TOWARDS COMPUTER SUPPORTED DESIGN FOR AESTHETICS

Willem G. Knoop, Ernest J.J. van Breemen,

Imre Horvth, Joris S.M. Vergeest
Delft University of Technology
Sub-faculty of Industrial Design Engineering
Jaffalaan 9, NL-2628 BX Delft, The Netherlands
Phone: +31 15 278 3437
Fax: +31 15 278 1839
E-mail: e.j.j.vanbreemen@io.tudelft.nl

Binh Pham
School of Information Technology & Mathematical Sciences
University of Ballarat
PO Box 663 Ballarat, VIC 3353, Australia
Phone +61 3 5327 9286
Fax +61 3 5327 9289
Email: b.pham@balarat.edu.au

98ME075

ABSTRACT
Although attempts have already been made, computer support of styling is still in its infancy.
Based on the functionality of present CAD systems, computer support of car styling will be
rather moderate in the near future, especially when fast representation and alteration of early
shape concepts are considered. It is assumed that, by developing shape conceptualisation
methods based on a better understanding of the styling design practice, early stage car
development would benefit from the advantages of electronic product modelling. This paper
presents a novel computer-oriented methodology of design for aesthetics. The Authors focus
on the issues related to a practical coupling of aesthetic intents and shape characteristics,
following the analogy of information communication. In this two-way process, they
distinguish statistical, syntactical, semantical and pragmatic levels. The analogy helps to
understand the core problem of design for aesthetics and supports the elaboration of a quasi-
formalised methodology that serves well as a base of computer tool development. Such tools
implicate opportunities to tailor car designs to niche markets when theoretical, technical, and
educational issues are addressed carefully, together with appropriate management of
company cultural changes.

1 INTRODUCTION
The importance of aesthetics in automotive industrial design is evident. Only very few people
buy a car based on technical performance and costs only. Usually appearance, comfort and
aesthetic appreciation play a crucial part in the buying process. Design for aesthetics, together
with design for ergonomics, intelligence, user friendliness, adaptability, etc. are the fields
which will surely be in the focus of the research and development in the near future due to
their role in enhancing product acceptance. The development process of cars will alter when
the need grows to tailor cars to more diverse groups of target customers. Aesthetic
characteristics that are more diverse will have to be incorporated into the design of cars.
Therefore, stylists need a method to define, use, and communicate aesthetic intents, supported
by computers to assess the aesthetic appreciation of the customers related to the shape of the
car.
Another problem field is to discover how much specific aesthetic appreciation by customers
changes when an engineering-induced alteration is necessary. The advancement of a car
design towards manufacturing places high demands on the communication between the
simultaneously working groups. When a methodology exists to assess the impact of a change
to the aesthetic appreciation of the design by target customers and the styling department,
engineers will be able to optimise their work on a higher level.
In spite of their important role, stylists are still waiting for computer support to grow beyond
its infancy. The task of industrial designers and stylists is sometimes called impossible to
support by computers [Hosaka 1992]. In one sense, this statement is true, for near future
CAD-system functionality is moderate when it comes to supporting or substituting the tasks
that human beings do so well. On the other hand, computers should be used to perform the
tasks people are having difficulties with, like keeping an overview over large amounts of
information and checking relations between dozens of aspects.
The focus of our research into computer-aided conceptual design (CACD) is on the
conversion process of mental images to shape representation. To enable this in design for
aesthetics, the following items are needed:
A proper understanding of the work of stylists, including the ability to process a rich and
diverse language of linguistic and graphical elements,
A computer oriented methodology for design for aesthetics,
Alternative (non-geometric entity oriented) natural input mechanisms of shape,
Flexible computer internal representation of the initial shapes,
Powerful image manipulation techniques, and
Free-form physical prototyping techniques
We are investigating these issues, as shown on our web pages, see [ICA 1998]
A computer oriented methodology and further research into understanding the relation
between shape, aesthetics, and psychological aspects should be developed in this young
discipline of design for aesthetics [Pham 1996]. The most intriguing issue of such a design for
aesthetic methodology is how to implement a translation or mapping between two universes:
the space of aesthetic characteristics and the space of shape characteristics. The correspon-
dence between elements (or groups of elements) of the two spaces is not straightforward. It
can be apprehended only with the involvement of psychological aspects, as it is strongly
influenced by cultural, personal, sociological, etc. factors. Designers cannot influence the
experience or mood of the person that will interact with their design. They cannot fully
control customer responses. However, they can alter the shape and influence appreciation to a
certain amount, but appreciation is a design aspect that does not stand alone. The next chapter
will elaborate on how shape and aesthetic characteristics interrelate with other aspects of a
product and what the fundamentals of our research are to investigate computer support of
design for aesthetics.

2 TOWARDS A BETTER UNDERSTANDING OF DESIGN FOR AESTHETICS

Design for aesthetics plays a significant role in automotive product development processes. It
is usually referred to as styling. It is a specialisation, clearly separated from engineering, with
the task to determine the appearance and identity of new cars [Tovey 1997]. The stylists task
in design for aesthetics is of particular interest for computer support, especially because of the
apparent need to communicate with engineering departments, that make use of computers
extensively. Stylists are designing products in a process that in most companies is clearly
outlined. They have to present their results in pre-specified formats, on carefully planned
management intervention points [Tovey 1992]. Designers go through the design cycles of
analysing (sub-) problems, generating ideas for (sub-) solutions, and combining them into a
holistic solution. They pay attention to all aspects that are important in the development of
cars, e.g. ergonomics, manufacturability, technological constraints, aesthetics, and
sustainability. This means that design for aesthetics never stands alone, and should always be
related to the other aspects in the whole product development process. Not all aspects are
equally dominant, important or costly (in time or money), therefore design teams try,
conscious or not, to obtain a "balanced comprehension" of the influences and interactions of
aspects (Figure 1). At any given moment in the development process, this "balanced
comprehension" allows a designer to judge the relative importance of aspects. It helps to track
which current solutions are satisfactory and helps designers to choose what action to take
next.
Customer behaviour

Aesthetics
Product Concepts
Ergonomics
Materialisation
Modeling
Functional
Assemblability
Physical
Manufacturability
Design Balanced Structural
Reliability Ideation
aspects Comprehension Shape
Manipulability
Material
Sustainability
Appearance
Cost / Price
Marketing
Environment
Recycling
...

Figure 1: The role of balanced comprehension in conceptual design

In search for computer support of the design for aesthetics process, many issues have to be
resolved. The graphic language used by stylists is hard to represent in a computer. It is
notoriously difficult to assess and formalise their typical way of working, communicating, and
using both linguistic and graphical ways to connote feelings about ideas and concepts. It is
important to link the styling process to the engineering process with computer systems. Those
systems must be dedicated to the task of stylists but also to communication with engineers.
The advantages of using an integrated computer support system over traditional car
development are discussed by Knoop and Munnich [1994]. However, it also turned out that
the coupling of Styling and Engineering has to be loose enough to assure that styling
intentions are present in the final product [Knoop and Munnich 1995].
A computer oriented design for aesthetics support system should be capable of:
Capturing the aesthetic intents of stylists, based on knowledge of target customers, which
are also linked to marketing intelligence and major strategy of the company.
Finding solutions in which these intents are translated into new concepts of products. The
basic question is "how can we map shape characteristics of products to the intentions they
are to express".
Testing or assessing the level of success in designing products that have the desired
impact on the target consumer group
We performed a survey to find approaches to link aesthetic intents and shape. Our review of
literature has revealed that some attempts have been made to relate customer appreciation of
Figure 2: The Koenderink method results in 3D-representations of shapes perceived by subjects. This
figure shows differences between perceived shapes of a sketch and the real product
aesthetic properties of products to the shape of those products. We distinguish two groups of
studies with either a phenomenological or a systematic approach. The first is an approach in
which phenomenological information about customer responses is used to intuitively
incorporate shape characteristics in a product, in order to evoke desired responses. The second
is an approach in which a deep understanding is looked for, of all the factors involved in the
influence of shape on the resulting appreciation of products. An example of the
phenomenological approach is reported in [Desmet and Tax 1998] in which mobile
telephones are designed based on desired feeling-based responses. In-depth interviews
provided information about two target-customer groups, which led, with the help of collages,
many stimulating ideas and concepts, to the successful design of mobile telephones with an
emotional extra.
The systematic approach was illustrated by a study the INSTANCE project (BriteEuRam
no.3, project 95/2151), in which the Koenderink method was used to investigate the relation
between aesthetic appreciation and the shape of car bodies. This method provides a subject
with a representation of a car, and asks the subject to indicate the surface normal on many
places on the model, to assess the perceived shape of the model, see also Figure 2.
We think it is important to develop a theory that gives both
the desired deep understanding of the influence of all involved factors in aesthetic
appreciation of products, and
insight in the complete loop of determining aesthetic intents, develop ways to design the
shape of products accordingly and to evaluate the results.
Our approach to accomplish this is analogous to the theory of information communication.
This analogy will be explained in the next chapter.

3 FORMALISING DESIGN FOR AESTHETICS

To process aesthetic intents in computers, and to study the process of integrating aesthetic
intents in designs of new products, we first have to clarify some terms. We distinguish three
basic characteristics that express the aesthetics of a product: shape, composition and physical
attributes. High-level characteristics such as style or fashion may be dealt with by expressing
them in terms of these three basic characteristics [Chen and Owen 1997]. Often form and
geometry are also used to indicate shape, but these are ambiguous terms. Even Websters
Dictionary describes them in a tautological way.
We see geometry as the lowest level explicit description, a form of mathematical
documentation of a 3D point-set in space. Geometry can only support the aesthetic-shape
mapping process. One level above the geometry we find form, which is, according to our
understanding, a categorical representation of global properties of the geometry. It is a more
generalised descriptive term (e.g. a triangle). Form typically influences the aesthetic
characteristics. Shape has to be seen on a higher level than geometry and form. In contrast to
 Shape feature
Shape
Expresses
Composition

Physical Attributes

Aesthetic
characteristics Influences
Form

Triangles

Supports
Geometry {(x1,y1) , (x2,y2) , (x2,y2)}

Figure 3: Product characteristics and the interaction with aesthetic characteristics

the global characteristics, shape is defined as the totality of local characteristics of the
geometry. Therefore, shape is an abstract generalisation of the local geometric properties. The
local geometric properties are shape features that form the basis for shape manipulation on a
semantic level. An example of shape is the star-like object in Figure 3. This object is a set of
sharp edges (the local shape features) which indeed make the object a star. In relation to
aesthetic characteristics, the role of shape is to express them.
Referring to the above definitions composition expresses how shape features are arranged and
therefore acts on the same level as shape with respect to the aesthetic characteristics.
Guidelines for good compositions which have been recommended by artists and designers for
attaining visually pleasing and interesting objects, e.g. [Ruskin, 1971], may be deployed for
analysing and comparing aesthetic characteristics of design.
Physical attributes such as colour, texture, lighting conditions or material properties also
influence aesthetic characteristics, in a similar way as shape does. In fact they add different
attributes to the shape and contribute to the total impression of an object.
Although the terms to describe aesthetic characteristics are rich and complex, we believe that
the essence of these terms can be related to the three basic characteristics of objects,
individually or in combination. Our aim is to provide a general methodology to include
aesthetic aspects into product design. It seems to be practical, for the time being, to
concentrate on how these basic characteristics of a product influence its appreciation, and to
leave out other aspects.
A theory of design for aesthetics has to explain how meaning and beauty are communicated
by a particular manifestation of an object. The principal medium of that communication is the
shape of an object. Shape, together with composition and physical properties expresses
aesthetic characteristics that result in certain aesthetic appreciation. In the context of this
paper, recognised influences like culture, experience, and emotions of subjects are assumed
constant. To provide the means for formalisation, we introduce a model of design for
aesthetics based on the analogy of information communication [Hering et al, 1995]. The
model reflects the understanding that design for aesthetics is a two-way communication
between the space of aesthetics and the space of design variables.
In communication of information the semantic content is carried by digital/analogue signals
[Schotz-Reiter, 1992]. In communication of aesthetics, the meaning is conveyed by the shape,
composition and physical properties. However, these semantics are implicit and the meaning
and effects cannot be completely separated from their interpretation. Consequently, a metho-
dology of design for aesthetics has to form a closed loop with two parts that (a) provide
support to understand how shape evokes feeling based responses in the case of a particular
product and a specific group of customers, and (b) enable designers and stylists to
communicate their aesthetic message and achieve emotional appreciation by certain shapes.
Four levels have been identified in the information transmission process: (a) statistical, (b)
syntactical, (c) semantical and (d) pragmatic. In addition, recent studies circumscribe a fifth
level [Meadow and Yuan, 1995] that is orientated to explain what comes beyond the practical
use of communication, what possible developments there are. In the future, it may deepen our
comprehension over the process of communicating aesthetic characteristics. The activities to
explore and understand the customer response to aesthetic impression and to create the
features of a product with expected aesthetic appreciation form a closed loop. Based on the
analogy of information communication, a hierarchy of levels of aesthetic communication can
be identified in the streams of activities to and from the space of design variables. This will
enable us to find the objectives and content of the activities.
A methodology for design for aesthetics has two parts similar to the two directions of
communication in Figure 4.
In the exploration part of the loop (the bottom part of figure 4) which is targeted to understand
how meaning and beauty interacts with people, a kind of experimental process is executed.
Different variants of a product of different observable aesthetic characteristics are presented
to the customers in either physical or virtual forms [Spooner and Hardwick, 1997]. Potential
customers are asked to select those objects that can be sorted into the same cluster due to their
aesthetically similar or resembling shapes. Only a fuzzy clustering is possible since the
objects can be sorted into more than one cluster based on their aesthetic characters of different
dominance. These activities relate to the statistical level of communication. The next step is
the exploration and naming of aesthetic characteristics common for the products in a cluster.
The users are asked to describe the aesthetic properties they observed and recognised as well
as to select depictions of the feelings the objects individually evoked in them. This is the
Pragmatic Semantical Syntactical Statistical
level level level level

Controlling by Finishing the Designing local Designing global Designing of the

user experiments product image shape features shape features initial shape

Process of designing aesthetically pleasing products

{F }
1
{V }
{F } Space of 2
Space of
4 design {V }
{F } aesthetic 1
2 characteristics variables {V }
3
{F }
3
{V }
4

Process of understanding how aesthetics relates to shape

Experiment with Clustering objects Exploring common Identifying shape Understanding the
typical objects based on feelings characteristics characteristics influence of shape

Statistical Syntactical Semantical Pragmatic

level level level level

Figure 4: Model of design for aesthetics with two directions, each having four levels of communication
syntactic level of communication. Then, the explored aesthetic characteristics of the objects
and the correspondence to the feeling based responses are analysed. This way clues are
formed for the possible relationship. It forms the semantic level in aesthetic communication.
Since the shape is influenced by the less dominant aesthetic characteristics too, formulation of
relations cannot be deterministic. On a pragmatic level, the adequacy of matching the
aesthetic characteristics against global and local shape properties is tested. The shape
properties are modified and the potential users are asked to judge whether the previously
recognised aesthetic characteristics become stronger or weaker, or remain intact. This
instituted knowledge can be formalised in the knowledge base of a computer-aided design for
aesthetics system.
The creative part of the loop (the top part of Figure 4) is dedicated to designing aesthetically
pleasing products systematically. The involved mapping is directed from the space of design
variables to the space of aesthetic characteristics. As a starting step, designers generate initial
shape concepts that fulfil functional requirements and describe them from geometric,
topological and morphological point of view. This specification is again a statistical level of
communication. Then the shape concepts are further refined globally to provide observable
shape characteristics (e.g., type, extent, proportions, morphological articulation, distortion,
number of components, etc.). Additional design aspects (e.g., material, colour, texture, and
graphics) are also considered. It places us on the syntactical level of communication.
Afterwards, the local properties are manipulated in order to incorporate subject related aspects
(e.g., style, fashion, human preferences, etc.). This is actually the semantical level, which
extends to the manipulation of additional psychological aspects. On the pragmatic level
customers opinions are collected again to measure satisfaction and to further improve
aesthetic appreciation. This brings us back to the space of aesthetic characteristics.
The theory explained above is the basis for a computer-oriented design for aesthetics support
system. To actually develop such a system, the mapping between the space of design
variables (or more specifically, shape variables) and the space of aesthetic characteristics
should be formalised. Idealistically the mapping specifies, for an expressed aesthetic intent,
those values of shape parameters that realise a design model conform the intention. We have
developed a set-theoretic description of such mapping to investigate its feasibility, both from
the viewpoint of exploration and of creation, as was depicted in Figure 4. The main
ingredients of the formalism are briefly described and a preliminary illustration of its usage is
given. The two aforementioned spaces will be referred to as the space S of shape variables and
the space A of aesthetic variables, respectively. We provisionally assume that at some point in
time, a finite number of shape variables si and aesthetic variables ai are known to be relevant.
These variables should be understood to specify each (1) a type and (2) a value domain. We
give three examples of possible shape variables:
s1 has type height and value domain +,
s2 has type angle between arm and body and value domain {zero, sharp, wide}
s3 has type y-co-ordinate of the 23d control point and its value domain is .
A value domain may be either continuous, discrete, ordinal, or nominal. The types are
assumed to capture sufficient semantics. As is common in verbal communication, a label such
as height conveys all necessary information in some context. The proposed formalism,
however, has mainly been based on the value domains of the variables.
Two examples of aesthetic variables are,
a1 has type harmony and value domain {-2, -1, 0, 1, 2}.
a2 has type emotionality and value domain {sad, angry, joyful, serene}
The mapping f: A S from aesthetic variables to shape variables has been defined as
f(a1, ,an) = (FS)-1 FA(a1, ,an),
where FS and FA are auxiliary mappings. FS is a map from S to design space, i.e., it assigns a
product design to a given set of values (s1, , sm). FA is a map from A to design space; it
assigns a product design to a given set of values (a1, , an). A fundamental notion is that any
mapping f depends on the existence of (the inverse of) FS and FA. It is thus ensured that a
particular relation between shape and aesthetics holds for a particular product design, whereas
for a different product design this relation could be different. For example, the introduction of
a spike to a products shape may cause the design to appear less calm. However, if the
particular design already contained many evenly distributed spikes, if one spike was missing
in the pattern, the inclusion of the spike could make the design more calm.
To obtain f experimentally, first the mappings FS and FA should be studied. Ultimately, the
equation above produces those shape parameter values s1, sm that realise the intended
aesthetic content specified by a1, ,an. For further details of the theory, we refer to [Van
Breemen et al 1998].
To gain detailed insight in the nature of the mapping f, we intend to perform initial
experiments using relatively simple spaces S, A and their associated product design spaces.
The primary aim will be to test the stability of value assignment to the variables.
The depth of the formalism, as illustrated above, may seem distant to every day styling design
practice, but is necessary to capture human knowledge, make it tangible, and make it possible
for computers to process it. It shows how much effort will be needed to bring the theory and
methodology to a pragmatic working system. However, the mathematical work is not the only
effort needed. Much attention will have to be paid to issues like user interface, training,
changes in company protocols, coherence with existing ways of working, and to obtaining a
balanced comprehension of all design aspects. The implications of making those efforts, and
where they can lead to will be discussed in the next chapter.

4 IMPLICATIONS AND CONCLUSIONS

Computer implementation of design for aesthetics will involve computer systems that use all
possible techniques to quickly input shape representation and facilitates easy manipulation of
the shape. As far as the input is concerned, we can foresee systems based on quasi-natural
communication, that perform in a smart and reactive way. The system will be able to
determine the relevant shape characteristics and assess through knowledge based evaluation
of the shape what responses the target customer group is likely to have. An overview must be
provided by the system to indicate the severeness of change in the appreciation of the product
when changes in shape of the design are suggested.
The integration of styling and engineering with the help of computers requires a more natural
input and internal representation on that computer. This is even more important when a
knowledge system will interact with styling, engineering, and other departments not yet
known. This leads to the conclusion that conventional representation is not sufficient.

When considering the integration of design for aesthetics in a company environment, we

recognise that the system will have its impact on the stylists, but also on the communication
with other departments. Major changes will effect the whole company, and need the
commitment of the top management to implement cultural changes. Important issues are:
New sources of information, to be used by the styling department, have to be provided by
marketing in the design brief, or separately during the process. The information will be
used to define and understand the characteristics of the target customers. When this
information is available, updates have to be communicated regularly.
 Let everybody in the company see the advantages of tailoring a car design to a niche
market. In addition, results of pilot projects will have to show the success and potential
revenues the company will experience.
Show that the system supports the tasks human beings are good at, and it does not
automate or replace the tasks of the people involved. It enhances their results.
Communication with engineering and manufacturing as well as sales and service is
paramount. The essence of what the process is trying to accomplish must also be
communicated to the people making practical sense of the designs, and the people that
have to communicate the intents to the right customers.
Education of company staff, in-company and on universities, academies and poly-
technicals is of great importance.
Communication with other systems (surface modellers, FEM analysis systems, sales
information systems, etc) within the company, but also with suppliers and dealers should
be carefully attended to.
The mapping of aesthetic characteristics to shape makes it possible to:
assess the appreciation of the appearance of products by target customers
assess the sensitivity of that appreciation to changes in shape
evaluate shape alterations, when interim designs do not yet succeed in evoking intended
responses. Maybe even suggestions can be made of what to change when a "more
elegant", or "more robust" design is needed.

We think that a design for aesthetics support system will have its influences on car model
development. It will result in quality through quantity. Much more alternatives can be
evaluated, and many more design cycles can be travelled through. This may result in a better
high-level overview of consequences, leading to a better balanced comprehension of the
totality of the product development process. We dont think designing can be done by
computers, but they will be able to process, select, filter and present the information needed
and provide an overview of consequences the designers need, to develop new products.

The success of product development processes of cars is dependent of a myriad of factors.

The return on investment rate will rise when more customers are satisfied with the product
they can buy, but the costs of the flexibility need for this must be kept under control.
Knowing how to realise appreciation of new designs by controlling the factors a company is
able to vary (the shape of a new car) will have its impact. A realistic threat is to rely on the
information in the support system without securing / guaranteeing proper updates needed to
compensate the time dependency of the information.

To further develop the methodology of design for aesthetics, future research has to develop a
method to investigate target customers. Resulting information can be used to assess the
diversity and structure in their appreciation of the companys products and those of its
competitors. This information will be used to make a specific "mapping function" for a certain
target group that will guide stylists to assess the reactions of customers they are not familiar
with. This information has to be updated regularly, and is sensitive to time influences caused
by changing trends and fashions. The system has to be adaptable to the specific culture of the
company, by adapting to the linguistic and graphical language used to denote aesthetic
characteristics of the products.

ACKNOWLEDGEMENT
The research work reported in this paper relates to the Integrated Concept Advancement
(ICA) project of the Sub-Faculty of Industrial Design Engineering, FDEP, Delft University of
Technology.
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