This paper addresses culturally rooted factors within user interface design. The design implications of globalisation are discussed, together with the related processes of internationalisation, localisation, ‘glocalisation’, iconisation and culturalisation, in order to establish a basis for a new approach to HCI design. The potential for a more diverse culture-centred, design-based system—‘Culture-Centred Design’ (CCD) is introduced, and a CCD process developed.\ud
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A redesigned computer interface, incorporating a consistent and culturally rooted metaphor for a Chinese user target group is discussed. A culturally specific ‘garden’ metaphor is developed and applied as an alternative to the current global ‘office’ or ‘desktop’ metaphor. A working demonstration of the interface is piloted with a group of Chinese users to assess its success in terms of interactivity, usability and cultural significance. The overall results of the first two evaluation phases have shown very positive outcomes for the use of the CCD system and Chinese garden metaphor
This article explores a different strategic role for the crafts in relation to contemporary industry, together with an analysis of potential benefits considered in two ways: first, as a pervasive craft influence to stimulate new design thinking, markets and values, within appropriate
industrial contexts; and second, as a series of hands-on, craft interventions that directly affect the quality, aesthetics and role of products. The article examines the current and potential position of the crafts relative to art, design, industry and consumer culture, through a series of
related schematic models. These trace the relationship of craft to practice, thinking and influence, and identify the related demands on the craftsperson in the move from a personal paradigm of making to the broader paradigm of production. It is argued that contemporary crafts should contribute
to the production of socially directed goods of long-term value to a wider society than the current craft market niche.
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