Annotated Portfolio
Design Project B2 2015 - 2016
ANNOTATED PORTFOLIO
N. Kompotis J.J.M. van Sleeuwen R.C.F.M. van der Velden
Team s130375 s142577 s142719
Squad Tangible and Reciprocal Shape Changing Interfaces Type of project Design Project Date
07.01.2016
Assessors M. Bruns S. Bakker
Coach M. Heuvelings Abstract
This Annotated Portfolio is the final deliverable of the project ‘Tangible and Reciprocal Shape Changing Interfaces’. By means of pictures and annotations, the design process of a shape changing interface is documented.
Authors Keywords
Design Project; Shape Changing; Tangible; Interaction; Silicone; Reciprocal; Affordance; Materiality;
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DESIGN PROCESS c r e At e
Discover
deliver
Design Brief
A BS T R AC T
Value
Context
Final Presentation
Bodyworkshop by Y. Hur Key/Body Analysis
ScientiďŹ c Study
Bodyexploration
Co-Creation Feedback
Silicone
Kintsukuroi
Final Demo-Day
CO N C R ET E
Elderly/Extering
Prototype
Shapechanging Objects
Origami Surface
Materialworkshop by S. de Waard
Shape/ Airchambers
Midterm Demo-Day
Material Exploration
Prototype/ Mechanism
Actuation
Door Panels Sensor
Soft-Hard Material
Discovery
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Iterations 1 &2
Renders
Iterations 3
Iterations 4
Prototype
Discussion & conclusion
Annotated Portfolio
Design Project B2 2015 - 2016
INTRODUCTION Over the years, the development of new technologies has influenced how we use objects in our daily life and how we perceive them. Sometimes, these developments changed major characteristics of an object, e.g. phones, mobile phones to smart phones, and some objects even became obsolete, e.g. diskettes. These changes sometimes concern us with slowly moving away from Graphically oriented User Interfaces (GUI) to more Tangible User Interfaces (TUI) or even to what Ishii et al. (2012) calls interfaces that consist of Radical Atoms1 . Shape changing interfaces are playing a major role in these new developments. We describe shape changing interfaces as interfaces that use “physical change of shape as input or output. We follow earlier work that has used self-actuated change as a defining characteristic […]. Additionally, we require that the self-actuation must be controllable so that the object can return to its initial state and repeat the shape-change” (Rasmussen et al, 2009, p.1). The opportunity of integrating shape changing interfaces into design, makes us wonder why should we use these technologies. Considering the expressiveness of the interface, we are convinced about the qualities shape changing technology could offer. The expressive shape changing movements can add a new layer of communication and thereby invite for novel ways of interaction between humans 1*Radical Atoms is a vision for the future of human-material interactions, in which all digital information has physical manifestations so that we can
and products (Taylor, 2009). As described in Kwak and Frens (2009), this can lead to compelling continuous interaction rather than discrete interaction through, for example, buttons. In the long term, this can lead to more engaging interfaces as behavior can adapt to use, new functionality or trends. In the squad of Tangible and Reciprocal Shape Changing Interfaces we challenged ourselves to design such a product that complies with the principles mentioned above. A non-intrusive product that would provide new possibilities within the home context and would change the way people perceive certain interactions. This Annotated Portfolio describes and reflects by means of pictures and video’s on the process in which four important iterations were made in order to present the final concept: Tactiles. After a brief explanation of Tactiles, the first part addresses the first discoveries in the first phase of the project. The following chapters will describe the four iterations, which correspond with the design process. By explaining the goal, approach, results and reflecting on the specific iterations, insights and learnings among the process will be provided. The Annotated Portfolio will end with a critical discussion and conclusion. A note of practical matter, this Annotated Portfolio contains supporting video’s of explorations and concepts. The video’s are indicated via a URL.
interact directly with it.
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TACTILES Tactiles are the new generation of tiles. Tactiles are able to create a subtle dynamic movement and enhance the intuitive and tangible experience of an interface. They are designed as building blocks and could therefore be integrated in different applications for the home environment. The tiles consist of soft and hard materials. Multiple layers of soft silicone, are attached to the hard surface on top. With the help of sensors and a pneumatic system, both integrated within the silicone, Tactiles can move and thereby respond to the user. The choice of the hard material, the pattern and the interaction of the tile, can be completely adjustable, according to the customer’s preferences.
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Annotated Portfolio
METHOD & APPROACH From the start the team has discussed together what the common approach to the project should look like. Every team member expressed their preference about consciously steering the project approach, thoroughly discussing this together, throughout the whole project. Continuously being aware of making decisions and pointing out directions made the process smooth in the sense that steps were logically followed up by each other. First phase The initial approach was to orient, analyze, explore and do research, in order to validate decisions. In the first phase of the process, explorations and ideation sessions relating to function and context were leading. In terms of design methods, an ideation method e.g. Transpacific Airline ideation technique (Michalko, 2006, p. 144-149) was used, during a brainstorm session. More advanced design methods were integrated in the body exploration workshop; the method of kinaesthetic creativity (SvanĂŚs, 2013) and the Interaction Frogger Framework (Stienstra et al., 2013). Second phase After the Mid Term Demo Day it was chosen to change the focus from a function relating approach towards a more experimental approach. Focusing on creating a product which had the right conventions (Norman, 1999) and finding out how to make the product work by making it robust with sensing and actuation mechanisms integrated. This resulted in an approach which included high tempo explorations in combination with abstracting and analyzing moments in order to set direction. Relating this process to the Reflective Transformative Design Process (Hummels and Frens, 2009) it could be concluded that the design process of Tactiles was manly thrived through the horizontal axis of the model.
Design Project B2 2015 - 2016
The kinaesthetic creativity method defines the active use of the body through abstract movements to explore possible futures (SvanĂŚs, 2013).
The Interaction Frogger Framework addresses the theoretically potential mappings between the action and the elements of perception (feed forward and feedback) ((Stienstra et al., 2013).
By developing solutions (integrating knowledge and skills) (right circle) as well as integrating the perceptualmotor and emotional skills (left circle), the concept of Tactiles was established.
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Design Project B2 2015 - 2016
DISCOVERING To get the project started a direction needed to be found. After choosing a direction, this context needed to be analyzed and explored. As a good starting point, it was important to get acquainted with existing shape changing technologies. Reflection We found a context in which to design we want to explore further, but a specific function or problem for which to design was not found yet. We had gained a lot of inspiration and ideas which we could use for the continuation of the project. Evaluation The goal to find a direction for the project was found but it was still very broad and needed to be determined more specifically. The idea of shape change was clear, but how to design for shape transformation was not clear yet.
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Starting with focusing on interesting rituals inside the home environment, the context to be explored was found, namely the entering or exiting of the house. This ritual was analyzed and experienced to reveal current problems or points of improvement in the interaction. A more detailed overview of rituals within the homecoming context can be found at http://tinyurl.com/tactiles01.
Also, shape changing objects were gathered (figure XX), analyzed and went into depth of specific interaction studies. Quick brainstorms and ideation sessions did not lead to any clear function to design for.
Annotated Portfolio
Design Project B2 2015 - 2016
ITERATION 1 - BODYWORKSHOP
A car key was chosen to be analyzed during the workshop. First, the key’s interaction was analyzed by means of a body storm exploration.
In order to learn how to deal with designing for shape changing technologies, how and where new emerging technologies and their functionalities should be integrated into design, a workshop by Y. Hur was organized.
The body storm exploration gave insight in how it really feels “to be” an object. In this case, the feeling of the resistance of a button and the velocity of the flipping part of the key.
The icons on the buttons, showing the purpose of each button.
The rubber materials and division between the squares, what makes it look and feel like something to touch, a button.
feedforward
INHERENT
The visibility of the physical key (flipping part which is visible on the side of the key), shows that there is a key.
AU G M E N T E D
The car key was also analyzed in terms of the six aspect of natural coupling, feed forward and feedback, as described in Wensveen et al. (2004).
FUNTIONAL
feedback When the button is pushed, the key is showing up by making a 180 degree rotation upwards.
When the button is pushed, the user feels the acceleration of the key and the collision with the casing of the key There is no specific augmented feedback of the flipping part of the key.
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Based again on body movements, different dynamic options were explored in order to make the interaction of opening a car more interesting. By using arms and legs and the cumulative pushing movements, the function of opening respectively one door and all doors was acted out. The shape changing body storm was translated into a physical prototype. The function had to be related to a change in shape and form. The chosen functions were: locking/ unlocking the doors and regulating the climate in the car, from a distance. After some form explorations, a drop shape was chosen. The form of the key consists of a circular shape in the middle and two triangular shapes on the sides. By rotating the circle, the triangular shapes appear, and the car doors will open. On the backside of the key, the temperature inside the car, can remotely be communicated to the user and also be adjusted by him/her.
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Reflection The bodyworkshop proved to be an important step in our process. The intuitiveness of interaction and its advantages were not only seen but also experienced in depth. We comprehended why shape change should hold a close relation to the function it represents, in order to be perceived logically by the user. After analyzing, in theory, a paper on interaction (i.e. natural coupling, feedback and feedforward) written by Wensveen et al. (2004), we also dived into practice, by using these related principles, to explore and analyze the objects. This led to a deeper understanding of these principles, which we were able to use to explain and discuss within our concept. Lastly, we found out that the materials used, the placement, and the feel of an object are extremely important in creating conventions and perceiving affordances (Norman, 1999). Evaluation The workshop of Y. Hur led to the question of how the interaction of opening and closing could be engaged in a dynamic way. These insights, combined with the earlier analysis on the coming home context, resulted in the exploration of doors, and inspiration was gathered. Reflecting showed that, in order to create a good touch and feel, the right materials needed to be found. Thus, a material exploration was essential to continue our process. Video A more detailed overview of the concept and the process of the body exploration workshop can be found in the concept video at http://tinyurl.com/tactiles2.
Annotated Portfolio
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ITERATION 2 - MATERIAL WORKSHOP To make the next step into designing a shape changing interface, materials and the sense of touch, play a major role. In order to get a better understanding of balancing material performances, with sensorial material and tangible qualities, a workshop was organized by, S. de Waard. Reflection We found that a combination of hard and flexible materials attracted our attention. Thus, we searched something flexible, but with the touch and feel of a hard material. The contrast of this feeling was intriguing and worth exploring further. Evaluation The combination of hard and soft material and the feedback you receive when interacting with them had to be explored further. MDF was mainly the hard material. By laser cutting it into movable patterns multiple shape changes were created, which were combined with sponge. Video A video of findings and explorations during this workshop can be fount at: http://tinyurl.com/tactiles3.
The only restriction on working with different materials was that, they had to connect with a hand gesture. After, choosing the hand gesture of pushing, in combination with the analysis of multiple materials, two materials with different properties were selected.
The sponge was interesting because of its soft and flexible characteristics, as well as the feel of a ‘clicking point’. To spread the pressure along the surface of the sponge and to make it feel more natural when pushed, a wooden material was put on top. Having a pyramid tile in mind, the final idea resulted in a panel and mechanism in combination with flexible and solid materials.
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ITERATION 2 CO-CREATION A full scale door was made, on which (user)tests could be conducted, in order to find a concrete function for the front door and receive feedback on the concept. Having the material workshop as a reference point, a combination of MDF panels and sponge was used. Most wooden panels were laser cut into a number of different movable patterns. These panels, along with the pyramid mechanism of the materiality workshop, were implemented into the door.
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Design Project B2 2015 - 2016
Results Most users perceived the panels as buttons and quickly thought of functionalities, such as door bells, windows and general notifications. Also, safety related functions appeared; personal/digital doorknob, unlock code, place to hide objects were mentioned. As for the pyramid mechanism, the direct feedback of the popping up frame and the unusual way it reacts were mentioned positively. Also the interaction of users with each other, while standing simultaneously on both sides of the door was tested. Although, users did like the playful part, they did not really see a purposeful functionality in it.
A co-creation session was performed. The users were confronted with the door, and were told it was the front door of their house, and invited to interact with it, before being asked what they thought the function should/could be. Preferred panels of the participants were discussed and lastly interaction between users on both sides was explored. The users were interviewed on their opinion, feeling and vision about the door.
Reflection Following the feedback of the participants, we found that the panels with more resistance, gave a feeling of quality to the panels. It was also mentioned that doors should represent safety and not hide surprises. Furthermore we saw that different shapes and tiles on the door were confusing, so we needed to come
up with a solution. Lastly we didn’t see much potential for user-to-user interaction, because opening the door was the more logical option. Evaluation Even though, the co-creation session did not lead to a concrete function for the door, it did lead to some interesting results and decisions. Two important decisions were made: • Creation of an entire moving surface, instead of multiple moving panels. Having one surface is more consistent and makes it more clear for the user where exactly to interact on the surface. Also, it takes away the button-like feel and provides more dynamic shape-changing opportunities. • Focusing on User-Interface interaction. When interacting with a door, the user-to-user interaction is not important, since it acts as an obstacle between the two parties. It’s also more difficult to integrate system interaction in a user- touser interacting object.
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Design Project B2 2015 - 2016
ITERATION 4 - HARD & SOFT MATERIALS For the next step, inspiration was drawn from the art of Kintsukuroi. The plan was to find a way to make the rigid gold parts in between more flexible. The general idea was to find a way to combine hard and soft materials. Thus, explorations had to be performed on how to: - Get hard pieces properly stuck to soft materials - Make the surface look and feel good - Find a way to actuate the surface - Find a way to implement sensors - Create appealing and functional shapes and patterns. Video A stop motion video of findings and explorations during this exploration phase can be fount at: http://tinyurl.com/tactiles4.
Kintsukuroi: A self made plate following the art of Kintsukuroi: the Japanese art of fixing broken pottery with gold
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Design Project B2 2015 - 2016
Several explorations were carried out, each one was analyzed and discussed so that an improvement could be made in the next exploration.
In the first explorations, silicone and liquid latex were used as soft materials. The hard materials used were porcelain, cork, plastic and perspex.
Further up with the explorations, perspex and cork were mainly used, but this time, in combination with air chambers. Following the example of the Soft Robotics Toolkit, air channels were cast in silicone in between pieces of perspex. In other samples air channels and chambers were put behind the perspex pieces. Using syringes to inflate the chambers, the differences between the molds were explored.
After choosing to put the air chambers behind the pieces, more explorations were made, trying to make the air chambers work as hinges, this time. The air tubes were now molded in the silicone itself and were extended outside the mold, so air would not escape.
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Design Project B2 2015 - 2016
CapSense was explored, because it could be integrated into the silicone. Copper tape was applied to several pieces of perspex, some covering the whole piece, others just part of it. Attached to each piece were different kinds of conductive wires, which were all tested on ease of integration in silicone and on compatibility with CapSense.
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Patterns and combinations have been sketched. Up to this point mostly triangles and trapezia were used in the molds. In the new shape explorations, round shapes, lines and new patterns were tried out.
Syringes were chosen as pumps to regulate the amount of air within the air chamber. Servo motors were used to drive the syringes. After building a mock-up mechanism, a laser cut file was created and connected, on which all syringes and servos would fit.
Combining the most efficient solutions, a pre-final mold was made to carry out some final explorations. Cork was integrated on top of the silicone, on which hard materials could be attached. The silicone itself was dyed with white ink to make it opaque and hide the air chambers. On the backside, some different versions of air chambers were explored to result in the perfect dynamics. In combination with big and smaller pieces on top of the silicone, the highest efficiency was tried to be achieved, in terms of dynamics.
Annotated Portfolio
Design Project B2 2015 - 2016
Reflection We have found out that, except cork, the overwhelming majority of hard materials did not stick properly to the silicone, but performed better with latex. The look and feel of latex though, was not appealing. Also, it could only be applied in thin layers, so the materials could not be properly embedded. Using a combination of silicone, cork and a hard material proved to be the best option. The air channels in between the pieces did not move the hard pieces relative to each other at all. The air channels did move the surface, but the movement did not have any relation with the pattern on top. The air chambers did move the pieces in relation to the pattern, with the pieces being pushed upwards. As a solution new air chambers worked as hinges or, for small pieces, push the pieces directly upwards. For the CapSense a thread was chosen that was thin and flexible, so it could be integrated into the silicone, though conductive enough for the CapSense to work properly. For the larger chambers, the bigger one had the most hinging effect. The cross-sectioned smaller chamber, had the best pushing effect, where the other two tended to form an oval, instead of round bubble. Evaluation During these explorations we changed the concept from a dynamic surface on the front door, to dynamic tiles that could be placed in multiple contexts. At this point, the knowledge to make the tiles work properly, combined with a nice look and feel had been gathered.
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ITERATION 5 - FINAL CONCEPT Ready to make the final prototype. For the Final Demo Day, a final prototype and a presentation set up needed to be made, that presented the product to visitors of the exhibition. For the Demo Day it was decided to make one shape changing tile, with five air chambers and accordingly five sensors and an integrated material on top. Next to that it was decided to present three nonfunctioning tiles integrated with different materials on the surface. These tiles would be implemented into a surface with real tiles. This way people got an impression of what it would look like if the tiles were implemented into a wall. Reflection The presentation looked neat and interesting, the attention of visitors was primarily drawn to the final prototype. Unfortunately the actuation mechanism had some troubles and the tile could only move very subtly. Visitors were enthusiastic about the concept but some found it very difficult to envision future applications for the tile. We realized that we needed to give more concrete examples or even design one tile fully for a specific function, context and user group in order to communicate its potential. Evaluation Making a next iteration and placing the concept into a context with a specific function proved to be too time consuming for us to do within the time we had left to work on the project.
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Tactiles: final concept presentation during the Demo Day
Annotated Portfolio
Design Project B2 2015 - 2016
To explore the opportunities of materials which could be applied to the surface of the tiles, materials were gathered. 3D printed pieces of copper filament were printed, and samples of acrylic natural stones, leather, fineer, wood, aluminum, copper and were gathered. The hard materials on the three non-functioning tiles were chosen to be ceramics, aluminum and black perspex, all attached to a piece of cork. Wood fineer was used on the shape changing tile.
The extending tubes of silicone where the air tubes were to be attached, were made underneath the piece, instead of on the sides, so they would not be visible. Also air tubes were attached to the silicone tiles.
Using four hinging air chambers in the corners, that would hinge the corners upwards, and one cross section air chamber in the middle to push the center upwards. The sensors were placed in the four corner pieces and in the middle piece, when touched the chambers underneath the piece would inflate.
In order to give visitors an idea of in what contexts the tiles could be placed, a few renders were made and presented. Also a render with an explanation of the layers in the silicone was made. Material boards were shown in order to show the opportunities of surface materials.
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CONCLUSION In the context of Tangible and Reciprocal Shape Chancing Interfaces, the initial inspiration was to move away from Graphically oriented User Interfaces (GUI) to more Tangible User Interfaces (TUI), when the restriction was to stay within the home context. Multiple material, shapes and object explorations were performed leading to the final concept of Tactiles. The combination of hard and soft materials and the coexistence of them in harmony, makes the changing in shape more natural and familiar to humans. But also, shape changing interfaces need to respond to human needs and help within the context of creating smart spaces that improve the quality of life. Tactiles, can be placed within the context of these principles. After further development we believe Tactiles can become a fully integratable design within the smart home environment.
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Design Project B2 2015 - 2016
DISCUSSION Reflecting on the initial goal to design a tangible shape changing interface, we realized that we missed to validate why the interface had to be a tangible user interface of a graphical user interface. When confronted with this question we realized we had missed a very important aspect which could have been used to direct the decisions made. Later we formulated an answer to this question, but we have only used it in the process when discussing ideas (i.e. “why not use a screen for this?�) The final product we have delivered is aesthetically pleasing and has a nice feel so is appealing to interact with. A big amount of opportunities have been created by exploring the materials and patterns. The aspects of interaction, function and dynamics, contain a lot of potential, thus they are worth being explored further. Therefore the concept can be implemented in a wide variety of contexts with a lot of different possible functions. Though there is a lot of work to improve the concept. Designing functions and contexts will need to happen before the product can be implemented into the market. On that note the aspect of business has been left out during the project. We perceive Tactiles as a new building block and we would be interested to explore the connections of our product with architecture along with the total cost of realizing it. Also the focus on the user has not been the central core of this project, for the main priority was set to functionality and aesthetics. Technically, the concept also needs some improvement, the pneumatics are not fully functional yet and implementation of this has not been analyzed thoroughly.
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ACKNOWLEDGEMENTS Firstly we would like to thank Miguel Bruns for guiding us during the project, giving critical and honest feedback and setting high standards which motivated us to go just that bit further. Secondly we would like to thank Meerthe Heuvelings who kept track of the process, thought along and was always available for help. She also provided a link between us and the other B2 groups. Who, in their turn, gave us honest feedback and kept us motivated by showing their own work. We would also like to thank Simone de Waard, for giving us feedback particularly on materials and helping us explore in a new and effective way. For providing us with beautiful samples of acrylic stones we want to thank Erik Talens. For the abundant veneer samples we owe gratitude to Leeuwenburgh Fineer BV. Last but not least, we owe a debt of gratitude to Brandon Yeup Hur for his continuous support and trust in our group. From the very first moment, he was on our side and provided us with valuable feedback and information. Especially, the last and most important part of Tactiles would be impossible without his contribution. More than an expertise, he was a cooperator in our process by sharing his knowledge with us and providing us with material and facilitations that accelerated the process.
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REFLECTION NIKOS KOMPOTIS This project has made me understand and appreciate, the importance of following a proper design process. Setting short-term and long-term goals and keeping detailed track of decisions, kept me highly motivated, and helped me managing my time more efficiently, throughout the whole semester. I realized the importance of performing small design cycles during the process. Mainly during the workshops that were organized, exploration and creation phases were performed in a quick but detailed way. Also, the high quality of the deliverables, made me work continuously and provided me with plenty of work and experiences to refer to, throughout and in the end of the process. Diving into expertise areas, Technology and Realization, as well as Creativity and Aesthetics were developed in more depth. Concerning Technology and Realization, being involved in building prototypes, made me understand the importance of planning when delivering final versions. I have to foresee some problems before they occur, and not start building without following a well prepared plan. Final versions of prototypes shouldn’t be perceived and dealt as simple explorations. Also, the extensive exploration with silicone allowed me to gain deeper insight into a material I was unaware of. I was introduced to the technology of soft robotics, and continued to develop my understanding on molding techniques. On the next project, I plan to work more with electronics, because during this semester I was mainly adsorbed on the building and mechanical aspect of the prototypes.
Design Project B2 2015 - 2016
I feel that my most substantial development in this project came within the area of Creativity and Aesthetics. Concerning Aesthetics, by working with different moving and shape changing patterns, I developed a deeper understanding for the importance of affordance. I learned that, as a designer, the quality of my works depends highly on the look-and-feel but also the intuitiveness of interaction. Both qualities play equally important roles and need to coexist harmoniously on a product. I also learned that taking fast decision under unaccustomed circumstances enhances creativity. Taking part in the body and material workshops, forced me to work under unfamiliar situations and provide quality deliverables. Comparing to previous projects, being continuously occupied with different tasks, provided me and my team with material to continue working with, even while we were doubting or stuck during the process. In terms of teamwork and communication, I had the opportunity to belong in a team with hard working and strong opinionated members. In the beginning, we tended to stick and work with our individual ideas, even though they had similar context. An impression that different processes were taking place in the same team, was given. Results and deliverables were satisfying, but this slight distance between our goals, effected a clear direction for the team. Once, I realized the need for better communication, I discussed it within the team. This resulted in a release of emotions and opinions that enhanced the honesty and connection between the members, that was also mirrored within the process. In future teamwork projects, I will try to involve myself more actively in decisions, either convincing for my opinion or subsequently understanding others’. Unity in teamwork provides more solid and satisfying results. For the first time, expectations were set high from the beginning, by every team member, providing an appealing result which I’m proud of.
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REFLECTION JOLIJN VAN SLEEUWEN This project reflection is a synopsis of my growth during my B2 semester, focussed on my development within the design project of Tangible and Reciprocal Shape Chancing Interfaces. The project gave me the opportunity to deepen my expertise and to evaluate my vision through explorations, studies and the development of the final concept; Tactiles. To learn about the behaviour and aesthetics of interfaces, specific methods to design for interactions and to develop future scenarios were goals I anticipatively set for the project. Overall I could say that I gradually developed towards these goals. To start with the first expertise area, Creativity and Aesthetics, I learned to understand and design the aesthetics of interactions using feedback and feedforward mechanisms, coupling of the action and function, affordance, conventions and sensorial materials. Specific studies and explorations in relation to (shape changing) interactions and tangibility, in combination with an increasing awareness of my own interactions, made me understand how to distinguish meaningless and meaningful interactions. Moreover, in my opinion, interactions can also be too driven by systems other than freedom of interaction. Evaluating my vision on design, these insights made me aware of the valuable component of tangibility and shape changing aspects in interaction. In relation to creativity, the experimental and disruptive design process taught me to trust my own intuition.
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Although I still believe in the power of functional design, I learned to approach a design project from the perspective of innovation and interaction. Studying relevant papers about innovative approaches and interaction, the workshop based activities (i.e. high quality deliverables, discussing with other teams, feedback and expertises of coaches), and the use of kinaesthetic creativity during the body exploration, respectively helped me to gain useful knowledge, be reflective on the process and to get into a creative flow. Evaluating on the design process in relation to the Reflective Transformative Design Process (Hummels and Frens, 2009), I realise that the process was mainly driven by the horizontal axis of the model which represents iterations between ‘sensing/perceiving/doing’ and ‘abstracting/analysing’. Within my next project I intend to make more connections to society, where the values of a concept, relating to users and context, could be tested. Addressing the Technology and Realization expertise area, I developed specific skills in working with silicone in combination with integrating technology (CapSense). By making 3D printed pieces as a material exploration, I learned to make 3D models, which came in handy later on when making renders of the final concept. In terms of teamwork and communication, I can look back on a satisfying semester. Together with a super motivated team, we were able to develop a nice concept, in which everyone believed. I learned in terms of communication, that it is valuable to deliver and document high quality inbetween results. It is more likely to get better constructive feedback on an idea/concept which represents quality and is presented in a neat way.
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REFLECTION RENE VAN DER VELDEN When ideating in the beginning of the project I had difficulties liking any of the ideas we had. Looking back, I realize being less critical in such early stages of the design process would have been more beneficial, improving the concept as we go, instead of trying to find the perfect idea. I learned what to do when stuck in a process. In future projects I want to be less critical in initial stages of the project to get the project going. By the new ways to analyze and explore objects, interactions, materials and contexts (e.g. body workshop, material workshop) I have gained experience with new creative techniques, which can be implemented in future design processes. The high tempo in which new explorations were made, showed me that the look, feel and dynamics of the prototype can very rapidly improve. I have learned how to make quick explorations, analyze the results and use these results in making subsequent explorations. I have gained more understanding for the importance of the use of materials and how this can be explored in the process. On a more practical note I have learned how to do proper molding and how to use silicone. Being responsible for the actuation mechanism in the team I have gained some experience with sensors (i.e. CapSense), servo motors, circuits and designing mechanisms. I saw that I am able to work with these things in an exploring way, but that I miss a profound understanding of electronics and its terminology. In
Design Project B2 2015 - 2016
future projects I am able to work with technology, but I know that I need to take extra time in order to get this right. I also miss the ability to analyze the technical and economic feasibility of complex designs, which I need to focus on more in future design projects. Reading relevant papers about interaction, shapechange, design methods, etc. and working with them in workshops proved the value of studying research material. Nearing the end of the project I re-read some of the papers and realized how I developed a better understanding of the discussed concepts. I saw that I could have used these papers more consciously in the project, using them to make decisions and validating choices.In future projects I will actively search for and use research that is relevant for the project. The teamwork during this project is one of the best I have ever experienced. With a clear and direct attitude towards each other, we were able to discuss the problems openly and give each other feedback on their teamwork. I got the feedback that I need to put myself in a position in which I propose ideas instead of ask for confirmation. The intention is good, to be polite and include other in the decision making, but this can be inefficient. I should trust others to communicate their wishes out of themselves. I have also learned that I need to improve how I communicate what I have done in the group to third parties, for I have the tendency to let others speak for the group.
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REFERENCES James Auger. 2013. Speculative design: crafting the speculation. Digital Creativity, 24(1), 11–35. Caroline Hummels and Joep Frens. 2009. The reflective transformative design process. In CHI ‘09 Extended Abstracts on Human Factors in Computing Systems (CHI EA ‘09). ACM, New York, NY, USA, 26552658. Hiroshi Ishii, Dávid Lakatos, Leonardo Bonanni, and Jean-Baptiste Labrune. 2012. Radical atoms: beyond tangible bits, toward transformable materials. interactions 19, 1 (January 2012), 38-51. Matthijs Kwak and Joep W. Frens. 2015. From Movement to Mechanism: Exploring Expressive Movement Qualities in Shape-change. In Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction (TEI ‘15). ACM, New York, NY, USA, 461-464. Donald A. Norman. 1999. Affordance, conventions, and design. interactions 6, 3 (May 1999), 38-43. Michael Michalko. 2006. Thinkertoys: A Handbook of Creative-Thinking Techniques (2nd Edition). Amanda Parkes and Hiroshi Ishii. 2010. Bosu: a physical programmable design tool for transformability with soft mechanics. In Proceedings of the 8th ACM Conference on Designing Interactive Systems (DIS ‘10). ACM, New York, NY, USA, 189-198.
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Majken K. Rasmussen, Esben W. Pedersen, Marianne G. Petersen, and Kasper Hornbæk. 2012. Shapechanging interfaces: a review of the design space and open research questions. InProceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI ‘12). ACM, New York, NY, USA, 735-744. Jelle Stienstra, Miguel Bruns Alonso, Stephan Wensveen, and Stoffel Kuenen. 2012. How to design for transformation of behavior through interactive materiality. In Proceedings of the 7th Nordic Conference on Human-Computer Interaction: Making Sense Through Design (NordiCHI ‘12). ACM, New York, NY, USA, 21-30 Dag Svanæs. 2013. Interaction design for and with the lived body: Some implications of merleau-ponty’s phenomenology. ACM Trans. Comput.-Hum. Interact. 20, 1, Article 8 (April 2013), 30 pages. Taylor, A. S. (2009, April). Machine intelligence. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (pp. 2109-2118). ACM. S. A. G. Wensveen, J. P. Djajadiningrat, and C. J. Overbeeke. 2004. Interaction frogger: a design framework to couple action and function through feedback and feedforward. In Proceedings of the 5th conference on Designing interactive systems: processes, practices, methods, and techniques(DIS ‘04). ACM, New York, NY, USA, 177-184.
Annotated Portfolio
Design Project B2 2015 - 2016
APPENDIX 1 SILICONE Safty Silicone is a man-made polymer, but instead of a carbon backbone like plastic, it has a backbone of silicon and oxygen. When silicone is still in liquid form, it is a toxic material that can be absorbed by human skin. If it is not removed immediately, it can permanently stay on the skin. Because the silicone sits in a layer on top of the skin keeping in moisture, it also keeps in any sebum, dirt and bacteria that may already be on the skin. Once the skin is irritated, it will breakout. That is why, wearing non absorbent gloves, while working with silicone, is mandatory. Cost Silicone is a relatively expensive material. When working with it for the first time, it is essential to keep in mind to use it wisely and in small portions. Frequent mistakes in dosage, excessive usage of silicone in explorations and lo-fi prototypes, can lead to enormous project expenses. Mixing Silicone consists of two liquid parts. Only when mixed together, they can acquire a solid flexible form. The required portions of each part vary, according to the brand and type of silicone. Drying time and pot life also differ between different types of silicone. Pot life, is the period for which the two mutually reactive chemicals (liquid silicone parts) remain usable when mixed. In order to measure the portions precisely, a digital gram scale is necessary. Make sure, the two components are thoroughly mixed, else the silicone will not fully harden.
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Molds Before pouring the silicone, the molds need to be well thought through and everything should be well prepared before mixing the silicone parts. The first tries were quite rough. Foam board, duct-tape and DIY sticks with beads were used. The result was, leaking of silicone, excessive amount of silicone wasted and defective air chambers. The easiest and most precise way to create a mold is with multiple-layered laser-cut Perspex. Shapes can be designed in Adobe Illustrator and then be cut with precision. (Molds can always be made out of 3D-printed pieces, but this is a costly and time consuming option). The laser-cut Perspex pieces can be placed on top of each other, adjusting the height of the mold. The pieces can stay in position with the use of screws. The idea of using a multiple-layered mold facilitates the diversity between hollow and solid parts with in the silicone surface. Materials The consistency of silicone makes it a very flexible and durable material that can hardly stick to other materials. None of the non-absorbing materials can stick permanently to silicone, unless it’s fully submerged into it. Although, materials that can absorb liquids, such as sponge and cork, can stick with silicone. Sponge is a soft and flexible material, like silicone, so the combination of these two doesn’t provide with any interesting results. On the contrast, cork is a harder and less flexible material, that when submerged fully or partially inside silicone gives interesting results for further explorations. When it’s partially submerged, it provides a clean surface on which any material can be attached. 28
Design Project B2 2015 - 2016
Annotated Portfolio
Design Project B2 2015 - 2016
Shapes Independently to partial or full submerge of the material inside the silicone, the shape of it has an important role to the durability. Shapes with pointed corners and edges tend to poke or tear the silicone, after the first interactions with the object. For this reason, it’s essential to design patterns with circular shapes or with rounded corners that will not damage the silicone surface. Airchambers Airtubes In order to insert air or water inside the chambers, holes are created in the edge of the silicone surface. The syringe is attached to the hole with a tube. The air pressure that is applied on this spot, expands the silicone and detaches it from the syringe, with a result of loss of air. That’s why silicone tubes need to be extended outside the prototype.To reinforce the tubes against pressure, there are two ways: 1. Holes need to be covered with silicone and then be penetrated with the needle of the syringe, to minimize the width of the hole 2. Thin rubber tubes can be inserted deep in the holes to secure that air is inserted within the chambers, away from the weak silicone edges. Color The original color of silicone is not always appealing or suitable for every use. In that case, silicone can be bought in different colors, or be colored during mixing. This can be done with oil-based ink. This type of ink can be fully integrated within the silicone mix, changing its color completely, without leaving any color dots. Just a few drops are enough. Any type of water based ink doesn’t dilute properly within the silicone, giving a result of partially colored mix with multiple dots around the surface. 29