Emotional Qualities of VR Space

The emotional response a person has to a living space is predominantly affected by light, color and texture as space-making elements. In order to verify whether this phenomenon could be replicated in a simulated environment, we conducted a user study in a six-sided projected immersive display that utilized equivalent design attributes of brightness, color and texture in order to assess to which extent the emotional response in a simulated environment is affected by the same parameters affecting real environments. Since emotional response depends upon the context, we evaluated the emotional responses of two groups of users: inactive (passive) and active (performing a typical daily activity). The results from the perceptual study generated data from which design principles for a virtual living space are articulated. Such a space, as an alternative to expensive built dwellings, could potentially support new, minimalist lifestyles of occupants, defined as the neo-nomads, aligned with their work experience in the digital domain through the generation of emotional experiences of spaces. Data from the experiments confirmed the hypothesis that perceivable emotional aspects of real-world spaces could be successfully generated through simulation of design attributes in the virtual space. The subjective response to the virtual space was consistent with corresponding responses from real-world color and brightness emotional perception. Our data could serve the virtual reality (VR) community in its attempt to conceive of further applications of virtual spaces for well-defined activities.Comment: 12 figure

Digital technologies for virtual recomposition : the case study of Serpotta stuccoes

The matter that lies beneath the smooth and shining surface of stuccoes of the Serpotta family, who used to work in Sicily from 1670 to 1730, has been thoroughly studied in previous papers, disclosing the deep, even if empirical, knowledge of materials science that guided the artists in creating their master- works. In this work the attention is focused on the solid perspective and on the scenographic sculpture by Giacomo Serpotta, who is acknowledged as the leading exponent of the School. The study deals with some particular works of the artist, the so-called "teatrini" (Toy Theater), made by him for the San Lorenzo Oratory in Palermo. On the basis of archive documents and previous analogical photogrammetric plotting, integrated with digital solutions and methodologies of computer- based technologies, the study investigates and interprets the geometric-formal genesis of the examined works of art, until the prototyping of the whole scenic apparatus.peer-reviewe

The scale of sense : spatial extent and multimodal urban design

This paper is derived from the work of the UK AHRC/EPSRC 'Designing for the 21st Century' research project Multimodal Representation of Urban Space. This research group seeks to establish a new form of notation for urban design which pays attention to our entire sensory experience of place. This paper addresses one of the most important aspects of this endeavour: scale. Scale is of course a familiar abstraction to all architects and urban designers, allowing for representations tailored to different levels of detail and allowing drawings to be translated into build structures. Scale is also a factor in human experience: the spatial extent of each of our senses is different. Many forms of architectonic representation are founded upon the extension of the visual modality, and designs are accordingly tuned towards this sense. We can all speak from our own experience, however, that urban environments are a feast for all the senses. The visceral quality of walking down a wide tree-lined boulevard differs greatly from the subterranean crowds of the subway, or the meandering pause invited by the city square. Similarly, our experience of hearing and listening is more than just a passive observation by virtue of our own power of voice and the feedback created by our percussive movements across a surface or through a medium. Taste and smell are also excited by the urban environment, the social importance of food preparation and the associations between smell and public health are issues of sensory experience. The tactile experience of space, felt with the entire body as well as our more sensitive hands, allowing for direct manipulation and interactions as well as sensations of mass, heat, proximity and texture. Our project team shall present a series of tools for designers which explore the variety of sensory modalities and their associated scales. This suite of notations and analytical frameworks turn our attention to the sensory experience of places, and offers a method and pattern book for more holistic multi-sensory and multi-modal urban design

Buildings, Beauty, and the Brain: A Neuroscience of Architectural Experience

A burgeoning interest in the intersection of neuroscience and architecture promises to offer biologically inspired insights into the design of spaces. The goal of such interdisciplinary approaches to architecture is to motivate construction of environments that would contribute to peoples\u27 flourishing in behavior, health, and well-being. We suggest that this nascent field of neuroarchitecture is at a pivotal point in which neuroscience and architecture are poised to extend to a neuroscience of architecture. In such a research program, architectural experiences themselves are the target of neuroscientific inquiry. Here, we draw lessons from recent developments in neuroaesthetics to suggest how neuroarchitecture might mature into an experimental science. We review the extant literature and offer an initial framework from which to contextualize such research. Finally, we outline theoretical and technical challenges that lie ahead

Virtually tasty: An investigation of the effect of ambient lightning and 3D-shaped taste stimuli on taste perception in virtual reality

Taste perception is influenced by sensory information not only about the food itself but also about the external environment where the food is tasted. Prior studies have shown that both visual attributes of the environment (e.g., light colour, location) and the shape associated to food (e.g., plates, cutlery) can influence people's taste perception and expectations. However, previous studies are typically based on non-edible shapes usually shown as 2D images or presented as 3D tangible objects aimed to be perceived by subjects' hand. Therefore, the effect of mouthfeel of differently shaped foods on taste perception remains unclear. Capitalising on the advantages of virtual reality (VR) to manipulate multisensory features, we explore the effects of coloured (red, blue, neutral) virtual environments on the taste (sweet, neutral) perception of differently shaped taste samples (rounded/spiky shapes according to the Kiki-Bouba paradigm). Overall, our results showed increased ratings of sweetness when participants tasted Bouba-shaped samples (rounded) relative to Kiki-shaped samples (spiky) suggesting that tactile attributes perceived inside the mouth can influence sweetness perception. Furthermore, we concluded that lighting colour in a virtual setting might dampen experiences of sweetness. However, this effect may only be present when there is a cross-modal correspondence with taste. Based on our findings, we conclude by describing considerations for designing eating experiences in VR

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

Event fields: designing a virtual space

This paper detects the gap that exists between theory and practice in the design process of virtual spaces and investigates the possibility to design a virtual online space without interpreting the word virtual as the fake representation of the real. A different approach of the meaning of virtual is used, based on the works of contemporary philosophers, in order to understand the way information technology has altered the way we perceive reality. Several cases of existing virtual worlds, along with messenger engines, have been studied in order to extract conclusions for the most common design techniques used. As a result a test space has been constructed and called Event_Fields. A main conclusion of this research was that in order to participate in the shaping of a reality, the designers involved should be in complete understanding of their tools, therefore of the interface of the design process. The name Event Fields was inspired by the title of the book “Being and Event” by Alain Badiou, the French mathematician and philosopher whose work on the virtual has provided the most inspiring phrase about perceiving multiplicities: “What is not a being is not a being” (Badiou, 2005) 1. The word “fields” express the ambition of including the studied notions in a complete entity with a perceivable nature, while the title predisposes the emergence of unexpected events in a virtual world

The Embodiment of Architectural Experience:A Methodological Perspective on Neuro-Architecture

People spend a large portion of their time inside built environments. Research in neuro-architecture—the neural basis of human perception of and interaction with the surrounding architecture—promises to advance our understanding of the cognitive processes underlying this common human experience and also to inspire evidence-based architectural design principles. This article examines the current state of the field and offers a path for moving closer to fulfilling this promise. The paper is structured in three sections, beginning with an introduction to neuro-architecture, outlining its main objectives and giving an overview of experimental research in the field. Afterward, two methodological limitations attending current brain-imaging architectural research are discussed: the first concerns the limited focus of the research, which is often restricted to the aesthetic dimension of architectural experience; the second concerns practical limitations imposed by the typical experimental tools and methods, which often require participants to remain stationary and prevent naturalistic interaction with architectural surroundings. Next, we propose that the theoretical basis of ecological psychology provides a framework for addressing these limitations and motivates emphasizing the role of embodied exploration in architectural experience, which encompasses but is not limited to aesthetic contemplation. In this section, some basic concepts within ecological psychology and their convergences with architecture are described. Lastly, we introduce Mobile Brain/Body Imaging (MoBI) as one emerging brain imaging approach with the potential to improve the ecological validity of neuro-architecture research. Accordingly, we suggest that combining theoretical and conceptual resources from ecological psychology with state-of-the-art neuroscience methods (Mobile Brain/Body Imaging) is a promising way to bring neuro-architecture closer to accomplishing its scientific and practical goals