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SEME Design Theory for Nostalgic Design 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 School of Design of the College of Design, Architecture, Art and Planning by Yutong Wu Bachelor of Science The Ohio State University September 2015 Committee Chair: Craig M. Vogel, M.A. Committee Member: Gerald Michaud, M.A. Abstract Utilizing my multicultural background associated with Japan, China and Switzerland and my professional design education in the United State, SEME (Sensation, Emotion, Memory, Evidence) was developed as a design theory to interpret nostalgic needs and personal experiences and translate them into physical and philosophical quality within the product being designed. Three SEME based projects were conducted among automotive enthusiasts to explore the effectiveness of SEME design theory. The results proved the capability of SEME to bring significant enrichments in design quality and satisfaction in user experience. Keywords: Product Design, Nostalgic Design, Multi-Cultural, Human Emotion, Automotive Enthusiasm, JDM, Car Modification, User-Centered Research ii iii Acknowledgement First, I would like to thank my thesis chair Craig Vogel, the Associate Dean of DAAP, University of Cincinnati for providing insightful suggestions during the development of SEME Design Theory and overseeing the writing quality of the final paper. I would also like to thank DAAP faculty Gerald Michaud and Peter Chamberlain for their active participation in the ideation, research, interview and literature review sessions of SEME Design Theory. Their passion and interests in craftsmanship and automotive history contributed greatly to the remarkable results of the SEME Design Theory. As a thesis deeply rooted from automotive enthusiasm, the outstanding results of the SEME Design Theory and SEME design projects could not be achieved without hundreds of car enthusiasts who participated during the research and concept development process. It would be my honor to apply the SEME Design Theory in the future to bring them meaningful products as my appreciation of their delightful input. Finally, I must express my very profound gratitude to my parents and to my girlfriend for providing me with unfailing support and continuous encouragement throughout my years of study and through the process of researching and writing this thesis. This accomplishment would not have been possible without them. Thank you. Author Yutong Wu iv Table of Contents Abstract ................................................................................................................................................................................... ii Acknowledgement .............................................................................................................................................................. iv Inspiration ............................................................................................................................................................................... 1 Introduction of SEME ........................................................................................................................................................... 6 1. Emotional power of vintage/nostalgic products........................................................................................................................... 9 2. The importance of culture heritage in newer products ........................................................................................................... 14 3. Limitation on the implementation of digital technology ......................................................................................................... 17 4. One-on-one human centered design .................................................................................................................................................. 20 5. Originality of products in the global market ................................................................................................................................. 22 6. Mass production for one ......................................................................................................................................................................... 24 SEME Based Projects- Proof of SEME Design Theory .............................................................................................. 26 Project 1 Mercedes W196 Streamliner Retro Racer Concept ..................................................................................................... 27 Project 2 Golden90s - A Vector Art Project for Japanese Car Enthusiasts ............................................................................ 31 Project 3 Aftermarket Steering Wheel for Rey’s 1976 Toyota Celica GT ............................................................................... 33 Conclusion ............................................................................................................................................................................ 38 Bibliography ........................................................................................................................................................................ 42 Appendix ............................................................................................................................................................................... 46 Sample Research Questionnaire For SEME Design Project First Round Interview: ......................................................... 46 Sample Research Questionnaire For SEME Design Project Second Round Interview: .................................................... 48 v vi © 2018 YUTONG WU. ALL RIGHTS RESERVED vii Inspiration I was raised in a family which exposed me to multicultural contexts and experiences. My father and mother were interpreters and their need for travel allowed me the opportunity to explore and learn from cultures and lifestyles in Japan, China and Switzerland. In Ofuna Japan, I had my initial exposure to automotive and racing and it is also the reason for my strong nostalgia in classic cars and car modifications. As I grew up and started to pursue my higher degree in design in the United States, I had great opportunities talking to car enthusiasts who were also greatly intrigued by Japanese car cultures from the 1990s. By engaging these people not only as a classic car enthusiast myself but also as a product designer, I was able to identify a need in nostalgia within this community that is related to Japanese automotive and consumer products produced between 1970s and 1990s. In 1994, my father started a job as an interpreter in Ofuna, Japan. I traveled along and stayed there for roughly four years until I had to travel back to China for education. In my opinion, this small city shaped my view of the world and provided me with the very early impression of living in many perspectives such as dining, transportation, social and etiquette. During this pre-school period in Ofuna, I spent a lot of time in manga and toys. Japanese manga offered a considerable amount of line drawings on human figures, landscapes and even sci-fi creations; The Ultraman TV series introduced me the superhero among Japanese children of my generation; The toys I received including Tamiya Dash Mini 4WD and other military scale models all required certain level of time and handcraft to build and enjoy. These all together contributed to the later development of my design capability and the comprehensive understanding on the cultural influence on product design. Figure 1 Ultraman TV Series Figure 2 Japanese Manga Figure 3 TAMIYA DASH MINI 4WD Series Figure 4 TAMIYA Military Model Kit My enthusiasm in cars started with my father’s commuter. He was able to obtain a Nissan “Sileighty”, which the name of car was a combination of “Silvia” and “180”. The Nissan Silvia and 180SX were two variations built on the same Nissan S chassis but with slightly different body styles. Replacing the original flip-up headlight design on the 180SX with Silvia’s fixed headlights was a common swap to be found among Japanese car enthusiasts at the time. My father would take me with him in the Sileighty to the mountain roads around Ofuna to spectate the drifting events held by local street racers at night. In just a short amount of time, these modified sports cars became my biggest interest of my entire childhood. As one of the most 2 iconic examples of the 1990s Japanese car modification culture, this particular Sileighty served as our family car but also influenced my understanding in cars and modifications after attending local drifting events and gatherings in the car. Figure 5 Nissan “Sileighty” Figure 6 Nissan 180SX Figure 7 Nissan Silvia In 2001, my father resigned from the job in Ofuna and took me back to Shanghai, China for formal education. I joined the primary school at the middle of the course and felt great contradiction between the two cultures. I had to adapt to the new environment as quickly as I can due to pressure from China’s highly competitive education system. I barely had time outside of school and only watched two Japanese anime series for entertainment during my entire study in China. They were Initial D and Evangelion. Both were considered to be the masterpiece of Japanese anime that actually inspired my generation in many different ways and brought positive influence on the way we

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