A systematic analysis of mixed perspectives in empathic design: not one perspective encompasses all
A systematic analysis of mixed perspectives in empathic design: not one perspective encompasses all
复制标题
对共情设计中混合观点的系统分析：没有一种观点涵盖所有
DOI：
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发表时间：
2016
影响因子：
1.5
通讯作者：
K. Turnhout
中科院分区：
文献类型：
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作者：
W. Smeenk;O. Tomico;K. Turnhout
引言本文的工作是建立在移情设计的背景下，特别是在哀悼情况下的人的设计。这似乎是一个不言而喻的说法，设计一个微妙的情况下，情感，和复杂的哀悼要求设计师能够建立同理心和（com）激情与人和环境的利害关系。在设计过程中与利益相关者建立同理心时，设计师必须从多个角度和价值观来处理问题，以了解不同的个人如何经历和经历这些仪式（例如，哀悼）。本文特别关注的是设计师如何在设计过程中利用自己的感受、直觉和经验的问题。特别是在需要设计师高度敏感的设计项目中（例如，同理心设计），这种第一人称视角的明智应用可能是设计结果的主要贡献者。因此，我们的目标是为设计师和设计学生的教练提供一种方法，通过在设计过程的不同阶段有意识地使用视角转换和集群，为他人和与他人一起设计，并在用户情境中进行设计。（Dandavate，Sanders，& Stuart，1996; Ehn，2008;富尔顿苏里，2003; Koskinen & Battarbee，2003; Mattelmaki & Battarbee，2002; Mattelmaki & Sleeswijk Visser，2011; Sleeswijk Visser，Stappers，货车der Lugt，& Sanders，2005）。与用户建立同理心的方法和工具是设计传统的一部分，如以用户为中心的设计（UCD），以人为本的设计（HCD），参与式设计（PD）和协同设计（Co-D）。然而，这一知识体系几乎完全集中在利用用户的观点和用户接触来告知设计决策，而设计也可以（并且隐含地）建立在设计师自己的个人经验，感受和情感上。尽管众所周知，设计师会隐性地根据自己的经验、感受和情感做出设计决策，但第一人称视角在设计中的具体效用、合法性和有效性还没有得到充分的理解和认识（Cross，2001年; Zhang & Wakkary，2014）。尽管越来越多的人认识到文献中的这一空白，很少有作者为设计者提出实际的解决方案和指导。一个例外是Tomico，Winthagen和货车Heist（2012）的论点，即明确应用几个基本的设计视角，包括设计师的第一人称视角。这篇论文是这项研究的关键灵感。由于该论文中的三个单独的视角定义建立在一个设计案例上，我们将在下一节中提供更详细的描述和相关文献的结构化概述，以补充这些定义。此外，本概述将有助于详细说明如何以有价值的方式混合这三个基本观点。在下一节中，我们将介绍三个理论，这些理论支持我们对Tomico et al.（2012）介绍的观点的理解。在第一部分中，我们将回顾相关的工作，提供一个结构化的概述现有的文献的观点，并激励我们的案例研究分析。接下来，我们将介绍案例研究。我们将详细分析四位初级设计师的设计过程，他们解决了为哀悼设计智能产品的问题。这种分析将深入了解这些项目中第一、第二和第三人称视角的利用和具体价值。此外，我们将识别、指定和讨论透视图转换的具体价值。然后，我们将强调视角集群如何为共情设计提供指导。最后，我们将提出我们的结论，并讨论的影响的角度（包括混合视角）的共情设计研究和实践。…
IntroductionThe work presented in this paper is set up in the context of empathic design, in particular design for people in mourning situations. It seems almost a truism to say that designing for a situation as delicate, emotional, and complex as mourning demands that the designer is able to build empathy and (com)passion with the people and context at stake. In building empathy with stakeholders in the design process, it is important for designers to approach the problem from multiple perspectives and values in order to understand how diverse individuals experience and go through such rituals (e.g., mourning). Of particular concern in this paper is the question of how designers can utilize their own feelings, intuitions, and experiences in the design process. Especially in design projects that require great sensitivity on the part of the designer (e.g., empathic design), the wise application of this first-person perspective may be a major contributor to the design outcomes. Therefore, we aim to provide designers and coaches of design students with a way to design for and with others and within user situations by deliberately using perspective transitions and clusters in different phases of design processes.Various scholars have proposed design methods that bring relevance to and support design with users (Dandavate, Sanders, & Stuart, 1996; Ehn, 2008; Fulton Suri, 2003; Koskinen & Battarbee, 2003; Mattelmaki & Battarbee, 2002; Mattelmaki & Sleeswijk Visser, 2011; Sleeswijk Visser, Stappers, van der Lugt, & Sanders, 2005). Methods and tools for building empathy with users are part of design traditions such as user-centered design (UCD), human-centered design (HCD), participatory design (PD), and co-design (Co-D). Yet, this body of knowledge focuses almost exclusively on utilizing user perspectives and user contact to inform design decisions, while design can (and implicitly does) also build on designers' own personal experiences, feelings, and emotions from within the design context. Although it is well known that designers implicitly base design decisions on their own experiences, feelings, and emotions, the specific utility, legitimacy, and validity of the first-person perspective in design is insufficiently understood and recognized (Cross, 2001; Zhang & Wakkary, 2014).Despite a growing recognition of this lacuna in the literature, few authors have proposed practical solutions and guidance for designers. One exception is found in Tomico, Winthagen, and van Heist's (2012) argument for an explicit application of several basic design perspectives, including the designer's first-person perspective. That paper is a key inspiration for this study. Since the three individual perspective definitions in that paper built on a single design case, we will provide more elaborate descriptions and a structured overview of related literature to complement these definitions in the next section. In addition, this overview will help specify how the three basic perspectives can be mixed in valuable ways. In the next section, we will introduce three theories that support the expansion of our understanding of the perspectives introduced by Tomico et al. (2012).This paper is organized in three main sections. In the first section, we will review related work to provide a structured overview of existing literature on perspectives and to motivate our case study analysis. Next, we will present the case study. We will provide a detailed analysis of the design processes of four junior designers who tackled the problem of designing intelligent products for mourning. This analysis will give insights into the utilization and specific value of first-, second-, and third-person perspectives in these projects. In addition, we will identify, specify, and discuss the specific value of perspective transitions. Then we will highlight how perspective clusters might give guidance to empathic design. Finally, we will present our conclusions and discuss the impact of perspectives (including mixed-perspectives) on empathic design research and practice. …