Applying story craftto facilitate an experience-centricconceptual design process
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- Tez No: 716906
- Danışmanlar: Belirtilmemiş.
- Tez Türü: Doktora
- Konular: Eğitim ve Öğretim, Education and Training
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2020
- Dil: İngilizce
- Üniversite: Technısche Unıversıteıt Eındhoven
- Enstitü: Yurtdışı Enstitü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: Belirtilmemiş.
Özet
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Özet (Çeviri)
e landscape of the design profession has shifted from designing objects towards designing for experiences, and designers need strategic guidance in bringing the emotional, contextual, and temporal aspects of experiences into discussion. Designing for experiences requires design teams to empathize with the people for whom they create on an emotional level and to envision both the 'dynamic qualities of experiences' and the 'constantly changing emotional response to such changes.' To test, evaluate, and re¢ne ideas, designers need to externalize and represent ideas into tangibles. Existing externalization strategies are not obviously equipped to incorporate the transient characteristics of experiences into the designer's creative thinking. Designers may need additional methods and tools to envision, sketch, and discuss experiences over time in addition to the existing skills they have like drawing in 2D and making mock-ups in 3D. In this thesis, we propose that designers may be able to achieve this by including visual storycraft into their creative process. Storycraft is the skilled practice of generating/building stories. e similarity between the critical properties of a story and an experience is evident. ey are both subjective, context-dependent, and dynamic. ey share a sequential structure with a beginning, middle, and end that can be crafted and inuenced through design. However, most importantly, both stories and experiences evoke and aect the emotions of their experientors. e activities of designers are already very similar to professional storycrafters, such as writers and movie-directors. In both domains, artifacts and services brought together to create emotionally satisfying experiences While harnessing the power of storycraft to elevate strategies in designing for experiences is an attractive idea, which is also recognized by the design research community, it is not a proposal that can easily be put into practice. e Storyply method includes a set of templates that guide designers through the process by visually organizing their eorts and creative output. Following a research through design approach we have iteratively designed, evaluated, and re-designed Storyply as a method that combines 'conceptual design' and 'story planning' to assist design teams in discussing and framing ideas in an experience-centric fashion. e method has been received as original, relevant and useful by 154 participants (63 Professionals and 81 Students/Trainees) from diverse backgrounds such as designers (industrial, product, visual, interaction, service, strategy, software, hardware, UX), researchers, engineers, managers, ¢lmmakers, R&D specialists and CEO's. Our studies con¢rmed that incorporating storycraft within conceptual design resonated well with design teams. Workshop participants commented that Storyply helps them to focus their attention and to prioritize the discussion towards experiences. Participants perceived the structure of Storyply as empowering, providing a handle on the ordinarily ephemeral components of experiences. ey appreciated the ability to discuss and play with subjective qualities in concrete terms. Furthermore, participants felt that Storyply oers an improvement to what they have been using previously for similar purposes (storyboarding, experience mapping). e general tone of comments showed that the way we synthesized storycraft with design felt natural and made immediate sense to participants.
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MEHMET YAKARTEPE
Yüksek Lisans
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1985
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