Worth Focused Design Book 2

This book introduces the concept of worth for design teams, relates it to experiences and outcomes, and describes how to focus on worth when researching and expressing design opportunities for generous worth. Truly interdisciplinary teams also need an appropriate common language, which was developed in the companion book Worth-Focused Design, Book 1: Balance, Integration, and Generosity. Its new lexicon for design progressions enables a framework for design and evaluation that works well with a worth focus. Design now has different meanings based upon the approach of different disciplinary practices. For some, it is the creation of value. For others, it is the conception and creation of artefacts. For still others, it is fitting things to people. While each of these design foci has merits, there are risks in not having an appropriate balance across professions that claim the centre of design for their discipline and marginalise others. Generosity is key to the best creative design—delivering unexpected worth beyond documented needs, wants, or pain points. Truly interdisciplinary design must also balance and integrate approaches across several communities of practice, which is made easier by common ground. Worth provides a productive focus for this common ground and is symbiotic with balanced, integrated, and generous (BIG) practices. Practices associated with balance and integration for worth-focused generosity are illustrated in several case studies that have used approaches in this book, complemented them with additional practices.

This book introduces the concept of worth for design teams, relates it to experiences and outcomes, and describes how to focus on worth when researching and expressing design opportunities for generous worth. Truly interdisciplinary teams also need an appropriate common language, which was developed in the companion book Worth-Focused Design, Book 1: Balance, Integration, and Generosity (Cockton, 2020a). Its new lexicon for design progressions enables a framework for design and evaluation that works well with a worth focus. Design now has different meanings based upon the approach of different disciplinary practices. For some, it is the creation of value. For others, it is the conception and creation of artefacts. For still others, it is fitting things to people (beneficiaries). While each of these design foci has merits, there are risks in not having an appropriate balance across professions that claim the centre of design for their discipline and marginalise others. Generosity is key to the best creative design—delivering unexpected worth beyond documented needs, wants, or pain points. Truly interdisciplinary design must also balance and integrate approaches across several communities of practice, which is made easier by common ground. Worth provides a productive focus for this common ground and is symbiotic with balanced, integrated, and generous (BIG) practices. Practices associated with balance and integration for worth-focused generosity are illustrated in several case studies that have used approaches in this book, complementing them with additional practices.

Design now has many meanings. For some, it is the creation of value. For others, it is the conception and creation of artefacts. For still others it is fitting things to people. These differences reflect disciplinary values that both overlap and diverge. All involve artefacts: we always design things. Each definition considers people and purpose in some way. Each handles evaluation differently, measuring against aesthetics, craft standards, specifications, sales, usage experiences, or usage outcomes. There are both merits and risks in these differences, without an appropriate balance. Poor balance can result from professions claiming the centre of design for their discipline, marginalising others. Process can also cause imbalance when allocating resources to scheduled stages. Balance is promoted by replacing power centres with power sharing, and divisive processes with integrative progressions. A focus on worth guides design towards worthwhile experiences and outcomes that generously exceed expectations. This book places a worth focus (Wo-Fo) in the context of design progressions that are Balanced, Integrated, and Generous (BIG). BIG and Wo-Fo are symbiotic. Worth provides a focus for generosity. Effective Wo-Fo needs BIG practices.

This book develops an appropriate common language for truly interdisciplinary teams involved in design. Design now has many meanings. For some, it is the creation of value. For others, it is the conception and creation of artefacts. For still others, it is fitting things to people. These differences reflect disciplinary values that both overlap and diverge. All involve artefacts: we always design things. Each definition considers people and purpose in some way. Each handles evaluation differently, measuring against aesthetics, craft standards, specifications, sales, usage experiences, or usage outcomes. There are both merits and risks in these differences, without an appropriate balance. Poor balance can result from professions claiming the centre of design for their discipline, marginalising others. Process can also cause imbalance when allocating resources to scheduled stages. Balance is promoted by replacing power centres with power sharing, and divisive processes with integrative progressions. A focus on worth guides design towards worthwhile experiences and outcomes that generously exceed expectations. This book places worth focus (Wo-Fo) into the context of design progressions that are balanced, integrated, and generous (BIG). BIG and Wo-Fo are symbiotic. Worth provides a focus for generosity. Effective Wo-Fo needs BIG practices. The companion book Worth-Focused Design, Book 2: Approaches, Contexts, and Case Studies (Cockton, 2020b) relates the concept of worth to experiences and outcomes based on a number of practical case studies.

Understanding emotions is becoming ever more valuable in design, both in terms of what people prefer as well as in relation to how they behave in relation to it. Approaches to conceptualising emotions in technology design, how emotions can be operationalised and how they can be measured are paramount to ascertaining the core principles of design. Emotions in Technology Design: From Experience to Ethics provides a multi-dimensional approach to studying, designing and comprehending emotions in design. It presents emotions as understood through basic human-technology research, applied design practice, culture and aesthetics, ethical approaches to emotional design, and ethics as a cultural framework for emotions in design experience. Core elements running through the book are: cognitive science – cognitive-affective theories of emotions (i.e., Appraisal); culture – the ways in which our minds are trained to recognise, respond to and influence design; and ethics – a deep cultural framework of interpretations of good versus evil. This ethical understanding brings culture and cognition together to form genuine emotional experience. This book is essential reading for designers, technology developers, HCI and cognitive science scholars, educators and students (at both undergraduate and graduate levels) in terms of emotional design methods and tools, systematic measurement of emotion in design experience, cultural theory underpinning how emotions operate in the production and interaction of design, and how ethics influence basic (primal) and higher level emotional reactions. The broader scope equips design practitioners, developers and scholars with that ‘something more’ in terms of understanding how emotional experience of technology can be positioned in relation to cultural discourse and ethics.

The Value of Design in Retail and Branding creates a much-needed bridge between different disciplines involved in retail design, bringing together a range of research and insights for practice in these disciplines, improving the impact of design.

The authors of the international bestseller Business Model Generation explain how to create value propositions customers can’t resist Value Proposition Design helps you tackle the core challenge of every business — creating compelling products and services customers want to buy. This highly practical book, paired with its online companion, will teach you the processes and tools you need to create products that sell. Using the same stunning visual format as the authors’ global bestseller, Business Model Generation, this sequel explains how to use the “Value Proposition Canvas” to design, test, create, and manage products and services customers actually want. Value Proposition Design is for anyone who has been frustrated by new product meetings based on hunches and intuitions; it’s for anyone who has watched an expensive new product launch fail in the market. The book will help you understand the patterns of great value propositions, get closer to customers, and avoid wasting time with ideas that won’t work. You’ll learn the simple process of designing and testing value propositions, that perfectly match customers’ needs and desires. In addition the book gives you exclusive access to an online companion on Strategyzer.com. You will be able to assess your work, learn from peers, and download pdfs, checklists, and more. Value Proposition Design is an essential companion to the ”Business Model Canvas” from Business Model Generation, a tool embraced globally by startups and large corporations such as MasterCard, 3M, Coca Cola, GE, Fujitsu, LEGO, Colgate-Palmolive, and many more. Value Proposition Design gives you a proven methodology for success, with value propositions that sell, embedded in profitable business models."

This book introduces Participatory Design to researchers and students in Human–Computer Interaction (HCI). Grounded in four strong commitments, the book discusses why and how Participatory Design is important today. The book aims to provide readers with a practical resource, introducing them to the central practices of Participatory Design research as well as to key references. This is done from the perspective of Scandinavian Participatory Design. The book is meant for students, researchers, and practitioners who are interested in Participatory Design for research studies, assignments in HCI classes, or as part of an industry project. It is structured around 11 questions arranged in 3 main parts that provide the knowledge needed to get started with practicing Participatory Design. Each chapter responds to a question about defining, conducting, or the results of carrying out Participatory Design. The authors share their extensive experience of Participatory Design processes and thinking by combining historical accounts, cases, how-to process descriptions, and reading lists to guide further readings so as to grasp the many nuances of Participatory Design as it is practiced across sectors, countries, and industries.