One of the product which able to evoke humans’ emotions is Ronnefeldt tilting pot (Figure 1). The appearance looks interesting which has unusual form and design language. However, Ronnefeldt focused on the functions. Ronnefeldt designed a pot, which can be positioned in 3 different ways throughout the brewing process. The pot should be laid on a flat surface, as it easier for consumers to insert the tea leaves. Then, when the hot water is poured, consumers need to arrange the pot into slant position. After the brewing process is done, the pot should be placed in an upright position to stop the brewing process. In short, the process of using the tilting pot is different from a normal pot. The tilting pot also has more engaging design and it has more interaction with the …show more content…
The real beauty consists of several layers of aspects (figure 3) which create a balance to the products. Those layers are able to evoke humans’ creative thinking and develop perceptions towards beauty. Majority of designers able to design a beautiful shaped product with impressive functionalities and effectiveness. However, only several of them able to evoke customers’ emotions and creates memories through the interaction. Although it can be argued that beauty lies in the eyes of designers, designers will not have an equal understanding of beauty. Their level of beauty will be determined by their knowledge of those aspects. To conclude this essay, A paragraph from Don Norman’s book Emotional was quoted, He stated : “We are all designers—because we must be. We live our lives, encounter success and failure, joy and sadness. We structure our own worlds to support ourselves throughout life. Some occasions, people, places, and things come to have special meanings, special emotional feelings. These are our bonds, to ourselves, to our past, and to the future. When something gives pleasure, when it becomes a part of our lives, and when the way we interact with it helps define our place in society and in the world, then we have love.” (Norman, 2004,