4

Culturally Inspired Design: Product

Personalities to Capture Cultural Aspects
Denis A. Coelho, Ana S. C. Silva and Carla S. M. Simo
Universidade da Beira Interior
Portugal

1. Introduction
This chapter, focusing on culturally inspired design, with emphasis on Portuguese and
Lusophone cultures, is developed in a two stage process (Fig. 1). In the first part, an effort to
identify the Portuguese identity reflected in the design of existing products is pursued. In
the second part of this work, product design specifications are created based on the
assignment of product personalities to capture Portuguese and Lusophone cultural aspects.
Both stages of this contribution give rise to new product concepts, which are aimed at
exemplifying the profile in existing Lusophone design production (in comparison with other
design origins) and at demonstrating the transfer of selected cultural values to designed
objects.

Fig. 1. Depiction of the two streams of analysis departing form an empirical and an abstract
level, reaching at new product concepts.
In both stages of the research, an array of product features was drawn up, in the first case
from observation, in the second case from matching of cultural traits with product features,
through the use of the product personality assignment approach.
Culture may inform design by a process of context-informed practice. Hence, collectively-
held norms of practice shared within contexts may well introduce culture into the design
process, even if indirectly. Geographical context may influence the practice and results of
design in two ways. One the one hand, everyday specific features of a location (availability
of technology and materials, climate, local modes of exchange and even cultural factors
affecting business activities) produce particularized actions, which may however be

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56 Industrial Design New Frontiers

contrasted with perceived globalized, mainstream and dominant modes of practice. On the
other hand, when viewing design as a mode of communication, peripherization and
engagement of a consciousness of difference may emerge, depending on location (Julier
2007). No factual data with a substantial depth about the cultural traits of the nations
portrayed in this chapter was found in literature, with the exception of the work by the
Dutch social scientist Geert Hofstede. Hofstede developed and published, in 1980, four
national measures of culture applied to a set of selected countries. Portugal and Brazil were
the only Lusophone countries included in Hofstedes study. The national measures of
culture presented by this author were: Power Distance, Masculinity, Individuality and
Uncertainly Avoidance. The nature of the national measures of culture presented by Geert
Hendrik Hofstede, was not deemed adequate to advance the development of the goals set
for the second project reported in this chapter. A literature survey was hence pursued,
informing, through the perspectives of several authors, on the Portuguese and Lusophone
cultural traits.
The current geo-strategic setting gives some added importance to the Portuguese-speaking
world. Both Brazil and Angola, in part, have been claiming themselves as regional powers
(in South America and sub-Saharan Africa, respectively). In this context, the design of
products as part of the cultural expression of people is associated with its production and
industrial capacity, and can be seen as a front for disseminating advancement of culture,
while its existence is related to the relative importance of this culture in the globalized
world. It is not mandatory to join Brazilian design, and eventually Angolan, or the design of
other Portuguese-speaking countries, with Portuguese design. In the cultural sphere, and
the approach that underlies this work has a strong cultural component, it will be difficult to
disentangle the historical and cultural legacy of the area of language, as this is one of the
main ways to define and mark broad cultural groups. Thus, in this work, it is considered
that the combination of design production in the countries of official Portuguese language is
relevant.

1.1 Aims
The main purpose of the first part of this chapter is to seek the identification of a possibly
existent identity of Portuguese and Lusophone Design, according to different perspectives
(e.g. form, brand, material, archetype), from the study of selected cases. While it is
acknowledged that an analysis which is mostly based on the material properties of products
is necessarily limited in scope, the consideration of experience or use related qualities, given
the breadth of this survey, was inferred, albeit visually as their assessment by actual use
would not be feasible. Initially, a historical perspective of Portuguese and Brazilian design
was drawn up. Since the existing information concerning existing design of other
Lusophone countries is very limited, it was chosen to analyse Portuguese and Brazilian
design only, and from these two identities, extrapolate a proposed Lusophone design
identity, focusing on material properties mostly. From this analysis, similarities were
perceived between Portuguese and Brazilian (Lusophone) designs, according to the
analyzed products. Another analysis of designed products was then carried out, focusing on
countries with design production of great international appreciation so that it would be
possible to differentiate this against Lusophone design. The analyzed regions and countries,
for the purpose of differentiation, were Scandinavia, which includes the Nordic countries, as
well as Italy and Germany. To conclude the first stage of this research, and project it in a
practical component, two conceptual designs were developed.

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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 57

The second part of this chapter reports on a project that aimed to identify the cultural traits
of the Portuguese speaking countries, with regard to both an internal perspective as well as
an outsiders perspective. Subsequently, the translation of these traits into product design
was intended, attempting to give a Portuguese and Lusophone projected cultural identity to
products. To this end, a methodology was developed in several stages. For the application of
the methodology, several studies were carried out. The personality attributes of products
were analyzed using a technique known as Product Personality Assignment (Jordan 2000) in
order to mediate the transfer from the identified cultural traits to product design
requirements. Patrick W. Jordan used positive and negative characteristics of people,
developing a list with 209 descriptors of personality and, after a collation and synthesis of
work arrived at a list of 17 pairs of dimensions of personality. These dimensions are
composed of pairs of opposing personality descriptors, such as Complex / Simple. Thus,
Personality Assignment to a product is a tool that explores the emotional ties existing in the
relationship between user and product.

2. Characterization of the identity of existing Portuguese and Brazilian design

In this section, an attempt to identify the Portuguese and Brazilian identities reflected in the
design of existing products is carried out. This contribution gives rise to new concepts,
which are aimed at representing cultural traits embedded in objects. An array of product
features is drawn up from observation of a sample of designed objects (208), whose pictures
were readily available from design web-blogs and design museums which were found
through web searches, to empirically assess the existence of a Lusophone design style, in
comparison with other design origins. The main purpose of this section is to seek the
identification of a possibly existent identity of Portuguese and Lusophone Design, according
to different perspectives (e.g. form, brand, material, archetype), from the study of selected
cases. While it is acknowledged that an analysis which is mostly based on the material
properties of products is necessarily limited in scope, the consideration of experience or use
related qualities, given the breadth of this survey, was inferred, albeit visually as their
assessment by actual use would not be feasible. Initially, a historical perspective of
Portuguese and Brazilian design was drawn up. Since the existing information concerning
existing designs of other Lusophone countries is very limited, it was chosen to analyse
Portuguese and Brazilian design only, and from these two identities, extrapolate a proposed
Lusophone design identity, focusing on material properties mostly. From this analysis,
similarities were perceived between Portuguese and Brazilian (Lusophone) designs, according
to the analyzed products. Another analysis of designed products was then carried out,
focusing on countries with design production of great international appreciation so that it
would be possible to differentiate this against Lusophone design. The analyzed regions and
countries, for the purpose of differentiation, were Scandinavia, which includes the Nordic
countries, as well as Italy and Germany. To conclude the first stage of this research, and apply
it in a practical component, two conceptual designs were developed (Fig. 2 and 3).
One of the designs concerns a refrigerator (Figure 2) that intends to reflect the Portuguese
identity, without disregard to new options, both in terms of currently available material and
technology. The other conceptual design consists of a sofa with a special focus on
Lusophone related features (Figure 3). The latter may assume an array of different
configurations, and it differs from similar products in its versatility, having as main function
that of a sofa, but including a footrest for the support of the users feet, and converting into a
set of table with three stools if necessary.

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58 Industrial Design New Frontiers

Fig. 2. Refrigerator designed with inspiration on the Portuguese postigo (small door or
window within a regular door) (designed by the third author).

Fig. 3. Multi-purpose object (sofa, table, shelf, stools and footrest) designed with inspiration
taken from the traditional canap (multiple seat wooden chair) (designed by the third
author).

2.1 Methods deployed to unveil existing design profiles

The overall goal of the study was to identify from various perspectives (brand, material,
archetype, among others) the contours of a possibly existing identity of Lusophone design,
from the study of selected cases. The guiding specific objectives were the following:
- Identifying the various types of associations that support cultural identity and seeking
to illustrate them by adopting a historical perspective.
- Analyzing products of international recognition to identify a possible identity of
Portuguese and Lusophone design.
- Placing the proposed identification of traces of Lusophone cultural identity in the
context of other traditions, as a means of differentiation.
- Proposing solutions or concepts in continuity to what was found, while adopting
contemporary or emerging technology.
To assist in achieving these objectives the following research questions were developed:
- Over time is there a continuity and perseverance in the appearance of traces, signs or
marks on the production of objects within the Lusophone space, and in Portugal?
- Are there materials, shapes, graphic markings, colours, and other product properties
typically Portuguese (Lusophone), and, or, with international acceptance?
- Are there any identifiable differences between the products of Lusophone production
and the most visible design currents with a geographical identity, such as Scandinavian,
Italian or German design?
An extensive review of Portuguese and Lusophone design was carried out in order to better
understand it. The new designs created in the course of this study are based on results from
the analysis pertaining to the products shown in the following sections. The selection of
products comprised in the analysis presented (including iconic designs identified in design
web-blogs, items for sale at the Museum of Modern Art, New York, red dot design awards
and design fair catalogues, e.g. Milan design fair) has necessarily influenced the results

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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 59

attained. Had other objects produced in the same geographic spaces been considered,
different results probably would have been found. An underlying hypothesis for the
approach deployed in this chapter is that cultural influences are capital even when not
consciously considered by designers, and are hence reflected in the design production itself.
A possibly existing design identity and its continuity over time was sought, in order to
recognize characteristics and similarities among products. Design production was not only
examined within the Lusophone space, but its international acceptance and appreciation
was also considered, so that, through this analysis, it would be possible to recognize the
character and contours of the design culture in order to give continuity to a tradition of
centuries. It then became imperative to perform a new product search to investigate the
differentiation against highly visible design traditions, as is the case of Scandinavian, Italian
and German designs. Finally, and from the analytical treatment performed to the data
collected in the survey mentioned above, two design concepts are presented which combine
Portuguese and Lusophone design tradition, respectively, with contemporary materials and
technologies. Ultimately, the aim of these concepts was to establish an alliance between the
cultural backgrounds of Portuguese design with the numerous technological possibilities
that are presented everyday and that enable the achievement of product improvements at
various levels. These improvements focus on aspects such as product performance and
increasing the quality of human life.

2.2 Product characteristics associated with identity

This section seeks identification of various types of associations that support cultural
identity and seeks to illustrate them by adopting a historical perspective. The aim is also
to seek answers to the question: over time is there a noticeable continuity and
perseverance in the appearance of traces, signs (materials, shapes, graphic markings,
colours, and so on) in the production of objects within the Lusophone space, and
Portugal? To answer this question a web based search for products with origins in
Portugal and Brazil was carried out. As was observed throughout the many examples
encountered in our review, over time there is a continuity and perseverance in the
appearance of traces, signs (materials, shapes, graphic markings, colours, and other) in the
production of objects within the Lusophone space (represented only by Brazil), and
Portugal. With regard to the continuity of Portuguese design, analyzing the set of iconic
products encountered (regarding the similarities at technical and conceptual levels) the
colours that are most used are white, beige, black, green, metallic grey, red, brown and
yellow. The materials most used are ceramic, wood, porcelain, cork, metal and leatherette.
In what concerns form, the products are characterized by simplicity, rationality, curved
shapes, elegance and convening an organic appeal. Portuguese designers innovate
especially in incorporating several features to objects, they take care in choosing the most
appropriate and up-to-date material, and the products are usually easy to use and provide
great comfort, with no graphic markings.
In terms of the continuity of Brazilian design, analyzing the set of iconic products
encountered (regarding the similarities between technical and conceptual qualities),
suggests that Brazilian designers seem to show a preference for brown, white, black and
green colours. Materials-wise, a higher adherence to wood, plastic, leather and metal is
visible. Brazilian products are characterized primarily by simplicity, rational and straight

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lines, wavy and winding forms. These designs are innovative, incorporate functional
improvements and demonstrate savings in the materials used in the objects, while designers
select the most recent materials and apply high mutability to their projects. The designers of
this nationality do not use graphic markings and inferred ease of use of their products varies
between easy to medium. In the following section, it is possible to define an identity for
Lusophone design, based on the intersection of Brazilian and Portuguese design
characteristics.

2.2.1 Portuguese and Brazilian design

Regarding the possibility of a cultural identity of Portuguese design, one can thus conclude
that the most common colours are (described by decreasing frequency): white, black, brown,
beige, metallic grey, green, red, and cork yellow. The materials preferably used by
Portuguese designers in most objects are clay (pottery), wood, cork, porcelain, plastic, metal
and leatherette. Regarding the shape of the products, these are characterized by their
simplicity, rationality, curved lines, elegance, organic character, softness and in some cases
straightness of lines. This design culture stands out for its innovation in the field of
materials, and it also reflects concerns about the ease of use, comfort, very often the addition
of new materials and products are aesthetically modern. Surveyed objects are mostly devoid
of graphic markings, except for the product brand. Finally, all objects are considered to
require between easy and medium ability for their use.
Brazil also shows important similarities between its designers production, in their choice
of colours such as brown, white, black and green, this similarity is clear. They use the
most common materials including wood, metal, plastic and leather. The sampled products
designed in this nation exhibit similarities among each other such as simplicity, straight
lines, rationality, and undulating and sinuous lines. Originality and innovation stand out
in the evident concern for comfort, functional improvements, material savings, and
conscious selection of materials by Brazilian designers and through the mutability given
to their products. The objects are mostly devoid of graphic markings and inferred ease of
use varies between large and medium, although most of these products were deemed
easy to use.
In identifying a possibly existing identity for design among the Portuguese language
countries, albeit it was based only in Portugal and Brazil, the following characteristics were
identified: colours mostly used are white, brown, black and green; materials are typically
wood, plastic and metal. Moreover, the products are characterized mainly by their
simplicity, rationality and straight lines. The designers differentiate themselves by speaking
of the choice of material, the comfort they bring to the objects, assigning more than one
functionality to their products and at the same time incorporating mutability into their
designs. The objects created within the Lusophone space are generally easy to use, and are
mostly devoid of graphic markings.
2.2.1.1 Sampled Portuguese designs
Besides the 46 product designs showed in this section, an additional set of 26 other products
was analyzed in this study, but are not shown due to space and size restrictions (Fig. 4;
images shown are in the public domain; for a complete set of references see Simo & Coelho,
2011).

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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 61

Fig. 4. Images of Portuguese designed products sampled as a basis for analysis.

2.2.1.2 Sampled Brazilian designs
Besides the 32 examples of product design from Brazil shown in this section, an additional
set of another 32 products was considered in the analysis presented in this study, but are not
shown due to space and size restrictions (Fig. 5; images shown are in the public domain; for
a complete set of references see Simo & Coelho, 2011).

Fig. 5. Images of Brazilian designed products sampled as a basis for analysis.

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62 Industrial Design New Frontiers

2.2.2 Comparison with Scandinavian, Italian and German design

This section is intended to achieve the objective of identifying the characteristics of
Lusophone design identity in the context of other geographically based design traditions, as
a form of visible differentiation. Hence, it seeks to identify differences between the products
of Lusophone origin and products with a Scandinavian, Italian and German origin.
As shown in this section, there are some differences between Lusophone design and
Scandinavian, Italian and German design. This section enables establishing material and use
based differences drawn from the four design origins included in the study.
With regard to colour preference very significant differences do not exist, however,
Lusophone design resembles Scandinavian design in this respect, differing from Italian and
German design by the use of more subtle and neutral colours. The colours that are primarily
used by the Italian current tend to be more flashy (Table 1).

Lusophone Space
Scandinavia (23) Italy (26) Germany (23)
(136)
White 25% White 35% White 36% Black 36%
Metallic Metallic
Brown 17% Red 30% 32% 28%
Grey Grey
Black 15% Black 30% Yellow 24% White 28%
Green 7% Brown 26% Black 20% Blue 16%
Red 20% Grey 12%
Blue 16% Orange 12%
Pink 12%
Brown 12%
Green 12%
Orange 12%
Table 1. Colour characteristics prevalent across the sampled products.
In relation to the material differences visible in the material of choice for products, these are
shown in Table 2. Portuguese speaking designers have a special preference for wood
primarily, followed by plastic, while the materials of preference of Scandinavian, Italian and
German designers (metal) are the least utilized by Lusophone designers.

Lusophone Space Scandinavia Italy Germany

(136) (23) (26) (23)
Wood 17% Metals 48% Metals 52% Metals 32%
Plastics 6% Plastics 30% Plastics 40% Wood 24%
Metals 4% Wood 26% Wood 24% Leather 20%
Fabric 17% Plastics 16%
Glass 17%
Table 2. Materials that are prevalent across the sampled products.

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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 63

At a formal level, design projects with Lusophone and German origins display a great
sobriety instilled in the shape of products, while designs from Italy and Scandinavia display
more organic and fun shapes than those from Germany and the Lusophone space (Table 3).
Innovation in the Lusophone space is still lagging behind the other design streams
examined. Although Lusophone products reflect innovation and originality, they are still
short of the originality that grew with these other three schools for decades and contributes
to highlighting the timeless tradition of their designs (Table 4). Across the items displayed in
Table 5 there is not much difference, since the products of the four nationalities and, or,
regions, are usually devoid of graphic markings, using them only to show the product's
brand. Products are mostly similar in terms of inferred ease of use (Table 5).

Lusophone S. (136) Scandinavia (23) Italy (26) Germany (23)

Simplicity 21% Simplicity 52% Simplicity 32% Simplicity 52%
Rationality 14% Rationality 26% Round Lines 20% Minimalism 44%
Straight Organic
5% 13% Fun Shapes 16%
Lines Shapes
Funcionality 12%
Table 3. Form characteristics that predominate in the products sampled.

Lusophone S. (136) Scandinavia (23) Italy (26) Germany (23)

Innovative
Changeable 6% Adaptable 13% 16% Adaptable 28%
Technology
Eco- Innovative
Materials 5% 13% Design classics 12% 24%
Sustainable Technology
Comfort 5% Modern 13% Compact 12% Comfort 20%
Multiple Multiple
13% Fun Shape 12% 16%
functions functions
Multiple
12% Modular 12%
functions
Ergonomic 12%
Changeable 12%
Table 4. Characteristics of originality and innovation prevalent across the sampled products.
Lusophone S. (136) Scandinavia (23) Italy (26) Germany (23)
Graphical Markings
Devoid 96% Devoid 100% Devoid 80% Devoid 76%
Brand 4% Brand 20% Brand 24%
Perceived Ease of Use
Easy 96% Easy 100% Easy 88% Easy 88%
Average 4% Average 12% Average 12%
Table 5. Prevalent characteristics of ease of use and the presence of graphical markings in
the products sampled.

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64 Industrial Design New Frontiers

The analysis presented in this section suggests that Lusophone design shows some
differences when compared to Scandinavian, Italian and German design traditions,
particularly in relation to innovation, which is rather less inculcated in Portuguese and
Brazilian products. This is deemed to result largely from the tradition and heritage that
comes from long ago in these design currents. There are also obvious similarities that unite
these four design streams, namely at the form level.
2.2.2.1 Sampled Scandinavian designs
The sample consists of 23 product designs, which are the basis on which the analyses
relating to Scandinavian design are made in this study (Fig. 6; images shown are in the
public domain; for a complete set of references see Simo & Coelho, 2011).

Fig. 6. Images of Scandinavian designed products sampled as a basis for analysis.

2.2.2.2 Sampled Italian designs
The sample includes 26 products, designed both by Italian and other designers
commissioned by Italian companies, for products sold as Italian products (Fig. 7; images
shown are in the public domain; for a complete set of references see Simo & Coelho, 2011).

Fig. 7. Images of Italian designed products sampled as a basis for analysis.

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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 65

2.2.2.3 Sampled German designs

The sample consists of 23 product designs, which are the basis on which the analyses
relating to German design are made in this study (Fig. 8; images shown are in the public
domain; for a complete set of references see Simo & Coelho, 2011).

Fig. 8. Images of German designed products sampled as a basis for analysis.

2.3 Discussion on the use of product profiles to generate new concepts

This section discusses the design concepts proposed in continuity to the characteristics
found, but adopting contemporary or emerging technology and materials. Two concepts
were proposed (Figures 2 and 3). One was designed taking into account the characteristics
of Portuguese products taken from the analysis done for Portuguese products. The other
one reflects the characteristics of Lusophone joint design identity. These concepts seek to
provide continuity to the two design cultures focused, through the selection of factors which
were set similarly to the existing sampled products. These factors include the colours most
frequently used by designers of these nationalities, their chosen materials and the formal
characteristics of their products. Innovation was sought in these creative concepts, in order
to distinguish these from existing products on the market. The focus of the first concept fell
on power savings, i.e. on an economic level, without neglecting the functional level (Figure
2). The innovations inculcated in the second concept concern mainly the formal domain, in
an attempt to make the product both functional and versatile, and in such, conferring
adaptability to satisfy changing and dynamic user needs (Figure 3).
The results suggest that, in order to continue a tradition of centuries without which the
designed products will no longer be accepted within and outside the Lusophone space, these
should incorporate colours, materials and forms typical of the Portuguese and Lusophone
culture. Colours of choice of Portuguese and Lusophone designers, identified as a result of the
analysis undertaken in this study, are white, brown, beige, green, metallic grey, red, cork
colour tones, yellow and blue. The materials selected by these designers are usually wood,
ceramic, cork, plastic, porcelain, metal, steel, aluminium, and vinyl or leather. At a formal
level, the products reflect simplicity, rationality, curved lines, elegance, organic character,
smoothness and straightness of lines. Designs should also reflect increasing concerns for
sustainability, ecological values and advanced functional, since the products designed by
designers of these nationalities are mostly very easy to use and should offer more consistently
clean and sustainable solutions to problems faced by the consumer society in the current times.

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Significant similarities were found between the design productions sampled in this study.
Portuguese design production, as sampled in this study, shows a preference for colours such
as white, black, beige, brown and metallic grey. In what concerns materials, the choice falls
mainly on ceramics, wood and cork; in terms of shape or form, products are simple, rational
and often incorporate curved lines. Although Portuguese product designs show a striking
low level of innovation, designed products are deemed easy to use and are mostly devoid of
graphical markings. For Brazilian designers, it can be concluded that they prefer colours like
brown and white, in terms of materials, their preference falls on wood and in terms of
forms, their products are conspicuously simple. Brazilian designers innovate in particular in
products that integrate technology and that are comfortable, while Portuguese designers
innovate mostly by conceiving products that are very user-friendly. Portuguese designs are
mostly devoid of graphical markings. From the joint analysis of the sampled designs
pertaining to these two nationalities it can be concluded that Lusophone design gives
primacy to colours like white, brown and black; wood is the material of choice and the form
of these products is simple and rational. The rate of innovation in Lusophone product
design is not high, but designers produce user-friendly products which are devoid of
graphical markings.
As a result of the analysis presented, Scandinavian chromatic preferences reflect mainly
white, red, black and brown. In respect to the materials order of preference, it begins with
plastic, followed by wood, metal, textiles, glass and, finally, their products are also
characterized by simplicity, rationality and the use of organic forms. The innovations
incorporated in these are evident at the level of adaptability, sustainability, multi-
functionality of products and modern appearance. The objects designed within this culture
are devoid of graphic markings and are very easy to use. Italian design uses more often as
colours white, metallic grey, yellow, black, red, blue, pink, brown, green and orange. In
terms of materials that stand out, there is plastic, metal, with special focus on steel, and
wood. At the form level, products are characterized by simplicity, curved shapes, fun
shapes and functional form. Their originality can be seen through the adaptation of new
technologies to design, which led to the creation of great classics of design, striving to create
compact objects. Multi-functionality, ergonomics, and fun are common product attributes.
Italian product designs include some graphic markings although most products are devoid
of them. Inferred ease of use ranges from medium to easy. Finally, in what concerns the
German current, based on the sampled designs covered within this study, often designers
opt for black, metallic grey, white, blue, grey and orange colours. In terms of materials there
is a preference for wood, leather, steel and plastic. These products main characteristics are
simplicity and minimalism. Their originality lies on adaptability and incorporation of new
technology, great comfort, modularity and multiple functionality. The products designed in
Germany are mostly devoid of graphical markings and if they do have them, they concern
the product brand. These products are deemed mostly easy to use.
In this era of globalization accelerated by technology, although it is not noticeable at first
glance, there seem to be apparent marks of national design in the existing design
production, even if a conscious effort to create them was absent from the design process. It
is a fact that the design originating in different nationalities and cultures is similar in many
ways, but the designer, is influenced by culture, societal norms and environmental
conditions of the place where he or she grows and matures. Therefore, even if there is no
deliberate intent, design will always reflect personal characteristics and the experiences of
those who design the products, even if sometimes barely visible.

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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 67

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:
- What are the collective cultural identity traits of the Portuguese and Lusophone
cultures (seen from the inside and from the outside)? (study I)
- From the set of identified cultural traits, which of these may be regarded as positive and
neutral in order to be inculcated in the design production? (study I)
- Is the assignment of product personalities a suitable means of transferring cultural traits
into product qualities? (studies II, III, IV and V).

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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
Adventurer (history Dynamic (history and Independent
and humanities) humanities, painting) (literature)
Realistic (cinema,
Audacious (literature) Empirical (history Industrious (history
history and
Autognose (history and humanities) and humanities)
humanities, literature)
and humanities, Enthusiast (cinema, Intellectual Property
Respectful (history
literature) history and (history and
and humanities)
Autonomous (history humanities) humanities)
Search (literature)
and humanities, Epic (history and Liberal (history and
Self-consciousness
literature) humanities, literature, humanities, painting)
(history and
Aware (history and music) Likely (history and
humanities)
humanities) Ethical (history and humanities, literature)
Self-critical (cinema)
Bold (history and humanities) Lucid (history and
Self-reflection
humanities, literature) Experimental humanities)
(cinema)
Bucolic (history and (cinema) Overview Modest (history and
Sensible (history and
humanities) autotelic (cinema) humanities)
humanities)
Concrete (cinema, Experimental Multi-mode (history
Solidarity (history
history and aestheticism (cinema) and humanities)
and humanities)
humanities) Expressive (painting) Naturalistic
Spontaneous (history
Confident (history and Flash (history and (literature, painting)
and humanities)
humanities) humanities) Noble (history and
Strategic Intelligence
Contrast (painting) Golden (history and humanities)
(history and
Eclecticism (painting) humanities) Organic (history and
humanities)
Colourful (song) Gracious (history and humanities)
Suave (history and
Cosmopolitan (history humanities) Organized (history
humanities)
and humanities, Harmony (history and humanities)
Sublimation (history
painting) and humanities, Original (cinema,
and humanities)
Dichotomy aesthetics music) history and
Subtle (history and
(paint) Hetero-textual humanities, literature)
humanities)
Different (history and (literature) Paradigmatic (cinema,
Tolerant (history and
humanities) Hope (history and history and
humanities)
Disseminator (cinema) humanities, music) humanities)
Universal (history
Diverse (cinema, Ideological (cinema, Picturesque (history
and humanities)
history and history and and humanities,
Unmistakable (history
humanities, painting) humanities, painting) painting)
and humanities)
Dreamer (history and Imaginative (history Prodigious (history
Virtue (painting)
humanities) and humanities, and humanities)
Vital (painting, music)
Ductile (history and painting) Rationalist (history
humanities) and humanities)
Sources: Almeida (1995), Bello (2009), Cabral (2003), Castagna (2005), Costa (1998), Lemire (2006),
Loureno (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).

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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 69

Abstract (painting) Elusive (history and Naive (history and humanities)

Acumen (literature) humanities) Needy (history and
Adaptive (history and Emblematic (literature, humanities)
humanities) painting), Nostalgia (history and
Allegory moralizing (painting) Feeling depth (history and humanities, literature, music)
Ambiguous (history and humanities) Ornamental (painting)
humanities) Fey (history and humanities) Pantheistic (history and
Antagonist (history and Fini-secular (literature) humanities)
humanities, literature) Folklore (history and Parental (history and
Aseptic (history and humanities) humanities)
humanities) Heroic (history and Patriotic (cinema, history and
Belief in miracles (history and humanities, literature) humanities)
humanities) Hidden (history and People (cinema, history and
Buck (history and humanities) humanities) humanities)
Candor (history and Honour (literature) Proud (literature)
humanities) Humble (history and Radical (history and
Centred (humanistic-historical) humanities) humanities)
Christian (history and Hybrid (literature) Romantic (history and
humanities, literature) Hyper-identity (history and humanities, literature)
Collective (history and humanities) Allogeneic (history and
humanities) Idyllic (history and humanities) humanities)
Complex (history and Imperial (history and Sacred (literature)
humanities) humanities) Sacrificed (history and
Concentrate (history and Improvisation (history and humanities)
humanities) humanities) Sadness (history and
Constant (history and Incremental (historical and humanities, music)
humanities) humanistic) Sensitive (history and
Controllable (history and Intense religiosity (cinema, humanities)
humanities) painting) Sentimental (history and
Creator (history and Interstitial (literature) humanities, literature, music)
humanities) lyric (literature) Single (history and humanities,
Critical (history and Metamorphic (history and painting)
humanities) humanities) Singular (cinema, history and
Cultism (literature) Catholic Militant (history and humanities)
(painting) humanities) Spiritual (history and
Cultural assimilation (history Mimetic (history and humanities)
and humanities) humanities) Stubborn (history and
Curvilinear reasoning (history Miscegenation (literature) humanities)
and humanities) Moral (painting) Ancient Subjective (literature)
Diachronic (cinema) (story) Subversive (cinema)
Diaspora (history and Morphological (history and Sync (cinema) Theology
humanities) humanities) (history and humanities,
Dogmatic (history painting) Movement (history and literature)
dream Themes (painting) humanities) Utopian (history and
Ecumenical (history and Mystery (history and humanities)
humanities) humanities, music) 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), Lemire (2006), Loureno
(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).
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).

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70 Industrial Design New Frontiers

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 Jordans
(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).

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
nave somewhat nave neither nave 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

Table 8. Product personality dimensions (Jordan 2000).

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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 71

Upper product personality attribute Lower product personality attribute

Kind Neither kind or unkind
Honest Somewhat dishonest
Somewhat fun Somewhat serious
Bright Somewhat dim
Stable Somewhat unstable
Humble Neither humble or narcissistic
Flexible Inflexible
Liberal Authoritarian
Driven by values Somewhat driven by values
Somewhat extroverted Somewhat extroverted
Nave 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
cultural traits identified in study I (transfer performed by the authors).

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
Flexible Inflexible
Liberal Somewhat liberal
Driven by values Somewhat not driven by values
Somewhat extroverted Somewhat introverted
Naf Somewhat cynical
Moderate Excessive
Neither conforming or rebellious Somewhat rebellious
Energetic Somewhat energetic
Gentle Somewhat gentle
Simple Complex
Optimistic Neither optimistic or pessimistic
Table 10. Product personality attribute ranges resulting from translating the Lusophone
cultural traits identified in study I (transfer performed by the authors).

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72 Industrial Design New Frontiers

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.

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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 73

Personality Attribute Ranking Personality Attribute Significance

Kind B C A D Unkind Significant at 95% c.i.*
Honest CBAD Dishonest Not significant
Serious CBDA Light-hearted Significant at 99% c.i.*
Bright BCAD Dim Significant at 95% c.i.*
Stable CBAD Unstable not significant
Narcissistic CDAB Humble Significant at 99% c.i.*
Flexible BADC Inflexible not significant
Authoritarian CDAB Liberal Significant at 99% c.i.*
Driven by values CBAD Not driven by values Not significant
Extrovert ADBC Introvert Significant at 95% c.i.*
Nave BACD Cynical Significant at 95% c.i.*
Excessive DCAB Moderate Significant at 95% c.i.*
Conforming CBDA Rebellious Significant at 95% c.i.*
Energetic ABDC Non energetic Significant at 99% c.i.*
Violent DCAB Gentle Significant at 99% c.i.*
Complex CDBA Simple Not significant
Pessimistic CDBA Optimistic Significant at 99% c.i.*
* - c.i. confidence interval
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).
Personality Attribute Ranking Personality Attribute Significance
Kind BACD Unkind Significant at 99% c.i.*
Honest BCAD Dishonest Significant at 99% c.i.*
Serious BDCA Light-hearted Significant at 99% c.i.*
Bright BACD Dim Not significant
Stable BCAD Unstable Significant at 99% c.i.*
Narcissistic DCAB Humble Significant at 99% c.i.*
Flexible ABCD Inflexible Significant at 95% c.i.*
Authoritarian DCAB Liberal Significant at 95% c.i.*
Driven by values BCDA Not driven by values Significant at 95% c.i.*
Extrovert ACDB Introvert Significant at 99% c.i.*
Nave BACD Cynical Significant at 99% c.i.*
Excessive DCAB Moderate Significant at 99% c.i.*
Conforming BCDA Rebellious Significant at 99% c.i.*
Energetic ACDB Non energetic Significant at 95% c.i.*
Violent DACB Gentle Significant at 95% c.i.*
Complex DCAB Simple Significant at 99% c.i.*
Pessimistic DB&CA Optimistic Not significant
* - 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).

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74 Industrial Design New Frontiers

Personality Attribute Ranking Personality Attribute Significance

Kind DCBA Unkind Significant at 99% c.i.*
Honest BCDA Dishonest Significant at 95% c.i.*
Serious BACD Light-hearted Significant at 99% c.i.*
Bright BCDA Dim Not significant
Stable BCDA Unstable Significant at 99% c.i.*
Narcissistic ADBC Humble Significant at 95% c.i.*
Flexible DCBA Inflexible Significant at 99% c.i.*
Authoritarian ABCD Liberal Significant at 99% c.i.*
Driven by values BACD Not driven by values Significant at 95% c.i.*
Extrovert DCAB Introvert Significant at 99% c.i.*
Nave CBDA Cynical Significant at 99% c.i.*
Excessive ADCB Moderate Not significant
Conforming BCAD Rebellious Significant at 99% c.i.*
Energetic ADCB Non energetic Not significant
Violent ABDC Gentle Significant at 99% c.i.*
Complex ABCD Simple Significant at 99% c.i.*
Pessimistic BACD Optimistic Not significant
* - 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).
Materials metals wood ceramics plastic ecological
Colour primary pastel metallic warm cold
Shape straight organic coherent contrasting functional
Graphic
geographical decorative instructions patterns reliefs
markings
conventional
Archetype minimalist luxury utilitarian adaptable
/ traditional
many
dependency
Morphology single part few parts modularity interconnected
between parts
systems
neither easy not very very complex
simple and complex, yet
Ease of use or difficult to complex, but and difficult
intuitive intuitive
use difficult to use to use
manufacturing
Production rudimentary contemporary user
handicraft by high
Process industrial industrial fabrication
technology
nanotechnology
Technological moving parts electrical electronic information
and
Sophistication (manual) technology technology technology
biotechnology
Multiple single some various many
few functions
functionality function functions functions functions
Size very small small medium great very large
Table 14. Product technical dimensions each broken down into five categories, that were
considered in study III.

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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 75

3.5 Study IV Establishing the link between product personalities and product
characteristics
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
were used to characterize the 12 objects involved in study III are shown in Table 14.
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
the transfer of Lusophone cultural traits (Table 15).

Product technical Culturally induced Portuguese Culturally induced Lusophone

dimension product profile product profile

Colour Cold Cold

Shape Straight, coherent, contrasting Straight, coherent, contrasting

Graphical markings Decorative, instructions Decorative, instructions

Archetype Minimalist Minimalist

Multiple functionality Single function -

Size Small Small

Ease of use - Complex, yet intuitive

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

3.6 Study V Generation of product concepts and their validation

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
one based on the Lusophone ones, named Imprio.
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.

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76 Industrial Design New Frontiers

No Portuguese or
Furniture concept Portuguese traits Lusophone traits
Lusophone traits
Imprio Lusophone A 8 8 5
Bloco Lusophone B 3 9 9
Flex 2 Lusophone C 2 4 15
Vale Portuguese A 5 6 10
Leveza Portuguese B 7 7 7
Flex Portuguese C 2 8 11
Table 16. Survey seeking the validation of the results of the studies reported in this chapter
(21 respondents second year undergraduate industrial design students).
The results of the survey do not lead to consider that the results convey clearly identifiable
cultural traits associated with the Portuguese and Lusophone cultures, although these vary
from product concept to product concept.

Fig. 10. Renders of Vale living room furniture line based on the Portuguese cultural traits
and their corresponding product technical attributes (designed by the second author).

Fig. 11. Renders of Imprio living room furniture line based on the Lusophone cultural
traits and their corresponding product technical attributes (designed by the second author).

3.7 Discussion of the results of the five studies presented

In the second part of this chapter, cultural traits were the starting point to reach at the product
profiles that were used as the basis for the design of two furniture lines. The scope of the work
reported is not limited to furniture and is deemed applicable in a wider scope, considering its
genesis and methodology, based on a literature review of cultural traits, taking into account
the personalities of consumer products and consulting industrial design students.
Advancing the knowledge on the transfer of cultural traits to product design features may
require further inquiry, since the projects reported in this chapter did not lead to conclusive
results towards accepting or rejecting the hypothesis which was presented in the methods

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Culturally Inspired Design: Product Personalities to Capture Cultural Aspects 77

section of this chapter. The adequateness of the use of the product personality assignment
technique in supporting this transfer could not be determined conclusively, as the results of
the panel convened to assess the cultural identity of the product concepts produced was not
conclusive, lacking agreement among the group.

4. Conclusion
One of the underlying assumptions for this chapter was that there is a space yet to be filled
by a culturally inspired design current to take the space of design production with a
Lusophone flavour, for international dissemination. Another underlying assumption is that
design may be inspired by culture, and a direct transfer of cultural traits to product
attributes may be pursued, with the support of product personality attributes, as a mediator.
The results of both streams of analysis (Fig. 1) presented in this chapter were found not to
match entirely. The product feature profiles encountered in the sampled Lusophone design
production (first part of the chapter) do not match entirely the product feature profiles
obtained from transferring selected cultural traits (positive and neutral) to technical
features. This suggests that there is a space yet to be filled by a culturally inspired design
current to take the space of design production with a Lusophone flavour, for international
dissemination. This mismatch also suggests that culturally inspired design may yield novel
design concepts and trigger an array of new proposals that cater to varying tastes and
sensibilities. This may contribute to more visibility of designs from particular regions of the
globe, opposing the paradigm of mainstream design production, according to the traditional
and well established design schools and currents. In a globalized world, culturally inspired
design carries the promise to bring more cultural inclusion into the design discourse and to
promote added differentiation of consumer choice of design objects.

5. Acknowledgment
The research projects presented in this chapter were developed as Master of Science thesis in
industrial design engineering by the second and third authors, supervised by the first
author. A selection of results from these projects have previously appeared in Simo and
Coelho (2011) and Silva and Coelho (2011), published by Common Ground.

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80 Industrial Design New Frontiers

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 Industrial Design - New Frontiers
Edited by Prof. Denis Coelho

ISBN 978-953-307-622-5
Hard cover, 190 pages
Publisher InTech
Published online 09, November, 2011
Published in print edition November, 2011

A new breed of modern designers is on the way. These non-traditional industrial designers work across
disciplines, understand human beings, as well as business and technology thus bridging the gap between
customer needs and technological advancement of tomorrow. This book uncovers prospective designer
techniques and methods of a new age of industrial design, whose practitioners strive to construct simple and
yet complex products of the future. The novel frontiers of a new era of industrial design are exposed, in what
concerns the design process, in illustrating the use of new technologies in design and in terms of the
advancement of culturally inspired design. The diverse perspectives taken by the authors of this book ensure
stimulating reading and will assist readers in leaping forward in their own practice of industrial design, and in
preparing new research that is relevant and aligned with the current challenges of this fascinating field.

How to reference
In order to correctly reference this scholarly work, feel free to copy and paste the following:

Denis A. Coelho, Ana S. C. Silva and Carla S. M. Simao (2011). Culturally Inspired Design: Product
Personalities to Capture Cultural Aspects, Industrial Design - New Frontiers, Prof. Denis Coelho (Ed.), ISBN:
978-953-307-622-5, InTech, Available from: http://www.intechopen.com/books/industrial-design-new-
frontiers/culturally-inspired-design-product-personalities-to-capture-cultural-aspects

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