Análisis preliminar para la morfogénesis de objetos con alto significado afectivo a partir de las emociones

El presente artículo expone la investigación preliminar desarrollada mayoritariamente a través de la revisión bibliográfica para establecer un marco teórico capaz de evidenciar las relaciones existentes entre la disciplina del diseño, en particular su enfoque denominado diseño emocional, y la tarea implícita en la labor de los diseñadores de “dar forma” a las cosas con el fenómeno conocido como correspondencias intermodales, actuando estas últimas como un puente entre lo intangible (ideas, conceptos, emociones) y lo material (formas, objetos, artefactos). Las correspondencias intermodales pueden ser definidas como la capacidad humana de interpretar los estímulos de una modalidad sensorial con los sentidos de otra. Durante la revisión llevada a cabo se pudo comprobar la existencia de relaciones significativas entre las emociones y el sonido; luego de la revisión de estas correspondencias resulta posible concluir que la correspondencia entre sonidos y formas es aquella que resulta más prometedora para el desarrollo de nuevos métodos que permitan la morfogénesis de productos con un alto valor emocional y afectivo debido a su implicación directa con las emociones. Para dar inicio a un futuro proceso de investigación experimental en este ámbito, el proceso preliminar concluye con el planteamiento de una hipótesis y preguntas de investigación que definan las principales interrogantes a resolver

The emotive qualities of patterns : insights for design

The role of pattern use in the visual arts has not been fully analysed in terms of its emotive and semantic values. Patterns have played a dominant role in art, architecture and design for thousands of years but their nuanced relationship with human observers has not been systematically analysed – the emotive and semantic qualities of their forms are yet to become fully clear. This paper presents work in experimental aesthetics, analysing the emotive and semantic qualities of commonly used patters. Focus groups were used as a means of analysing a set of sixteen distinct patterns where each group considered each pattern and assigned each one emotive and semantic values. The patterns were sourced from a wide variety of cultures and varied hugely in terms of their underlying geometry; angular forms, curved forms and symbolic content. Our results reveal that many patterns have complex emotive connotations and can sometimes convey strong value judgements that we suggest are derived from the qualities of their form and foundational structure. The possible reasons for these phenomena and the implications for design practice and design research and subsequently discussed

Totem: An embodiment of human character and personality in footwear design

This thesis is an attempt at drawing parallels between human character traits and footwear design as an evocative means to communicate character. The idea here is to translate qualitative elements of personality traits and communicate expressions through the embodiment of meaning within form in the context of footwear design. I am making an attempt at equating the meaning in form and footwear gestures that serve an emotional or functional purpose in footwear to break down the sculpture into a combination of different attributes so as to create a character taxonomy. This character taxonomy serves the purpose of assisting me in the creation of the generative system by defining its parameters in numerical values in Grasshopper. The Generative System - Totem uses these values to create sculptural surfaces that are derived from consumer character inputs and are thus, personal to every individual. Through this book, I am taking you through my journey of investigation to better tell personal human stories through footwear - a product that is an extension of one’s personality and footwear design as a form of expression

The application of generative algorithms in human-centered product development

Algorithmic design harnesses the power of computation to generate a form based on input data and rules. In the product design setting, a major advantage afforded by this approach is the ability to automate the customization of design variations in accordance with the requirements of individual users. The background knowledge, intuition, and critical judgement of the designer are still essential but are focused on different areas of the design process. Thus far, little research has been applied directly to the problem of ergonomics in generative design. In this paper, we review the relevant literature in generative design, topology optimization, and computational design in order to describe the ways in which algorithms can be incorporated into the design process from a human-factors perspective–design tailored around human anatomy and usability requirements. We then develop a model for approaching generative design development work, oriented around human factors (particular ergonomics), and describe a case study from the PRIME-VR2 research project in which an algorithmic workflow utilized user scan data and 3D-printing technology to generate bespoke versions of a standard controller device

Traces of emergence: an ontological unification of perception, artefact, and process

Objects are part of a complex matrix that contain emergent experiences and meanings. Ernesto Rogers once claimed that if a spoon was examined carefully enough, one could establish how the maker would design a city. While this observation from the great Italian architect may be an over-generalisation, it draws upon an important point – the objects that humans create are reflections of ourselves, our beliefs, our feelings, motivations, and drives. In short, our whole material and emotional culture. The study of design revolves around the dynamics between form, the processes of making and the diverse experiences of object interaction and use – ontologies of artefact emergence that articulate with the complex patterning structures and practices that produce all of material culture. There are two dominant narratives we must consider when examining design as a practice of making. One, as a narrative of form evolution derived principally from a hylomorphic designer-agent ontology1 and the other, as a narrative of making and manufacturing understood through ontologies of matter manipulation. The relationship between the two narratives, this work will argue, presents deep and poorly understood problems with respect to the current taxonomies and ontologies describing advanced manufacturing, limiting the conceptual evolution of design thinking and processes of making and manufacturing. Moreover, this work will argue that pattern and patterning motions is a key meta-concept for understanding design practice that has until this point, received a limited amount of attention. While there are emerging paradigms of research including Industry 4.0 and ‘new materialism’, these have not comprehensively addressed the core disconnect between understanding process and understanding perception. The new materialism mostly explores the making processes of ‘craft’ - which have an important relation to and are indeed antecedents of advanced industrial processes – that do not include the conceptual innovations of advanced process control, CAM for instance. Industry 4.0, while offering interesting insights and innovations in terms of process control does not tend to examine the assumptions that go into forming its conceptual landscape – process ‘optimization’ or defect minimization are for instance seen as by definition, good.Objects are part of a complex matrix that contain emergent experiences and meanings. Ernesto Rogers once claimed that if a spoon was examined carefully enough, one could establish how the maker would design a city. While this observation from the great Italian architect may be an over-generalisation, it draws upon an important point – the objects that humans create are reflections of ourselves, our beliefs, our feelings, motivations, and drives. In short, our whole material and emotional culture. The study of design revolves around the dynamics between form, the processes of making and the diverse experiences of object interaction and use – ontologies of artefact emergence that articulate with the complex patterning structures and practices that produce all of material culture. There are two dominant narratives we must consider when examining design as a practice of making. One, as a narrative of form evolution derived principally from a hylomorphic designer-agent ontology1 and the other, as a narrative of making and manufacturing understood through ontologies of matter manipulation. The relationship between the two narratives, this work will argue, presents deep and poorly understood problems with respect to the current taxonomies and ontologies describing advanced manufacturing, limiting the conceptual evolution of design thinking and processes of making and manufacturing. Moreover, this work will argue that pattern and patterning motions is a key meta-concept for understanding design practice that has until this point, received a limited amount of attention. While there are emerging paradigms of research including Industry 4.0 and ‘new materialism’, these have not comprehensively addressed the core disconnect between understanding process and understanding perception. The new materialism mostly explores the making processes of ‘craft’ - which have an important relation to and are indeed antecedents of advanced industrial processes – that do not include the conceptual innovations of advanced process control, CAM for instance. Industry 4.0, while offering interesting insights and innovations in terms of process control does not tend to examine the assumptions that go into forming its conceptual landscape – process ‘optimization’ or defect minimization are for instance seen as by definition, good

Product design to support creative ageing for people with dementia: a practice-based inquiry

The practice-based research presented in this thesis was an exploration into the impact, context, and potential of co creation to affect the lives of People with Dementia. I present transferrable insight from a year-long Embedded Ethnographic engagement in a Residential Care Home, spent working alongside Participatory Artists, building critical insight into the aesthetic and sensory context of Care. Insights from this Ethnographic research are developed and situated through Research through Design (RtD) practice in two further empirical design studies. Firstly, the co creative development of physical material tools to support Creative Ageing practice. Secondly, the design of co creative activities to allow People with Dementia to individualise elements of the designed environment. My thesis highlights ways in which Product Design expertise can contribute to Creative Ageing practice and extends means by which People with Dementia can engage in the creation of individualised design outcomes, by contributing new methods and a new conceptual lens to the paradigm of Parametric Design, characterised by a questioning, generative and critical approach

The form of emotive design

Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2014.Cataloged from PDF version of thesis.Includes bibliographical references (pages 141-144).We have an unconscious understanding of the meaning of different physical objects through our extensive interactions with them. Designers can extend and adapt pre-existing symbolic meanings through the design of these objects, adding a layer of emotive expression by manipulating their forms. Novice designers can express the 'character' of the objects they want to design using familiar vocabulary, but may not be able to draw on expert design skills to transform this meaning into the medium of form. This thesis explores the physical design language encoded into objects and asks: can a CAD tool that uses descriptive adjectives as an input aid designers in creating objects that can communicate emotive character? In this thesis I explore the underlying emotive design 'grammar' of the form of objects, and through this present an emotive semantically-driven a Computer-Aided Design (CAD) tool that uses expressive words to design forms with emotive character. A quantitative framework for emotive form design is proposed and integrated into the EmotiveModeler CAD tool. Using this CAD tool, I investigated the variables of this emotive form design framework and tested the resulting designs and the software itself with both novice and experienced designers to evaluate if the tool can help these users more easily create inspirational and emotive forms using the expressive vocabulary we are all familiar with.by Philippa Mothersill.S.M