Thinking geo/graphically: The interdisciplinary space between graphic design and cultural geography

In relation to the understanding and representation of everyday life and place, it is clear that many cultural geographers are beginning to explore what one might call “creative” qualitative research methods, the majority of which draw on the discipline of fine art. In particular, the use of film and sound within research is increasing, as are calls for conference submissions and journal articles relating to such work. Such developments within cultural geography mirror those across qualitative research within the broader social science arena, and for geographers the use of this type of media is perhaps a way to contend with the ongoing, relational nature of place and the representational challenge that brings. In contrast, the perception of the traditional medium of print seems to be that it is lacking the fluid nature of film or sound, only capable of generating representations of place that are too “static” or “fixed.” However, this paper proposes that interdisciplinary collaboration between cultural geography and graphic design offers much with regard to the development of print-based creative methods for understanding and representing everyday life and place. It suggests that the form of the book offers an opportunity to develop geo/graphic work that engages both form and content in a holistic way, enabling the production of a space of interpretation and multi-sensory exploration for the reader. Such work engages with contemporary debates around representation, and positions the reader’s interaction with the book as both cognitively and performatively embodied. For the researcher, the geo/graphic design process also functions as an analytical tool, one that, through the development of the material form of the work, re-situates them in place and enables further reflection and understanding

Supportive Resources: Mastering the Art of Making Sense

This paper questions the nature of qualitative user studies as currently applied in the context of experience-centered design. We suggest that conceiving knowledge as if it were an entity that can be captured in some form and transferred unchanged oversimplifies the situation in the case of design, and, for the purpose of opening a dialogue on the topic is problematic. We put forward an alternative perspective, that of supportive resources, which go beyond social science-based approaches, such as user studies, to focus on the forming of knowledge by designers. Supportive resources are intended to inspire, but equally they are intended to help frame, guide and support the design process in a non-prescriptive way. Designers can apply them as needed to support existing approaches. In order to better describe supportive resources and their role in design, the authors present four examples from projects currently being undertaken by the authors; storytelling, language and touch, material knowledge, and video

The Spatial Dictionary

This thesis and the corresponding portfolio ‘The Spatial Dictionary’ is an investigation into the use of written language as a generative and descriptive approach for the design of Interior spaces. The potential utility of the dictionary as an object is explored as a conceptual ‘tool-box’ for the use of Interior designers. The dictionary is to be viewed here as a mechanism to translate both concrete and abstract visual ‘concepts’ into a written commentary, using a defined list of terms, whilst inadvertently exploring the notion that the exploration of this spatial vocabulary gives us an insight into what constitutes interior space and design. This thesis investigates the position that spatial language is not simply one of identification of phenomena pertaining to space but it can also be used as a tool for the intention and creation of interior spaces and desig

Kitchenware Development: Strategizing blind user-designer experience design activities

Concept Development from research, the blind relies heavily on sensory references like touch to make a spatial judgment – the lack of such often results in accidents. Thus, the solutions physicalize tactile cues, which they can rely on for the next step in the cooking process. Existing solutions in the market are often function-focused, with little attention paid to usability. Product utility is foreign and unnatural to the blind as it contrasts with their prior memory of performing a task. Therefore, this research study is to strategize the Blind User-Designer experience through design activities. Keywords: Blind-User; Kitchenware, User Experience; Design Activities eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under the responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians), and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7.378

Virtual Reality for the Visually Impaired

This thesis aims to illuminate and describe how there are problems with the development of virtual reality regarding visually impaired people. After discussing the reasons how and why this is a problem, this thesis will provide some possible solutions to develop virtual reality into a more user accessible technology, specifically for the visually impaired. As the popularity of virtual reality increases in digital culture, especially with Facebook announcing their development of Metaverse, there is a need for a future virtual reality environment that everyone can use. And it is in these early stages of development, that the need to address the problem of inaccessibility arises. As virtual reality is a relatively new medium in digital culture, the research on its use by visually impaired people has significant gaps. And as relatively few researchers are exploring this topic, my research will hopefully lead to more activity in this important area. Therefore, my research questions aim to address the current limitations of virtual reality, filling in some of the most significant gaps in this research area. My thesis will do this by conducting interviews and surveys to gather data that can further support and identify the crucial limitations of the visually impaired experience while trying to use virtual reality technology. The findings in this thesis will further address the problem, creating a possible solution and emphasizing the importance of user accessibility for the visually impaired in the future development of virtual reality. If digital companies and developers address this problem now, we can have a future where visually impaired people are treated more equally, with technologies developed specifically for them to experience virtual worlds.Master's Thesis in Digital CultureDIKULT350MAHF-DIKU

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

The theater-system technique: agile designing and testing of system behavior and interaction, applied to highly automated vehicles

In this paper, the theater-system technique, a method for agile designing and testing of system behavior and interaction concepts is described. The technique is based on the Wizard-of-Oz approach, originally used for emulating automated speech recognition, and is extended towards an interactive, user-centered design technique. The paper describes the design process using the theater-system technique, the technical build-up of the theater-system, and an application of the technique: the design of a haptic-multimodal interaction strategy for highly automated vehicles. The use of the theater-system in the design process is manifold: It is used for the concrete design work of the design team, for the assessment of user expectations as well as for early usability assessments, extending the principles of user-centered design towards a dynamically balanced design