Retraction. Retraction: Towards Kansei Evaluation of African Product Design Perspectives from Cultural Aesthetics

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1 International Journal of Affective Engineering Vol.13 No.4 (Special Issue) p.285 (2014) Retraction Retraction: Towards Kansei Evaluation of African Product Design Perspectives from Cultural Aesthetics Oluwafemi Samuel ADELABU*, Toshimasa YAMANAKA* and Richie MOALOSI** * Graduate School of Comprehensive Human Sciences, University of Tsukuba, Advanced Laboratory D, room 214, 1-1-1, Tennodai, Tsukuba-shi, Ibaraki , Japan ** University of Botswana, P/Bag UB0061, Gaborone, Botswana International Journal of Affective Engineering Vol.12 No.2 pp (2013) This manuscript was withdrawn at the request of the authors. December 10, Japan Society of Kansei Engineering Editorial Board 285

2 pp (2013) Special Issue on KEER 2012 ORIGINAL ARTICLE Towards Kansei Evaluation of African Product Design Perspectives from Cultural Aesthetics Oluwafemi Samuel ADELABU*, Toshimasa YAMANAKA* and Richie MOALOSI** * Graduate School of Comprehensive Human Sciences, University of Tsukuba, Advanced Laboratory D, room 214, 1-1-1, Tennodai, Tsukuba-shi, Ibaraki , Japan ** University of Botswana, P/Bag UB0061, Gaborone, Botswana Abstract: Most of the previous cross-cultural Kansei design research has been limited to Asia, Europe and America. However, the interaction of the product design market between Africa and Asia also deserves much attention. Having observed rich aesthetic traditions among the Asian cultures such as Japan, and also having noted aesthetics as an emotional socio-cultural factor in African design culture, a point of convergence is being sought. In this study, we focused on investigating the aesthetic sensibility in contemporary, culturally-inspired African product design. Firstly, we drew case studies from a previous product design research conducted in Botswana and the Hippo water roller design from South Africa. Secondly, we set up an online questionnaire survey to elicit the current perceptions of African designers about African product characteristics, aesthetic dimensions and possible affinity with the Asian design cultures. Our findings thus attempt to reveal the underlying concept of African design and the product aesthetic sensibility in a post-colonial Africa. Hence, we propose a cross-cultural product evaluation based on Kansei method. We strongly anticipated that the application of the Kansei studies to the African design domain will expand the platform for understanding the cross-cultural dynamics of Kansei and this knowledge, in turn, can translate into improving the design process for products that are cross-culturally sensitive, instinctively connective, emotionally rewarding and widely acceptable. Keywords: Product aesthetics, African design, Asian design, Kansei development 1. INTRODUCTION In recent times, designers have been consciously exploring creative means to maximize the embodiment of emotional values which can be internally or externally materialized in product design. Aesthetic sensibility is being noted as a key socio-cultural factor which is used in facilitating this trend. More so, it is considered as an affective entity by which artifacts are experienced and described. Hence the perceptions of product aesthetics had been useful in product valuation as an evocative element by which human Kansei is studied. As much as in Asian, African cultures in general have a long-rooted tradition of aesthetics which have often been related to the arts and craft development. From an African perspective, aesthetics seem to embody the sense of what is good, proper, right, true and beautiful. In a quest for improvement in product finishing suited for modern taste, African design has continued to develop from its historical roots which were generally regarded as craft-based, intuitive and symbolic into modern design expressions. Besides function, aesthetics is identified as a strong affective element and a sociocultural factor traversing its cultural products. Though the emerging trend of design seems to be influenced by Western design approaches, curricular models and tools since the middle of the twentieth century, African designers are still cognizant to preserve the age long African cultural identity in product styling and aesthetics. In the face of globalization and post-colonialism, the fusion of modern traditional aesthetics with modern product design will create an edge for global identity. In the new age of African design, South Africa, which is a highly industrialized country greatly influenced by the West, started exploring ways of graft the African identity onto Western European technology and create a new synthesis between the two [12]. The Orient including Japan is well known for its rich aesthetic tradition. The distinctions which are expressed in term of craftsmanship and symbolism can also be found in African countries. While design products from Asia continue to enjoy much patronage in the African market, it will be preferable if the points of convergence in terms of culture-based value is the compelling reason for purchase instead of cost. The concept of Kansei ( ) denoting sensibility or sensitivity anchors on Japanese design philosophy with its foremost application in the engineering. While several Kansei studies have considered aesthetics in attempts to Received Accepted Copyright 2012 Japan Society of Kansei Engineering. All Rights Reserved.

3 understand the users response to product s values, no research has yet delved into the Kansei study with Africa design. In this paper, we identify aesthetics as a Kansei element in the socio-cultural factors which characterize African design. A reference to the Moalosi s experiment [8] which investigated on the socio-cultural factors of some Botswana s indigenous craft products provided support for our assertions. An evaluation of an award winning product the Hippo water roller from South Africa also informs the design inspiration of African culture in an attempt to fuse traditional aesthetic values into the contemporary African product design. In the main research for this study, the perception of African designers about African product design aesthetics in relation to Asian design was elicited through an online survey questionnaire conducted with 24 design practitioners across Africa including members of the Network of African Designers (NAD). The findings attempted to reveal the concept of aesthetics in the context of African design, possible factors for demand of Asian products and Kansei awareness as the field grows beyond its border. Culturedriven research is supposed to provide new knowledge, ways of thinking and dealing with design issues and thus laying the groundwork for creativity and erecting the structure for product innovation [8]. 2. AFRICAN DESIGN CULTURE Design is a phenomenon that never exists in isolation but rather is interdependent on both global and local histories, cultures and politics [11]. African design is thus an integrated manifestation of both diverse and distinct visual cultures. A retrospective view of its development might be necessary to expound on this concept. In a broad sense, African design is rooted in a historic visual art culture with an outflow of craft practices which are culturally-inspired to satisfy the users need within the local context (Figure 1). The age-long art tradition dates back to prehistoric times and is often traced to the art of the 6000 year-old rock carvings preserved in the Sahara and the Namibia rock paintings that date as far back as 2500BC. The earliest known sculptures are from the Nok culture of Nigeria, made around 500 BC. Along with sub-saharan Africa, the cultural arts of the western tribes, ancient Egyptian paintings and monuments, and indigenous southern crafts have also contributed greatly to the depth of African art and design [18]. The African art and craft tradition have managed to survive with its multidimensional traits shared among hundreds of cultural components in terms of people, languages, religious Figure 1: Evolutionary trends in African crafted products beliefs, and political systems. The traditional handicrafts of Africa have remained one of the most sustainable options for producing objects using natural and local materials. Today, most African cultures are still identified by their own distinctive art and design, each with variations in materials, intentions, and results. Traditionally, African cultural designs are represented with various creative art and craft work in vast areas that include textiles, wood and ivory carvings, bronze and brass casting, pottery, basketry, iron smithing, architecture etc. It is important to note that most of the traditional objects bear cultural symbols, which are associated with a value or belief. Some of them hold their aesthetic value and true meaning when used in performance contexts such as ritual, ceremonies, and festivals. Most objects that are sculpted or shaped masks and statues, for example are created chiefly by men and depict human or animal forms. Where two-dimensional crafts exist, such as textile design, they are mostly produced by women [4]. The aesthetic expressions of Afro-classic ancient crafted works make historians to suppose the existence of wellorganized society and highly developed art and technology based civilization in the earlier times. Though, the shadow of African design has been cast on an ancient cultural background, African design is now evolving with modern design language and expressions albeit with a desire to preserve its socio-cultural design values. While the traditional craft design remains more in the rural regions, where culture exists close to its original form, the urban areas have become exposed to contemporary design trend mostly driven by globalization. The adaptation of cultural aesthetic values into the 136

4 Towards Kansei Evaluation of African Product Design modern product design now ensue to be of importance in preserving the socio-cultural identity while creating new design hybrids that can satisfy the taste of the modern consumers. In a broad sense, we define that African designs cover the ideation and creation of all forms of artifacts (tangible and intangible) partly or fully developed based on Africa s cultural ingenuity and its aesthetic dimensions. Also here in this paper, the term artifact(s) covers any product of human creative activity or workmanship. 3. AESTHETICS IN DESIGN 3.1 Aesthetic values in product design The value of a product is not only expressed by its functional dimensions but also by its ability to compel, invoke or appeal to the user. Aesthetics is a value added to products as an expression of the designers` perceived image of the users. To fully appreciate the role of aesthetics in product design, people s notion that design is only concerned with beauty must first be reconstructed [4]. When a designer starts to design the form of a new product, he/she needs to integrate many demands and wishes that the prospective users of the product may have. Not only are technical and objective demands important, but also of pressing importance are the aesthetic, emotional, and other experiential factors, some of which are hard or impossible to express objectively [6]. The task of the designers in design practices now lies in the need to balance between objective and subjective properties; between functional technology and emotional expressiveness; and between information and inspiration. There is a cultural dimension to the perception of design aesthetics and hence the unparalleled response to the perception of aesthetics across culture. However, it has been commonly established that product aesthetics positively and cross-cultural impact on its usability in a significant way. Norman [9] exemplifies this using the experiments carried out by two Japanese researchers, Masaaki Kurosu and Kaori Kashimura [5]. Following Tractinsky s reaction [17] on the result of the previous research, he applied the same experiment with different cultural subject the Israelis, under rigorous methodological controls. Not only did he replicate the Japanese findings, but the results were even stronger in Israel than in Japan, contrary to his belief that beauty and function were not expected to correlate. While Tractinsky s research acknowledged Japanese culture for its famous aesthetic tradition, he established that aesthetic preferences are culturally dependent [17]. Norman further queried the relationship between aesthetics and how easily something can be put to use in a research which examined the interaction of affect, behavior, and cognition in product usability [9]. His results also further confirm previous researches by Masaaki, Kashimura and Tractinsky [5, 17]. His supposition was that aesthetics influences the emotional state of people which could suggest why attractive things make people feel good. In general, aesthetics as highlighted in [15] is a key factor for product development in a highly-competitive market. But there is a need for cultural understanding in product development in order to promote wider acceptance in aesthetic appreciation. According to Salem et al. [14], aesthetics was ascribed four key components: beauty, pleasantness, emotion and satisfaction. These experiences could result from exposure to a perceivable form (sensation of product appearance), the performance of an action (interaction with product) or simply a mental experience (cognition) as described in Figure Aesthetics as a Kansei factor Aesthetics is a complex phenomenon. This might explain its association with Kansei, a mental sense of subjectivity and why it evokes the Kansei process (i.e. sensory qualities-related functions and the interaction between them) [7]. Various studies have considered several dimensions by which aesthetics can be perceived, measured, expressed and appreciated. Most often, aesthetics relates to the description and explanation of beauty by means of psychology, sociology, ethnology or history. According to the New World Encyclopedia [10], the origin/etymology of aesthetics can be traced to the German philosopher Alexander Baumgarten, who 1735 derived it from the Greek aisthanomai, which means perception by means of the senses. His study published in Aesthetica (1750) did not intend to focus only on aesthetics as a theory of fine art, but also to work on cognitio sensitive (sensitive awareness) [7]. While it appears that there are countless schools of thought on aesthetics with multifarious subjective interpretations, the recurrent theme centers on the standard and theory of beauty, taste, and pleasurable values appreciable through sensory, emotional or intellectual perception. The issue of aesthetics related to Kansei was addressed for the first time in 1742 by Baumgarten, though his work did not have any direct link with the Japanese Kansei. In Japan, Kansei knowledge application practi- 137

5 cally evolved through the great development of an industrial technique based on Kansei: namely Kansei Engineering. The contemporary trend of product development suggests that Kansei has become mature enough to be considered as an important concept in the Japanese approach to industrial design. Kansei is now a key element in the Japanese modern design culture as it relates to the physiological and psychological aspect of designed products, better described as a holistic and contextual sensory-mental model for humans. Senses, perception, mental processes, and behaviors are all considered in the model to encounter (understand) human beings in the perceptive field. [7] Over the years, the reflection of the term Kansei has progressively increased in the human science research, and especially in connection with design and cognate fields. Since Kansei study is becoming more relevant to design applications today, the multifaceted dimensions of artifacts have become evocative factors considered in Kansei studies. Levy and Yamanaka [7] categorize these factors under three major groups: the elementary factors, the complementary factors and the induced factors. The complementary factors, which include the environmental and emotional aspects of the artifacts are, recognized by the designer as significant concerns in the design work. Aesthetics is one of the most important theories concerned with interactions involving human(s), artifact(s) and contexts. Significantly, the aesthetic aspects of products have been used in Kansei studies which seek to quantify peoples perceptions of artifacts. The perception of aesthetics in designed products could be a subjective-based process which engages Kansei means, its process and consequent results. Cultural experience and immediate environment are considered to be among other internal factors that contribute to the Kansei means. Salem et al [14] explain that the idea of aesthetics within the context of Kansei experience could be defined, explained and explored in many ways. Aesthetics is one of the main general elements in design that evokes human affect but the cultural influences can make it unexplainable in a broad sense. Usually, aesthetics is associated with the concept of beauty, the canon of beauty or its experience. In one sense, it is the measurement of beauty which is associated with pleasure. Beauty needs not and should not, within this context, be limited to visual beauty. It is an attribute that could be sensed and perceived. That is why aesthetics is also defined as subjective assessment of the beauty of an experience. The beauty of an experience can be translated into the pleasantness of the experience (for example that found when taking part in the Japanese tea ceremony ). In turn, the aesthetic experience is ultimately about a satisfaction resulting from the experience. Another interesting dimension is the concept of African aesthetics which can be expressed materially or symbolically in product design. Figure 2 shows the aesthetic dimensions in cultural products in a user-centered design process. 3.2 Aesthetics in the African context The history and culture of people invariably find expression in the design and aesthetics of its products, from the simplest consumer item to the most complex engineering artifact [12]. Aesthetics might refer to what people in a specific culture find valuable [3]. African aesthetics manifests itself well through crafts and the arts. In [15], African aesthetics was arguably presented as socio-psychological and anthropological phenomenon from which we can learn different paradigms to inform today s design thinking. This was based on a critical observation of people in daily activities, and the typical objects with which they interacted with. Unlike Western culture, African aesthetic appreciation general have ethnical and religious basis. In most African languages, the word means beautiful also implies good. Most African words signifying aesthetics or a sense of beauty are intertwined with the words good, proper and appreciable [15]. This concept seems to resonate with the Greek word for aesthetics, to kalos, which also means the beautiful and the (morally) good. Aesthetics in cultural products is viewed as the intrinsic and extrinsic dimensions of the product value and beauty, culturally inspired and ethically acceptable within a society. The aesthetics of products therefore assumes the existence of universal and timeless principles of expressing intrinsic and extrinsic beauty; which is modified within and across culture (Table 1). Figure 2: Aesthetic layers of cultural products 138

6 Towards Kansei Evaluation of African Product Design Table 1: Affective and cultural dimensions of aesthetics in design products (Inspired by [8,9]) Aesthetic Layer Surface Symbolic Means of Attribute Perception Extrinsic, external, outer, Sensation tangible Intermediate, interfacial, middle Intrinsic, internal, inner, Cognition intangible Affective Layer Visceral Interaction Behavioral Reflective Cultural Dimension Physical/ Material Social/ Behavior Spiritual/ Ideal/ Ethics African cultures are diverse and rich, yet, the cord that runs through most African styles was supposed to be concurrently traditional and modern, spiritual, flexible and diverse, and akin to nature [15]. While there could be a diluted taste and varied perceptions of beauty in contemporary Africa with the influence of westernization, there are clearly stated and common standards of beauty across Africa s traditional societies in more than 51 countries. In reference to [1, 15, 16, 18], this paper briefly reviews the components of African aesthetic tradition which are defined in terms of the following: Togetherness There is a culture of teamwork within most traditional societies, be it in professional pursuits or family chores. The richness of the people is more spiritual than material. Their happiness and prosperity as a people is based more on their belief system, sense of communal unity and trueness to their natural environment. Designers today explore this avenue through a collaborative approach to design, and an establishment of professional associations. Craftsmanship This could simply describe the inherent ability or skill acquired by training to make an object dexterously. Good craftsmanship demands fashioning objects with exquisite details and excellent finish. Thus, in the tradition of handcrafting objects, the craftsman is usually led by a thoughtful process in the handling of genuine materials and investing attention to assign details that would ensure quality construction and finish. Emphasis draws on fine workmanship and mastery of the medium (of the material as well as of the construction). In a modern context, this could be redefined as design sophistication. From the survey conducted for this study, craftsmanship was the most highly rated aesthetic element in the modern sense of African product design (Table 2 shows African designers ratings on the reflection of African aesthetic elements in its contemporary product design). Symbolism A refreshing difference in the perspective of aesthetics in Africa s culturally rich societies is symbolism. This relates to the existence of strong oral traditions and cultural symbols that embody meaningful associations in the lifestyle of the people. Proverbs, sayings, dictums, verse, poetic formulations and many oral traditions engulf deep artistic and aesthetic insight which reflect the societal outlook, experience, prevalent principles, canons of criticism, evaluation, creativity, etc. [4, 15]. Symbolism has been adapted into product design mostly by conceptualising product framework or appearance based on traditional signs, symbols, forms, stories, ethics and beliefs to strengthen meaningful and narrative experience of products. Anthropomorphism (Resemblance to animate being) Within the African traditional system, aesthetic value can also be derived from objects that resemble animals or human beings. While craftsmen may not usually portray particular people, actual animals, or the actual form of invisible spirits, they aim to depict ideas about reality, spiritual or human, and express these ideas through human or animal images. While the basic affinity towards anthropomorphic objects could be explained by evolutionary theory, the styling of modern product design has drawn inspiration from this concept by fashioning products in animated shapes and forms. Self-composure Traditional objects depict patterns that are well-ordered and logical. This could be related to a composed person: well-mannered and rational; he or she would be controlled, proud, dignified, and elegant. This shows coherence with Table 2: Ratings on the aesthetic elements in modern African product designs N Range Min. Max. Mean STD Variance Togetherness Youthfulness Formation Surface Embellishment Symbolism Craftsmanship Valid N

7 the moral dimension of Japanese aesthetics where sensitivity, respect and dignity are expressed through the treatment of the materials used for making artifacts. Luminosity Many of the local African crafts have widely exhibited well-polished smooth surfaces on some parts, as well as elaborate decoration on some other parts. This is said to have connotations of good health, well-being, and wealth. This concept might seems not to be well articulated in the adaptation of traditional aesthetics in modern day Africa. Youthfulness This describes all aspects that may be related to being young, vibrant, healthy, and a source of strength. Dull appearances or unhealthy looks are termed as negative aspects which are generally not appreciated in the design of objects. Aesthetic Sensibility in Contemporary African Design There is variegated inspiration of African aesthetics that enriches the modern product form through semiotic understanding and appreciation, a combinational usage of materials the modern and traditional, and usage of typical elements in African aesthetics as presented earlier. Table 3 shows a representation of the African traditional aesthetic values in contemporary design terms. Table 3: African traditional aesthetic elements represented in contemporary designs Traditional Elements of African Aesthetics Togetherness Craftsmanship Symbolism Resemblance to animate being Self-composure Luminosity Youthfulness Adaptations in Contemporary Design Professional Association, Collaborative design, Cross-cultural project Product sophistication, Advanced product technicality Embodied design, Interaction design, Experience design, Cultural product design Humanized design, Nature-inspired design, Robotic design Packaging, Geometric design, Compact design, Miniaturization, Styling Lighting design, Surface design, Product finishing Fun design, Interaction design, Emotional design Aesthetic perception Symbolic Surface Symbolic Symbolic Surface, Surface Symbolic The Hippo Water Roller Example Design reflects the society in which it is created and, as such, the South African design landscape of the 90 s was characterized by deep-rooted change Social consciousness became increasingly visible in design, with a move towards designing for local needs, creating a specific vernacular identity and establishing an indigenous aesthetic. [13] One of the product manifestations of this trend is the SABS (South Africa Bureau of Standards) award winning Hippo water roller (Figure 3) originally invented by Pettie Petzer and Johan Jonker in It is a composition of a 24 gallon capacity drum saddled with a pulling handle for moving water over vast distances. It simply represents a contemporary African product design (design for development), which is functionally and aesthetically suitable for the rural living conditions. Currently deployed in some rural parts of Africa and made in South Africa, its simplicity and purpose-built nature makes it a good example of an appropriate low-level technology for improved access to water [2]. The aesthetic concept of the product was supposed to have been directly inspired by the hippopotamus or hippo, a large, semi-aquatic mammal mostly found in sub-saharan Africa. The animal is recognizable by its barrel-shaped torso, enormous mouth and teeth, nearly hairless body, stubby legs and tremendous size. Interestingly, all these attributes were bodily, symbolically and functionally expressed in the product. The association with water, round body and thick skin relates well to the famous African Hippopotamus [2]. The aesthetics of physical interaction with the product induces playfulness and fun. The Moalosi s Experiment Besides function, aesthetics is known to give satisfaction to the mind and this is sometimes within socio-cultural Figure 3: The Hippo water roller [2, 17] 140

8 Towards Kansei Evaluation of African Product Design understanding and acceptance. Even within the African cultural context, this seems to be applicable. Moalosi [8] conducted an experiment and identified socio-cultural factors associated with some particular indigenous products commonly used in Botswana, a country located in southern Africa. The method adopted enables the subjects (design students) to subjectively assess how different elements of a social system (values, norms, beliefs, behavior) interconnect in designing products. The researcher selected various indigenous products which are believed to possess the Botswan s core traditional values together with little influence from global values. Through discussions, the participants agreed that selected socio-cultural factors should be considered in post-colonial designs that advance local thought process in problem solving. The assumption was that once these socio-cultural factors are identified, they could be used in the future as a foundation for designing contemporary products. The analysis was based on the function of the product, design features that carry messages about the users culture (mediation), social activities directly or indirectly associated with the product, its appealing value, and emotions resulting from using such a product. Socio-cultural factors were divided into three themes: material artifacts, emotional factors, and social practices (Figure 4). 4. RESEARCH METHOD To further support this study, an online questionnaire survey platform was used to elicit responses from design practitioners (n=24) across Africa including members of the Network of African Designers (NAD). The questionnaire was designed with multi-choice and Likert-scale questions using previously validated items from an existing body of knowledge on African aesthetics [1, 15, 16, 18]. The participants covered nationalities from Nigeria, South Africa, Botswana, Uganda, Kenya and Egypt and their areas of design practice included information/ graphic design, ceramics, textiles/fashion design, industrial design and design promotion (Figure 5). An online-based questionnaire was used for the purpose of reaching a Figure 5: Participants specialized areas wide geographical area in order to increase the chance of having a representative sample of designers across Africa. 5. RESULTS AND DISCUSSION African designs are mostly considered to be craft-based and culturally inspired (Figures 6 and 7). This supports some previous assertions earlier made in the paper. While the advanced culture, in general, adopted and continued assembly-line production, Africa has insisted on crafting single, one-off products; both craft and piecemeal production continue to be aspects of the African culture and identity. Adhering design to function and use separates Figure 6: Designers perception on the concept of African design products Figure 4: Interrelationships between socio-cultural factors and their applicability to product design [8] Figure 7: Designers perception of African design attributes 141

9 it from art; yet African craft is often art whose multivalent meanings transcends its functional and utilitarian qualities. What is problematic, is separating design from craft and art. Separating the three undermines meaningful discussions on design within the Africa s cultural identity. [11] The prevailing motivating factors for contemporary African design (as shown in Figure 8) include cultural preservation, user s satisfaction, social interaction and sustainable development. While we observed that there is a high level of cultural awareness in the current trend of African design, the aesthetic factors anchor on this though not strongly ascertained. There were varied responses on the roles of aesthetics in design though it appears to be more associated with the appearance and symbolic values of products (Figure 9). It is worth noting that African designs have not greatly explored the functional dimension of aesthetics which could extend to product usability and human-product interaction. Since Asian products seem well-favoured in most African nations, some inflections of socio-cultural factors are perceived to compel product preference besides the cost advantage (Figure 10). As shown in Figure 11, African designers are becoming aware of Kansei design with about 40% affirmative response. This could also imply a sensitisation towards improving on the method and process of redefining African cultural products and expressing emotional values through aesthetics. This paper examines the result generated from the analysis of emotional factors where beauty was highly rated in the Moalosi s evaluation result as shown in Figure 12 [8]. In the study, subjects expressed that the products they experienced were aesthetically pleasing and sensually-pleasurable. This aesthetic experience was facilitated by various distinct features of the examined products such as colours, shapes; also a reflection of what was perceived to be evoked by the sensation of Figure 10: Ratings on social-cultural factors influencing demand for Asian products Figure 11: Level of awareness of African-based designers on Kansei design Figure 8: Motivating factors for contemporary African designs Figure 9: Perceived roles of cultural aesthetics in contemporary African designs Figure 12: Emotional socio-cultural factors associated with the Bostwana s indigenous products [8] 142

10 Towards Kansei Evaluation of African Product Design traditional aesthetic (beauty) elements like motifs and forms of the product. The aesthetic dimension is a source of reconfiguration of images, designed to make them aesthetically acceptable and culturally appropriate. Following the analysis, it was inferred that the emotions attached to these products is a synthesis of the impact of the physical qualities of the product (superficial aesthetics), the performance of that product (functional aesthetics), the knowledge it generates, or the message it conveys (symbolic aesthetics). Product designs in Africa would thrive with a synthesis of cultural identity coupled with the latest technologies and collaborative approaches, hence international designers must be informed on culturally apt and geographically appropriate locally designed products to satisfy the genuine feelings of African consumers. A designer can effectively work at a cultural crossroad when he or she is culturally informed and can as well make value sensitive designs for users within a particular cultural environment. 6. CONCLUSIONS In a highly competitive global front, it is imperative for designers to gain a deeper understanding of the cultural influence on the users perception of design elements and to develop strategies to integrate this into cross-cultural product development. This could enhance product designs in which African and Asian designers can harness culture as a catalyst for designing aesthetically fulfilling products within Africa/Asia and for Africa/Asia. It is imperative for designers to be aware of the properties that connect users with products and how mind-based values can be materialized in products. From a broad retrospective background, this paper has attempted to give a description of the concept of African design aesthetics and hence evaluated this factor as a Kansei related factor in the perception of cultural product design. The study then draws on perspectives from a limited population sample of professional African designers whose responses provided a supporting framework towards understanding African design. The Hippo water roller from South Africa and the Moalosi s experiment in Botswana served as supporting case study. The infusion of the right attributes in the product framework will help to evoke an instinctive emotional connection through the aesthetic embodiment in modern technology based products. Currently, the elements of distaste in local design products are seen to be a reason people prefer foreign products. Besides counting on the recoil effect of globalization Figure 13: A cross-cultural product evaluation against the competitive survival of the indigenous design industry, the lack of recognition and acceptance of the traditional African product designs are in part an indication of the need for redefining quality and adapting the timeless aesthetic values into the modern product domain. To further promote the cross-cultural understanding of aesthetic perception in product design, we are proposing an evaluation of cultural products based on the Kansei research method [Figure 13]. The increasing frontiers in Kansei studies and the application over cultural diversity can promote the understanding of a wide range of consumers behavior towards cultural product value, in order words what they perceive to be truly good and beautiful. This understanding will assist designers to develop products that are culturallysensitive, aesthetically pleasing, instinctively connective and widely acceptable. ACKNOWLEDGEMENTS This work was supported by the Japanese Government Scholarship (Monbukagakusho). REFERENCES 1. Belton, V. (1998). African Art and Aesthetics in Art and Artifacts: The Cultural Meaning of Objects. Volume III, Yale-New Haven Teachers Institute. 2. Hippo water roller project (1991) Hummels, C., and Overbeeke, K. (2010). Special Issue Editorial: Aesthetics of Interaction. International Journal of Design, 4(2), pp Kashim, I. B., Ogunduyile S. R., and Adelabu O. S. (2011). Culturally-Inspired Design Education: A Nigerian Case Study. In D. Coelho (Ed.), Industrial Design: New Frontiers, pp.81-98, Croatia: InTech. 5. Kurosu, M., and Kashimura, K. (1995, May 7-11). Apparent Usability vs. Inherent Usability: Experimental Analysis on the Determinants of the Apparent 143

11 Usability. Denver, Colorado. Conference Companion on Human Factors in Computing Systems, pp Lee, S., Harada, A. and Stappers, P. J. (2002). Pleasure with Products: Design based on Kansei. In Pleasure with Products: Beyond Usability. Taylor and Francis. 7. Lévy, P., Lee, S. and Yamanaka, T. (2007). On Kansei and Kansei Design: A Description of Japanese Design Approach. In Proc. IASDR Moalosi, R., Popovic, V., and Hickling-Hudson, A. (2007). Product Analysis Based On Botswana s Postcolonial Socio-Cultural Perspective. International Journal of Design, 1(2), pp Norman, D. (2003). Attractive Things Work Better In Emotional Design. Retrieved December 3, New World Encyclopedia (2006). Aesthetics Pido, O. (2001). Design and the African Cultural Identity. Design for Development Report South Africa: SABS Design Institute. 12. SABS Design Institute (1999). Thirty Years of South African Design Excellence. In Viljoen A. (Ed.), South Africa: SABS Design Institutes. 13. SABS Design Institutes (2010). Growing a Design Nation: 40 Years of South African Design Excellence. In Viljoen A. (Ed.), South Africa: SABS Design Institutes. 14. Salem, B., Nakatsu, R., and Rauterberg, M. (2009). Kansei Experience: Aesthetic, Emotions and Inner Balance. International Journal of Cognitive Informatics and Natural Intelligence (IJCINI), 3(2), pp Molokwane, S. B. J. (2007). The African Aesthetic as It Informs the Product Form. Gaborone: University of Botswana. 16. Susan, M. V. (1986). African Aesthetics. New York: Center for African Art. 17. Tractinsky, N. (1997). Aesthetics and Apparent Usability: Empirically Assessing Cultural and Methodological Issues. In Proc. CHI Willet, F. (1993). African Art. London: Thames & Hudson. Oluwafemi Samuel ADELABU Oluwafemi Samuel Adelabu is a doctoral student at the Department of Kansei, Behavioral and Brain Sciences in the Graduate School of Comprehensive Human Sciences, University of Tsukuba, Japan; as a scholar of the Japanese Ministry of Education, Culture, Sports, Science and Technology (Monbukagakusho). He evolved his career from a craft-based industrial design education from the Federal University of Technology, Akure, where he took his Master s Degree and was a graduate assistant from 2008 to His previous research areas included development of efficient and cost-effective ceramic kilns, computer aided ceramic glaze formulation based on local raw materials, and culturally inspired industrial design practice and education in Nigeria. Currently, his research focuses on product aesthetic perception and aesthetically inspired creative design process through cross-cultural Kansei studies. He is a member of the Ceramic Association of Nigeria, Japan Society of Kansei Engineering and the Design Society. Toshimasa YAMANAKA Toshimasa Yamanaka is a Professor in the Faculty of Art and Design and in the Doctoral Program in Kansei, Behavioral, and Brain Sciences, of the Graduate School of Comprehensive Human Sciences at the University of Tsukuba (since 2005). He received his Master s from the Graduate School of Industrial Design at Chiba University, and his PhD in Kansei Science from University of Tsukuba. He has worked in the Industrial Design Section at the Asahi Opt. Co., Ltd. (known as PENTAX, ), and been a Research Associate in the Design Processes Laboratory of the Illinois Institute of Technology ( ). From , he was also a Researcher in the Studio Lab of the Faculty of Industrial Design, Delft University of Technology. He is now the President of the Japan Society for the Science of Design (JSSD) and a Board member of the International Association of the Societies of Design Research (IASDR). He is also a board member of the Japan Society of Kansei Engineering (JSKE). Richie MOALOSI Richie Moalosi is a Senior Lecturer of Industrial Design at the Department of Industrial Design and Technology at the University of Botswana, Botswana. He has researched and published in the areas of design and culture, and design education. He is also the Program Coordinator of the Design and Technology Education program at the University of Botswana. Currently, his research interests include social innovation, innovation with the small medium and micro enterprises and co-creation with the local communities. 144