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people (including the user) who are involved in the context of use.

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      Response: Observe current emotional responses in the context of use. This can help you determine user concerns. These existing emotions are used as entry points in interviews to understand underlying concerns.

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      Conflicts: Formulate possible conflicts between user concerns. These conflicts are then used to formulate new design solution spaces. The emotional impact of concepts can be tested with the use of PrEmo.

      Design for Emotion

      What & Why? Design for Emotion offers a systematic approach to designing products with predefined emotional intentions. The approach can be used to (a) define an appropriate emotional effect, (b) gather relevant user information so that this emotional effect can be achieved, (c) envision concepts that evoke the intended effect, and (d) measure to what extent the design concept evokes the intended emotion. The approach is based on a basic model of emotion in design where designers distinguish between the different layers of emotion that should be taken into consideration in design processes.

      The key variables in the model are stimulus and concern. With regard to stimulus, design can provide emotional stimuli on three levels: object, usage, and context. With concern, there are three types of user concerns that are relevant here, namely the goals, standards, and attitudes of users. These two variables combine to form a matrix of nine sources of product emotion.

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      Mindset: The perspective is based on a cognitive approach to analysing emotions that builds on an evolutionary perspective of human experience. Emotions play a central role in the human ability to understand and learn about the world. Positive experiences kindle our curiosity, and negative ones protect us from repeating mistakes. It requires an analytical view on emotions and a research-informed design approach.

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      References & Further Reading: Desmet, P.M.A., 2012. Faces of Product Pleasure; 25 Positive Emotions in Human-Product Interactions. International Journal of Design, 6(2), pp. 1-29. / Desmet, P.M.A., Fokkinga, S.F., Ozkaramanli, D., & Yoon, J., 2016. Emotion-driven product design . In: H.L. Meiselman (Ed.), Emotion Measurement (pp. 405-426). Amsterdam: Elsevier. / Desmet, P.M.A. & Schifferstein, N.J.H., 2012. Emotion research as input for product design. In J. Beckley, D. Paredes, & K. Lopetcharat (Eds.), Product Innovation Toolbox: A Field Guide to Consumer Understanding and Research (pp. 149-175). Hoboken, NJ: John Wiley & Sons. / Ozkaramanli, D. & Desmet, P.M.A., 2012. I know I shouldn’t, yet I did it again! Emo- tion-driven design as a means to subjective wellbeing. International Journal of Design , 6(1), pp. 27-39.

      Tips & Concerns

      At least 25 different emotions can be experienced in human- product interaction. In the design process, the intended emotions should be defined because different emotions require different designs.

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      Design for Emotion involves designing for concerns; therefore, this approach always requires a research stage in which user concerns are determined.

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      Concerns should be formulated as ‘I want…’, ‘I should / someone should / a product should...’ or ‘I like….’

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      The formulation should be concrete, and concern sets should include not only goals but also standards and attitudes.

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      Limitations

      Design for Emotion focuses on emotional effects of design, but it does not necessarily take other relevant aspects or requirements into consideration. The approach should therefore be incorporated into regular design approaches rather than used in isolation.

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      Although the basic concepts in the approach are easy to understand, using them in design processes does require some experience.

      Design for Emotion is a perspective on design that takes the intended emotional impact as the leading principle in the design process.

      perspectives

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      25

      Most companies focus on the top markets, while three quarters of global adult population that fit into the bottom echelon of the wealth pyramid largely go unlapped. In developed countries, about 20 percent of adults fall within this category. 2.7 billion people live on less than $2.50 a day. (source: Credit Suisse global wealth report 2019)

      Liter of Light is an open source design by Alfredo Moser (Brasil) for a low-cost light tube to provide daytime interior lighting for dwellings with tin roofs. The device is simple: a transparent two-liter bottle is filled with water plus a little bleach to inhibit algal growth and fitted into a hole in the roof. During daytime the water inside the bottle refracts sunlight, delivering about as much light as a 40–60 watt incandescent bulb to the interior. A solar bottle can last up to 5 years. Liter of Light has installed more than 350,000 bottle lights in more than 15 countries and taught green skills to empower grassroots entrepreneur .

      wealthy markets

      > $ 1,000,000

      mature markets

      $ 100,000 - $ 1,000,000

      emerging Markets

      $ 10,000 - $ 100,000

      Survival Markets

      ≤ $ 10,000

      0,9% o wns 46% of the global wealth

      9,8% o wns 37,3% of the global wealth

      32,6% o wns 14,3% of the global wealth

      56,6% owns 2.4% of global wealth

      2,883 million

      1,661 million

      499 M

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      22. Design for Emotion

      How? You can use existing models, approaches, and methods, but often they need to be attuned to the local context. For example, you need to adjust participative methods to the targeted culture (see Culture-Sensitive Design). When designing for a BoP context and emerging markets, pay extra attention to the following principles:

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      Affordability: The challenge for you as a designer is to propose affordable solutions. There are several strategies to make products cheap, but overall a holistic approach is needed. You need to take into account not only the production costs of a single product but also the entire system so that each actor or

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