Immersive moodboards, a comparative study of industrial design inspiration material

A recent trend in our industrial culture has been the gradual emergence of digital tools in various fields of human activity. They aim to reduce development time, cost, or to insure a low error, high quality process. Many fields have been improved thanks to this new computerized approach. This paper is centered on how industrial design could be assisted by virtual reality tools. More specifically it presents a new vision of early design methodologies through immersive technologies. It also presents the results of an experimentation aiming to compare traditional moodboards with a newly developed immersive moodboard. When analyzing and comparing the relationship of the industrial designer to a traditional and an immersive moodboard, our result highlights the fact that immerging the industrial designer in an immersive moodboard induces a high emotional activity without radically modifying the meaning of the represented trend. The moodboard data spatialization stimulates and engages the designer into interacting with the immersive moodboard. The virtual reality system provides the illusion of a potential reality, which can be used by the designer as a reflection basis for his work. We believe that delivering this immersive experience during the early design process will help the industrial designer make style related decisions.Projet CARNO

Sonic interactions in virtual environments

This book tackles the design of 3D spatial interactions in an audio-centered and audio-first perspective, providing the fundamental notions related to the creation and evaluation of immersive sonic experiences. The key elements that enhance the sensation of place in a virtual environment (VE) are: Immersive audio: the computational aspects of the acoustical-space properties of Virutal Reality (VR) technologies Sonic interaction: the human-computer interplay through auditory feedback in VE VR systems: naturally support multimodal integration, impacting different application domains Sonic Interactions in Virtual Environments will feature state-of-the-art research on real-time auralization, sonic interaction design in VR, quality of the experience in multimodal scenarios, and applications. Contributors and editors include interdisciplinary experts from the fields of computer science, engineering, acoustics, psychology, design, humanities, and beyond. Their mission is to shape an emerging new field of study at the intersection of sonic interaction design and immersive media, embracing an archipelago of existing research spread in different audio communities and to increase among the VR communities, researchers, and practitioners, the awareness of the importance of sonic elements when designing immersive environments

Sonic Interactions in Virtual Environments

This open access book tackles the design of 3D spatial interactions in an audio-centered and audio-first perspective, providing the fundamental notions related to the creation and evaluation of immersive sonic experiences. The key elements that enhance the sensation of place in a virtual environment (VE) are: Immersive audio: the computational aspects of the acoustical-space properties of Virutal Reality (VR) technologies Sonic interaction: the human-computer interplay through auditory feedback in VE VR systems: naturally support multimodal integration, impacting different application domains Sonic Interactions in Virtual Environments will feature state-of-the-art research on real-time auralization, sonic interaction design in VR, quality of the experience in multimodal scenarios, and applications. Contributors and editors include interdisciplinary experts from the fields of computer science, engineering, acoustics, psychology, design, humanities, and beyond. Their mission is to shape an emerging new field of study at the intersection of sonic interaction design and immersive media, embracing an archipelago of existing research spread in different audio communities and to increase among the VR communities, researchers, and practitioners, the awareness of the importance of sonic elements when designing immersive environments

Sonic Interactions in Virtual Environments

This open access book tackles the design of 3D spatial interactions in an audio-centered and audio-first perspective, providing the fundamental notions related to the creation and evaluation of immersive sonic experiences. The key elements that enhance the sensation of place in a virtual environment (VE) are: Immersive audio: the computational aspects of the acoustical-space properties of Virutal Reality (VR) technologies Sonic interaction: the human-computer interplay through auditory feedback in VE VR systems: naturally support multimodal integration, impacting different application domains Sonic Interactions in Virtual Environments will feature state-of-the-art research on real-time auralization, sonic interaction design in VR, quality of the experience in multimodal scenarios, and applications. Contributors and editors include interdisciplinary experts from the fields of computer science, engineering, acoustics, psychology, design, humanities, and beyond. Their mission is to shape an emerging new field of study at the intersection of sonic interaction design and immersive media, embracing an archipelago of existing research spread in different audio communities and to increase among the VR communities, researchers, and practitioners, the awareness of the importance of sonic elements when designing immersive environments

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

Room for chaos? : authenticity and performance in undergraduate spatial design students’ accounts of ideational work

A thesis submitted to the University of Bedfordshire, in fulfilment of the requirements for the degree of Professional DoctorateThis study was prompted by my suspicion that spatial design undergraduates’ production of paper-based freehand sketches during design ideation was in decline. Seeking to find out why, I conducted video-recorded focused interviews with undergraduates from a range of UK spatial design degrees, during which we examined their sketchbook material and discussed their ideational activities (termed ‘ideational moves’). I subjected the data to a form of content analysis, but the outcomes appeared to contradict my initial premise whilst revealing that the interactions during the interviews between myself, the respondents and the sketchbook material (termed ‘discursive moves’) warranted examination. This persuaded me that the study’s focus should emerge through ‘evolved’ grounded theory rather than being stated a priori, which highlighted my presence in, and impact on, the data and prompted me to adopt a constructivist grounded theorising approach in combination with actor-network theory’s concepts of translation and circulating references. This study has thus been qualitative, relativist, iterative and multi-modal. Grounded theorising led to the identification of a number of categories and sub-categories of ideational move across the sample, and indicated that the respondents had used a ‘core’ of each. ‘Core’ categories comprised: making paper-based ideational moves, carrying out research and using photographic material. Several respondents also evidenced producing digital imagery and physical models. ‘Core’ sub-categories comprised using paper-based freehand perspective sketches, sketch diagrams and word-based approaches, plus supporting visuo-spatial research. Several respondents also evidenced producing paper-based freehand plan, section and elevation sketches, plus collage. Grounded theorising also revealed that each respondent had utilised a different combination of sub-categories, with different degrees of connectedness. I did not set out to evaluate the design outcomes showcased, but, as a spatial design academic and practitioner, I felt compelled to. This led to the tentative conclusion that respondents who added to the ‘core’ of categories and sub-categories and worked with greater connectedness appeared to produce more thoroughly-considered work, whilst those who forsook the ‘core’ and worked with less connectedness appeared to produce more unexpected results by allowing ‘…room for chaos…’: periods of confusion and surprise. Regarding the discursive moves, grounded theorising indicated that the sketchbook material tabled by each respondent during the study was not one fixed thing, but an abstraction using placing-for and directing-to techniques to focus attention on certain ideational moves and away from others. This made the sketchbook material a performance within the network of human and non-human actors who, in effect, co-constructed it as a temporary reality without necessarily realising this. Research into sketchbook material appears to regard it, once shared with others, as having the candour of a secret diary, and as eligible for formative and summative assessment because it documents design process authentically. My study, whilst not claiming generalisability, suggests that this view should be challenged. The new knowledge is now informing my future teaching practice and will, I hope, prompt other academics to investigate whether their own students manifest similar outcomes and, through this, contribute to wider discussions on the formative and summative assessment of undergraduate spatial design development activity

Pedagogical Infrastructures of Design Studio Learning

In the design studio, within educational contexts, sketching, model-making and prototyping of tangible objects are parts of the design process that support students in achieving final design solutions. This paper presents research in which three design experiments involving design studio settings, using a Learning by Collaborative Designing model for supporting knowledge-creating learning for university-level craft teacher education, were undertaken. The design studios aimed at guiding first-year students to appropriate professional processes and practices of design. The Pedagogical Infrastructure Framework was applied to analyse the social, epistemic, cognitive and material-technical aspects of three design-studio settings. Through meta-analysis of the three experiments we asked: What can we learn from these design studio experiments about the pedagogical infrastructure that supports creative design practices of working with design knowledge, tools and technologies in a real learning setting? As a result of the experiments we discuss the limitations and opportunities of these pedagogical settings, as well as considerations for future development of studio-based settings as pedagogic innovations emerging for integrating material-technical and socio-digital technologies, practices and spaces for learning.Peer reviewe