Beautiful bottle

The following excerpt from Donald Norman's "Emotional Design" expresses the author's feelings of the relationship among visceral and reflective designs and certain water bottles:

And some of the bottles are, special, sensuous, and colorful. People keep the empty bottles, sometimes refilling them with tap water, which, of course, demonstrates that the entire success of the product lies in its package, not the contents. Thus like wine bottles, water bottles serve as decorative additions to rooms long after they have fulfilled their primary purpose.

Water, quite simply, is the covalent bond existing between two hydrogen and a singular oxygen. I would assume that above a certain level of purification, differences among brands is negligible. But purification level or technique is not why people often purchase a specific brand of water. Oftentimes something as trite as water is purchased based on packaging alone as certain package designs tug at our heartstrings, and those especially beautiful ones of niche market brands serve as long-lasting mementos. What emotional beings we are!

Norman's categorization of certain designs as visceral, behavioral, or reflective is quite useful. Norman clearly distinguishes among them in the text; each maintains distinct qualities that necessitate separate categorization. However, the term "reflective," used in one categorization, is a bit ambiguous. I think a better term would be "self-communicative" as designs of this type often communicate ideals of the self.

Designs for young children should incorporate the qualities of visceral design. In these developmental years, children are most engaged by colors, sounds, and shapes inherently appealing; they have yet to acquire taste for reflective design. Items for the mundane, everyday tasks should observe behavioral design--that is--function and usefulness must always come first, aesthetic later. We desire steamers and irons that function wonderfully; we don't want beautiful steamers and irons that function poorly, or worst yet don't work. In designing items for the self and the home, designers must incorporate reflective design principles as such items send messages of the self.

Emotive design

In this third chapter of "Emotional Design,"as the name suggests, Norman assesses the interplay between human emotion and design, resolving three distinct levels within this broad category: visceral, behavioral, and reflective.

Visceral
Design of the visceral type incorporates features that are appealing by intrinsic likeness. Color, smell, feel, sound, and taste form the basis for visceral design as these are attributes appealing by biological drive. Designs solely of this construct generally are not those many would consider of much sophistication as humans have evolved to enjoy design beyond the simple, visceral attraction.

Behavioral
A successful behavioral design stresses function over aesthetic; it must satisfy the need of the target audience. This is often accomplished through observation of consumer interaction with the design at the behavioral level. In design of this sort, innovation or enhancement of previous design plays an important role as by doing so, functionality is enhanced.

Reflective
Consumers are often attracted to designs that foster a sense of self-expression and send messages as to who they are. In this way they are attracted to reflective design. Prestige, rarity, and exclusivity are paramount in reflective design.

In comparison to Norman's previous work, "The Design of Everyday Things," which elaborates on commonsense qualities that should be evident in all design but are lacking in a great many, "Emotional Design," while incorporating now modernized ideals from the previous work, speaks of the previously undiscussed role of emotion in design and less about the woes of bad design.

An ideal visceral design are children's building blocks. They are generally vividly colored, and are appealing in shape and feel. An electric toothbrush succeeds as a behavioral design. Though generally aesthetically basic, they function well and meet a demonstrated need. Furniture pieces by Baker, in particular those of the Barbara Barry collection, are of reflective design. Oftentimes in purchasing such pieces, buyers wish to present an image of success, of goodliving.

Good design, bad design

The following excerpt from The Design of Everyday Things details one of the author's perceptions regarding the paradox of technology:

The paradox of technology should never be used as an excuse for poor design. It is true that as the number of options and capabilities of any device increases, so too must the number and complexity of the controls. But the principles of good design can make complexity manageable.

Despite living in a world wherein technologies are becoming increasingly complex, this does not mean that future designs must become overly so. Institution of the principles found in the text can aid in making designs, even those teeming with complex functionality, good designs. This is why Norman's book continues to experience undying appeal. Though my core shivers in saying it, there will always, most likely, be bad design. Those that are often categorized as bad, generally lack one or several of the principles elaborated in the text. Conversely in good design, in designs such as iPod, these principles are easily observed. Until such time comes that all designs may be classified as good design, this book will remain a definitive source in encouraging all designs to get there.

In evaluation of design the following are central:

• Conceptual Modeling
• Affordance
  
• Visibility
  
• Mapping/Natural Flow
• Feedback
  

Woe in everyday things

Donald Norman, author of The Design of Everyday Things, impresses upon the reader the necessity that designs be made more conducive to a streamlined, simplified end-user experience. By simplified, he does not mean that items lose function or systems complexity; rather he wishes designs be made "easy to interpret and understand"--that is--more intuitive and user-friendly. To elaborate these ideas, Norman illustrates various principles: conceptual modeling, visibility, proper mapping/natural flow, and feedback.

Conceptual Modeling
Many devices of good design have some sort of conceptual modeling. This modeling provides the user some idea as to how the device may function based on rudimentary logic.

Visibility
Functions of complex designs should not be hidden in a sea of controls controlling other functions. Functions should be assigned non-arbitrary controls to a distinct ends.

Mapping
Controls should be located on a design in such a way to promote natural flow. In good design there is no requirement to position awkwardly just to make use of functions.

Feedback
Whether it be vibration, demarcation, buzz, or light, good design provides a way to determine if functions have been executed successfully.

I've encountered various designs over the years that have been less than intuitive. The most recent of these design blunders was a certain color-laser printer with fax capability. Sending faxes was quite difficult as the machine provided no tonal or (backlit) visual feedback as to which numbers had been pressed. Worst yet, the security capability required password authentication to send, not receive faxes.

In designing iPod, Apple not only considered, but successfully instituted the aforementioned principles. Despite being a complex design, iPod manages to provide for a simple, streamlined end-user experience. On a conceptual level, users young and old alike have some idea as to how the device functions by simply referring to basic logic. Moreover, controls are clearly yet unobtrusively labeled, mapped most intuitively, and follow a natural flow as to their function. The scroll wheel, in particular, holds true to these principles. Apple took the concrete knowledge that the clock moves in a right-bound circular fashion, increasing incrementally, and applied it to the scroll wheel. One simply moves the finger over it in a clockwise fashion to incrementally increase data/volume and conversely moves the finger in a counterclockwise fashion to incrementally decrease data/volume all the while providing tonal and visual (demarcated) feedback as to these actions.

Perfection in design

"The Perfect Thing" is illustrative of various components in the design process, namely conception, evaluation, and trial.

Conception
Anthony Fadell, while working as head of Mobile Computing at Philips Electronics, conceptualized a hard-disk based device poised for the storage of music. Later, at Apple, Fadell further refined his conceptualization into a device in which aesthetic is tantamount to functionality which, in turn, is tantamount to mobility.

Evaluation
After Fadell's conceptualization was finally in tangible form, he presented it along with two others (he of course intended to be "X'ed" out) to Steve Jobs and peers. After much collaboration, finally emerged the final design, the iPod.

Trial
In iPod design, trial consisted of durability and functionality testing. Naturally, the hard-disk, being the device's most fragile constituent, was put under much scrutiny.

In evaluation of other "perfect things," components such as aesthetic, durability, functionality, intuitiveness, and usefulness are paramount. iPod, of course, successfully captured, at it's inception, and maintains these qualities.

In critique of iPod, I'd say that on the whole it is a device excellently composed. The aesthetic is revolutionary; mobility is superb; intuitivity is unmatched, and brand acceptance can't be beat. There are, however, negative points. In iPods of the past, I've noticed that the anodized aluminum coating was very susceptible to scratches and marring. On current generation devices, chrome backing is equally susceptible to unsightly abrasions. These are, nevertheless, flaws easily remedied by proper protective shells/coatings.

I guess cities need wit, too

I bet the nonexistent readers are wondering, as I too am wondering, why I choose a name as strange and seemingly illogical as "CITYwitty" for a blog whose future subject matter will place emphasis on the components and functions of design. I suppose I rationalize wit as having some part in intelligent design; a smartly designed city is indeed one of man's many marvels.

Let's hope I'm correct in my thinking...