https://sam.ensam.eu:443 The DSpace digital repository system captures, stores, indexes, preserves, and distributes digital research material. Sat, 06 Jun 2026 20:20:06 GMT 2026-06-06T20:20:06Z http://hdl.handle.net/10985/9118 User experienced dimensions in product design : a consolidation of what academic researchers know and what design practitioners do BONGARD-BLANCHY, Kerstin; BOUCHARD, Carole; BONNARDEL, Nathalie; LOCKNER, Damien; AOUSSAT, Améziane Experience has become the new paradigm of product design. Designers seek to anticipate emotions or associations a user might have when in contact with their design. The factors that influence human product perception are diverse. We firstly show which product dimensions are currently investigated by design researchers. It becomes obvious that besides the usual suspects: form and colour, emotion and associations, there must be many others. We conducted a study to identify these and to estimate their pertinence in actual product conception. Word-based techniques like retrospective verbalization and mind mapping were employed. Semantic descriptors, analogies, and functionalities were highly represented. Sensations and emotions did only appear marginally among the abstract dimensions. The same low occurrence was seen for production procedures among the concrete dimensions. Other interesting dimensions found were interaction gestures, design motifs, and product components. An additional analysis of the participant mind maps on relations between the various dimensions showed many connections between e.g. material and texture or semantics and colour. Yet, these were rarely related to sensations and emotions. The insights widen the perspective on unexploited opportunities for design researchers to develop further conception strategies that allow the anticipation of user experience in product design. Thu, 01 Jan 2015 00:00:00 GMT http://hdl.handle.net/10985/9118 2015-01-01T00:00:00Z BONGARD-BLANCHY, Kerstin BOUCHARD, Carole BONNARDEL, Nathalie LOCKNER, Damien AOUSSAT, Améziane Experience has become the new paradigm of product design. Designers seek to anticipate emotions or associations a user might have when in contact with their design. The factors that influence human product perception are diverse. We firstly show which product dimensions are currently investigated by design researchers. It becomes obvious that besides the usual suspects: form and colour, emotion and associations, there must be many others. We conducted a study to identify these and to estimate their pertinence in actual product conception. Word-based techniques like retrospective verbalization and mind mapping were employed. Semantic descriptors, analogies, and functionalities were highly represented. Sensations and emotions did only appear marginally among the abstract dimensions. The same low occurrence was seen for production procedures among the concrete dimensions. Other interesting dimensions found were interaction gestures, design motifs, and product components. An additional analysis of the participant mind maps on relations between the various dimensions showed many connections between e.g. material and texture or semantics and colour. Yet, these were rarely related to sensations and emotions. The insights widen the perspective on unexploited opportunities for design researchers to develop further conception strategies that allow the anticipation of user experience in product design. http://hdl.handle.net/10985/7855 Modeling the early stages of a user-centered process in architectural design through adaptation of the methodologies of New Product Design SONG, Heon; BOUCHARD, Carole; DUCHAMP, Robert In order to reach a degree of quality in architectural buildings that is likely to lead to user satisfaction, architectural design relies on integrating user-related information even before generation of building concepts. However, integrating such information may be seen as a hindrance to architectural creation. It therefore seems necessary to propose a methodological approach that allows integration of a user-centred point of view as well as generation of creative architectural concepts. Our research proposes to apply a collaborative process of New Product Design (NPD) in order to further enrich the traditional process of architectural design. We will present some experimental work carried out as part of an architectural project for the design of emergency shelters, as an alternative to more usual habitats. We will then discuss the possibility of adapting NPD methodology to architectural design, and what potential this offers to improve the integration of user-related information within architectural creativity. Thu, 01 Jan 2009 00:00:00 GMT http://hdl.handle.net/10985/7855 2009-01-01T00:00:00Z SONG, Heon BOUCHARD, Carole DUCHAMP, Robert In order to reach a degree of quality in architectural buildings that is likely to lead to user satisfaction, architectural design relies on integrating user-related information even before generation of building concepts. However, integrating such information may be seen as a hindrance to architectural creation. It therefore seems necessary to propose a methodological approach that allows integration of a user-centred point of view as well as generation of creative architectural concepts. Our research proposes to apply a collaborative process of New Product Design (NPD) in order to further enrich the traditional process of architectural design. We will present some experimental work carried out as part of an architectural project for the design of emergency shelters, as an alternative to more usual habitats. We will then discuss the possibility of adapting NPD methodology to architectural design, and what potential this offers to improve the integration of user-related information within architectural creativity. http://hdl.handle.net/10985/7554 Emotion finds a way to users from designers: assessing product images to convey designer's emotion KIM, Jieun; BOUCHARD, Carole; RYU, Hokyoung; OMHOVER, Jean-François; AOUSSAT, Améziane Along with a growing interest in emotional design and pleasurable products, it is necessary to understand how designers are able to maintain emotional impacts of their design solutions throughout the design process, and how these solutions can find a way to evoke the intended emotional feeling of the users. The present study first examined emotional responses to early design sketches, and how these responses could be used to check if the emotional impacts of their early sketches were observed in a combinative way of cognitive-linguistic and physiological approaches. Based on the findings of the empirical study, we further discussed how the emotional differences of product images would be generated by product forms. We figured out that good form factors of early design sketches might elicit positive feelings and high arousal states, thereby incorporating semantically meaningful features in the product images. Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/10985/7554 2012-01-01T00:00:00Z KIM, Jieun BOUCHARD, Carole RYU, Hokyoung OMHOVER, Jean-François AOUSSAT, Améziane Along with a growing interest in emotional design and pleasurable products, it is necessary to understand how designers are able to maintain emotional impacts of their design solutions throughout the design process, and how these solutions can find a way to evoke the intended emotional feeling of the users. The present study first examined emotional responses to early design sketches, and how these responses could be used to check if the emotional impacts of their early sketches were observed in a combinative way of cognitive-linguistic and physiological approaches. Based on the findings of the empirical study, we further discussed how the emotional differences of product images would be generated by product forms. We figured out that good form factors of early design sketches might elicit positive feelings and high arousal states, thereby incorporating semantically meaningful features in the product images. http://hdl.handle.net/10985/7854 Towards a model of how designers mentally categorise design information KIM, Jieun; BOUCHARD, Carole; OMHOVER, Jean-François; AOUSSAT, Améziane This study aims to explore how designers mentally categorise design information during the early sketching performed in the generative phase. An action research approach is particularly appropriate for identifying the various sorts of design information and the cognitive operations involved in this phase. Thus, we conducted a protocol study with eight product designers based on a descriptive model derived from cognitive psychological memory theories. Subsequent protocol analysis yielded a cognitive model depicting the mental categorisation of design information processing performed by designers. This cognitive model included a structure for design information (high, middle, and low levels) and linked cognitive operations (association and transformation). Finally, this paper concludes by discussing directions for future research on the development of new computational tools for designers. Fri, 01 Jan 2010 00:00:00 GMT http://hdl.handle.net/10985/7854 2010-01-01T00:00:00Z KIM, Jieun BOUCHARD, Carole OMHOVER, Jean-François AOUSSAT, Améziane This study aims to explore how designers mentally categorise design information during the early sketching performed in the generative phase. An action research approach is particularly appropriate for identifying the various sorts of design information and the cognitive operations involved in this phase. Thus, we conducted a protocol study with eight product designers based on a descriptive model derived from cognitive psychological memory theories. Subsequent protocol analysis yielded a cognitive model depicting the mental categorisation of design information processing performed by designers. This cognitive model included a structure for design information (high, middle, and low levels) and linked cognitive operations (association and transformation). Finally, this paper concludes by discussing directions for future research on the development of new computational tools for designers. http://hdl.handle.net/10985/7602 Inspiration, images and design : an investigation of designers' information gathering strategies MOUGENOT, Céline; BOUCHARD, Carole; WESTERMAN, Steve; AOUSSAT, Améziane Computational tools should efficiently support, and even enhance, designers' creativity. As a ground for such developments, design cognition studies aim at describing designers' mental strategies within the design process. So far, most researches have been focused on the idea generation phases, e.g. sketching activity, which is explicit enough to be observed and described. However, the early stages of design remain incompletely understood, while the informational phase is identified as a crucial step of the design process. In this context, our objective is to identify and evaluate inspirational information used by designers before generating ideas, and to describe how inspirational information is used. In this article, we report a two-part study (interviews and experimental protocol) carried out with professional designers. The main outcomes demonstrate that traditional and electronic resources are not used in the same way by designers. We also show that information gathering strategies are strongly influenced by designers' preference. Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/10985/7602 2008-01-01T00:00:00Z MOUGENOT, Céline BOUCHARD, Carole WESTERMAN, Steve AOUSSAT, Améziane Computational tools should efficiently support, and even enhance, designers' creativity. As a ground for such developments, design cognition studies aim at describing designers' mental strategies within the design process. So far, most researches have been focused on the idea generation phases, e.g. sketching activity, which is explicit enough to be observed and described. However, the early stages of design remain incompletely understood, while the informational phase is identified as a crucial step of the design process. In this context, our objective is to identify and evaluate inspirational information used by designers before generating ideas, and to describe how inspirational information is used. In this article, we report a two-part study (interviews and experimental protocol) carried out with professional designers. The main outcomes demonstrate that traditional and electronic resources are not used in the same way by designers. We also show that information gathering strategies are strongly influenced by designers' preference. http://hdl.handle.net/10985/7877 Mapping a multi-sensory identity territory at the early design stage GENTNER, Alexandre; BOUCHARD, Carole; ESQUIVEL, Daniel; FAVART, Carole This article presents a kansei design methodology. It is placed at the very beginning of the design process and aims to influence the following steps in order to improve the user's understanding and experiencing of the designed product. The experimentation combines in a subtle way the design thinking approach of learning by doing and the kansei engineering quantitative approach. The research presented is based on the results of a previous study that defined the semantic and emotional scope of future hybrid cars for European using visual stimuli. This kansei design methodology creates and assesses multi-sensory atmospheres is order to provide tangible direction composed of vision, touch, hearing and smell stimuli. From the cognitive and affective responses of the 42 participants we were able to detail 3 directions for future cars interiors that aim to enrich the styling design briefs and to influence the design strategies such as the management of the different grades. The research presented here was supported by the Kansei Design department from Toyota Motor Europe (TME-KD). This collaboration also brought an industrial context to it. Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/10985/7877 2012-01-01T00:00:00Z GENTNER, Alexandre BOUCHARD, Carole ESQUIVEL, Daniel FAVART, Carole This article presents a kansei design methodology. It is placed at the very beginning of the design process and aims to influence the following steps in order to improve the user's understanding and experiencing of the designed product. The experimentation combines in a subtle way the design thinking approach of learning by doing and the kansei engineering quantitative approach. The research presented is based on the results of a previous study that defined the semantic and emotional scope of future hybrid cars for European using visual stimuli. This kansei design methodology creates and assesses multi-sensory atmospheres is order to provide tangible direction composed of vision, touch, hearing and smell stimuli. From the cognitive and affective responses of the 42 participants we were able to detail 3 directions for future cars interiors that aim to enrich the styling design briefs and to influence the design strategies such as the management of the different grades. The research presented here was supported by the Kansei Design department from Toyota Motor Europe (TME-KD). This collaboration also brought an industrial context to it. http://hdl.handle.net/10985/7402 A European emotional investigation in the field of shoes design BOUCHARD, Carole; SOLVES, Clara; GONZALES, Juan Carlos; PEARCE, Kim; COLEMAN, Shirley; MANTELET, Fabrice; AOUSSAT, Améziane In this paper we report on the results of a Kansei Engineering System study. A methodology for the application of Kansei Engineering at a European level has been developed and validated in the field of shoes design by means of the development of experimental studies in two different phases of the product design : the information phase in the earliest stages of the design process and the generation and evaluation phase corresponding to the latest stages of the process. http://inderscience.metapress.com/content/lujq27m40g324256/ Thu, 01 Jan 2009 00:00:00 GMT http://hdl.handle.net/10985/7402 2009-01-01T00:00:00Z BOUCHARD, Carole SOLVES, Clara GONZALES, Juan Carlos PEARCE, Kim COLEMAN, Shirley MANTELET, Fabrice AOUSSAT, Améziane In this paper we report on the results of a Kansei Engineering System study. A methodology for the application of Kansei Engineering at a European level has been developed and validated in the field of shoes design by means of the development of experimental studies in two different phases of the product design : the information phase in the earliest stages of the design process and the generation and evaluation phase corresponding to the latest stages of the process. http://hdl.handle.net/10985/12195 Towards additive manufacturing of intermediate objects (AMIO) for concepts generation RIAS, Anne Lise; BOUCHARD, Carole; ABED, Stéphane; SEGONDS, Frederic According to an analysis of existing Design For Additive Manufacturing (DFAM)methods,we first highlight that they present limits regarding product innovation. This paper then presents a creative approach to be integrated in the early stages of DFAMmethods. Two case studiesAand B are presented as the experimental application of the first stage of our creative approach. The results of these case studies highlight that designers need a newkind of IntermediateRepresentation (IR), especially to represent dynamic features. To address this need, we introduce the concept of AMIO Additive Manufacturing of Intermediate Objects. This new kind of IR is an expected output of the ideas generation stage. These intermediate objects are meant to be manipulated by all the design stakeholders, as an input for the concept generation stage, to enhance the generation of creative concepts for additive manufacturing. Sun, 01 Jan 2017 00:00:00 GMT http://hdl.handle.net/10985/12195 2017-01-01T00:00:00Z RIAS, Anne Lise BOUCHARD, Carole ABED, Stéphane SEGONDS, Frederic According to an analysis of existing Design For Additive Manufacturing (DFAM)methods,we first highlight that they present limits regarding product innovation. This paper then presents a creative approach to be integrated in the early stages of DFAMmethods. Two case studiesAand B are presented as the experimental application of the first stage of our creative approach. The results of these case studies highlight that designers need a newkind of IntermediateRepresentation (IR), especially to represent dynamic features. To address this need, we introduce the concept of AMIO Additive Manufacturing of Intermediate Objects. This new kind of IR is an expected output of the ideas generation stage. These intermediate objects are meant to be manipulated by all the design stakeholders, as an input for the concept generation stage, to enhance the generation of creative concepts for additive manufacturing. http://hdl.handle.net/10985/12254 Design for Additive Manufacturing : Supporting Intrinsic-Motivated Creativity RIAS, Anne Lise; BOUCHARD, Carole; VAYRE, Benjamin; ABED, Stéphane; SEGONDS, Frederic Emotional aspects and designers’ motivations in Design For Additive Manufacturing are rarely studied. Still, as they can influence creative behaviors, it is worth of interest to draw some bases for a relation between designers’ motivations and the field of Additive Manufacturing. This paper aims at identifying the motivations that push designers to deal with AM in their practice. We have highlighted that they experience some extrinsic motivations: technical improvements, economics and social environments pressures. We also notice that creative designers, apart from AM, usually experience some intrinsic motivations and, moreover, that it exists an ideal state to generate creative concepts: the Flow. To support creative designers in DFAM in reaching the Flow, we then identified 4 key levers through the potential of AM: the newness of AM processes, the needed skill of 3D modelling, the investigation of new shape grammars and finally the opportunity of embodying concepts into physical objects. To benefit from this potential, we assume that designers’ intrinsic motivations should be supported: we identified three required conditions. The first one is the use of a proper vocabulary i.e the expression Additive Manufacturing instead of 3D Printing. The second one is the development of a design process which integrates a creative approach. The third condition is the use of AM objects as experience triggers during creative sessions to arise positive emotions. Sun, 01 Jan 2017 00:00:00 GMT http://hdl.handle.net/10985/12254 2017-01-01T00:00:00Z RIAS, Anne Lise BOUCHARD, Carole VAYRE, Benjamin ABED, Stéphane SEGONDS, Frederic Emotional aspects and designers’ motivations in Design For Additive Manufacturing are rarely studied. Still, as they can influence creative behaviors, it is worth of interest to draw some bases for a relation between designers’ motivations and the field of Additive Manufacturing. This paper aims at identifying the motivations that push designers to deal with AM in their practice. We have highlighted that they experience some extrinsic motivations: technical improvements, economics and social environments pressures. We also notice that creative designers, apart from AM, usually experience some intrinsic motivations and, moreover, that it exists an ideal state to generate creative concepts: the Flow. To support creative designers in DFAM in reaching the Flow, we then identified 4 key levers through the potential of AM: the newness of AM processes, the needed skill of 3D modelling, the investigation of new shape grammars and finally the opportunity of embodying concepts into physical objects. To benefit from this potential, we assume that designers’ intrinsic motivations should be supported: we identified three required conditions. The first one is the use of a proper vocabulary i.e the expression Additive Manufacturing instead of 3D Printing. The second one is the development of a design process which integrates a creative approach. The third condition is the use of AM objects as experience triggers during creative sessions to arise positive emotions. http://hdl.handle.net/10985/7874 Towards a kansei-based user modeling methodology for eco-design RASAMOELINA, Francis; BOUCHARD, Carole; AOUSSAT, Améziane We propose here to highlight the benefits of building a framework linking Kansei Design (KD), User Centered Design (UCD) and Eco-design, as the correlation between these fields is barely explored in research at the current time. Therefore, we believe Kansei Design could serve the goal of achieving more sustainable products by setting up an accurate understanding of the user in terms of ecological awareness, and consequently enhancing performance in the Eco-design process. In the same way, we will consider the means-end chain approach inspired from marketing research, as it is useful for identifying ecological values, mapping associated functions and defining suitable design solutions. Information gathered will serve as entry data for conducting scenario-based design, and supporting the development of an Eco-friendly User Centered Design methodology (EcoUCD). Tue, 01 Jan 2013 00:00:00 GMT http://hdl.handle.net/10985/7874 2013-01-01T00:00:00Z RASAMOELINA, Francis BOUCHARD, Carole AOUSSAT, Améziane We propose here to highlight the benefits of building a framework linking Kansei Design (KD), User Centered Design (UCD) and Eco-design, as the correlation between these fields is barely explored in research at the current time. Therefore, we believe Kansei Design could serve the goal of achieving more sustainable products by setting up an accurate understanding of the user in terms of ecological awareness, and consequently enhancing performance in the Eco-design process. In the same way, we will consider the means-end chain approach inspired from marketing research, as it is useful for identifying ecological values, mapping associated functions and defining suitable design solutions. Information gathered will serve as entry data for conducting scenario-based design, and supporting the development of an Eco-friendly User Centered Design methodology (EcoUCD).