation sessions participants MA2 and MA3 show converging outcomes (see Figure

26), as seen in their proposals, the square base of the object was replaced for a tripod one. Participant

MA2 presents an evenly distributed geometry while

MA3 goes with a sculpt approach. Both participants remove the "C" shape from the stick, as well, both participants replace the material and finish and

Figure 26 Study #1 Mobility aid participants replace it with a wood base proposal. Also, MA2(right) and MA3 (left) outcomes participants replace the "C" shape support for a

"branch" design. This aims to retain the function with a less intrusive aesthetic. From a Human factor standpoint, both participants present a similar dimension, handle angles, grip areas, etc. with slight variations.

Moreover, participants show similar behaviors during the concept creation session; both participants repeatedly simulate the use of their canes in the VR space. As well both

participants make a CMF association between the handle, the “branch”, and the foot of the object.

Despite the positive outcomes of participants MA2 and MA3, the experience of participants MA1 drastically deferred for his peers.

Even when the analysis stage was conducted successfully by the participant and shared their results with the others, during the concept creation the participant realized that his intervention does not affect the object communication positively. The Figure 27 Participant MA1, session similarities between the reference object and the proposal participant enters in a loop of "do and delete," (see

Figure 27), frustrated, participant asked to terminate the session without a result. It is observed that the participant doesn’t display the empathy gesture shown by the others.

5.4.1.3 Study Discussion

The converging results showed by the participants, and the resemblance of those with the reference concept identified as the most likely to be adopted, raises concerns about bias development during the study.

During the isolated analysis sessions, participants utilize similar language to describe the object properties. However, after the use of the analysis tool and during the concept development and presentation, the spoken language of participants changed to reflect a conscious and empathic communication of the object. Participants were able to articulate materiality decisions based on communication aspects.

Also, CMF on the product intervention manifests a degree of convergence. During the study participants proposed a direct CMF relationship that unified Handle, and base. In both cases the CMF selection was driven by the same force, to deflect the attention from the user to the object and create a personal stand "a sense of pride."

The constant manifestation of behavioral gestures related to the object usability (see Figure 28), created a focal point to analyze in future studies. Figure 28 Participant SA3 "empathy gesture"

The study raises the inquiry about how the VR tool is affecting the materiality perception in the participant, and how long lasting this effect can be.

In summary, the following study requires to focus on narrowing the variables of the study, by removing the bias toward object references and explore possible biases toward user identification, as well as to evaluate the end user reactions to the developed concepts.

5.4.2 Study #2 Sleep apnea mask, Analysing method bias.

After the results displayed in the previous study, the analysis of the design proposals heavily resembles the reference material. This study aims to explore several variables in the study to remove possible bias in the methodology. The study adapts the presentation of the reference materials to a single model to remove influences generated by comparing diverse products. Another variable in the study comes with the inclusion of the user presence in the reference material to evaluate how this affects the process of identification. Finally, the study introduces the inclusion of an older adult into the conceptualization process through VR.

The case of study aims to refine the analysis method, the translation of it into a tool, and the introduction of a final user participation with VR during the concept development.

Three participants with a multicultural background integrated the study sample.

Participant MA1 is a third year undergraduate ID student. The participant has limited professional experience and advanced training on the use of the VR platform.

Participant MA2 iss an international (Asian) second-year Graduate design student. The participant has limited professional experience and advanced training on the use of the

VR platform. Finally, Participant MA3 is an older adult without previous VR experience, but knowledgeable in woodworking and handcrafting.

Workshop methodology:

To remove external influences the study isolated participants in individual session for the method explanation and analysis phase. Each participant received an explanation session of the methodology followed by a guide session for product analysis. During the analysis phase, each participant received a reference image of the product without any sales material or product documentation for analysis.

Participant receives a single reference object for the analysis session. Participant SA1 receives a reference image that displays the object and the user (see Appendix B page

1). Participant SAs receives a reference image that displays the object without user (see

Appendix B page 2).

Due to the non-VR experience limitation, participant 3 received the reference images and a semi arranged user interface in the VR environment.

Participants analysed the objects using the proposed method (see Figure 29). Once the analysis was complete participants had a 30 min session for concept development using

VR. At the end of the session, the participants explain their design decisions and share their experiences providing feedback for further development.

Figure 29 Method analysis tool proposal V1

5.4.2.1 Study development and results:

From the study Participant SA1 obtained the most relevant reading from the reference material (see Figure 30), during the analysis participant assessed the object mainly communicates messages such as

"suffocation”, a message that contradicts the object functionality of breath support. During his process, the participant acknowledges the Figure 30 DreamWear Full Face CPAP Mask with Headgear by Philips Respironics "element decomposition" stage as the most relevant to the process. As part of the analysis, the descriptive adjective of the product includes: unnatural, undesirable, uncomfortable, anxious, last resort device, unrelated sophistication was conferring to the product. T participant decomposed the object into five elements: two straps, an oxygen line, the mask, and the hose connector.

The decomposition identified the oxygen line as the dominant communication element in the object. It confers the clinical aesthetic of the product. Also, the appearance of the hose plug resembles a heavy connotation of “life support.”

As the best trained user of VR, participant

SA1 was able to create four concepts during his concept development session, exploring several directions. As the participant described, he was aiming to make the object communicate breathability and a smile, making transitions that warp around the facial structure to unify the straps, transferring a playful element into the design

(see Figure 31).

The participant shifted the identity of the object, and expanded his awareness on Figure 31 study#2 Participant SA1_ Sleep apnea mask process and Outcomes products iterations, while his reference image displays a middle age Caucasian male, and sets the most frequent user of the product as an older adult or someone with life support, by the end of the session, he imagined how the object materiality, particularly shape, could turn the product into playful experience especially for kids and young adults.

Participant SA2 received the same sample object in a studio environment (see Figure

32), in this sample the product is displayed in a traditional product studio style with a white background without accessories or the picture of the user. After the analysis phase, participant SA2 define the user identity as an older adult, 65 to 70 years old with lung malfunctions, or a respiratory condition. According to the participant, the object communicates a hospital connotation, portability, and lightweight, practical, easy to fix and a “product that helps”. In contrast with participant SA1, SA2 broke down the object into fewer elements, and assessed the mask as the central element for communication, where the shape of it was the principal aspect that creates the clinical aesthetic. Figure 32 DreamWear Full Face CPAP Mask with Headgear by Philips Respironics Due to the strong identification and quick definition of the user identity, participant SA2 was asked to create a concept that redefines the user as a young adult

(mid 20’s early 30’s) and removes the clinical connotation of the product. The participant orbited a proposal that uses functional elements as product character. Participant SA2 focused on the mask element to include a playful element (see Figure 33), Figure 33 Participant SA2 Outcomes

by routing the oxygen line in a pattern that mimics fangs and replacing the straps materiality to a mesh-like element for a breathing experience, generating a different discussion about the product. A significant observation from the participant was the lack of ability to "wear" his VR concept. Participant SA2 mentioned that on this occasion he felt disconnected from the object due to the lack of perspective.

Due to the lack of training on the use of the VR

Participant SA3 (see Figure 34 received his set of references and a semi structured user interface inside the software, in contrast with participants, SA3 goes through the process form a final user point of view. The analysis process was replaced for questions that Figure 34 study#2 Participant SA3_ Sleep apnea mask process and Outcomes reveal aspirational affordances to the product.

As an older adult, design professor and woodworker, the participant pointed out that he would feel comfortable with a product that looked like one of his workshop masks, an object closer to him. As a first-time user the subject was immediately engaged in the experience and the initial capability of creating. As expected the experience generates excitement from the participant, but the lack of technical knowledge of the tool prevented him from assessing any information for the product development. However, as an experienced designer and CAD user the subject promptly started to compare the given software and suggested interface improvements.

5.4.2.2 Study discussion

The study provides insight into the role of several variants of the method. As observed in the study participant SA2, the absence of a user allowed fast and visceral identification of the user, evidencing the stigmas tied to the objects.

The correlation within the data obtained from the first study, the study allows to map the key points of information and translate those into a tool (see Figure 35) the tool aims to be used by future students to simplify and improve the documentation aspect of the analysis.

The Analysis tool is composed of 4 sections:

• User and product identification • Semantic attribution • Semantic and Materiality correlation • Materiality and sensorial perception correlation

This provided participants a simplified format to analyse and document the process on and organize way.

bject Phillips Dreamwear CPAP Mask

Description

Define user identity Alternative user identity Age(range) Age(range) Gender Gender Race/ Race/ thnicity thnicity nvironment nvironment

xample xample

hat is your first impression of the bject hat is the product trying to communicate

hat is the object communicating to the user

identity ser and product product ser and

hat is the object composition hat communication attributes are communicate How many interactive points can be by the object components / Interactions

located on the product ( ist 3 to in order of relevance)

Atribution Semantic Map the correlation between component and communication attributes ( analy e how the component and attributes create a sensorial perception on the user)

How hat aspect of the How is perceived How is perceived Reflect the attribute Reflect the attribute by the user by the user

The aspect The aspect Is Is of the element of the element deliver an effective sensorial sensorial deliver an effective sensorial sensorial is result of is result of experience to the user experience to the user

How hat aspect of the How is perceived How is perceived Reflect the attribute Reflect the attribute by the user by the user

The aspect The aspect Is Is of the element f the element deliver an effective sensorial sensorial deliver an effective sensorial sensorial is result of Is result of experience to the user experience to the user

Semantic/Materiality Materiality sensorial Association Perception

Figure 35 Analysis tool proposal

5.4.3 Study #3 VR as a tool for visualization, analysis and engagement

The third study consisted of a final user evaluation and analysis tool. As defined before the technological changes from 2018 finally allowed VR to reach a mainstream market.

For the third session the outcomes from the first workshop where post-processed on

CAD, concept kept the material aspects such as form, proportions, and color. This CAD concept rendered the interpretation of designers on the product under the new methodology.

A semi-Interactive environment displays the proposals, in a comparative context with two aftermarket solutions. The goal of the experience was to explore and identify areas for improvement and validate the adoption of the concepts by potential users.

The construction of the VR aims to remove biases based on environmental psychology. The environment sets as a white studio. As well, a secondary environment is used to produce a reflection on the object to create highlights and improve material lecture

(see Figure 36). Under these conditions, users focus Figure 36 VR reflection override environment. on the product and not on the space around them.

Figure 37 VR interactive session set up

From left to right, the First object presents the preferred market solution from the previous analysis, containing three main interactions, change of material and color on the handle and feet, change of color on the shaft, change of shape on the feet. The middle one contains the design intervention from the workshop the object touchpoint simplifies to a chance of color not material, the color change on the shaft, and the shape of the handles and feet. Finally, the last one represents the base model selected by the first study participants, following the material capabilities of the object, the interaction was limited to change of color of the aluminum piece, and the addition or removal of the middle grip accessories.

Participant VT1 represents a fully capable older adult, the participant is aware and actively informed on aging in the house; at the time, the participant acts as a provider for her 91-year-old mother. The participant showed interest in the VR experience, as a first time VR environment participant, felt dizziness after some minutes.

Figure 38 VR experience focus points

During the interaction (see Figure 38), the behavior of the participant allowed retrieval of some insight about the product. The first participant interacted more with the traditional object, as recalled from the participants on the first study, she mimics the "grabbing" interaction of the cane. Additionally, it is noticeable that she spent most of the time closer to this one even when, after a comment of " her mother could trip with the base on that one.) The participant focused her attention on the feet of the other canes that didn't

receive any observations. Finally, the participant was able to read the function of the aid element, and the middle object became the one with more screen time during the recording.

Participant VR2 (see Figure 39) showed interest in the VR experience, participant experience with VR included the second study conducted during the research.

During this session, the participant was asked to find the possible interactions with the objects on the VR. After a couple of minutes, the participant was interacting with the environment. Teleport and point and click became the primary interaction for him. The participant was also able to identify more interactions, such as the material bubbles and the different grips on the objects. However, the participant was not able to notice the subtle touchpoints that allow geometry switch. Figure 39 Participant VR2 "Empathy gesture" and experience. Participant VR2 notices more details on the object materiality; he was able to identify the woodgrain and the anodizing process among other things.

The woodworking knowledge of the participants (sensorial perception) not only allowed him to locate the material but, to detect an error in the wood grain direction.

Finally, related to the VR experience participant VR2 did not present any dizziness, he was able to stay for an extended period on the VR environment. Similarly, the participant repletely performed the "empathy gesture," trying to grab the object. Promptly the participant understood how the different triggers represent the motion of the "fingers" (see

Figure 40) on the VR environment.

According to the participant the hand representation facilitates the interaction.

As part of his feedback the participant mentioned that if the grabbing capability were not possible a zoom function could Figure 40 Participant VR3 experience. replace the function, and the shadow quality became confusing.

Participant VE3 tested the boundaries of inclusion on the evaluation tool. A visual impairment of the participant’s constricted his interaction with other digital elements.

The participant received the same scene as VE1 and VE2, according to the participant the surrounding environment facilitated his perception of the objects. Participant VE recognized two out of three products and their respective components. In contrast with the other participants, VE3 clinched and utilized the real space to walk around and get closer to the objects to perceive them better. The interaction of participant VE3 (see

Figure 41) evidences the limitation of the current method, due to his condition, he continually recurred to his peripherical vision, with direct eye-tracking from the headset the analysis of his video material became hard to analyze.

Figure 41 Participant VR3 experience

On the top left frame, the participant was referring to the handle of the object, on top right frame the participant was describing the elements of the middle cane. Bottom images present the interactions with the virtual elements both cases the target is slightly out of the center of the screen

The participant experienced some motion sickness attributed to the lack of ground reference. The high contrast of the shadows became a complication to differentiate the objects elements. Despite this, the participant acknowledged the ability to observe the features as much as he was be able to perceive them in the real world.

CHAPTER 6 DISCUSSION

6.1 Design intervention Studies discussion

During the development of the studies several insights were revealed on the methodology and the studies execution that required reflection and improvement.

During the development of both studies, participants developed a temporary sense of awareness and an elevated level of empathy that is reflected in the design interventions, designers became aware of the materiality communication and its interactions with the users, in their own way the studies kept representing converging results despite the level of experience and cultural background of the participants. After synthesizing the data from the studies, the studies make it possible to summarize the insight into a proposal tool.

This tool offers a comprehensive way to document and reference the insights of the analysis phase.

Further studies are required to understand the role of the variables in the designers’ behavior, as well as to identify the causes that closed the gaps of professional experience and cultural background.

The study also reveals the limitation of the documentation process, future studies requires to establish better conditions starting with the use of the analysis tool for the object evaluation. During the studies the analysis phases were documented by photography, but

even with the new tool the need for a video recorded session became elemental for further behavioral analysis.

In addition, the following recommendations are suggested to improve the process documentation:

• A controlled environment: An isolated room that allows light intensity control, this bring a more immersive experience for the VR • Redundant Video and audio recording: The space requires at least 2 sources of video and audio. • Redundant Screenplay caption: During the studio study more than once the screen recording had to be reset and several minutes of the participants experience were lost, redundant software for screen recording provide a safer approach to the task.

6.1.1 VR as a tool for visualization, analysis and engagement reflections

The study raises awareness of some elements on the VR evaluation tool. The current platform even when it can be considered adequate and easy to assemble, the code presents several challenges, with software glitches during the session generating motion sickness in participants.

On the other hand, it manifested similar behavioral gestures to the ones presented by the designer on the concept development phase of the first study. Also, the correct identification of the function of the element and the attention dragged to the designed

components over the ones that serve as benchmark propose a degree of appealing to the user.

For the Experience, the next framework summary the insights retrieve by the study.

• The Experience requires an integration of visual references for scale and orientation. • The experience requires adequate illumination; this may include modified the reflection to highlight the materiality aspects of the elements. • The experience needs an introductory set of instructions that guides a beginner’s use of the tool. • The experience requires simplified interactions; more objects with fewer properties are more accessible to analyze by the users. • The level of detail required for an immersive experience relies on the level of knowledge of the audience. A higher knowledge on the material aspects the higher the lever requires on the visualization.

Limitations

Even when the study provides a glimpse of the effectiveness of VR technology for product analyst and user behavior, until the future release of the next generation VR headsets

(Full eye tracking integration) the analysis tool will remain incomplete.

Additionally, the current platform requires a complete redesign. The current workflow requires a series of multiplatform software and integration, as well as the complex logic behind the creation of an effective variant set for interaction required a high level of technical knowledge.

By the end of the experience the only platform that allow the connection of all the elements is founded on Unity. This opened the opportunity for a new development like the case of

Key shot, a single simplified platform that integrates a render engine, preconfiguring VR interactions (Grab, Release, Rotate etc.) and seamless connection with Tobii Pro VR

Analysis.

6.2 Thesis discussion

Beyond the findings and limitations of the studies the thesis provides a design method driven by the user identity and the construction of meanings through the object materiality.

This provided participant designers an elevated awareness and empathy toward the user.

The converging result on the studies reveal a level of similarity on the object communication and that is translate into the product. Under these assumptions, the object impacts the user’s self-perception in three possible directions (seeFigure 42).

• A discrete/functional approach that mimics the natural aesthetic of the human body aiming to blend with it and take the user closer to their previous stage. • Extend user abilities. were the object transforms and redefines user capabilities, improving their performance. The identity and self- perception are empowered by the object, where the materiality of the object performs as a focus point to

accentuate the enhancements. Figure 42 Product materiality influence on the user self-perception These experiences facilitate the process of adoption, even when the product does not merge with the natural aesthetic of the body. • Expand user identity. On this approach, the diverging aesthetic and performance reframes the user’s reality. Inner user values are translated or adopt by the object in a seamless loop redefining their perception and the object social perception.

6.2.1 Object materiality and user identity relationship for product adoption.

After requesting participants to define the identity of the user, their perceptions toward the product changed. The study confirmed the stigma of medical products during the analysis sessions. Furthermore, under diverse variants the studies generate converging results.

The process of identification toward the objects presents an opportunity for product adoption. By reflection on How the user will be perceived base on the product, a proper user identification allows to align product and user values and identities, enabling designer to encode engagement elements.

Participants shared that the decomposition aspect of the studio allowed them to locate and reflect on how the object generates its communication enabling them to focus on the object meaning, or an element to reframe the product. When the participants were asked to describe the object communication, they were able to identify contradictions between the object projection and intention. As an example, Participant SA1 express that the sleep apnea mask was communicating suffocation.

More important as observed during the studies sessions the participants generate converging results despite their level of experience or cultural backgrounds. Opening the discussion if, during the analysis phase, a participant achieved a state of awareness that closed the experiences gaps and was boosted by VR lead to the results.

6.2.2 Empathy and behaviour

As observe during the first study designers manifest an "empathy gesture" where on multiple occasions simulated the use of the product, this behavior was manifested as well during the third study with older adult testing the interactive VR experience. After the analysis of the experience, not only did participants and designers present similar

behaviors, but their generated product interventions became a focal point during the user evaluation.

Nevertheless, when the product shifts to a wearable the empathy gesture is not manifested; this potentially is the result of the self-perception on the virtual space. Inside the experience user and designers possess a scale of reference to "use" an object, the absence of this reference prevents the appearance of the gesture on the wearable categories.

6.2.3 Materiality and VR

The VR experience with older adults provided some insights on the level of perception and the challenges for the tool. During the studies, a significant problem from the Older adult’s interaction result from the use of glasses. The current form factors of the VR headset result in inconvenient experiences.

However, once the headset was configured for the user, they considered the experience as exciting. As mentioned participants displayed similar gestures and behaviors, such as trying to grab and measure the proportions. Participants were also able to identify materials and finishes on the objects. This observation reinforces the theory of a sensorial library (Menzi & Hara, 2010)that can be recalled by the user by providing another sensorial stimulation.

CHAPTER 7 SIGNIFICANNS

The significance of the project relies on the addition of the knowledge of the design profession. The methodology has the potential to develop thoughtful products, that dignify the user and promote adoption. Also observed during the study was the awareness developed by the participants during the process closed the gaps in experience between the designers.

The methodology invites to the reflection and action on deliver solutions for product with complex Social context.

During the method application designers developed an elevated sense of empathy for the user. Even when the aim of the method is medical design, the methodology can be adjusted for other areas, but is this thesis’s intention was that the main area of application of the method became healthcare and wellbeing that dignified and improve the life quality of the user.

The capability of the method to identify and change the social communication of the objects and open the opportunity for a social impact that destigmatizes the user with medical conditions and produces medical devices free of stigmas.

CHAPTER 8 CONCLUSIONS

Even when the proposed methodology and workflow delivers promising results, to understand in detail the factors that influence the initial findings further research is required. Based on the results obtained through the studies a glimpse of the possible benefits obtains with the methodology and product intervention led to the following conclusions.

8.1 Expanding the study

With the analysis tool is a fully mapped new study with more participants, under controlled conditions, with better established variables which can provide quantitative Data on the effectives and adoption of the methodology. Additionally, the experimentation with the tool will create a basis for the development of a toolkit based on the Methodology and studies.

A side study derived from this aims to understand the designer behavior during the

Implementation of the method. The relationship stablished with Professor Gonzalez

(UANL), opens the possibility to execute a long-term study with the students of “design for healthcare” instructed by Professor Gonzalez.

8.2 Workflow, technologies, and VR platform challenge.

It is critical to address that the limitations found in the studies does not rely on the methodology or workflow, but in the technology available during the studies. A larger scale implementation on the method relies on the adoption of the tools require by it. As much as the advances and the affordability of the hardware needed for the workflow on

VR, the affordability for mass adoption is still a challenge. As displayed on the diagram, the method and workflow intervene in several stages of the process. One of the most promising areas of the research consists of the testing and analysis through VR experiences. The required hardware for a full integration process is expected to be available in the market by the end of 2019. At that point, a revision and update of the study must be done to assets the real potential of the platform.

8.3 Design Education, VR training, and Future Practice.

The proposed method, tools, and workflow provide insights and implications for design academia. The Studies conducted generates material for the creation and refinements of educational content for VR training. After the study, initial guidelines can be defined for the development of Training courses for the use of VR for Industrial Design. Additionally, the study initiates the discussion of how identity and semantics are required to integrate as part of the human factor training for industrial designers.

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APPENDIX A: STUDY #1 SAMPLE IMAGES

Figure 43 Study #1 Mobility aid reference image #1

Figure 44 Study #1 Mobility aid reference image #2

Figure 45 Study #1 Mobility aid reference image #3

Figure 46 Study #1 Mobility aid reference image #4

100

APPENDIX B: STUDY #2 SAMPLE IMAGES AND ANALYSIS TOOL

Figure 47 Study #2 Mobility aid reference image #1

101

Figure 48 Study #2 Mobility aid reference image #2

102

Figure 49 Analysis tool fill from participant SA1 insights.

103

bject Phillips Dreamwear CPAP Mask

Description The Dream ear Full Face CPAP Mask is a full face version of the innovative Dream ear mask from Philips Respironics. The cushion covers the mouth and seals at the bottom of the nose. This is a full face mask that delivers therapy through the nose and mouth.

Define user identity Alternative user identity Age(range) 60 70 Age(range) Gender Male Gender Race/ Race/ thnicity hite thnicity nvironment Hospital nvironment Pulmonary condition

xample xample

hat is your first impression of the bject hat is the product trying to communicate hat is the object communicating to the user Hospital, light, portable, motion, assistive Does not force

hat is the object composition hat communication attributes are communicate How many interactive points can be by the object components / Interactions located on the product ( ist 3 to in order of relevance) Straps Mask Hospital Mask Portable Hose connection

Connect, Disconnect, Adjust

Map the correlation between component and communication attributes ( Analy e how the component and attributes create a sensorial perception on the user)

How Mask hat aspect of the Mask How is perceived How is perceived Reflect the attribute Hospital Reflect the attribute Portable by the user by the user

How hat aspect of the How is perceived How is perceived Reflect the attribute Reflect the attribute by the user by the user

Figure 50 Analysis tool fill from participant SA2 insights.

104

APPENDIX C : ID ACADEMIC PROGRAMS REVIEWS

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106

107

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