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Bad Essen, Germany

The Folkwang University of the Arts is a German university for music, theater, dance, design, and academic studies. Since 1927, its traditional main location has been in the former Werden Abbey in Essen in the Ruhr Area, with additional facilities in Duisburg, Bochum, and Dortmund, and since 2010 at the Zeche Zollverein, a World Heritage Site. The Folkwang University is home to the international dance company Folkwang Tanz Studio . Founded as Folkwangschule, its name was Folkwang Hochschule from 1963 until 2009. Wikipedia.

Desmet P.,Technical University of Delft | Hassenzahl M.,Folkwang University of the Arts
Studies in Computational Intelligence | Year: 2012

This chapter suggests possibility-driven design as an alternative to the common problem-driven approach. A first part explores the concept of "possibilities" and how it relates to happiness and well-being. We further develop the notion of designing for the pleasurable life and the good life through a number of exemplary design cases. Each takes a possibility-driven approach, thereby highlighting potential challenges and merits. By that, we hope to lay ground for an approach to design, which draws upon happiness to motivate the design of future technologies. This will help establishing a culture of humane innovation, which understands technology as a possibility to improve life directly. © 2012 Springer Berlin Heidelberg.

At first sight, Cellular Loop might be mistaken for an ordinary cantilever chair - if it wasn't for its eye-catching cell structure and its seamless, endless ribbon shape, similar to a moebius strip. The chair is lightweight, but also possesses the stiffness and stability as well as the elasticity one would expect from a cantilever chair. In order to achieve these characteristics, concepts from the natural world have been transferred to its construction and production method. Cellular Loop is also the first cantilever chair to be produced by Rapid Manufacturing. The aim of the research project was to develop a production method for components, inspired by biological construction principles and based on selective laser sintering. A cantilever chair was chosen as demonstration object, because chairs are considered the supreme discipline of design, but also because a cantilever chair is the perfect object for testing issues like dynamic strain, basic stiffness and minimal use of material. © 2013 Ernst & Sohn Verlag für Architektur und technische Wissenschaften GmbH & Co. KG, Berlin.

Diefenbach S.,Folkwang University of the Arts | Ullrich D.,TU Darmstadt
Interacting with Computers | Year: 2015

Research into intuitive interaction often builds on the development of a definition and clear-cut criteria. The present paper suggests an alternative, more phenomenological approach. In line with the User Experience perspective, we focus on the experiential phenomenon and subjective feelings related to intuitive interaction. Our analysis makes use of insights from psychological research on intuitive decision-making and user research in Human-Computer Interaction. As a result, we suggest four components of intuitive interaction (Gut Feeling, Verbalizability, Effortlessness, Magical Experience) and a research framework of relevant influencing factors. Given that intuitive interaction relies on the transfer of previously acquired knowledge, one suggested influencing factor is the domain transfer distance, i.e. the distance between the application domain and the source domain of transferred prior knowledge. Our theoretical model assumes a differential effect of the domain transfer distance on the four components of intuitive interaction. An empirical study ($n = 152$) substantiates the suggested components and theoretical considerations on the special effect of the domain transfer distance. As assumed, Gut Feeling, Verbalizability, Effortlessness and Magical Experience were all relevant for participants' subjective understanding of intuitive interaction. In line with our model of domain transfer distance, usage scenarios with higher transfer distance were perceived as better representatives of intuitive interaction and characterized by Gut Feeling/Magical Experience, whereas lower transfer distance scenarios were characterized by Verbalizability/Effortlessness. The present paper offers a number of contributions for research and design. Besides providing a better understanding of the phenomenon of intuitive interaction and underlying mechanisms, we discuss how design can profit from these insights (e.g. specification of the desired experience, design for innovation). Limitations of the present study and implications for future research are discussed. © The Author 2015. Published by Oxford University Press on behalf of The British Computer Society.

Karapanos E.,Madeira Interactive Technologies Institute | Martens J.-B.,TU Eindhoven | Hassenzahl M.,Folkwang University of the Arts
International Journal of Human Computer Studies | Year: 2012

We present iScale, a survey tool for the retrospective elicitation of longitudinal user experience data. iScale aims to minimize retrospection bias and employs graphing to impose a process during the reconstruction of ones experiences. Two versions, the constructive and the value-account iScale, were motivated by two distinct theories on how people reconstruct emotional experiences from memory. These two versions were tested in two separate studies. Study 1 aimed at providing qualitative insight into the use of iScale and compared its performance to that of free-hand graphing. Study 2 compared the two versions of iScale to free recall, a control condition that does not impose structure on the reconstruction process. Overall, iScale resulted in an increase in the amount, the richness, and the test-retest consistency of recalled information as compared to free recall. These results provide support for the viability of retrospective techniques as a cost-effective alternative to longitudinal studies. © 2012 Elsevier Ltd All rights reserved.

Hassenzahl M.,Folkwang University of the Arts
Interactions | Year: 2012

To make something beautiful is about deciding what to make, exposing people to it, and claiming with authority that it is beautiful. When people look at an object, the percept is emotionally processed. This leads to a positive or negative response, an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. Through its immediacy, beauty becomes the starting point for inferring other attributes, such as how practical or captivating an object is, even when actual hands-on experience is missing. Experiencing beauty is a powerful process, and trying to understand when and how people infer quality through a network of interconnected rules is exciting. Choosing a primarily beautiful over a primarily usable product is difficult, because it needs to be justified. People want beauty, but are desperately looking for any functional excuse to ease the load of justifying their desire.

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