A Case Study of Applied Co-Design in 3D Virtual Space for Facilitating Bicycle Use on Light Rail Systems

Cycling is highly recommended by experts concerned with environmental and public health. Cycling does not produce CO2 emissions, can be economical, and can improve physical fitness. However, the barriers to cycling remain significant to many. Combined with a light rail system the bicycle offers a compelling alternative to automobiles; yet, bicycles are denied access on certain rail systems because they can take too much space away from pedestrians who share the light rail interior. To help solve this problem, Co-Design in 3D virtual space is proposed as an effective means of creating an innovative design solution. The digital questionnaires and virtual 3D modeling research/design method used in this study gives the participant the ability to offer insights and express ideas through digital means and in 3D virtual space. This method, Co-Design in Virtual Space (CoDeViS), was developed by the author. CoDeViS methods are an outgrowth of physical co-design methods such as 2D collages and 3D Velcro modeling, developed by those featured in The International Journal of CoCreation in Design and the Arts. Physical 3D methods have been widely accepted in the new product development industry as effective ways to involve people outside a design team in the research and design process. CoDeViS methods offer promise to those seeking to make the principles of co-design available to larger groups of people in discrete locations around the world at lower cost. Historical developments, current technology, and the abilities of everyday people make CoDeViS possible.</p

Interpretation at the controller's edge: designing graphical user interfaces for the digital publication of the excavations at Gabii (Italy)

This paper discusses the authors’ approach to designing an interface for the Gabii Project’s digital volumes that attempts to fuse elements of traditional synthetic publications and site reports with rich digital datasets. Archaeology, and classical archaeology in particular, has long engaged with questions of the formation and lived experience of towns and cities. Such studies might draw on evidence of local topography, the arrangement of the built environment, and the placement of architectural details, monuments and inscriptions (e.g. Johnson and Millett 2012). Fundamental to the continued development of these studies is the growing body of evidence emerging from new excavations. Digital techniques for recording evidence “on the ground,” notably SFM (structure from motion aka close range photogrammetry) for the creation of detailed 3D models and for scene-level modeling in 3D have advanced rapidly in recent years. These parallel developments have opened the door for approaches to the study of the creation and experience of urban space driven by a combination of scene-level reconstruction models (van Roode et al. 2012, Paliou et al. 2011, Paliou 2013) explicitly combined with detailed SFM or scanning based 3D models representing stratigraphic evidence. It is essential to understand the subtle but crucial impact of the design of the user interface on the interpretation of these models. In this paper we focus on the impact of design choices for the user interface, and make connections between design choices and the broader discourse in archaeological theory surrounding the practice of the creation and consumption of archaeological knowledge. As a case in point we take the prototype interface being developed within the Gabii Project for the publication of the Tincu House. In discussing our own evolving practices in engagement with the archaeological record created at Gabii, we highlight some of the challenges of undertaking theoretically-situated user interface design, and their implications for the publication and study of archaeological materials

The Industry and Policy Context for Digital Games for Empowerment and Inclusion:Market Analysis, Future Prospects and Key Challenges in Videogames, Serious Games and Gamification

The effective use of digital games for empowerment and social inclusion (DGEI) of people and communities at risk of exclusion will be shaped by, and may influence the development of a range of sectors that supply products, services, technology and research. The principal industries that would appear to be implicated are the 'videogames' industry, and an emerging 'serious games' industry. The videogames industry is an ecosystem of developers, publishers and other service providers drawn from the interactive media, software and broader ICT industry that services the mainstream leisure market in games, The 'serious games' industry is a rather fragmented and growing network of firms, users, research and policy makers from a variety of sectors. This emerging industry is are trying to develop knowledge, products, services and a market for the use of digital games, and products inspired by digital games, for a range of non-leisure applications. This report provides a summary of the state of play of these industries, their trajectories and the challenges they face. It also analyses the contribution they could make to exploiting digital games for empowerment and social inclusion. Finally, it explores existing policy towards activities in these industries and markets, and draws conclusions as to the future policy relevance of engaging with them to support innovation and uptake of effective digital game-based approaches to empowerment and social inclusion.JRC.J.3-Information Societ

Paper-based Mixed Reality Sketch Augmentation as a Conceptual Design Support Tool

This undergraduate student paper explores usage of mixed reality techniques as support tools for conceptual design. A proof-of-concept was developed to illustrate this principle. Using this as an example, a small group of designers was interviewed to determine their views on the use of this technology. These interviews are the main contribution of this paper. Several interesting applications were determined, suggesting possible usage in a wide range of domains. Paper-based sketching, mixed reality and sketch augmentation techniques complement each other, and the combination results in a highly intuitive interface

Making Exhibitions, Brokering Meaning: Designing new connections across communities of practice

New media museum exhibits often see designers representing the research of expert content providers. Despite perceptions that such exhibits provide museum visitors with a greater depth and range of experience, differences in knowledge and practice between designers and content providers can see content development become an unruly, competitive process in which audience experience, digital mediation, visualisation techniques and meaning become contested territory. Drawing on Etienne Wenger’s theory of “communities of practice”, this paper argues that designers’ advocacy for audiences and distance from exhibition content well positions them to broker interdisciplinary goal setting so that exhibitions observe the representational objectives of content providers and meet the needs and preferences of museum visitors. A wide range of design literature already discusses the pragmatic benefits and ethical importance of user-centered design, while the literature on co-design suggests that designed outcomes are more successful if the design process considers the interests of all stakeholders. These discussions can be compelling, but the inherent challenges in engaging others’ perspectives and knowledge in the design process are less acknowledged, Wenger’s ideas on the social dynamics of group enterprise offering designers valuable insights into the actuality of negotiating designed outcomes with non-designer stakeholders. The paper has two main aspects. The first outlines the theory of communities of practice, focusing on the brokering of knowledge and practice between disciplines. This discussion frames an analysis of the design process for two museum exhibitions. Representing an original application of Wenger’s ideas, the discussion recognises the unique role of the designed artifact in brokering information visualization processes, transcending the actions and intentions of individual stakeholders. While accepting there are successful examples of interdisciplinary exchange in various areas of design, the interpretation of examples via Wenger contributes useful principles to the theorisation of co-design with non-designer stakeholders. Keywords: Information visualization; New media museum exhibits; Multidisciplinary projects; Communities of Practice; Brokering; User-centered design; Co-Design; Etienne Wenger</p

A virtual environment to support the distributed design of large made-to-order products

An overview of a virtual design environment (virtual platform) developed as part of the European Commission funded VRShips-ROPAX (VRS) project is presented. The main objectives for the development of the virtual platform are described, followed by the discussion of the techniques chosen to address the objectives, and finally a description of a use-case for the platform. Whilst the focus of the VRS virtual platform was to facilitate the design of ROPAX (roll-on passengers and cargo) vessels, the components within the platform are entirely generic and may be applied to the distributed design of any type of vessel, or other complex made-to-order products

M+D: conceptual guidelines for compiling a materials library

This article proposes to present a study conducted by the Raw Materials research group, the results of which comprise the conceptual guidelines for compiling an M+D material library. The study includes the topic, materials and design taking the impact of the changes that came into being in the post industrial era on project methodologies and the search for information regarding materials. Taking into account the importance and complexity that these relationships have taken on currently, we have studied the issue of materials based on Manzini (1983) and Ashby and Johnson (2002). Afterward different databases and materials libraries located in the Brazil, the United States, France and Italy geared toward design professionals and students were analyzed to understand what information and means of access to them were available. The project methodologies were approached based on Löbach (1991), Bürdeck (1994), Schulmann (1994), Baxter (1998), Dantas (1998 and 2005) and Papanek (1995 and 2000). This study sought to identify the key elements of the role of materials in the project process today, to serve as a parameter for the analysis of the models studied. A comparative analysis of the models investigated enabled identification of positive and negative aspects to adapt to the needs previously mentioned and identify conceptual guidelines for compiling a collection of materials for use in design projects. Keywords: Design, Materials, Project Methodology, Library</p

M+D: conceptual guidelines for compiling a materials library

This article proposes to present a study conducted by the Raw Materials research group, the results of which comprise the conceptual guidelines for compiling an M+D material library. The study includes the topic, materials and design taking the impact of the changes that came into being in the post industrial era on project methodologies and the search for information regarding materials. Taking into account the importance and complexity that these relationships have taken on currently, we have studied the issue of materials based on Manzini (1983) and Ashby and Johnson (2002). Afterward different databases and materials libraries located in the Brazil, the United States, France and Italy geared toward design professionals and students were analyzed to understand what information and means of access to them were available. The project methodologies were approached based on Löbach (1991), Bürdeck (1994), Schulmann (1994), Baxter (1998), Dantas (1998 and 2005) and Papanek (1995 and 2000). This study sought to identify the key elements of the role of materials in the project process today, to serve as a parameter for the analysis of the models studied. A comparative analysis of the models investigated enabled identification of positive and negative aspects to adapt to the needs previously mentioned and identify conceptual guidelines for compiling a collection of materials for use in design projects. Keywords: Design, Materials, Project Methodology, Library</p

Serious Games in Cultural Heritage

Although the widespread use of gaming for leisure purposes has been well documented, the use of games to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits, has been less well considered. The state-of-the-art in serious game technology is identical to that of the state-of-the-art in entertainment games technology. As a result the field of serious heritage games concerns itself with recent advances in computer games, real-time computer graphics, virtual and augmented reality and artificial intelligence. On the other hand, the main strengths of serious gaming applications may be generalised as being in the areas of communication, visual expression of information, collaboration mechanisms, interactivity and entertainment. In this report, we will focus on the state-of-the-art with respect to the theories, methods and technologies used in serious heritage games. We provide an overview of existing literature of relevance to the domain, discuss the strengths and weaknesses of the described methods and point out unsolved problems and challenges. In addition, several case studies illustrating the application of methods and technologies used in cultural heritage are presented