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Future Keyboard offers users a rich musical experience by enabling them to connect their keyboard with web-enabled media devices. By conducting research into the desired user experiences and suitable interface solutions, afterRecord has been developed as the style guide application for new apps. It fits with musical experiences for improvement and relaxation, and demonstrates the desired interface elements and performance visuals.

This thesis investigated the measurement of emotion during short episodes of interaction between products and their users. Chapter 2 is a review of the many ways that have been used to measure emotions, organized according to the component of emotion involved: feelings, bodily changes, and facial expression. Measurement based on bodily changes and facial expression is costly and requires extensive expertise. Still, several physiological measures have been considered in the design-related literature but they often lack specificity. Even if automatic recognition systems have recently become available, applied research based on the observation of facial expression remains extremely rare. Both physiological recording and facial expression recognition could in principle have huge advantages for moment-to-moment assessment of emotion as they provide nearly continuous data without requiring the active participation of the research participants. However, their lack of reliability forces researchers to rely on multiple trials and averaging in analysis, thus precluding simple online measurement. Self-report, based on conscious feelings, is easier to apply and is the most common way to measure emotions. Self-report measurement instruments based on different models of emotion are available including measures of pleasantness and arousal and measures of discrete emotions like anger or disgust. Several of these questionnaires have been used in a design context, often to assess responses to product appearance or long-term use. Moment-to-moment self-report is also common in fields like advertisement or music research but is typically limited to dimensional models of emotion (measuring pleasantness or arousal). Chapter 3 is devoted to punctual measures of emotion in person-product interaction. It describes two studies in which participants had to complete different questionnaires right after using a product. The first study compared two questionnaires chosen for their extensive coverage of positive emotions – PrEmo and the Geneva Emotion Wheel – in a test with a coffee machine and an alarm clock. The results show both instruments to be sensitive to differences between products and document a decent level of convergence between the questionnaires. The second study extended these results to a between-subject experimental design in which each participant only used one of the products tested. It found a variant of PrEmo to be sensitive to differences between several personal navigation devices and examined the relationships between measures of different aspects of user experience (perceived usability, meaning, feelings). Chapter 4 is devoted to continuous or moment-to-moment measures of emotion in person-product interaction. It describes the particular challenges facing researchers interested in the dynamics of ongoing emotional changes during the interaction itself. It then sketches an approach developed to tackle this problem, by combining several techniques used in other fields. A key element of this approach is a technique called self-confrontation. It uses video to collect time-bound data about specific events right after the interaction while avoiding interrupting as it unfolds. Chapter 5 describes two studies conducted with the approach developed in chapter 4. The first study asked participants to report about their experience using two vases, selected to be either frustrating or surprising. The second study collected data about the pleasantness or unpleasantness of a drive using one of several personal navigation devices. The differences between the products were found to be related to specific parts of the routes the participants had to follow. The results also suggest that the peak experience (how bad the experience was at its worse or how good it was at its best) is more important in determining the overall experience than the average experience over the whole test. Chapter 6 describes the development of a device, the emotion slider, conceived to make moment-to-moment self-report more intuitive following the principles of tangible design. An experiment using pictures as affective stimuli was conducted before using the emotion slider to collect moment-to-moment data about dynamic stimuli. Following some unexpected results, a series of experiments was organized to better understand the properties of the slider. These experiments showed that the link between movement and affect is more complex than initially thought. Chapter 7 discusses reliability and its impact for applied measurement. It starts with a brief review of key concepts and of the limitations of some common measures of reliability. A numerical example shows that these measures can be misleading when improperly applied to data about transient states like product-related emotions as opposed to individual traits like personality and intelligence. Generalizability theory, a technique that can be used to deal with these issues is introduced through a re-analysis of some the data from chapter 3. Chapter 8 is devoted to the notion of measurement validity. After a review of the most salient perspectives on validity within psychometrics, the data presented in chapters 3 and 5 are re-evaluated. The chapter also contains a discussion of several conceptual issues regarding the validity of measures derived from different components of emotion.

Implementing biobased disposables for the festival Lowlands is the basis for this project. Making use of biobased disposables offers specific waste processing purposes. A collecting system of waste at a festival works best for a situation where visitors cooperate within the complete waste system. For Lowlands litter behaviour is questioned. Motivation for collecting is aimed for research within this project: What motivates Lowlands festival visitors for collection of biobased disposable waste? A new user experience for collecting disposables was the result consisting of a so called `baldadige bal` Lowlands activity together with a `cup cult`. Sustainable aspects of the implementation of biobased disposables is not the motivation approach. The proposed motivation concept is based on the motivation found for Lowlands activities together with cup elements for increasing cup value perception. A Lowlands activity for collecting cups was tested and found motivating for collecting; a large inflatable ball. Cup elements were tested for increasing value for cups to increase involvement and aim for preventing litter behaviour. `motivate visitors through values of the context their mind is set to; the new sustainable behaviour?`

Products play a role in our everyday lives. Insight into the experiences of people in their everyday lives is of great use for designing products. For example, the contexts in which products are used (physical, social, culture etc.) and the state (excited, tired, concentrated etc.) of the users influence how they experience using products. However, in design practice using this type of diverse, subjective and multi-layered information, as inspirational input for the design process, is a recent development. In this research project, I explored how this information can be communicated in such a way that it supports designers (1) to empathise with users, (2) to be inspired to create new product ideas, and (3) to be engaged to use this information in their design processes. By a set of eight explorative studies in collaboration with industrial practice (varying from a small design firm to a multinational telecom company) the current situation in design practice is investigated, tools to communicate this type of information are designed and explored in use, and a theoretical framework is created to organise the elements which play a role in this communication. The filled in framework and a set of guidelines for practitioners to successfully communicate rich experience information in design are the results. The framework folds out how the three main qualities (empathy, inspiration and engagement) can be achieved by setting in mechanisms and means. The guidelines show various examples of how these qualities can be supported.

In design research literature, several tools and techniques have been developed that support design teams in establishing creative understandings of people and their contexts of product use, e.g. [1] [2] [3]. Many of these approaches suggest that designers simply adopt the role of people researcher. However, in industrial design practice, the interaction between users and the design team is often mediated by a third party performing the people research – an external company, or experienced people researchers from within the company, who may or may not be part of the design team. In these cases, the rich user experience data gathered in people research needs to be conveyed to the design team in ways that enable the team to establish creative understandings of users. This paper introduces trialogue, a framework for communicating user experience data in industrial design practice. Using the framework, seven guidelines are identified aiming to support design practitioners and researchers in developing ways for communicating rich user experience data that support design teams in establishing creative understandings of users and their contexts.

This work presents the research into Creating Socionas, a step-by-step approach to building creative understanding of user experience in the early stages of new product development (NPD). Creative understanding is the combination of a rich, cognitive and affective understanding of the other, and the ability to translate this understanding into products and services that are pleasurable and easy to use (Wright and McCarthy, 2005). It draws on information about the user and his/her everyday life, and it includes inspiration for design and empathy or “a feel” for the user. Several approaches to building creative understanding of user experience have been developed over the past years, including critical design, generative design research and empathic design (Sanders, 2006). They have been successfully used by their creators in projects for and with clients in the industry. Despite these successful efforts, designers and user researchers may experience two important challenges when trying to implement and practice the approaches in an industrial organization. The first challenge is to make sense of users’ experiences for design. Recent societal issues and socio-technological developments, including the mass adoption of real-time social media services, have made “the social” an essential topic for design. The social denotes the idea that human activity is fundamentally social, as opposed to individual. In the design research literature, it has been suggested that holistic approaches to understanding user experience that include the social are needed to develop products and services that delight users. However, most existing approaches to understanding user experience for design build on frameworks of user experience that focus on the individual, and leave design teams unequipped for understanding the social. The second challenge is to build creative understanding of user experience in the context of NPD practice. Existing approaches to understanding user experience often suggest that members of a design team adopt the role of user researcher, and directly interact with users to ensure that the user perspective is included in design. In NPD practice this interaction is not always feasible as the user research is frequently sourced from a third party, e.g., an external consultancy or an internal user research team. Thus the users researchers who perform the user research and the design team members who manage the concept design are usually not the same people in NPD practice. This means that the user data that has been gathered in user research needs to be shared with the design team. The richness and basis for building creative understanding is often lost in this process. The current research seeks to address these two challenges; it investigates what design teams need to understand about user experience to develop products that delight users, and how they can build this understanding under the constraints of NPD practice (chapter 1). “Creating Socionas” is proposed as a possible solution. Creating Socionas is an approach to building creative understanding that addresses the two challenges by offering a conceptual framework that helps designers and user researchers to make sense of user experience for design, plus five steps that guide them through the process of building this understanding under the constraints of NPD practice. The approach builds on empathic design – an approach to designing for experience that is characterized by a design attitude of respecting users, being committed to understanding users’ needs and desires, building holistic understanding of users’ activities, and relying on personal insight and creativity (Mattelmäki, 2006). The research into Creating Socionas proceeded through cycles of developing and evaluating the approach in ongoing NPD projects at Philips. Design practice and design theory were closely integrated in the research process. In chapter 2, the research approach is described as research through design, by which I mean, “generating new knowledge or understanding through cycles of developing and evaluating experiential artefacts and process prototypes”. The chapter explains how action research methodology was used as a framework for practicing a research through design approach in addressing the research questions, after which it introduces eight empirical cases at Philips in which instantiations of Creating Socionas were developed and evaluated. The following four chapters explain the development of Creating Socionas and the knowledge and insights that were generated in the projects at Philips. Chapter 3 provides a critical reflection on the use of user-centered design approaches in industry, and the differences between industry and academic research settings. In this chapter, we review the literature of empathic design, and discuss our own experiences with introducing and practicing empathic design in several NPD projects at Philips Research over the past years. Having experimented with empathic design in an industrial context, we experienced success but also encountered eight challenges that relate to discrepancies between the theory of empathic design as described in literature on the one hand, and the application of empathic design in an industrial context on the other. An example is the earlier described discrepancy between empathic design’s advise to engage design team members as multi-disciplinary experts in user research on the one hand, and the common practice of sourcing user research from external consultancies or internal user research teams on the other, which raised questions of who, when and how to engage design team members in user research. Three cultural and methodological changes are proposed for addressing these challenges in the future. These include changing focus (a) from rational approaches to including empathic approaches, (b) from users as informers to users as partners in new product development (NPD) practice, and (c) from being informed of user research to being engaged in user research. The first two changes are consistent with those proposed by Sanders (2006), which endorses our conviction that other industrial organizations face similar challenges when introducing and practicing empathic design. The third dimension is new. It highlights an area of empathic design that is still largely unaddressed in the literature, but may be key in successfully embedding empathic design within an industrial organization. Chapter 4 introduces the concept of “trialogue”. Trialogue is a framework for sharing rich user data in NPD practice that was developed by using Wright and McCarthy’s (2005) concept of dialogue between designer and user to explore the tri-partied interaction between users, user researchers and design teams in NPD practice. Existing approaches to understanding user experience for NPD often assume that designers build creative understanding in direct interaction with users. In NPD practice, the interaction between users and the designers is often mediated by a third party performing the user research. In these cases, the rich user data gathered in user research needs to be shared with designers in ways that enable them to build creative understanding of user experience for design. In chapter 4, we identify and discuss four requirements for successfully building creative understanding in situations of trialogue, after which we discuss five implications of trialogue for sharing user data in NPD practice. One important implication is the active engagement of design teams in reading and interpreting user data for NPD, rather than in gathering user data, as is suggested for situations of dialogue. Creating Socionas builds on this implication. Chapter 5 reports our search for a conceptual framework that design teams could use as thinking tool of the social in empathic design. Despite the fundamentally social nature of life, most existing frameworks intended to generate perspectives of user experience in design still focus on the individual. Therefore, a conceptual framework is needed to sensitize design teams towards both relationality and individuality in designing for user experience. Building on the idea of engaging design teams in reading and interpreting user data for design, we set out to find a conceptual framework that design teams could use as thinking tool of the social in making sense of rich user data. In chapter 5, we review a number of possible frameworks on the basis of literature and describe our experiences in applying candidate frameworks in NPD practice at Philips. A set of criteria for assessing the usefulness of frameworks for empathic design and five groups of frameworks are identified, “special effect theories”, “relational frameworks”, “catalogues”, “metaphors”, and “scaffolds of context”. Activity Theory (AT) (Vygotsky, 1978; Leont’ev, 1978), as a scaffold of context, is found to have the best fit between design teams’ needs in empathic design and the frameworks’ offerings. An important advantage that AT brings is that it addresses the individual’s experience and social context. Having experimented with AT as thinking tool of the social in NPD practice, we found that AT is a potentially powerful framework for structuring, discussing and sharing rich user data in empathic design. Chapter 6 proposes Stanislavsky’s approach to play-acting as an intuitive way for practicing Activity Theory in empathic design. Activity Theory provides a comprehensive framework for analyzing user experience data for design, but is generally considered to be “hard to learn” and “difficult to put into practice”. More intuitive ways are needed for design teams to grapple with AT in interpreting user data for NPD. We found Stanislavsky’s System, an approach to acting that supports actors in the process of embodying and enacting a role (Stanislavsky, 1961), to provide these intuitive ways. In chapter 6, we discuss the conceptual relations between Stanislavsky’s System and Activity Theory, and show how Stanislavsky’s System was used to translate Activity Theory for empathic design in an NPD project at Philips. Our approach in this project was successful in that the design team built creative understanding of user experience from an AT perspective, without perceiving the approach as “too theoretical” or “difficult to grasp”. Chapter 7 consolidates the knowledge and insights from the previous chapters into a five-step approach to building creative understanding of user experience, Creating Socionas. In this chapter, I explain how user researchers and designers in Philips and in similar organizations might implement and practice Creating Socionas, using examples from NPD projects at Philips to illustrate the approach. Looking back on the research into Creating Socionas in chapter 8, I find that Creating Socionas is unique from most other approaches to understanding user experience for design in that the approach (1) sensitizes design teams towards the individual’s experience and social context in building understanding of user experience, (2) explains how design teams can build creative understanding of user experience in situations of trialogue, and (3) combines a conceptual framework that helps design teams to make sense of user experience for design, with a hands-on approach that guides them through the process of building this understanding under the constraints of NPD practice. A limitation of the approach is its transferability; Creating Socionas reliably applies to NPD practices similar to those at Philips only, and practitioners will need to adjust the approach to fit with their own contexts of NPD. Therefore, it is recommended that further research investigates the transferability of the approach. The results of such research may raise confidence in the success factor of Creating Socionas, and may persuade managers and other stakeholders to implement and invest in the approach in their organizations, and thereby develop products and services that resonate with users’ social lives.

Over the last decade consumer electronic product industries have been confronted with an increase in consumer complaints. Interestingly about half of the reasons for product return are based on so called ‘soft problems’, consumer complaints that cannot be traced back to technical problems. Probably this phenomenon results from technological changes as well as user diversity. Therefore, this PhD project focused on how soft problems are related to product properties and user characteristics. In the study three types of soft problems were identified, related to sensory, functional, and operational qualities. Based on the categorization, the relationship between types of soft problems, product properties, user characteristics and follow-up (re)actions were investigated. In the studies people expressed a huge amount of complaints about a large variety of electronic products, all of which can be defined as soft problems. Overall, all studies revealed that soft problems are partly related to product properties, user characteristics and follow-up (re)actions. In order to make these findings useful for design practice, two methods were proposed and discussed: an interactive tool and a workshop approach. This study gives an overview of how user characteristics and product properties interact with product use. When these aspects are taken into consideration in the product development process, the seriousness of potential problems can be identified. The data found and the methods developed can contribute to better design that will increase consumer satisfaction.

This graduation project originates from a discomfort of a patient who couldn’t obtain common food in a natural way due to an obstruction in the digestive tract. Therefore, the patient needed tube feeding, which had to be administered into the digestive tract using a nasoenteral feeding tube. Despite the importance of the tube, the user experience throughout the tube feeding treatment was very unpleasant and intense. Further research regarding the user experience of nasoenteral tube feed- ing showed that patients experience many problems during the process of this kind of tube feeding treatment. First of all, bringing the tube in- side the patient’s nose, throat and gullet down to the stomach or small intestine feels very uncomfortable. Furthermore, patients experience all kinds of problems during the daily use of the tube: it causes pain, irritation or fear, it interferes with their freedom of movement, it makes them un- comfortable in public and it brings along a time consuming maintenance. The maintenance of the tube and accompanying system to administer the feeding is time consuming due to the fact that the whole system needs to be flushed with water several times a day to avoid obstruction. Besides, the tube is fixated with sticking plasters that need to be replaced two or three times a day as they don’t stay in place or cause irritation. Next to these problems, some also concern the removing procedure of the tube or inadequate knowledge of heath care professionals. During this project a concept of a tube holding device has been developed to improve the user experience of nasoenteral tube feeding. The concept focuses mainly on the daily use of the feeding tube as the problems that occur in this phase influence the user experience the most. Due to the new concept it is possible to fixate the feeding tube on the face of the pa- tient after it has been brought inside their digestive tract. Throughout the daily use of the tube, which can last for a few days or several weeks, the tube will now kept in place by means of the tube holding device instead of fixating the tube with multiple sticking plasters. The tube holding device consists of a clamp to fixate the feeding tube and a headband that can be placed on the head of the user. Together these parts make sure that the tube interferes less with the patient’s freedom of movement, which is a big improvement compared to the current situ- ation. Furthermore, the tube holding device avoids kinking of the tube, guides the tube naturally down to the administration system, captures the weight of the feeding tube and the fixation of the tube looks more subtle. Finally, the tube holding device makes sure that the patient wor- ries less about undesired movements of the tube as it is fixated quite tight inside the device and the maintenance of the tube is less intensive due to the fact that the sticking plasters are no longer necessary.

This Master Thesis explores new ways of interacting with the TV and especially via tablet devices. It focuses on the enhancement of group experiences, for which tablets are integrated taking advantage of their technological benefits such as sensors and touchscreen properties. Result from this study is a system of collaborative content creation and sharing. It is thought for users housed in a common room, and thus, physically accessible to each other. Ingredients of the system are secondary screens (tablets, smartphones), TV and users. To accommodate the three elements an application is designed. This app connects users’ physical and digital worlds through a serie of interactions and actions for the experience, stepping away from the current aloofness of media and personal devices to put them back towards real and physically social experiences. This dissertation has been developed at the Innovation Site of Philips TV, where the firm explores TV consumer needs and matches them with commercial opportunities. TV industry embraces various stakeholders that may be classified into two main groups: TV content and TV device. Philips TV, as a manufacturer, belongs to the second, for this reason delivering content and services is not within its portfolio. However, electronic products are. From that perspective, the use of the thesis’ design by Philips TV is of a paradigm for technological ideations. User experiences lead and define products that, later on, are developed and implemented.

Nowadays, Smart TV has been the new trend of TV landscape, which brings streaming media, personalized communication and social networking to TV screen in living room. How to add web-enhanced features to traditional TV viewing experience has been the focus of the competition in TV industry. As one of the major TV producers, Philips realizes that Smart TV calls for smart control experience, resulting in TV Fluid Control Project. Fluidity is proposed to be the durable wow experience for Philips new Smart TV remote control (RC) interaction. Touchpad-based interaction and pointer-based interaction are both promising for fluid control experience duo to their support for heads-up and lean-back viewing posture. In this project, the two interactions were compared from the perspectives of anticipated user experience (UX) and actual UX, concluding that touchpad-based interaction with uFlow user interface (UI) is more relaxing and moderate for diverse 10-foot TV consumption context. However, multiple swiping on touchpad is the main issue that degrades the fluid interaction. It is found that two-handed operation is better than one-handed operation for releasing natural and intuitive swipes. Swiping in horizontal is superior to that in vertical especially for thumb movement. The size of natural swipe revealed in this study is more than 1 cm larger than that of current touchpad on TV remote control. The criteria for touchpad-based RC were given based on user studies: remote control feeling, touchpad affordance, handholding, finger swiping, one/two-handed operation flexibility, tactile button-click interaction. The final result is the redesign of touchpad-based RC for fluid swiping UX with features as follows. A touchpad keyboard on back side for coherence of two-handed touching navigation and text entry A concave touchpad below the centre of RC on front side for comfortable and precise swipe An ergonomic shape for hand gripping to reduce the constraints of thumb movement

People from diverse professions and industries use professional lighting products. However, the descriptions of the professional lighting products are focusing on the technical information of each product which needs a certain level of the lighting design knowledge and experience to understand. Therefore, there are some people who cannot fully understand this type of description, and their product selection experience cannot be satisfactory. This graduation project was improving those people’s lighting product selection experience by designing a tool for those people, and in order to improve their lighting product selection experience, a new tool was developed. The studies and researches have been conducted during the project, in which the users’ needs and desires were unveiled and the problems of the current situation were found. To show the opportunity to improve and solve the current situation and problems, the concept of Lighting Effect Product Selector was developed. Through the concept evaluation, it was confirmed that the application is helpful in guiding the target users’ lighting product selection processes, and the application has the possibility to increase the target users’ lighting product selection experience. Therefore, the Lighting Effect Product Selector can be used as a starting point of developing more products and researches to increase the users’ better product selection experience.

Slow Design is a design philosophy that aims at supporting well-being for individuals, society, and the natural environment. It encourages people in doing things at the right time and with the right speed and helps them to understand and reflect on their actions. Nevertheless, how can this philosophy be used to create mass-produced consumer electronics that are more sustainable? In this graduation project the Slow Design Principles, as defined by Carolyn F. Strauss and Alastair Fuad-Luke, were explored and applied in order to develop concepts for consumer electronics that are more sustainable. Slow Design was used to enhance the bond between the user and the product, leading to a longer and more sustainable use. A home study and interviews were conducted to gather insight into how, when and where it is valuable to slow people, or processes, down. To demonstrate how the Slow Design Principles can be translated into an industrial product, as well as to test if this method affects the product attachment positively, a product of the Philips portfolio was selected – the centrifugal juicer – and a case study created. For the purpose of understanding the main opportunities and threats and of the current Philips juicer, a user research was conducted. Keeping the insights from this research in mind, the Slow Design Principles were applied with the help of Mind Maps. A selection of the resultant juicer concepts formed the case study named ‘JuicyMo’. This juicer was realized in a mock-up prototype in order to conduct a user test and gather insights into the degree of attachment of the participants to the new device and into whether they can find the essence of the Slow Design Principles in the juicer. Among other things, the results showed that the users stayed involved in the process, a key element for product attachment. Furthermore, all of the applied Slow Design Principles could be experienced and identified by the participants. In conclusion, a user and context research is necessary for the understanding of users’ needs and the results have to be taken into consideration during the final Slow Design concepts selection in order to create more sustainable consumer electronics. Once ‘Slow’ becomes ‘irritating’ and is used in the wrong moment, the product attachment decreases as will the frequency of the product usage. If this happens the goal of creating products that are more sustainable is not achieved. Hence, the results of the research can help to pinpoint the ‘right and important‘ moment in the usage process for the ‘slowing down‘ of some segments and the ‘speeding up‘ of others. A selection of concepts developed through the application of the Slow Design Principles formed the ‘Book of inspiration’, explaining the method of Slow Design, as well as inspire designers.

This paper reviews some of the tools available for the measurement of emotion in product design. These tools are organized using the five components of emotion: feelings, expression, behavior, physiological activation and appraisal. Several problems specific to the measurement of user experience during interaction with products are also described and a coherent approach to address them is sketched. This approach includes several components: self-confrontation (video-supported self-report) to collect data about users’ feelings, using tangible interaction principles and approach/avoidance tendencies to map the quality of the experience on the device used to report it, psychophysiological and facial expression recording to provide continuous measures of emotional arousal and valence. Finally, questioning users about appraisal processes underlying their affective responses is recommended as a useful inspirational tool at the beginning of the design process.

User Experience (UX) is an ongoing process and should not be limited to a single use situation. However, this is unfortunately often the case in HCI research. The goal of this workshop is to deepen and expand available knowledge with respect to temporal dynamics of UX. Relevant aspects will be the understanding of how UX is evolving over time, in particular across products and contexts, as well as the exploration of methods that can evaluate long-term UX in practice. For this, the organizers will prepare a booklet that introduces existing models and methods for long-term UX as a mutual basis for discussing critical experience phases that should be taken into consideration in product development. The booklet also summarizes pre-notes from participants which will be collected prior to the workshop. In addition, during an interactive group activity, participants will reflect on the diversity of longterm UX of different product types. Participants from academia as well as from industry are invited in order to tackle the question of how to make research results and methods applicable in practice.

User Experience (UX) is an emerging research area pertaining to as well as extending beyond the traditional usability. Issues in the realm of usability may be amplified in UX because of its larger scope. Four key non-orthogonal issues are: definition, modeling, method selection, and interplay between evaluation and development. Leveraging the legacy of a series of earlier workshops, I-UxSED 2012 aims to develop a deeper understanding of how evaluation feedback shapes software development, especially when experiential qualities such as fun, trust, aesthetic values are concerned. Is feedback on these fuzzy qualities less useful for problem prioritization or less persuasive for problem fixing? This and other challenging questions will be explored in I-UxSED 2012 that brings together researchers and practitioners from two communities - HCI and Software Engineering.

In this paper, we focus on how to design product service systems (PSS) that provide for coherent user experiences. Our research is part of a large Dutch research program (CRISP, www.crispplatform.nl) on PSS. We propose a framework for identifying real PSS by integrating perspectives from economics and design theory. Our framework suggests that the product and service elements of the PSS should be combined in a synergistic manner and geared towards the same set of user goals in order to create a coherent user experience. In addition, our framework proposes that the product and service elements of the PSS should have sufficient autonomous value to be separately available on the market. We distinguish products and services from each other on the basis of aspects that have a large influence on designing PSS: products are mainly characterized by tangible elements and services by (a durable) interaction relation between consumers and producers. We empirically test our ideas among product and/or service development managers and in a later stage among designers. We conclude this paper with some guidelines how to define and design effective PSS.

User Experience (UX) is an emerging research area pertaining to as well as extending beyond the traditional usability. Issues in the realm of usability may be amplified in UX because of its larger scope. Four key non-orthogonal issues are: definition, modeling, method selection, and interplay between evaluation and development. Leveraging the legacy of a series of earlier workshops, I-UxSED 2012 aims to develop a deeper understanding of how evaluation feedback shapes software development, especially when experiential qualities such as fun, trust, aesthetic values are concerned. Is feedback on these fuzzy qualities less useful for problem prioritization or less persuasive for problem fixing? This and other challenging questions will be explored in I-UxSED 2012 that brings together researchers and practitioners from two communities - HCI and Software Engineering

There are two aims in this project. The first is to redesign product with great User Experience (UX). The second aim is to gain knowledge on how the company can shift their innovation process from technology push to market pull strategy thus becoming a customer-centric organization. Both aims challenge a designer in CREATING PRODUCT PEOPLE LOVE TO USE. I learned that collaboration is about people experiences that evolve and grow every single day. Creating great User Experience (UX) requires collaborative efforts from all stakeholders,thus UX must be regarded as a strategic discipline in the Company. I also concluded that context mapping method is very suitable to facilitate collaboration, especially in entrepreneurial environment. It is a well-structured method that provides control to achieve good result, but it gives freedom to be adjusted according to a particular company culture. This is just like what every entrepreneurs demand! The next learning is the fact that communication is not a one-shot effort. It must be done along with the continuous decision-makings and evaluating: INNOVATION process. By doing so, you will create perfect LOOP: magnifying innovation through collaboration.

User experience with public products needs special attention considering the specific context. Different from other consumer or personal products that users own, public products do not belong to the user; they are shared with and used in front of other people. Thus, different concerns and problems are incorporated affecting the user experiences. This thesis dwells on the effects of presence of other people on user-public product interaction. The relationships between social context, users’ feelings, and task performances constitute the basis of the thesis. These relationships were investigated by consulting to the literature, but mainly by conducting three empirical studies. All these studies revealed that the presence of other people affects the users’ feelings and task performances greatly.

The level of complexity in consumer electronic products is one of the main concerns for Innovation and Development (I&D) departments in companies manufacturing and selling household appliances. Nowadays, consumer electronic products tend to have more and more functions resulting in complexity increase that makes it harder for users to understand these products (Kuijk, 2009). On top of that, the previous user and expert evaluation test from Philips (PRC 1113) noticed an increased number of usability problems with regard the operability of the connected devices to the television. The Philips OneUX (“One User Experience”) is the project program initiated by Philips to offer users a unified way of working their TV sets with their connected devices. Philips features software with the name of EasyLink that shares the functionality between TV sets and connected devices through a cable. This software is present on every Philips device older than 2009. The OneUX intention is the ideal focus towards offering users a shared way of working without usability problems, and thus, the formation of a TV-ecosystem. Besides that, the User-Centered Design (UCD) approach aims to design with and from the user point of view and focuses on innovative solutions that improve the usage of a product, system or service. The reason to adopt a user-centered design approach in usability analysis of consumer electronics products is to come up with a better quality of the interaction between the user and the product-system (Wever et. al 2008). Thus, this thesis follows a UCD methodology based on qualitative research performed in three main stages, namely analysis, ideation and evaluation. A cognitive walkthrough process has been used to assess the usability problems of the considered user-centered functionality resulting in the identification of its origins. Hence, this process has focused on identifying how users use their TV-ecosystem; get their expectations, needs and perceived qualities when interacting with their TV sets so that a thorough design concept proposal could be developed from these inputs. Consequently, the problem definition stated that the origins of the usability problems were due to a poor integration of the system functions causing user unawareness of the functionality. The concept proposal is the solution that resulted from the application of design criteria obtained in this project. The design criteria established three main focuses of functional integration to address the origins of the usability problems. Thus, access, execution and compatibility of system functions should be better integrated with the qualities of the interaction perceived by users to deal with the user unawareness. Consequently, the concept proposal has originated two parts: first, the system function and second, the system functionality discovery, which offers users a faster execution with just one single press through understandable access with familiar keys. The integration for discovery focused on improving the provided onscreen messages to allow users leverage the performance of their TV-ecosystem in a certain activity. Subsequently, the integration for access and execution prioritise the reduction on the number of steps by using the keys that were familiar to users to offer a faster and easier operability. The context of the thesis is situated within my graduation project of the Master of Design for Interaction in the Delft University of Technology (TUDelft) in The Netherlands. The company where the project has been developed is the Philips Television Department, currently known as Philips BG TV Innovation Site, in Eindhoven (The Netherlands). It supports the Business with its innovation and business creation processes. Hence, it focuses on future products, business and works on a continuing program of front-end innovation. Furthermore, it works in partnership with the other innovation sites to drive successful innovation and development programs to enable the Business to deliver key differentiators. This project gives relevant input to the Site on how users perceive the current way of working of their TV sets. In addition, the resulted design concept proposal means to the Site a rich input on how to integrate the system functions to match user expectations and needs. To sum up, this thesis concludes with a suitable conceptual model for TV-ecosystems to improve their user satisfaction.