| 1. |
- Arvola, Mattias, 1975-, et al.
(author)
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Greta & Torsten : Två personas för äldre användare av hälsans nya verktyg
- 2008
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Reports (other academic/artistic)abstract
- Hälsans nya verktyg är en satsning på tillväxt i östgötaregionen, där planen är att successivt närma sig den växande världsmarknaden inom hälsa och vård. Fokuserade områden är sport och idrott, personlig hälsa, distribuerad vård och egenvård. Som ett led i tillväxtsatsningen identifieras intressanta marknads- och kundsegment, och för dessa segment gäller det att lära känna målgruppen som kommer att använda och beröras av olika tjänster och produkter. Ett sätt att åstadkomma detta är att ta fram personor och scenarios som kan användas som ett led i designarbetet.
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| 2. |
- Ahrenberg, Lars, 1948-, et al.
(author)
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Analysing Changes in Official Use of the Design Concept Using SweCLARIN Resources
- 2022
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In: Proceedings of the CLARIN Annual meeting.
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Conference paper (peer-reviewed)abstract
- We show how the tools and language resources developed within the SweClarin infrastructure can be used to investigate changes in the use and understanding of the Swedish related words arkitektur, design, form, and formgivning. Specifically, we compare their use in two governmental public reports on design, one from 1999 and the other from 2015. We test the hypothesis that their meaning has developed in a way that blurs distinctions that may be important to stakeholders in the respective fields.
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| 3. |
- Ahrenberg, Lars, 1948-, et al.
(author)
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Analysing changes in official use of the design concept using SweCLARIN resources
- 2023
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In: Selected papers from the CLARIN Annual Conference 2022. - Linköping : Linköping University Electronic Press. - 9789180752541
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Conference paper (peer-reviewed)abstract
- We investigate changes in the use of four Swedish words from the fields of design and archi- tecture. It has been suggested that their meanings have been blurred, especially in governmental reports and policy documents, so that distinctions between them that are important to stakeholders in the respective fields are lost. Specifically, we compare usage in two governmental public reports on design, one from 1999 and the other from 2015, and additionally in opinion responses to the 2015 report. Our approach is to contextualise occurrences of the words in different representations of the texts using word embeddings, topic modelling and sentiment analysis. Tools and language resources developed within the SweClarin infrastructure have been crucial for the implementation of the study.
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| 4. |
- Ana, Kustrak Korper, 1986-, et al.
(author)
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Bridging design-driven and service innovation: Consonance and dissonance of meaning and value
- 2018
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In: ServDes2018. Service Design Proof of Concept. - Linköping. - 9789176852378
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Conference paper (peer-reviewed)abstract
- Conceptualization of meaning in design-driven innovation and value in service innovation, seem to be sharing some core characteristics that are essential but have not yet been integrated. Thus, this paper explores design-driven innovation and its conceptual relevance for service innovation within the framework of service-dominant logic (S-D logic) by examining interrelation between meaning and value. Design-driven innovation is defined as a strategic framework that enables radical innovation through change in meaning relying on Krippendorff’s (1989) notion that people interact with artifacts because they make sense to them. On the other hand, S-D logic’s core concepts evolve around resource integration for value co-creation among multiple stakeholders addressing important complexities of service innovation. Both meaning and value share some conceptual commonalities. By exploring and interrelating them within their conceptual frameworks, this paper aims to open new ways for understanding and operationalizing service innovation and the role of service design within it.
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| 5. |
- Andersson, Torbjörn
(author)
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Aesthetic Flexibility : Modularity of Visual Form in Product Portfolios and Branded Products
- 2016
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Licentiate thesis (other academic/artistic)abstract
- The increase in competition amongst companies that produce complex or large product portfolios has created a need to utilise modularity strategies not only to flexibly manage technical complexity in a costeffective manner but also for visual appearance. This research aims to understand how the visual appearance of products is affected by modular product development strategies. Specifically, the aim is to understand how such strategies induce constraints and generate possibilities for management of visual appearance in the design process.Five studies have been conducted during the course of this licentiate thesis. Two were conducted with professionals and students in design, while the remaining three are theoretical studies based on findings in the literature, theory building, and experimental research. The goal has been to investigate how designers work when they are put to the task of changing and developing the designs of complex products that are part of a portfolio. The challenge has been to study what suitable strategies exist that manage complex products and product brands, then investigate how these influence designers’ practices.The first study examined how coherence towards a product category influences the design of new products. The outcome of the study was a method to explore visual coherence and diversity in the appearance of a product category.The remaining four studies investigated how modularity, brand management and the redesign of product portfolios influence a design process. The second study described a design phenomenon known as aesthetic flexibility, which was further explored in studies three and five. The outcome from these studies was a proposal for four aesthetic flexibility strategies.The fourth study investigated in what way portfolio extension strategies found in brand management and design research are related, and how such strategies influence aesthetic flexibility. The results from study four were illustrated as a model.The main contribution of this work is the phenomenon of ‘aesthetic flexibility’, which helps understand the factors that influence designers when working with branded modular products. Understanding visual flexibility serves as a starting point in further investigations of how different development strategies affect the possibilities for visual product design.The findings of this work serve to illustrate and explain a complex and multi-facetted design phenomenon which many designers manage more or less intuitively today, thus advancing academics’, teachers’ and professional designers’ understanding of the field.
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| 6. |
- Andersson, Torbjörn, 1976-, et al.
(author)
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Desirability in the development of In-Car Infotainment Systems
- 2011
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In: Workshop: User Experience in Cars.
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Conference paper (other academic/artistic)abstract
- This paper describes a workflow for designing experiences whileinteracting with an advanced driver assistant system. Future driver assistancesystems that utilize sensors and Car2X-communication in order to detect threatsin the car environment can help the driver to avoid collisions. To increase theacceptance of such a system, the interaction between the driver and the systemshould be able to generate positive experiences. To generate those experiences,a story-based design workflow was used. Concepts created with this workflowshould be able to address specific psychological needs of the driver. Theimplementation of this workflow revealed different schemes of positiveexperiences during driver interaction in critical situations.
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| 7. |
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| 8. |
- Andersson, Torbjörn, 1976-, et al.
(author)
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Product gist : An approach to identifying form characteristics of the current product sign
- 2013
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Conference paper (peer-reviewed)abstract
- In today's competitive market it is essential for companies to have a clear brand identity towards it consumers and users in order to be successful. Consumers have often a variety of products to choose from and the challenge for a company's products is to be discovered and remembered. An important factor is recognition of a product and how it is conceived through our perception which is mainly an identification process based on familiarity, resemblance or similarity. Furthermore, the visual part of the brain organizes the surrounding into patterns which are used as a guide for us, and to capture the surrounding is called getting its gist. The process of finding resemblance in a design space is often done by the designer as an implicit part in the design process. If this implicit knowledge could be more objectively visualised it might be a helpful tool to create a visual baseline of how consumers would experience the product segment. To show similarities and differences of design features quantitatively can facilitate the communication in a design development project. This paper explores how the concept of a product gist may be used to create a conceptual product sign and also how it could be used to analyse what the design space looks like in a given product segment. By quantitatively overlaying transparent pictures in a product segment visual pattern emerges that can be used as a communication tool in a design process when discussing brand recognition. In this paper a power drill is used as a simple application to illustrate the usage of the proposed product gist.
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