**3. Mediation by product personalities to transfer Portuguese and Lusophone cultural traits to product design**

The approach reported in the second part of this chapter seeks to explicitly identify cultural traits, and tentatively embed a selection of these in the design of products, in order to propose a direct method to confer an interpreted cultural identity to products undergoing the process of design. Hence, positive and neutral cultural traits were selected, after identifying the features of the cultural identities focused (study I). Thus, the application of the methodology began with unveiling the Portuguese positive and neutral traits and the commonalities between the positive and neutral identity aspects within the Lusophone cultural identities. Based on these features, another study (study II) was conducted to match these cultural traits with the personality attributes of the product.

After matching the selected cultural traits with the personality dimensions of the product, a further study was conducted (study III), by selecting, as examples, a set of clothes pressing warm irons (4) and a set of coffee machines (8). These were examined with respect to a listing of the 17 personality dimensions, and considering the matching of basic technical characteristics for each product to its position and placement personality-wise.

Another study (study IV), taking into account the previous match, was carried out establishing the relationship between personality attributes and technical characteristics of the products tested in the previous study (study III). From this process, two product profiles were obtained as a result, which were then implemented in two product lines, a Portuguese and a Lusophone one. These product line results were chosen from a broad base of concepts generated, considering objective criteria. After the generation of concepts for the two product lines, there was an empirical validation by sampling of industrial design students (study V) to confirm whether the proposals developed did turn out to reflect Portuguese cultural identity and Lusophone cultural identity, respectively.

#### **3.1 Method deployed to transfer cultural traits to product requirements**

The development of the second project reported in this chapter was structured by a methodology that sought to satisfy an overarching aim and specific goals and provide answers to their inherent research questions. The overarching aim was defined as identifying the aspects that define Portuguese and Lusophone cultural identities, adopting both an internal and an external perspective, and seeking to extrapolate these cultural identity traits, in order to contribute to develop a Portuguese design identity (for Lusophone consumption) and a Lusophone design identity (for global consumption).

One specific goal was set as 'performing a survey of Portuguese and Lusophone identity traits, adopting a cultural perspective'. Another one was defined as 'translating the cultural traits identified, in a positivist approach, to a product line with Portuguese character and to a product line with Lusophone character'. The research questions that guided the development of the project were:


Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 69

Elusive (history and humanities) Emblematic (literature, painting), Feeling depth (history and humanities) Fey (history and humanities) Fini-secular (literature) Folklore (history and humanities) Heroic (history and humanities, literature) Hidden (history and humanities) Honour (literature) Humble (history and humanities) Hybrid (literature) Hyper-identity (history and humanities) Idyllic (history and humanities) Imperial (history and humanities) Improvisation (history and humanities) Incremental (historical and humanistic) Intense religiosity (cinema, painting) Interstitial (literature) lyric (literature) Metamorphic (history and humanities) Militant (history and humanities) Mimetic (history and humanities) Miscegenation (literature) Moral (painting) Ancient (story) Morphological (history and humanities) Movement (history and humanities) Mystery (history and humanities, music)

Sources: Almeida (1995), Baguet (1999), Bello (2009), Borja (2005), Cabral (2003), Cademartori (2006), Cardoso & Catelli (2009), Castagna (2005), Costa (1998), Domingues (2000), Grosso (1999), Lemière (2006), Lourenço (1994, 2001), Martins, Sousa & Cabecinhas (2006), Matos-Cruz (1999), Moreira (2005), Nascimento (2009), Neto (2005), Netto, Dias & Mello (2003), Ngai (1999), Ono (2004), Pereira (1999), Quadros (1999), Rago (2006), Ribeiro

Table 7. Cultural aspects with a neutral nature concerning the Lusophone space (in parentheses the thematic track of the literature review from which the cultural trait was

82004), Rodrigues & Devezas (2009), Rossini (2005), Salvo (2006), Silva (1999).

retrieved is indicated).

Naive (history and humanities) Needy (history and humanities) Nostalgia (history and humanities, literature, music) Ornamental (painting) Pantheistic (history and humanities) Parental (history and humanities) Patriotic (cinema, history and humanities) People (cinema, history and humanities) Proud (literature) Radical (history and humanities) Romantic (history and humanities, literature) Allogeneic (history and humanities) Sacred (literature) Sacrificed (history and humanities) Sadness (history and humanities, music) Sensitive (history and humanities) Sentimental (history and humanities, literature, music) Single (history and humanities, painting) Singular (cinema, history and humanities) Spiritual (history and humanities) Stubborn (history and humanities) Subjective (literature) Subversive (cinema) Sync (cinema) Theology (history and humanities, literature) Utopian (history and humanities) Water (history and humanities)

Abstract (painting) Acumen (literature) Adaptive (history and humanities) Allegory moralizing (painting) Ambiguous (history and humanities) Antagonist (history and humanities, literature) Aseptic (history and humanities) Belief in miracles (history and humanities) Buck (history and humanities) Candor (history and humanities) Centred (humanistic-historical) Christian (history and humanities, literature) Collective (history and humanities) Complex (history and humanities) Concentrate (history and humanities) Constant (history and humanities) Controllable (history and humanities) Creator (history and humanities) Critical (history and humanities) Cultism (literature) Catholic (painting) Cultural assimilation (history and humanities) Curvilinear reasoning (history and humanities) Diachronic (cinema) Diaspora (history and humanities) Dogmatic (history painting) dream Themes (painting) Ecumenical (history and humanities)

### **3.2 Study I – Portuguese and Lusophone cultural traits**

The study reported in this section, concerning cultural inquiry, was based on literature review to unveil a set of opinions from respected scholars within the humanities disciplines (sociology, anthropology, philosophy) and the relational study of some areas of arts and fine arts. Rather than an exhaustive listing of the whole set of cultural traits surveyed, a subset of results is presented. Partial results obtained for study I are shown in Tables 6 and 7, for


Sources: Almeida (1995), Bello (2009), Cabral (2003), Castagna (2005), Costa (1998), Lemière (2006), Lourenço (1994, 2001), Moreira (2005), Neto (2005), Quadros (1999), Rodrigues & Devezas (2009).

Table 6. Cultural aspects with a positive nature concerning Portugal (in parentheses the thematic track of the literature review from which the cultural trait was retrieved is indicated).

Abstract (painting) Acumen (literature) Adaptive (history and humanities) Allegory moralizing (painting) Ambiguous (history and humanities) Antagonist (history and humanities, literature) Aseptic (history and humanities) Belief in miracles (history and humanities) Buck (history and humanities) Candor (history and humanities) Centred (humanistic-historical) Christian (history and humanities, literature) Collective (history and humanities) Complex (history and humanities) Concentrate (history and humanities) Constant (history and humanities) Controllable (history and humanities) Creator (history and humanities) Critical (history and humanities) Cultism (literature) Catholic (painting) Cultural assimilation (history and humanities) Curvilinear reasoning (history and humanities) Diachronic (cinema) Diaspora (history and humanities) Dogmatic (history painting) dream Themes (painting) Ecumenical (history and humanities)

68 Industrial Design – New Frontiers

The study reported in this section, concerning cultural inquiry, was based on literature review to unveil a set of opinions from respected scholars within the humanities disciplines (sociology, anthropology, philosophy) and the relational study of some areas of arts and fine arts. Rather than an exhaustive listing of the whole set of cultural traits surveyed, a subset of results is presented. Partial results obtained for study I are shown in Tables 6 and 7, for

Sources: Almeida (1995), Bello (2009), Cabral (2003), Castagna (2005), Costa (1998), Lemière (2006), Lourenço (1994, 2001), Moreira (2005), Neto (2005), Quadros (1999), Rodrigues & Devezas (2009). Table 6. Cultural aspects with a positive nature concerning Portugal (in parentheses the thematic track of the literature review from which the cultural trait was retrieved is indicated).

Independent (literature) Industrious (history and humanities) Intellectual Property (history and humanities) Liberal (history and humanities, painting) Likely (history and humanities, literature) Lucid (history and humanities) Modest (history and humanities) Multi-mode (history and humanities) Naturalistic (literature, painting) Noble (history and humanities) Organic (history and humanities) Organized (history and humanities) Original (cinema, history and humanities, literature) Paradigmatic (cinema, history and humanities) Picturesque (history and humanities, painting) Prodigious (history and humanities) Rationalist (history and humanities)

Realistic (cinema, history and humanities, literature) Respectful (history and humanities) Search (literature) Self-consciousness (history and humanities) Self-critical (cinema) Self-reflection (cinema) Sensible (history and humanities) Solidarity (history and humanities) Spontaneous (history and humanities) Strategic Intelligence (history and humanities) Suave (history and humanities) Sublimation (history and humanities) Subtle (history and humanities) Tolerant (history and humanities) Universal (history and humanities) Unmistakable (history and humanities) Virtue (painting) Vital (painting, music)

**3.2 Study I – Portuguese and Lusophone cultural traits** 

Dynamic (history and humanities, painting) Empirical (history and humanities) Enthusiast (cinema, history and humanities) Epic (history and humanities, literature, music) Ethical (history and humanities) Experimental (cinema) Overview autotelic (cinema) Experimental aestheticism (cinema) Expressive (painting) Flash (history and humanities) Golden (history and humanities) Gracious (history and humanities) Harmony (history and humanities, music) Hetero-textual (literature) Hope (history and humanities, music) Ideological (cinema, history and humanities, painting) Imaginative (history and humanities, painting)

Adventurer (history and humanities) Audacious (literature) Autognose (history and humanities, literature) Autonomous (history and humanities, literature) Aware (history and humanities) Bold (history and humanities, literature) Bucolic (history and humanities) Concrete (cinema, history and humanities) Confident (history and humanities) Contrast (painting) Eclecticism (painting) Colourful (song) Cosmopolitan (history and humanities, painting) Dichotomy aesthetics (paint) Different (history and humanities) Disseminator (cinema) Diverse (cinema, history and humanities, painting) Dreamer (history and humanities) Ductile (history and humanities)

Elusive (history and humanities) Emblematic (literature, painting), Feeling depth (history and humanities) Fey (history and humanities) Fini-secular (literature) Folklore (history and humanities) Heroic (history and humanities, literature) Hidden (history and humanities) Honour (literature) Humble (history and humanities) Hybrid (literature) Hyper-identity (history and humanities) Idyllic (history and humanities) Imperial (history and humanities) Improvisation (history and humanities) Incremental (historical and humanistic) Intense religiosity (cinema, painting) Interstitial (literature) lyric (literature) Metamorphic (history and humanities) Militant (history and humanities) Mimetic (history and humanities) Miscegenation (literature) Moral (painting) Ancient (story) Morphological (history and humanities) Movement (history and

Naive (history and humanities) Needy (history and humanities) Nostalgia (history and humanities, literature, music) Ornamental (painting) Pantheistic (history and humanities) Parental (history and humanities) Patriotic (cinema, history and humanities) People (cinema, history and humanities) Proud (literature) Radical (history and humanities) Romantic (history and humanities, literature) Allogeneic (history and humanities) Sacred (literature) Sacrificed (history and humanities) Sadness (history and humanities, music) Sensitive (history and humanities) Sentimental (history and humanities, literature, music) Single (history and humanities, painting) Singular (cinema, history and humanities) Spiritual (history and humanities) Stubborn (history and humanities) Subjective (literature) Subversive (cinema) Sync (cinema) Theology (history and humanities, literature) Utopian (history and humanities)

Water (history and humanities)

Sources: Almeida (1995), Baguet (1999), Bello (2009), Borja (2005), Cabral (2003), Cademartori (2006), Cardoso & Catelli (2009), Castagna (2005), Costa (1998), Domingues (2000), Grosso (1999), Lemière (2006), Lourenço (1994, 2001), Martins, Sousa & Cabecinhas (2006), Matos-Cruz (1999), Moreira (2005), Nascimento (2009), Neto (2005), Netto, Dias & Mello (2003), Ngai (1999), Ono (2004), Pereira (1999), Quadros (1999), Rago (2006), Ribeiro 82004), Rodrigues & Devezas (2009), Rossini (2005), Salvo (2006), Silva (1999).

humanities) Mystery (history and humanities, music)

Table 7. Cultural aspects with a neutral nature concerning the Lusophone space (in parentheses the thematic track of the literature review from which the cultural trait was retrieved is indicated).

Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 71

Upper product personality attribute Lower product personality attribute

Flexible Inflexible Liberal Authoritarian Driven by values Somewhat driven by values Somewhat extroverted Somewhat extroverted Naïve Somewhat cynical Moderate Excessive Somewhat conforming Somewhat rebellious Energetic Somewhat energetic Gentle Somewhat violent Simple Complex Optimistic Somewhat pessimistic

Table 9. Product personality attribute ranges resulting from translating the Portuguese

Upper product personality attribute Lower product personality attribute

Kind Neither kind or unkind Honest Somewhat dishonest Somewhat fun Somewhat serious Somewhat bright Somewhat dim

Stable Somewhat unstable Humble Neither humble or narcissistic

Naïf Somewhat cynical

Energetic Somewhat energetic Gentle Somewhat gentle Simple Complex

Optimistic Neither optimistic or pessimistic

Flexible Inflexible Liberal Somewhat liberal Driven by values Somewhat not driven by values

Somewhat extroverted Somewhat introverted

Moderate Excessive Neither conforming or rebellious Somewhat rebellious

Table 10. Product personality attribute ranges resulting from translating the Lusophone

cultural traits identified in study I (transfer performed by the authors).

cultural traits identified in study I (transfer performed by the authors).

Kind Neither kind or unkind Honest Somewhat dishonest Somewhat fun Somewhat serious Bright Somewhat dim Stable Somewhat unstable Humble Neither humble or narcissistic

Portuguese positive aspects and Lusophone neutral aspects (the distinction between positive, neutral and negative aspects was done by the authors).

## **3.3 Study II - Matching selected cultural traits with product personality dimensions**

The cultural traits obtained from study I were corresponded by the authors to Jordan's (2000) product personality attributes. Each cultural trait was assigned to one or more of the product personality dimensions (Table 8) and a matrix was prepared that translated the cultural traits into personality dimensions. The personality dimensions that resulted are presented in Tables 9 (results of subjective transfer of the Portuguese cultural traits identified in study I) and 10 (results of subjective transfer of the Lusophone cultural traits identified in study I).


Table 8. Product personality dimensions (Jordan 2000).

Portuguese positive aspects and Lusophone neutral aspects (the distinction between

kind – somewhat kind – neither kind or unkind – somewhat unkind – unkind honest – somewhat honest – neither honest or dishonest – somewhat dishonest – dishonest serious minded – somewhat serious minded – neither serious minded or light hearted – somewhat light hearted – light hearted bright – somewhat bright – neither bright or dim – somewhat dim – dim stable – somewhat stable – neither stable or unstable – somewhat unstable – unstable narcissist – somewhat narcissist – neither narcissist or humble – somewhat humble – humble flexible – somewhat flexible – neither flexible or inflexible– somewhat inflexible – inflexible authoritarian – somewhat authoritarian – neither authoritarian or liberal – somewhat liberal – liberal driven by values – somewhat driven by values – neutral – somewhat not driven by values – not driven by values extrovert – somewhat extrovert – neither extrovert or introvert – somewhat introvert – introvert naïve – somewhat naïve – neither naïve or cynical – somewhat cynical – cynical excessive – somewhat excessive – neither excessive or moderate – somewhat moderate – moderate conforming – somewhat conforming – neither conforming or rebellious – somewhat rebellious – rebellious energetic – somewhat energetic – neither energetic or non energetic – somewhat non energetic – non energetic violent – somewhat violent – neither violent or gentle – somewhat gentle – gentle complex – somewhat complex – neither complex or simple – somewhat simple – simple optimist – somewhat optimist – somewhat pessimist – pessimist

**3.3 Study II - Matching selected cultural traits with product personality dimensions**  The cultural traits obtained from study I were corresponded by the authors to Jordan's (2000) product personality attributes. Each cultural trait was assigned to one or more of the product personality dimensions (Table 8) and a matrix was prepared that translated the cultural traits into personality dimensions. The personality dimensions that resulted are presented in Tables 9 (results of subjective transfer of the Portuguese cultural traits identified in study I) and 10 (results of subjective transfer of the Lusophone cultural traits

positive, neutral and negative aspects was done by the authors).

Table 8. Product personality dimensions (Jordan 2000).

identified in study I).


Table 9. Product personality attribute ranges resulting from translating the Portuguese cultural traits identified in study I (transfer performed by the authors).


Table 10. Product personality attribute ranges resulting from translating the Lusophone cultural traits identified in study I (transfer performed by the authors).

Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 73

Kind B – C – A– D Unkind Significant at 95% c.i.\* Honest C – B – A – D Dishonest Not significant Serious C – B – D – A Light-hearted Significant at 99% c.i.\* Bright B – C – A – D Dim Significant at 95% c.i.\* Stable C – B – A – D Unstable not significant Narcissistic C – D – A – B Humble Significant at 99% c.i.\* Flexible B – A – D – C Inflexible not significant Authoritarian C – D – A – B Liberal Significant at 99% c.i.\* Driven by values C – B – A – D Not driven by values Not significant

Extrovert A – D – B – C Introvert Significant at 95% c.i.\* Naïve B – A – C – D Cynical Significant at 95% c.i.\* Excessive D – C – A – B Moderate Significant at 95% c.i.\* Conforming C – B – D – A Rebellious Significant at 95% c.i.\* Energetic A – B – D – C Non energetic Significant at 99% c.i.\* Violent D – C – A – B Gentle Significant at 99% c.i.\* Complex C – D – B – A Simple Not significant Pessimistic C – D – B – A Optimistic Significant at 99% c.i.\*

Table 11. Aggregate ranking of the four clothes pressing irons depicted in Fig. 9 for each of the 17 personality dimension pairs and calculation of significance of agreement (based on

Personality Attribute Ranking Personality Attribute Significance

Table 12. Aggregate ranking of the first set of four coffee machines depicted in Fig. 9 for each of the 17 personality dimension pairs and calculation of significance of agreement

(based on Kendall correlation coefficient, Siegel & Castellan 1988).

Kind B – A – C – D Unkind Significant at 99% c.i.\* Honest B – C – A – D Dishonest Significant at 99% c.i.\* Serious B – D – C – A Light-hearted Significant at 99% c.i.\* Bright B – A – C – D Dim Not significant Stable B – C – A – D Unstable Significant at 99% c.i.\* Narcissistic D – C – A – B Humble Significant at 99% c.i.\* Flexible A – B – C – D Inflexible Significant at 95% c.i.\* Authoritarian D – C – A – B Liberal Significant at 95% c.i.\* Driven by values B – C – D – A Not driven by values Significant at 95% c.i.\* Extrovert A – C – D – B Introvert Significant at 99% c.i.\* Naïve B – A – C – D Cynical Significant at 99% c.i.\* Excessive D – C – A – B Moderate Significant at 99% c.i.\* Conforming B – C – D – A Rebellious Significant at 99% c.i.\* Energetic A – C – D – B Non energetic Significant at 95% c.i.\* Violent D – A – C – B Gentle Significant at 95% c.i.\* Complex D – C – A – B Simple Significant at 99% c.i.\* Pessimistic D – B & C – A Optimistic Not significant

\* - c.i. – confidence interval

\* - c.i. – confidence interval

Kendall correlation coefficient, Siegel & Castellan 1988).

Personality Attribute Ranking Personality Attribute Significance

### **3.4 Study III – Correspondence of product personality dimensions to product attributes**

Some examples of objects comprised of four clothes pressing irons and eight coffee machines were chosen (Fig. 9), in order to make an analysis of these objects with regard to the Product Personality Assignment technique by Patrick W. Jordan (2000). The assignment of personality attributes was carried out by a panel of eight third year undergraduate industrial design students (aged from 20 to 23 years old) that rated each object in terms of the personality dimensions in a 5 point Lickert scale ranging from the personality attribute to its opposite (e.g. kind – unkind) and three intermediate ratings (e.g. somewhat kind, neither kind or unkind, somewhat unkind), according to Table 3. The eight raters analysed the objects grouped in three sets, one of clothes pressing irons and two of coffee machines. The Kendall coefficient of concordance was used to assess the consistency of ratings among the panel.

Fig. 9. Products that were used as a basis for the product personality assignment survey performed as part of study III.

The ranking attained by combining the judgement of the eight raters within the personality pairs of each set of four products is shown in Tables 11 to 13, accompanied by the result of the Kendall coefficient of concordance for each dimension and set rated.


\* - c.i. – confidence interval

72 Industrial Design – New Frontiers

Some examples of objects comprised of four clothes pressing irons and eight coffee machines were chosen (Fig. 9), in order to make an analysis of these objects with regard to the Product Personality Assignment technique by Patrick W. Jordan (2000). The assignment of personality attributes was carried out by a panel of eight third year undergraduate industrial design students (aged from 20 to 23 years old) that rated each object in terms of the personality dimensions in a 5 point Lickert scale ranging from the personality attribute to its opposite (e.g. kind – unkind) and three intermediate ratings (e.g. somewhat kind, neither kind or unkind, somewhat unkind), according to Table 3. The eight raters analysed the objects grouped in three sets, one of clothes pressing irons and two of coffee machines. The Kendall coefficient of concordance was used to assess the consistency of ratings among

Fig. 9. Products that were used as a basis for the product personality assignment survey

the Kendall coefficient of concordance for each dimension and set rated.

The ranking attained by combining the judgement of the eight raters within the personality pairs of each set of four products is shown in Tables 11 to 13, accompanied by the result of

**3.4 Study III – Correspondence of product personality dimensions to product** 

**attributes** 

the panel.

performed as part of study III.

Table 11. Aggregate ranking of the four clothes pressing irons depicted in Fig. 9 for each of the 17 personality dimension pairs and calculation of significance of agreement (based on Kendall correlation coefficient, Siegel & Castellan 1988).


\* - c.i. – confidence interval

Table 12. Aggregate ranking of the first set of four coffee machines depicted in Fig. 9 for each of the 17 personality dimension pairs and calculation of significance of agreement (based on Kendall correlation coefficient, Siegel & Castellan 1988).

Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 75

The 12 objects depicted in Fig. 9 were further characterized, by the authors, in terms of their product attributes according to a series of dimensions. These included materials, colour, shape, graphic markings, archetype, morphology, inferred ease of use, manufacturing process, technological sophistication, multiple functionality and size. The dimensions that

As a result of study IV, two product attribute lists were attained, one concerning the transference of Portuguese cultural traits to product properties and the other one concerning

> Culturally induced Lusophone product profile

**3.5 Study IV – Establishing the link between product personalities and product** 

were used to characterize the 12 objects involved in study III are shown in Table 14.

Culturally induced Portuguese product profile

Colour Cold Cold

Graphical markings Decorative, instructions Decorative, instructions

Archetype Minimalist Minimalist

Size Small Small

Ease of use - Complex, yet intuitive

Various living room furniture concepts were generated based on two product specifications that took as starting points the results presented in Table 15 and that were enlarged considering anthropometric (Panero & Zelnik, 2002) and other requirements. These initial concept sketches were evaluated by the authors, with respect to criteria derived from the specification and were also subjected to the scrutiny of 21 second year undergraduate industrial design students (aged from 19 to 22 years old). These did not however show significant agreement in terms of their preference among the concepts generated. The authors' evaluation matrix (based on an expanded requirements list developed within the design process) led to the detailed development of the concepts depicted in Figures 10 and 11, respectively, a product line based on the Portuguese cultural traits, named "Vale", and

In order to test the effectiveness of the approach reported in this chapter, the respondents in this study were asked to identify, from the concepts generated, which of those had either

Portuguese traits, Lusophone traits or none. These results are shown in Table 16.

Multiple functionality Single function -

Table 15. Product attributes attained as a result of study III.

one based on the Lusophone ones, named "Império".

**3.6 Study V – Generation of product concepts and their validation** 

Shape Straight, coherent, contrasting Straight, coherent, contrasting

the transfer of Lusophone cultural traits (Table 15).

**characteristics** 

Product technical dimension


\* - c.i. – confidence interval

Table 13. Aggregate ranking of the second set of four coffee machines depicted in Fig. 9 for each of the 17 personality dimension pairs and calculation of significance (based on Kendall correlation coefficient, Siegel & Castellan 1988).


Table 14. Product technical dimensions each broken down into five categories, that were considered in study III.

Kind D – C – B – A Unkind Significant at 99% c.i.\* Honest B – C – D – A Dishonest Significant at 95% c.i.\* Serious B – A – C – D Light-hearted Significant at 99% c.i.\* Bright B – C – D – A Dim Not significant Stable B – C – D – A Unstable Significant at 99% c.i.\* Narcissistic A – D – B – C Humble Significant at 95% c.i.\* Flexible D – C – B – A Inflexible Significant at 99% c.i.\* Authoritarian A – B – C – D Liberal Significant at 99% c.i.\* Driven by values B – A – C – D Not driven by values Significant at 95% c.i.\* Extrovert D – C – A – B Introvert Significant at 99% c.i.\* Naïve C – B – D – A Cynical Significant at 99% c.i.\* Excessive A – D – C – B Moderate Not significant Conforming B – C – A – D Rebellious Significant at 99% c.i.\* Energetic A – D – C – B Non energetic Not significant Violent A – B – D – C Gentle Significant at 99% c.i.\* Complex A – B – C – D Simple Significant at 99% c.i.\* Pessimistic B – A – C – D Optimistic Not significant

Personality Attribute Ranking Personality Attribute Significance

Table 13. Aggregate ranking of the second set of four coffee machines depicted in Fig. 9 for each of the 17 personality dimension pairs and calculation of significance (based on Kendall

Materials metals wood ceramics plastic ecological Colour primary pastel metallic warm cold Shape straight organic coherent contrasting functional

markings geographical decorative instructions patterns reliefs

complex, yet intuitive

industrial

electrical technology

few functions some

Size very small small medium great very large Table 14. Product technical dimensions each broken down into five categories, that were

/ traditional minimalist luxury utilitarian adaptable

neither easy or difficult to

contemporary industrial

electronic technology

functions

use

between parts modularity

not very complex, but difficult to use

manufacturing by high technology

information technology

various functions many

user fabrication

and

many functions

interconnected systems

very complex and difficult to use

nanotechnology

biotechnology

\* - c.i. – confidence interval

Archetype conventional

Ease of use simple and

intuitive

Process handicraft rudimentary

moving parts (manual)

single function

Graphic

Production

Technological Sophistication

considered in study III.

Multiple functionality

correlation coefficient, Siegel & Castellan 1988).

Morphology single part few parts dependency
