Delft Design Guide | Part 1 | Emerging Design Methods | Multi Senfory Desing – 1.7

Designers who intentionally try to create specific

experiences for people, such as delight, trust or the

feeling of being cared for, are more likely to succeed

if they are aware of the messages conveyed by the

different sensory channels and of their contribution to

the overall experience. Such a multisensory approach

enriches the product experience, avoids unwanted

conflicting messages, and results in products that

are also comprehensible for users with sensory

impairments.

Each sensory modality is sensitive to a different

type of energy and is stimulated by different product

properties. As a consequence, the modalities usually

provide different pieces of product information, which

may or may not overlap (Schifferstein & Spence,

2008).

For instance, a bus stop may look attractive and

welcoming, but leave the waiting passenger standing

in a cold breeze, next to a smelly trashcan, or with

a lot of traffic noise. On the other hand, the colour,

taste, and texture of ice cream, the look and feel

of its- package, and the crispiness of the biscuit

may all contribute to being completely immerged in

savouring it. Therefore, the main challenge in Multi

Sensory Design (MSD) projects is to come up with an

integrated design, in which all sensory impressions

support the expression of the product.

Hendrik Schifferstein initiated the development of

the MSD approach at TU Delft. He developed the

first MSD elective course for Master students in

cooperation with Marieke Sonneveld and Geke Ludden

in 2004. Since 2008 the MSD approach is also being

used in projects for industrial companies

Outline of the MSD approach

1. Selecting the target expression

MSD takes the expression of the object (e.g.,

eagerness, cheerfulness, innocence) as the design

starting point (Sonneveld et al., 2008). In a business

context, the target expression may be provided by

the marketing department on the basis of consumer

research. Alternatively, you may start out from the

effect you want to achieve among future users (e.g.,

feeling safe, inspire), and determine which object

and interaction qualities are needed to achieve the

desired effect.

2. Conceptual exploration

After the target expression has been selected, you

need to develop an understanding of this expression.

You may start out by writing down the associations

that come to mind when thinking about this

expression. Making a collage can support this process.

What does the expression make you think of?

3. Sensory exploration

Subsequently, you collect samples that seem to evoke

the target expression (figure 1) for different sensory

modalities (e.g., pictures, materials, fragrances,

fabrics, computer sounds, foods, plants). How does

the target expression feel, sound, smell, and look?

While exploring the world, you should be curious

about the sensory properties of objects, especially

the ones people hardly ever seem to pay attention

to: In what ways can you pick up or manipulate an

object? What sounds can it produce? How does it feel

if you touch it in different ways? What does it smell

like? Try to go beyond obvious choices: objects that

look tough may actually feel quite elegant!

4. Sensory Analysis

In the next step you try to describe and understand

the relationships between the perceived sensory

properties and the product expression. Try to find

out why certain samples seem related to a specific

expression and try to determine the physical

properties that evoke the target expression. During

this process, you may discover that an expression

can manifest itself in different ways: Elegance may be

related to flowing, uninterrupted movements, but also

to simple and straightforward solutions.

5. Mind map

The results of the previous stages serve as the

starting point for a mind map. This mind map

organises the information that was acquired in the

previous stages, while trying to maintain the richness

of the data.

The target expression is displayed in the centre of

the map, where several outward branches connect

MultiSensoryDesign

Delft Design Guide | Part 1 | Emerging Design Methods | Multi Sensory Design – 1.7

it to the main concepts defining the core of the

expression. On their turn, these main concepts may

be linked to other concepts, which may be linked

to other concepts or sensory dimensions. From the

centre of the map to the periphery, the descriptors

in the map will become less conceptual, more

concrete, and more sensory. New concepts may be

added to the map if links seem to be missing or if

a set of concepts can be summarised under a new

label. In the end, the mind map should indicate

how a particular concept may be translated into a

perceivable product aspect that makes the concept

physically tangible.

If the final design involves a branded product, brand

associations can be added to the mind map, in order

to make clear how the design can contribute to the

brand image. You may decide to modify or disregard

some parts of the map in the design process, if these

conflict with the brand image.

6. User-interaction scenario

By developing an interaction scenario, the time

dimension is included in the design process. The

scenario describes the actions users perform,

the feedback they receive from the product, the

instructions users receive, and so on. A scenario is

usually set within a certain context, defining a typical

user and an environment in which the interaction

takes place. In the MSD approach, scenarios are

used to identify all the sensory touch points during

the encounter: Which senses are stimulated when

you pick up the product, when you unwrap it, when

you use it, or when you store it? What does this

contribute to the overall expression?

7. Model making

Staying in touch with the physical counterparts of

a specific product expression is a safeguard that

enables you to develop an integrated user-product

interaction that makes sense to prospective users and

engages them. Actually sensing a specific property

often differs from one’s expectations when trying

to imagine it. In an MSD process, visual sketching

and digital modelling should be left to a minimum,

otherwise visual impressions and cognitive reasoning

will tend to dominate your design choices. You should

try to ‘sketch’ in all your senses, in order to assess

the sensory aspects of your concepts. You can make

collages and explorative, physical models for the

different senses, and assess their appropriateness in

the proposed user context.

8. Multisensory presentation

In order to communicate the benefits of a Multi

Sensory Design, the final design needs to be

presented in a multisensory way; a set of slides

will not suffice! If final prototypes are not yet

available, you can show drawings, you can let the

audience feel foam models, you can let them feel

and smell materials, and you can play sound files.

A storyboard can show the involvement of the various

senses in the different stages of human-product

interaction.

Conclusion

The essential element of MSD is that perceptual

knowledge obtained through explorations in all

sensory modalities is explicitly incorporated in the

design process (figure 1.21). The ultimate design

challenge is to develop a product that provides

users with an interesting, rich experience, and is

nevertheless perceived as a coherent whole.

Explore Design

product

visual samples

auditory samples

tactual samples

olfactory samples

visual properties

tactual properties

auditory properties

olfactory properties

integrated sensory

concept of expression

fig. 1.22

Framework for

the Multi Sensory

Design approach

Delft Design Guide | Part 1 | Emerging Design Methods | Multi Sensory Design – 1.7

Example

Figure 1.22 shows the results of a student project

in which the assignment was to design a ‘cute’ hand

tool. The socket set was developed for the feminine

do-it-yourself handywoman, who wants to be

reassured that the tools will not harm her.

The student wanted the tools to seduce the

handywoman by their enthusiasm to do the job

well, without showing any heavy-duty behavior

in movements or sounds. The final socket set is

characterised by a rounded, organic shape and soft,

pastel colours. It is presented in a box that resembles

a jewellery case. When opened, a sweet, comforting

smell emerges.

References and Further Reading

Lindstrom, M. (2005). ‘Brand sense: build powerful brands

through touch, taste, smell, sight, and sound.’ New York: Free

Press.

Schifferstein, H.N.J., Desmet, P.M.A. (2008). ‘Tools facilitating

multisensory product design’, The Design Journal, 11(2),

137-158.

Schifferstein, H.N.J., Spence, C. (2008). ‘Multisensory product

experience.’ In Schifferstein, H.N.J. & Hekkert, P. (eds.) Product

Experience (pp. 133-161). Amsterdam: Elsevier.

Sonneveld, M.H., Ludden, G.D.S., Schifferstein, H.N.J. (2008)

‘Multi Sensory Design in education’. In Desmet, P.M.A.,

Tzvetanova, S.A., Hekkert, P., Justice, L. (eds). Dare to desire.

Proceedings from the 6th conference on Design and Emotion.

School of Design, Hong Kong Polytechnic University, 6-9

October 2008, Hong Kong, China, pp 1-11.

 

fig. 1.23 A cute socket set, developed through the

MSD approach