Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

Cinematic Narratives of Product Interaction Experiences: Methods for Cross-Media Fertilisation of the Design Process

This paper outlines the initial phases of a practice-based PhD research project; it outlines methods that will be used to analyse the role of objects within cinematic narratives and how these narrative roles could be translated into methods for designing products to enrich the experience of using the products. The starting point for this project is the hypothesis that any interaction between a user and an object will be remembered and interpreted in a user's mind as a form of narrative. This project therefore tries to harness narrative structures and devices from other media to inform the design of products that can specifically cater to these narrative qualities inherent in the way we experience products. This paper outlines methods for opening up the dialogue about these cross-media narrative comparisons, to assist in generating design work which focuses on the narrative qualities of product experience

About the nature of Kansei information, from abstract to concrete

Designer’s expertise refers to the scientific fields of emotional design and kansei information. This paper aims to answer to a scientific major issue which is, how to formalize designer’s knowledge, rules, skills into kansei information systems. Kansei can be considered as a psycho-physiologic, perceptive, cognitive and affective process through a particular experience. Kansei oriented methods include various approaches which deal with semantics and emotions, and show the correlation with some design properties. Kansei words may include semantic, sensory, emotional descriptors, and also objects names and product attributes. Kansei levels of information can be seen on an axis going from abstract to concrete dimensions. Sociological value is the most abstract information positioned on this axis. Previous studies demonstrate the values the people aspire to drive their emotional reactions in front of particular semantics. This means that the value dimension should be considered in kansei studies. Through a chain of value-function-product attributes it is possible to enrich design generation and design evaluation processes. This paper describes some knowledge structures and formalisms we established according to this chain, which can be further used for implementing computer aided design tools dedicated to early design. These structures open to new formalisms which enable to integrate design information in a non-hierarchical way. The foreseen algorithmic implementation may be based on the association of ontologies and bag-of-words.AN

VIRTUE : integrating CFD ship design

Novel ship concepts, increasing size and speed, and strong competition in the global maritime market require that a ship's hydrodynamic performance be studied at the highest level of sophistication. All hydrodynamic aspects need to be considered so as to optimize trade-offs between resistance, propulsion (and cavitation), seakeeping or manoeuvring. VIRTUE takes a holistic approach to hydrodynamic design and focuses on integrating advanced CFD tools in a software platform that can control and launch multi-objective hydrodynamic design projects. In this paper current practice, future requirements and a potential software integration platform are presented. The necessity of parametric modelling as a means of effectively generating and efficiently varying geometry, and the added-value of advanced visualization, is discussed. An illustrating example is given as a test case, a container carrier investigation, and the requirements and a proposed architecture for the platform are outlined

Tangible user interfaces : past, present and future directions

In the last two decades, Tangible User Interfaces (TUIs) have emerged as a new interface type that interlinks the digital and physical worlds. Drawing upon users' knowledge and skills of interaction with the real non-digital world, TUIs show a potential to enhance the way in which people interact with and leverage digital information. However, TUI research is still in its infancy and extensive research is required in or- der to fully understand the implications of tangible user interfaces, to develop technologies that further bridge the digital and the physical, and to guide TUI design with empirical knowledge. This paper examines the existing body of work on Tangible User In- terfaces. We start by sketching the history of tangible user interfaces, examining the intellectual origins of this field. We then present TUIs in a broader context, survey application domains, and review frame- works and taxonomies. We also discuss conceptual foundations of TUIs including perspectives from cognitive sciences, phycology, and philoso- phy. Methods and technologies for designing, building, and evaluating TUIs are also addressed. Finally, we discuss the strengths and limita- tions of TUIs and chart directions for future research

When conventional procedures are no longer the rule for application: design as a discipline opens up to new possibilities

This paper discusses the development of the prototype application ‘LabanAssist’. It looks at the design rationale used for the creation of what is fundamentally a system for recording dance knowledge on a score, as identifiable and replicable signs and symbols. A system made necessary because the conventions of other established disciplines, such as engineering and computer science practices, were no longer considered to be effective alone, in facilitating the production of well-designed cultural artefacts (Calvert, Fox, Ryman, & Wilke, 2005; Ebenreuter, 2005). It is important to ask how can we understand design as a discipline amongst other fields of study with longstanding conventions and traditions and if the discipline of design offers effective ways of thinking about the creation and art of making products or services for the enhancement of the human experience? Is design a discipline because it adheres to existing and established rules of interdisciplinary knowledge from which it draws, or is it a discipline in its own right that as a significant field of intellectual development utilizes interdisciplinary knowledge as a basis for creativity and invention?” While there is no simple answer to these questions, the design approach adopted for the development of the prototype application ‘LabanAssist’ offers a working example in which the central theme of grammar, or more particularly the rules of a language, depart from the conventional use for its practical application. This application is one in which a literal understanding of grammar is no longer seen as an adequate basis for the generation of dance knowledge expressed via symbolic writing systems. Instead, this research focuses on the way in which the figurative aspects of language can be represented in the design of an interface to orient user thinking and facilitate the generation of diverse movement compositions. Keywords: Labanotation; Grammar; Literal; Figurative; Tropes; Poetic Constructs; Broad Terms; Interface.</p

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities