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Personal technologies are widely used to capture the memorable and meaningful experiences travellers have during their journeys. These digital footprints serve as memorabilia for travellers to share and reminiscence about these special experiences. This study showcases an exploratory study of the creation of a travel diary from the traveller’s digital footprints to facilitate the expression of and reminiscences about memorable and meaningful moments. In this study, 15 participants were asked to share their memorable and meaningful travel experiences and were then instructed to use their photos and a set of prototyping tools to create a paper-based visual diary of their experiences. The goal of this study was to examine the process of creating a visual diary to understand the differences in how these experiences are recounted and the ways they are expressed. We used a Labovian approach to compare and contrast the participants’ oral narratives and visual diaries. As in comics studies, the visual diaries are analysed with respect to their spatio–temporal dimensions and the recurring patterns in these two narrative forms are discussed. Based on the results, recommendations are made regarding the future design of travel diary platforms.

This study explores how technology-mediated journaling can support memorable and meaningful tourism experiences (MMEs). The digital photo is the most common medium for travelers to keep a record of memorable and meaningful moments and share them via social media. We explore the potential of using these footprints for travelers to connect the implicit dimensions of their well-being. In particular, we draw reference from positive psychology, which emphasizes that human well-being is rooted in people’s implicit personal factors and psychological needs such as character strengths, motives, and values. Making the implicit explicit may help people to make a wiser choice that matches their own aspirations. To support people in (re)creating meaningful narratives, we created a proof-of-concept prototype by incorporating character strengths into the design of a digital journaling platform. This study involved ten participants and each of them created at least five MME narratives from their past journeys. In this article, we discuss the design concerns for such a platform and examine the effectiveness of the platform in producing meaningful narrative by collecting participant feedback, and looking into the character strengths that the participants draw upon in their MMEs. The result suggests that not only the platform supports the reminiscing of MMEs, but the narration also deepened their self-awareness and allowed the participants to connect their behaviors with their personality traits and implicit values. Some participants were able to identify meanings that were hitherto obscured to them. Implications for quantified travelers and smart tourism are discussed.

Transparency is used in product design across various product categories. Because of the physical property of letting light go through, transparency can create unique visual styles. Transparency can also communicate additional information as a result of what is situated underneath the product cover, which prompts different consumers’ interpretations. To support designers to use transparency effectively, this research aims to explore the use of transparency in product design to provide an overview of the design intentions of using transparency. Specifically, two studies were conducted. In Study 1, in-depth interviews with experienced designers (N = 6) were conducted and the results revealed the overview of the following five design intentions of using transparency in product design: enrich visual appeal, enrich product experience, improve product usability, facilitate consumers’ comprehension and demonstrate product functionality. The overview was further validated through consumer interviews (N = 13) in Study 2.

This study explored how breakthrough innovation can be stimulated in the context of China. Interviews with leading design practitioners led to a comprehensive framework of barriers to innovation, out of which design education is chosen as the main focus. The leading practitioners provide suggestions on the adoption of strategic design in the context of China and provide explicit suggestions on how to improve design education.

Designers are frequently involved in embodying product innovations. It is challenging to embody really new products (RNPs) becauseconsumers often have difficulty comprehending them. This study explores the value of visual complexity for designing RNPs. In study 1, an experiment was conducted (n = 77) to test the effects of visual complexity on consumers’comprehension of incrementally new products (INPs) and RNPs. The resultsrevealed different effects for INPs and RNPs. Specifically, a more complex appearance triggers congruence with the functions of a RNP, which facilitatesconsumers’ comprehension. For INPs, no effects for visual complexity werefound. Based on the positive effect of visual simplicity on consumers’ aesthetic response to product design, the design strategy ‘complexity in simplicity’ is proposed. In study 2, we asked experienced designers (n = 6) to apply this design strategy. Results showed that they can design RNPs using the‘complexity in simplicity’ and possible ways to achieve this are explained.

Really new products (RNPs) are often difficult to comprehend, which may hinder consumers’ adoption. It is generally believed that designers can stimulate consumers’ comprehension by embodying RNPs in the form of product metaphors. However, empirical evidence for this is lacking. This study empirically examines the effects of product metaphors on consumers’ comprehension of RNPs. The findings of an experiment (N= 114) demonstrated an interaction effect of the presence of a product metaphor and a textual clue that explains the product metaphor on consumers’ comprehension of RNPs. Specifically, embodying a RNP in the form of a product metaphor will confuse consumers and reduce comprehension, unless the product metaphor is also explained through a textual clue.

Preferences shape perceptions of product usefulness, utility, ease of use, as well as price sensitivity and the time that people attend to something so contributors are invited to consider factors that shape preferences and influence an organisation’s ability to enact an Outside-in perspective. Relevant factors include nationality (the best contributions will be considered for a Routledge book ‘Nationality, Design and Marketing’ ), personality (how this shapes creations and preferences), gender (the role of culture and physiological in men and women’s visuo-spatial abilities) and organisational factors (the homogeneity principle and its influence on designer selection with potential conflicts with external customer preferences) A consideration of these factors singly or in combination would be encouraged.

The work we will be discussing here explores how government, industry, the university, and the citizens of a city can arrive through a participatory design approach at an increased and mutual understanding and a shared vision of a desired smart city of the future. Elaborating upon insights from transition management studies and from the quadruple-helix knowledge production model, our work proposes a participatory approach for prototyping future cities that embraces practice-oriented design research activities and thus aims for practical impact. We will report on two cases, GovJam and Hackday Data of the Crowds, in which stakeholders were able to acquire through participatory prototyping an understanding of the possibilities of technology in city services of the future. Results from these sessions show that participating stakeholders indeed gained a new perspective upon issues facing the city, due to an increased awareness and understanding of, and empathy for, the interests of other stakeholders. We also found indications that transfer of knowledge was taking place from the prototyping sessions to the daily practice of participants working in the public sector.

Altogether, 295 authors have submitted: 140 full papers and 31 workshop proposals. These numbers indicate that a single authored research is no longer the norm. The intersection which stems from collaboration amongst researchers to undertake and disseminate research is now becoming the established practice within the design innovation research. The 19 conference tracks, for which the papers were submitted, were organised within 7 overarching themes. The track facilitators ultimately shaped the overall conference scope and direction. The tracks’ topics acted as the focal points for the overall Call for Papers. Thus, our thanks you go to all the 69 tracks’ facilitators. It was them who collectively were responsible for the conference programme and we would like to thank them for their valuable services on the International Scientific Programme Committee. We would like to also thank the over 150 expert reviewers who provided their valuable time to provide critical peer feedback. Their service on the International Board of Reviewers was invaluable as the good quality peer reviews provided a vital contribution to this international conference. Each reviewer scored papers on a scale of 0 to 10 and provided critical review comments. Most papers were reviewed by two people, though some had three or even four reviewers, and in a very small number of cases only one review was submitted. Total number of submitted full papers was 140. After the blind peer review process 66 papers (47%) were accepted and 49 (35%) papers were provisionally accepted as these needed major revisions, and 25 (19%) papers were rejected. In making the final decisions about papers, the Review Committee first looked at all papers where the difference of opinion between reviewers was 4 points or greater and moderated the scores if necessary. The Review Committee then discussed all papers that were just under the general level of acceptance to determine outcomes, before finally looking at any exceptions. At the end of the review process 103 (73%) paper submissions were accepted for presentations of which 95 (68%) were included in the proceedings and 38 (27%) papers were rejected. Seven accepted papers were presented at the conference as research in progress and they were not included in the proceedings.

In this paper we examine publication patterns in peer-reviewed journals that publish design research. Our data consists of 4727 articles and their citations as published in 11 journals over a ten-year period (2000–2009). These 11 journals are classified as either design-related or design-focused, depending on whether they specialize in design research or related disciplines. Our research findings suggest that the research community publishing in design-related journals is, for the larger part, made up of different institutions and scholars than the research community focusing on design-focused journals. The design-focused journals seem to be less impactful than the design-related journals. Top authors from the design-focused community tend to publish more papers in the design-related journals than the other way around.

The primary objectives of this study were to identify a set of journals that report on industrial design research and to propose quality rankings of those journals. Based on an online survey, design journals were assessed in terms of two quality metrics: popularity and indexed average rank position. We find that both general and specialized design journals are highly valued and that geographic origin and academic background can be related with journal rankings. The results of the study offer a guide to both evaluators and those evaluated when judging or selecting research outlets.

This article examines some of the effects of product expertise on consumer evaluations of new-product concepts. Consumers with expertise regarding a particular product are expected to be capable of extensive processing of the information on new concepts of that product. Consumers with much product expertise appear to supply more articulated evaluations that are more internally consistent and stable over time than consumers with little product expertise. It is suggested that only those consumers who at least have a moderate level of product expertise should be invited to new-product concept tests.