The base of the world income pyramid, typically known as the Base of the pyramid (BOP), represents low-income people living in developing countries. Co-design with BOP people is crucial for sustained adoption and use of products and services. Based on interviews with practising designers, we identify barriers and enablers that the designers encounter in undertaking various tasks in the process of co-designing with these marginalised people. The findings suggest that a broad range of factors, related to the BOP context, co-design processes and methods, organisational issues, and aspects of collaboration, support or hinder activities in the co-design process. Consideration of these factors, as perceived by the designers, can lead to more impactful co-design with BOP people.

Novelty is an important characteristic of a creative idea, forming a core component of creativity. Measurement of novelty is therefore essential to assess creativity. We found deficiencies in a frequently cited method of novelty assessment found in the literature. We refine this method by proposing four modifications, supported by drawing on examples of products and ideas. The refined method and the original method are evaluated by benchmarking them against the collective, intuitive assessment of product novelty by experienced designers. The overall achievement of the refined method as presented in this paper is its contribution to a better assessment of product novelty.

Design is essential to fulfil unmet or under-served needs of resource-poor societies, supporting their social and human development. A great deal of design research has been undertaken in such low resource settings, and is discussed under different names, such as ‘community development engineering’, ‘humanitarian engineering’, ‘appropriate technology’, ‘design for development’, ‘design at the Base of the Pyramid’, etc. This has created an important need to know what has been examined and learnt so far and to plan for further investigation. To address this, we review a broad range of literature, with close examination of 30 design studies in this field. This reveals a multifaceted picture, showing a great diversity in investigation and reporting of attributes of context (income, rural and urban, design sectors, countries, and gender), the roles of poor people (consumers, producers, and co-designers), characteristics of research methods employed (e.g. descriptive and prescriptive, data collection methods, qualitative and quantitative aspects, and unit of analysis), and design topics. Based on the review results, we offer recommendations for further research, identifying concerns that researchers ought to have about this field and suggesting ways in which research in this field can be undertaken and reported.

Codesign with resource-constrained people living in developing countries is crucial for sustained adoption and use of designed solutions. Several studies have investigated codesign with resource-constrained people. It is, therefore, important to understand what has been investigated and learnt so far as well as to plan for further scholarly exploration of this field. To address this, I applied a systematic literature review (SLR) approach to understand main sources, definitions, and theoretical perspectives regarding codesign with resource-constrained people. The SLR also aimed to understand inputs and outputs of codesign as well as factors influencing the codesign process. The findings portray a multifaceted picture regarding these aspects of codesign. I discuss implications of review findings for the practice of codesigning solutions with resource-constrained people, identify concerns that researchers should have about this field, and offer suggestions for future research in this field of codesign.

Eliciting specific intentions and seeking inspiration are important activities in the process of shaping a product’s visual appearance. A survey of the professional industrial designers was conducted to identify intentions (e.g. attributes, emotions) that they attempt to elicit, and also to identify inspiration sources and their media that they prefer not only in generating ideas to realise intentions but also in analysing and communicating intentions. The findings indicate that the designers frequently intend to elicit some specific attributes and emotions. Regarding inspiration sources and media, commonalities as well as differences were observed in the activities - analysing intentions, communicating intentions, and generating ideas to realise intentions.