"uuid","repository link","title","author","contributor","publication year","abstract","subject topic","language","publication type","publisher","isbn","issn","patent","patent status","bibliographic note","access restriction","embargo date","faculty","department","research group","programme","project","coordinates"
"uuid:c91ff715-f8c4-4476-82e7-6cb0e390bf54","http://resolver.tudelft.nl/uuid:c91ff715-f8c4-4476-82e7-6cb0e390bf54","A Bathhouse and a library in Sultangazi, Istanbul: Hidden spaces - beyond dimensions: A research on the correlation between the composition of “space”, sensation, and the “Power of Architecture”.","Tong, Mathew (TU Delft Architecture and the Built Environment)","Schoonderbeek, M.G.H. (mentor); Milani, S. (mentor); Jennen, P.H.M. (mentor); Delft University of Technology (degree granting institution)","2023","According to the Oxford Learner’s Dictionaries, the notion of “space” can be read in several ways, of what is the five general understandings of it would be: outside earth’s atmosphere, empty area, period, freedom, and lastly, where things exist/move. With the speed, amount of information, and technology we are currently facing in the 21st century., it is no surprise that the idea of “space” is often correlated with the “space race,” “space tech,” even in the realm of architecture1. Given its vast and generic nature, it is essential, especially for this architectural research paper, to make a clear position on “space” or, to be more specific, something “spatial.” Architecture is indeed something of “spatial,” introduced by E. Moursund that a form of “spatial expression” that develops opportunities for humans to navigate, measure, anticipate, project, and construct perceptions; dictated by what architectural practitioner so-called “the language of space,” which consisted numerous spatial manipulative method and tool that help to shape our physical environment (Kasparowitz, 2017). Some great examples of “method” could be Architectural theory, education, or personal experience; as vague as it seems in comparison to “tools,” it could be almost anything creative and inspiring (or the other way); “tool” is more of a tangible object in our daily life that prevents or encourages a type of human behaviour, and as simple as it seems, some of the notable examples would be your bathroom door, living room windows, or partition walls that separate different functions; to demonstrate our knowledge and skill in both the “method” and “tool,” we draw, and to realize. Therefore, we build. The charm, speed, and impact of our panoptical creations encourage our egotistical profession to think that “space” stops where the site boundary of the plot of land ends. Fortunately (also, unfortunately), the domain of “space” does not end here; it also exists in what our optic and haptic sensibility cannot perceive; it is something else and, indeed, something more.
A truly cross-dimensional [Physical] research that explores and recognizes “space” that exists in another realm outside architecture. This realm of “space” and “spatial” would be the starting point of this research, asking the generic yet essential question of how people perceive the notion of “space”? Meanwhile, with the ambitious attempt to answer it by investigating the elements that compose “space” and something “spatial.” Next, the topic of “sensation” would also be discussed as a reaction and first tier of consequences generated by the composition of “space.” The third chapter of this research is the “Power of Architecture”; it could be seen as an attempt to show the inevitable influential power of our physical space and environment while simultaneously demonstrating the limitation of its “space.” The departure point of this research could be seen as another attempt to seek a common understanding from the audience that to create what we so-called the ideal “space,” we must first understand, study, and consider “space” from other realms cause only then “space” can be as meaningful, as functional, and pragmatic like they are all first intended to be.","spatial intelligence; space; composition; haptic; optic; sensation; architectural order; language; light; solid and void; color; experience; observation; perception; perceptionism; dimensions; behavioral; movements; fabrication of space; influential power","en","master thesis","","","","","","","","","","","","Architecture, Urbanism and Building Sciences | Borders and Territories","","41.091993, 28.907005"
"uuid:d037e989-21a8-4b70-8dbb-bf33515bc441","http://resolver.tudelft.nl/uuid:d037e989-21a8-4b70-8dbb-bf33515bc441","Towards a more informed online decision of outdoor jackets to novice users: ensuring the right product in online searches at Bever.nl","Rietema, Marieke (TU Delft Industrial Design Engineering)","Pasman, G.J. (mentor); Keller, A.I. (graduation committee); Delft University of Technology (degree granting institution)","2022","Bever is an outdoor chain store located in the Netherlands. Besides the Bever stores, Bever.nl was introduced in 2011, continuously growing to an extensive webshop enabling users to shop and explore online. Going to the Bever stores results in experienced staff supporting (novice) users with finding the right equipment for their activity. However, online this process is different. A user is designated to a webstore with (written) information about products. Moreover, details to express product features and performance of products can be found on a product detail page (PDP). The goal of this research is to ensure the right product in online searches at Bever.nl. Thus, the main design challenge is: “How to explain product benefits of outdoor jackets to novice users in order for them to make a more informed decision?”.
Discovered Insights
The novice Bever user can best be described as a user who needs much guidance in the selection process because of his low level of product knowledge and context about the activity. When a novice user is in need of a product for a specific activity he enters the web store with this specific activity and product group in mind. When little or no activity related content is shown, it is unclear to a user if a product matches his specific activity since the novice user has little or no prior knowledge or experience with the specific activity and the needed product. When a novice user is searching for his specific product, communication in familiar terminology is of great importance for making an informed and considered decision. Users need to understand the questions (filters), options and product differences in order to do so. Product features do not support the novice user in understanding a product. Therefore, product benefits are of great importance because they show the value a user will gain from a product. Subsequently this results in users understanding a product by understanding the values of the different features because they interpret what the product will mean for them.
Design Criteria
An interaction vision is created to improve the current online shopping experience of a novice user at Bever.nl. This vision focuses on the improvement of three feelings a user experiences when finding the perfect jacket: feeling in control, feeling confident and feeling surprised. This will support the user in a more goal-oriented search with control over the end result, while reading understandable and activity related information without feeling bored due to lots of non-visual long paragraphs of information. Besides the interaction vision several design requirements have been set up related to understandable explanation, activity information, visual presentation and faster exploration.
Concept
The final concept, Bever’s Jassen Kompas, is a decision support that ensures the right product in online searches at Bever.nl. It focuses on the visual aspect of the activity of the user (within his specific context) by answering understandable activity and context related questions. Subsequently a selection of the three best and good choices are presented to the user in order to guide the decision making.
Recommendations
Further studies could evaluate the real case usage of the Bever’s Jassen Kompas with a buying intention of users compared to fictional testing. The second recommendation would be to validate and discuss, together with experts, the questions asked in Bever’s Jassen Kompas. At last, further development and testing of the usability, back-end and mobile design of the Bever’s Jassen Kompas can be explored.
One of the aims of this research is precise to demonstrate how the simple design of a boundary is able to strongly influence people's perception of space. In this sense, history can teach a lot to contemporaneity. In particular, between 1960 and 1990, some Dutch architects addressed the issue of the boundary between public and private, between exterior and interior, and so on, in such a revolutionary way that it is still the object of research today. Aldo van Eyck's Burgerweeshuis, Piet Blom's Bastille, and the Delftse Montessorischool designed by Herman Hertzberger are three magnificent examples. In these buildings, every edge, corner, and surface was designed to be used by its inhabitants.
However, if we focus our attention on the new areas of the contemporary city we can still recognize some characteristics that were already criticized during the last century. In this sense, brushing up on some virtuous experiences of the past is a useful exercise. Indeed, the history of architecture has a great deal to teach the contemporary practice. History provides prototypes, a catalog of tried and tested responses to problems. It is for this reason that past themes and ideas return cyclically in the practice of contemporary architecture. The aim of this thesis is therefore to provide a catalogue of references based on Dutch structuralism that can be a source of inspiration for architects of today and those of tomorrow. Especially for the kind of architects who care not only about issues relating to 'design' but also to issues relating to its 'humanization'.","AR2A011; structuralism; boundary; experience","en","student report","","","","","","","","","","","","Architecture, Urbanism and Building Sciences","AR2A011",""
"uuid:b9bfb6f8-92a4-460f-8859-782e2f5e41f8","http://resolver.tudelft.nl/uuid:b9bfb6f8-92a4-460f-8859-782e2f5e41f8","Meet Van Gogh in the City: Designing an Interactive Art Experience with Mixed Reality","Gong, Yuan (TU Delft Industrial Design Engineering)","Vermeeren, A.P.O.S. (mentor); Vroon, Jered (graduation committee); van Uffelen, Harma (graduation committee); Delft University of Technology (degree granting institution)","2021","The project aims at designing an engaging art experience outside the Van Gogh Museum (VGM) for young people. The experience should achieve the design goal of triggering young people’s interest in Van Gogh and his art through experiencing the connections between his personal stories and his painting style and technique in a mixed-reality environment. Before defining this design goal, research was conducted through literature review, context and user research (Contextmapping), and existing XR products analysis. Through literature review, the factors of relevance and participation of enhancing engagement and their relation to emotional connection are found. It provides a clear objective for user research in the VGM context - figuring out the desired content of the museum for young people and how they would like to interact with the content. Specific qualities of interaction and desired content are figured out based on the needs of young people. Among all through mixed reality technology, mixed reality is selected due to its potential to enable diverse interaction and be more accessible by the target group. Based on insights gained from the research phase, the design goal and design criteria are formulated, validated, and prioritized based on the results of a questionnaire. In the ideation phase, ideas are generated and prototyped from both technological and context perspectives, which lead to three important results: Feasible design elements by MR, the understanding of the essential aspects of MR, and a structure of four phases of interaction that help build the design elements into a complete journey. A converging concept is created, tested, and discussed with participants and clients with all the insights above. The insights result in a content structure, providing a logical way of organizing content during the experience through layered information with a coherent storyline. It reduces the cognitive effort needed to process the information so that it engages young people more. Based on the structure of four phases of interaction and user test insights, the final concept is created. The interactive prototype is built with Java, a programming language. The prototype is used for the final concept evaluation. The concept is then evaluated and validated by both the field test and the control test, using observation, questionnaire, and interview combined to evaluate to what extend the design achieved the design goal and criteria. Limitations and recommendations for improvements are discussed at the end of the evaluation chapter. Overall, the design is an interactive art experience (installation) that brings the content of VGM to the public environment, approaches young people, and triggers their interest in the connection between Van Gogh’s stories and art with Mixed reality.","experience; museum; mixed reality; interaction; Van Gogh; young adults","en","master thesis","","","","","","","","","","","","Design for Interaction","",""
"uuid:3b7c580d-0382-4b69-84ed-87b1f8ed0be1","http://resolver.tudelft.nl/uuid:3b7c580d-0382-4b69-84ed-87b1f8ed0be1","The Agency of Aesthetics: Exploring the potential of Aesthetic Urban Forest Infrastructure","Schreur, Willemijn (TU Delft Architecture and the Built Environment; TU Delft Landscape Architecture)","van der Velde, J.R.T. (mentor); Harteveld, M.G.A.D. (mentor); Staničić, A. (graduation committee); Delft University of Technology (degree granting institution)","2021","This graduation project tries to rediscover the importance of three concepts - urban forestry, infrastructure and aesthetics – and unites them with each other, in an attempt to develop a method to design ‘aesthetic urban forest infrastructure’ and discover the potential of such a method. Whereas urban forestry will need more space in our future cities, because of its positive influence on social, environmental and ecological aspects, the form and function of infrastructure are changing and this calls the need for a more integral way of designing it.
Aesthetic perception and experience are a new approach to look at this problem. It is hypothesised that combing these concepts will make it more feasible to create urban forestry and will make sure that future infrastructure will be more than just functional.
The site specific design is done on and along the Prinses Beatrixlaan in Delft, a road that currently creates a barrier between the neighbourhoods surrounding it.
By transforming some aspects of the private, car-oriented, infrastructure and creating a new east-west public transport connection along the Prinses Beatrixlaan, the road can be downgraded and lanes can be removed. This opens up a lot of space along the road, that can be used for urban forestry and better connections between surrounding neighbourhoods. Using four aesthetic categories – the sublime, beautiful, interesting and plain – this urban forest has been shaped to create an aesthetic experience for the users of different modes of transport that move along the road.
The design mainly consists out of three scales, those of the Prinses Beatrixlaan itself, of several location along the road and some details that elaborate on the aesthetic categories. Also a toolbox has been created that gives insight in how to work with these aesthetic categories on different themes.
Finally, a conclusion could be drawn that combining these three concepts – urban forestry, infrastructure and aesthetics - has a lot of potential, for both designers, visitors and nature itself. It gives more space for nature to develop freely, it makes infrastructure more integrated in the urban fabric and creates aesthetically pleasing spaces for people to enjoy their city.
My thesis design reflects on the shift of architecture experience from existentially plastic and spatial experience, to mere time-compressed striking visual image, with the loss of experiential depth, under the information age. As an inverted version of “allegory of the cave”, my building functions as an immersive labyrinth with ambiguity and mystery hidden beneath ground, affording a retreating experience to urban wildscape explorers. It fulfilled the timeless task of architecture as stated by Pallasmaa – “understand and remember the shapeless flow of reality and, ultimately, to recognize and remember who we are.” The building situates itself in Paris, at the intersection of the abandoned La Petite Ceinture, an urban wildscape experiencing the transition from ruin to regeneration, and the Parc des Buttes-Chaumont, where the histories of underground mining hidden beneath. The memories of two places intertwined at this counterpoint and synthesize into a frozen melody, as the body of the labyrinth. Though her body the labyrinth brings collective memories to present individual explorers. The spatial variations embodied promotes sequences of scenarios and potentials. Me as a composer, imagines different scenarios and interactions involving individual urban explorers as “audiences” or","bodies; beauty; composition; experience; force; flow; form; frozen; music; labyrinth; life; sound; sensation; transition","en","master thesis","","","","","","","","","","","","Architecture, Urbanism and Building Sciences","","48.880837, 2.386022"
"uuid:47f2011e-4513-40dc-91de-2ea5532865b0","http://resolver.tudelft.nl/uuid:47f2011e-4513-40dc-91de-2ea5532865b0","Stress-Relieving Center","Jing, Yuanjie (TU Delft Architecture and the Built Environment)","Stuhlmacher, M.E. (mentor); Mulder, K.B. (graduation committee); Cornelisse, F. (graduation committee); Delft University of Technology (degree granting institution)","2019","This is the graduation project, in which illustrate the research and design results of the graduation year as a whole","intimate city; experience; materialization; urban fabric","en","master thesis","","","","","","","","","","","","Architecture, Urbanism and Building Sciences","",""
"uuid:92af32a8-8c4c-473a-9ba1-148a319fed6f","http://resolver.tudelft.nl/uuid:92af32a8-8c4c-473a-9ba1-148a319fed6f","The wild plant library: Approaching the urban wilderness","Chuecos Escobar, Gabriela (TU Delft Architecture and the Built Environment; TU Delft Architecture)","Pilav, Armina (mentor); Adema, Ferry (mentor); de Wit, Leontine (mentor); Delft University of Technology (degree granting institution)","2019","Mostar contains a multiplicity of ruined, abandoned and contested spaces, a consequence of the war in which it was involved between 1992 and 1996. But to define those spaces today we cannot think only of the violent changes that originated them. The fact that war ruins remained long after the end of the armed conflict, becoming blank spots in the city, allowed them to slowly transform into something else. The abandonment of those structures enabled the processes of ruination and decay to progress, making them less appealing to humans and giving space for non-human actors to start reclaiming portions of the city.
Today, new and renovated buildings stand between neglected ruins and stalled constructions, many of them overgrown by spontaneous vegetation. Plants have taken over the leftovers of war, shaping a new kind of space that is neither completely urban nor wild: the urban wilderness. And if we look even closer into this combination of apparently dissimilar conditions, we will find a kind of coexistence that goes beyond the sharing of spaces in the city. What was once an area of general destruction is now covered by plants growing directly from war debris and contaminated soils. With time, man-made and plants have further entangled, forming hybrids where matter and life intersect and support each other, turning ruined areas into the perfect ground for new interactions between humans and non-humans.","coexistence; disturbance; ruin; wilderness; experience","en","master thesis","","","","","","","","","","","","","",""
"uuid:e130b2c7-59ef-49f8-843e-51851695531f","http://resolver.tudelft.nl/uuid:e130b2c7-59ef-49f8-843e-51851695531f","Improving the visitor's end-of-festival experience","Kurpershoek, Thijs (TU Delft Industrial Design Engineering)","Pont, Sylvia (mentor); Bakker, Martien (graduation committee); Delft University of Technology (degree granting institution)","2019","Visitors who return from a festival experience an empty feeling combined with fatigue. In this thesis, this experience is called the void. An established psychological phenomenon called the Peak-End rule describes how events are judged by both their peaks, be they positive or negative, and their ends. The end of festivals is now often perceived by visitors as ""necessary evil"". It is assumed that the end and its experience are part of the festival and last from the moment of leaving the terrain up to three days after. Therefore, the judgement of the festival depends on this experience. MOJO Concerts has not designed anything for this period of time, while the number of competing festival organisers is rising, which makes delivering a better festival experience even more important. To improve this end-of-festival experience, a product was designed to 'embrace' the visitor. Embracement is an experience that solves the void. A greater amount of embracement results in a better experience. In this thesis the product uses the auditory sense to embrace the visitor. A binaural, head-shaped microphone is designed that will record the sound of the festival, and record the visitors' reactions to the request to say something nice. After the festival, the records are collected by the organiser and distributed to the visitors over a popular music streaming medium. The head-shaped microphone was shaped as such for a more binaural experience. A more binaural experience will result in a more embracing experience. The face that was put on the head was chosen from sixteen faces in a test (n=32). During this test, participants were also asked to describe what they would say to see how the question should be changed for better results. Indicative tests on the reaction to the head and its recordings were performed. The head was tested in front of Amsterdam central station. The installation consisted of the head, a steel structure with padding and clothing, and a sign asking passengers to say something nice. The test was filmed from ten meters away to avoid interference with the passengers. During this 53 minute test, 39 reactions were recorded. This is a lower number of reaction than expected from a festival, because then it is common to step out of one's comfort-zone. It is assumed that this amount of reactions is an indicator for a positive result. The record was edited to cross-fade from reaction to reaction. This sound was tested (n=85, v=45 + m=40) and on average valued a 3.0 (1 to 5 Likert scale, v=3.1, m=3.0). This assessment is expected to be higher when the record is from a festival and the listener is just back from that festival. Proposals for further research and how to asses the value of a test at a festival are added. The installation is expanded to a gathering spot in which the head is positioned in the midst of the visitors to further improve the embrasiveness of the binaural records.","binaural; festival; experience; peak-end rule; MOJO; audio; psychology; Installation; Sound; 3d print; human head","en","master thesis","","","","","","","","","","","","Integrated Product Design","",""
"uuid:4b857df4-0042-437a-9b36-9ea010e96ba2","http://resolver.tudelft.nl/uuid:4b857df4-0042-437a-9b36-9ea010e96ba2","Improving children's experience during blood drawing procedure","Vilarasau Creus, Núria (TU Delft Industrial Design Engineering; TU Delft Industrial Design)","Goossens, Richard (mentor); Groeneveld, Bob (graduation committee); Illera Massana, Helena (graduation committee); Delft University of Technology (degree granting institution)","2018","This project aims at improving the experience of children during blood drawing procedure at Sant Joan de Déu Barcelona Children’s Hospital.
Blood test is a procedure that creates stress and anxiety for patients, and it can result in a very traumatic experience for children. This brings other issues that make the blood draw more complicated, therefore, it is important to reduce their fear and anxiety.
A design for experience approach was used to carry out the project, which focuses on the experience of the user and involves the patients and stakeholders in the design process in order to design a relevant solution for them.
The final design proposal consists in a story around the blood drawing procedure. The key purpose of the story is to change the meaning of the blood test into something positive and to give support throughout the process, by giving them some tools to cope with anxiety and fear. This should reduce the need to force and restrain the patients.
The story gives a challenge to the children to complete all the steps of the blood test to get a Superkid badge. Each step involves an element that brings physical and mental benefits. These are thought to strengthen the kid’s confidence, help them to take initiative and to relax.
Reducing the fear and anxiety of patients makes the blood drawing procedure smoother and faster. From the patient’s point of view, this will result in a more positive experience and a less traumatizing event. From the parent’s perspective, this would also improve their experience and create a less stressful situation, which would make them gain reliability on the hospital. From the professional’s perspective, the procedure would be easier and smoother. If the patient doesn’t offer resistance, it would be easier to find the vein and poke correctly. Time and workload savings would result in a reduction in delays and a smoother patient flow, which is beneficial for the hospital. A better experience of the patients (and parents) would also result in a higher patient satisfaction, which leads to financial benefits.
A clear definition of patient experience is defined by the Beryl Institute: “Patient experience is the sum of all interactions, shaped by an organisations culture, that influence patient perceptions across the continuum of care” [19]. A literature study researching patient centred strategies showed that patient experience has an influence on quality of life. This connection shows that it is useful to improve patient experience to create a positive effect on quality of life.
To this end, the central aim of this research was to design a service or product-service system that helps to improve the patient experience of MS patients who visit the SOMSCOG outpatient clinic at VUmc.
Different user research methodologies have been employed, with research methods including interviews, contextmapping and observations. This study showed that the needs and the underlying values of MS patients visiting the SOMSCOG outpatient clinic are fundamental values. They long for transparency, clarity and honesty. Additionally the user study exposed an interesting problem: patients have difficulties preparing for visit of the outpatient clinic. A result of this lack of preparation is that the help request - which form the basis of diagnosis - is often suboptimally formulated.
The insights gained throughout the user study resulted in a patient journey in which the current experience is depicted. By combining the insights of the literature and user study a design goal was formulated.
The aim of the design process was create a tool that will help patients prepare to for their hospital visit, that will guide them through the day and provide an overview of the whole journey. This tool should improve the overall patient experience and make a positive impact on the patient’s quality of life.
Building on the patient journey and the insights from literature, a toolkit - named De Gids - has been developed with which patients can prepare themselves for the screening day of the SOMSCOG outpatient clinic.
De Gids encompasses a folder, an information guide and a preparation sheet. The information guide contains information of the screening day e.g. the schedule, possible outcomes and treatment options. It also contains a conversation starter which can be used by patients and a next of kin. The aim of this conversation starter is to trigger patients in sharing their concerns around cognitive problems with someone close to them.
The preparation sheet contains questions which prepare patients for the consultation with a neurologist on the screening day. It also functions as a conversation aid during this consultation. By filling out the questions on the sheet, patients will reflect on their concerns, expectations and a help request is formulated. This preparation of the help request should result in a better formulated help request.
When the help request is improved, the diagnosis can have a better connection with patients’ needs and the treatment options that will be offered might be more effective. This will ultimately result in better care and improved quality of life.","Medesign; experience; MS patient; Cognition; patient journey; preparation tool; conversation aid; conversation starter; neurology","en","master thesis","","","","","","","Campus only","","","","","Design for Interaction","",""
"uuid:8dec83d1-dc6a-4fe9-9ef2-1803075c9f05","http://resolver.tudelft.nl/uuid:8dec83d1-dc6a-4fe9-9ef2-1803075c9f05","A Sonic: Designing with sound acts","de Beer, Michael (TU Delft Architecture and the Built Environment)","Havik, K.M. (mentor); Andrade Castro, Oscar (mentor); Jennen, P.H.M. (mentor); Delft University of Technology (degree granting institution)","2018","To listen and to make a noise, as sonic acts, formed the premise of the project. Continuing a lineage of inquiry of human conduct that is underpinned by the notion that humans engage in purposeful behaviour; the sonic act in the field of architecture questions how people behave sonically in their environments. The importance of this spatial query is underpinned by the premise that sound is critical for experiential engagement and a defining feature of phenomenological attributes of spaces.
As with many forms of praxeological inquiries that have given form to the typologies of buildings we have come to know and love; the project was underpinned by continual introspection as to the sonic inhabitation of spaces. Throughout the iterative design phases of the project, continual cycles of questions were being asked- What is the sonic behaviour and how does this form spatially (Vis-à-vis)?
The project is situated in Valparaiso, Chile. On the steeps slopes between plan and hill. Drawing on the strong sonic research component the outcome presents four primary spatial interventions that each hold diverse qualities for the sonic act of presence to occur. These are a learning centre; collective school environment; market square; and Sonic Vantage point. Each of which serve as precedent for the utilisation of the sonic act as being a core design tool in defining the spatial logic. The significance of the work is that it aims to test notions of experience, that have over the last two decades gained increasing recognition as being fundamental to architecture and calling for a turn away from the dominance of visual mechanisms.
The thesis consist of three parts: I. Research setup, II. Research and III. Design. It is divided into six chapters, respectively (1) investigating the problem, (2) setting up a methodological framework, (3) researching: what is experience, (4) analysing the spatial and socio-cultural conditions, (5) experimenting with possible future scenarios and lastly (6) developing a strategic plan and design interventions that address the problems.
The problem statement outlines that in Vlissingen trends have bigger impact then elsewhere, because the experience that the city offers, is affected. The city cannot compete on the field of city experience, which leads to a setback in prosperity, an indistinct identity and a negative city image. Since the inner city is representative, it should function optimally, so it has to turn into a place of experience. Six spatial problems make that this is currently not the case. Furthermore, the city is facing three main trends: growing harbour activity, an aging and shrinking population and growing tourism.
In possible future scenarios is researched how to address the spatial problems and at the same time how to deal with the possible impact the trends can have on the inner city. In the first scenario the harbour industry becomes important on a European scale and the prosperity of the city skyrockets. In the second scenario the population shrinks and especially elderly are attracted to the city. In the third scenario the touristic pressure increases and tourism becomes versatile and covers the whole year. The scenarios formulate recommendations for the spatial problematics and explain which developments should be stimulated and which should be limited or avoided, to continue in the direction of the optimal strategy.
The most reasonable concepts, relevant recommendations and design interventions result in the strategy concept to create a high-quality network that attracts a high-quality program and a diverse audience. This high-quality network consists of multiple layers regarding mobility, program and image quality. Design interventions show how the layers come together and how to actual design a place of experience. Furthermore, they show how the design of the public space can ensure a specific place unites with the past, present and future.
The design of the high-quality network will enable the inner city to function properly and become a place of experience, where trends will have less impact, prosperity is able to grow and an identity is able to emerge.","experience; city experience determinants; prosperity; trends; scenario method; Vlissingen; Dutch inner city; Dutch mid-sized city; decontextualized; historic analysis","en","master thesis","","","","","","","","","","","","Architecture, Urbanism and Building Sciences | Design of the Urban Fabric","","51.442882, 3.573983"
"uuid:00cc0013-ed05-405d-8dc7-5d64ea29ca58","http://resolver.tudelft.nl/uuid:00cc0013-ed05-405d-8dc7-5d64ea29ca58","The meanings of materials: A Phenomenological Study on the Influence of Materials on the Experience of Architecture Aimed to Address the Feeling of Alienation towards the Modern Built Environment","Saâdi, Skander (TU Delft Architecture and the Built Environment)","Healy, P.E. (mentor); Delft University of Technology (degree granting institution)","2018","By establishing a phenomenological frame, this research paper demonstrates that the feeling of alienation towards the modern built environment originates from the failure of this built environment to allow man to identify himself with his own human condition, abstract ideas and natural environment. The study focuses on materials as primary suspects of that failure. From the phenomenological point of view, modern and traditional materials are compared, and their physical properties are analysed in the way they allow the identification with the environment. The results show that modern materials, while allowing man to identify himself with his abstract ideas, do not allow him to do so with his natural environment and human condition. Through the analysis of contemporary architectural works, the study explains how modern materials can be transformed and articulated in a way that they can contribute to a meaningful experience of architecture. Finally, this research paper suggests a need for further study to be conducted. For that, the presented earlier methodological phenomenological frame can form the basis for the analysis of other architectural aspects, allowing a broader understanding of the problem of alienation towards the modern built environment.","materials; meaning; architecture; experience; perception; phenomenology; identification; environment; modern built environment; feeling of alienation","en","student report","","","","","","","","","","","","","",""
"uuid:eab64100-404e-46bc-b8e2-0d59fd4f3f75","http://resolver.tudelft.nl/uuid:eab64100-404e-46bc-b8e2-0d59fd4f3f75","Good MoUrning: Design for pet loss","Pang, Lin (TU Delft Industrial Design Engineering)","Desmet, Pieter (mentor); van Boeijen, Annemiek (mentor); Delft University of Technology (degree granting institution)","2017","How important is the loss of a companion animal? The nub of the question is, how we understand the meaning of a companion animal in our life. Therefore, we could step in the situation of how the owners cope with the grief over losing their companion animals. This thesis concerned the most cruel but inevitable life event people would experience once they accept the role of a pet owner.
Throughout this thesis, the process of initiating the objective of the project, a holistic research phase including theoretical and contextual perspectives, and an iterative conceptualization phase will be shown in detail. As a result, a mourning ritual design initiated by a physical product was detailed and evaluated.
The project is aiming to provide a thoughtful mourning ritual for bereaved pet owners who first encounter pet loss in a better adaption. For those who may concern, hope this thesis would offer you a fresh perspective on the issue that can be easily trivialized. Otherwise, hope this thesis would motivate you to develop your own ritual in pet bereavement.","mourning; ritual; bereavement; experience; pet","en","master thesis","","","","","","","Campus only","","","","","Design for Interaction","",""
"uuid:91798ddd-ae7a-410e-8873-b14278dd1ae0","http://resolver.tudelft.nl/uuid:91798ddd-ae7a-410e-8873-b14278dd1ae0","Improving Boarding Efficiency And Experience","Akkerman, S.","Van Grondelle, E.D. (mentor); Vink, P. (mentor)","2016","This master thesis focuses on improving the efficiency and experience of the boarding process. It is based upon three main pillars: an observational study, a stress study and a future vision. During the observations, the boarding speed was reduced by passengers blocking the seat row or the aisle. Solutions could be found in three different directions: adaping the interior, the logistics, and/or influencing the psychological aspect off te boarding process. The stress study showed that there are fluctuations in the stress level during the travel process from home to destination. In the boarding and pre-boarding moments high stress levels could be found. With the Vision in Product Design (VIP) method a future context was shaped, a mission for the new design was designed and after that the desired interaction was created in order to come to a new concept. This formed the framework for design directions. Sub concepts were chosen and developed into a design concept; a boarding system where the passenger connects with the airport and seat wich contains a personal storage area. Checkpoints reassure the passenger with the final checkpoint being the seat. When the passenger gets close to the seat, a spot light above the seat starts to shine on the seat. On top of that the seat has a personal luggage spot underneath the seat pan for small luggage. The spotlight system was tested in the fuselage in Delft and showed significant decrease in boarding time of two seconds average per passenger.","aircraft; boarding; efficiency; experience; seat; inflight","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Integrated Product Design","","","",""
"uuid:ea79f276-53e0-44d5-adcb-ef7a2c7f8824","http://resolver.tudelft.nl/uuid:ea79f276-53e0-44d5-adcb-ef7a2c7f8824","The building experience of a balance bike","Bloemers, W.E.","Brand, D.I. (mentor); Gielen, M.A. (mentor)","2016","The thesis is concerned with the development of the building kit (the building experience) for a bamboo balance bike. It starts with research on the company and target group. The research is based on several sources: literature, observations, interviews, generative research (workbook) and a questionnaire. The company of the KaboogaBike is a start-up that aims to make socially responsible and sustainable products. The company aims to involve the users in the building process and stimulate the parent-child bonding by offering a building kit for the bike. The target group for the building kit consists open minded, experience driven adults, and their toddlers (age 1½-2 year). The research showed that the child is in the middle of an internal struggle “the creation of the own identity”. Parents have a strong influence on the child, the child’s development and character. The parents feel socially responsible and are interested in sustainable products. In their daily interactions with the child they take a caring, teaching, observing and supporting role. Participants in the questionnaire showed an interest in the building kit because they expect that building the bike will be a fun activity. Parents who are not interested see their limited technological skills and the young age of the child as a problem. The research also made clear that the product should shift the parents’ mindset from a goal-oriented mindset towards a more exploring and playful mindset, in order to design a building kit that provides a positive experience for both parents as child. The parents also have to allow the child to engage more into the process instead of only asking the child to give the components. Finally, the parents need to release some control. This thesis describes the design process of the building experience in five iterations. The first idea of the product comes from an advent calendar: to obtain the bike components gradually. Later on it is decided to divide the product in five steps. The steps are called “adventures”. In every adventure, about 2 to 3 small activities are suggested to explore and play with the components. The activities are small, and focus on exploration by the senses (they are adapted to the child’s interest and capabilities). A story about ”Wanda de panda” and her parents is used to guide the user. This story is integrated in the packaging. Parent and child can build a part of the bike after every adventure. It was decided that the product could look standard from the outside, but it should have interesting interactions (surprising elements) and look less standard from the inside. Moreover, every user should obtain the components in the right order, even if they do not read the instructions. This resulted into a product that only shows the door to the next components after the previous door is opened. The hidden parts trigger curiosity and together with the green lines, holes, the story and images of Wanda de panda, users are activated to open the next door and to do the activities. The product is made from recycled corrugated cardboard. It has an optimal size for transport and the sustainability and sustainable image of the product are hereby taken into account. The packaging consists of 7 parts: the outer box, the outer frame of layer 1, door 1, door 2, a sheet between layer 1 and 2, the outer frame of layer 2, and door 3. The outer box and sheet between layer 1 and 2 can be re-used by shaping it into a bike stand. A prototype of the product is developed and tested with actual users. This user test made clear the product fits the design goals: the parents are activated to explore and play and to take the time for it. Moreover, they also engage the child into the process. Compared to a regular building setting, the parents release control, but they are more goal-oriented as with regular play. The product also fits the qualities of the interaction vision: everybody enjoyed using the product, believed the product was easy to use, worked together, and was positively surprised. The parents appreciate the guidance and they think it offers them enough freedom and/or inspiration to explore by themselves. Finally, the thesis provides recommendations for the production and suggestions to improve and develop the product further.","experience; building kit; toddler; sustainable; bike","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Design for Interaction","","","",""
"uuid:3f7c7b32-06f3-49ba-8a3a-61a47ed0a980","http://resolver.tudelft.nl/uuid:3f7c7b32-06f3-49ba-8a3a-61a47ed0a980","Supporting agents for working with the airport security lane","Hartwigsen, M.","Badke-Schaub, P.G. (mentor); De Lille, C.S.H. (mentor)","2016","In June 2015, Amsterdam Airport Schiphol (AAS) changed its security check at the gate to centralized security for the entire airport. New security lanes were developed by Scarabee Aviation Group for those centralized areas to increase security, efficiency, passenger flow and experience. Lots of customer research about passenger experience is done at AAS, but the experience of the agents is relatively unknown. From the research, it can be concluded that agents have lots of feelings about the SSL and the centralized security, both positive and negative. They do feel proud, but they perceive their procedures as repetitive, like factory work. Besides that, they experience their work as very tough and feel a lot of pressure because of AAS’s guidelines. They feel limited and do not develop themselves. This bad experience has important effects on several stakeholders: security companies (decrease of alertness, absenteeism), AAS (security threat because of decreased alertness, decreased of passenger flow and experience), Scarabee (no optimal performance SSL) and for passengers (bad experience, decrease of mood, unhappy). Therefore, the design challenge for this project is: Design an interactive tool to support agents in learning and working with the SSL. During the design process, two important elements were defined: self-development and positive thinking. Besides that, the tool has to decrease the factory work feeling. As a result, three activities were chosen for an app: x-ray feedback, giving compliments and performance tracking. The app has potential for future developments. From the user test, it can be concluded that agents are enthusiastic about tracking their performance, getting opportunities to learn and giving and receiving compliments. A next step, doing a pilot study, would be recommended.","aviation; security; experience; motivation; feedback","en","master thesis","","","","","","","Campus only","2018-06-14","Industrial Design Engineering","Strategic Product Design","","","",""
"uuid:5c9ed04e-c5df-4c06-8850-41ac33f08167","http://resolver.tudelft.nl/uuid:5c9ed04e-c5df-4c06-8850-41ac33f08167","Personalisation for Scarabee's Experience Center","Bakker, M.A.","Schoormans, J.P.L. (mentor); Magnier, L.B.M. (mentor)","2016","The goal of this project is to design a tool that supports the business developers to explain how a signature solution adds value to the airport and how it is created. To be able to design this tool more information is needed about what a signature solutions is and why it is important. Also more context is needed about when and where this tool will be used. This results in the following research question: How to explain in the Experience Center the development process of the Scarabee Security Lane in such way clients understand how creating a personalised solution through a co-creation approach can add value to their airport? Scarabee is a fast growing international company. Their knowledge about airport processes and their co-creation approach enables the employees to have a holistic way of looking at the solutions and how these solutions influence the other activities at the airport. This project focusses on the role of an interactive showroom as a tool in the early sales process, Scarabee calls this the Experience Center. Scarabee operates in the aviation industry. Through the years flying commoditised and passenger became more demanding. As they gained more power “passenger experience” became an important concept. The competitor analysis shows that Scarabee differentiates itself by focussing on passenger experience and solutions that are personalised to the client needs. The Experience Center consists of different areas which have different functionalities. The space has an industrial look and feel. However the design looks more like a showroom because it misses the “experience”. A boundary object is created that enhances the experience in the Experience Center. It consists of an interactive table and a model of the Scarabee Security Lane that interacts with this table. This table allows the business developer and the client to co-create a personalized model of the security lane. A memorabilia is generated based on the personalized model which enables visitors to share their newly acquired knowledge with their company.","experience; boundary object; co-creation; aviation","en","master thesis","","","","","","","Campus only","2018-05-31","Industrial Design Engineering","Strategic Product Design","","","",""
"uuid:08a5a417-561f-40a8-ba1d-2ee2a48978b8","http://resolver.tudelft.nl/uuid:08a5a417-561f-40a8-ba1d-2ee2a48978b8","CoLLab: A Co-Op Application for Music Production and Promotion","Van Bruggen, H.C.","Van Egmond, R. (mentor)","2016","The thesis project is originating from a start up project under the name of Phonotone. This start-up company wrote the assignment for the design of the interactions and interface of a new platform for young producers of digital music in The Netherlands. The assignment was written as a starting point for this thesis and was meant to give directions for the explorative research on the subjects of music production technique, and the context of the future user of this product. It stated that modern young music producers have many social media accounts to maintain, and pointed in the direction of developing a service where these accounts can be operated from a single dashboard. The state-of-the-art research was aimed at increasing the knowledge about the current state of technology in music production and interface design in music production software. A glossary was set up in order to explain the abbreviations and terminology that the world of music production houses. The state-of-the-art research set out to explore the new technological possibilities that artists can utilise today. One of the findings was a new product technology in connecting software and hardware using Ableton and Max. An in-depth interview was conducted to get more familiar with the target group; young music producers. In these interviews, which were conducted at the homes of the participants, the daily lives and context of these producers should become apparent. Another point of interest was the music production process. The results showed that the producers were not at all looking for a website to own and maintain, but were rather interested in quick feedback from their fans. Furthermore, the producers were looking for good connections with their fellow artists. Another interesting finding was that it was often expressed that the participants experienced that their audience on social media seemed more interested in their off-topic content instead of their posts about their music releases and news. Using these results, a production timeline could be constructed, on which the thoughts and actions of the interviewed producers were set. This production timeline was given the characteristics of the design process, containing a fuzzy front end, an ideation, a conceptualisation, and an evaluation phase. This represented the experienced process of music production for the producer. A market exploration to current music apps yielded many results in various categories. A selection, made to narrow down the results, filtered down the results; applications that enable a musician to produce and promote music, and additionally, allow the user to engage into collaboration with other musicians. From this selection, six apps were chosen for comparison; Splice - an add-on for the DAW Ableton Live, Blend and Kompoz – both desktop based community collaboration services, Speazie – an iOS mobile application for music recording and collaboration, Figure – an app for making beats and sharing the result, and Songtree – an app for dubbing over sounds and collaboration options. This comparison produced the finding that the compared applications are offering possibilities to collaborate with anyone over the world; meaning that any user can connect to any user via their project. The outcome of the interviews formed the basis for an analysis on which the interactions and experience could be designed. An interaction vision was composed out of the analysis of the results from the interviews. One of the most important interactions that followed from the analysis of the current interactions showed that the producers were focussed on content that would generate the most likes from their fans on their social media page. The earlier mentioned expressed dissatisfaction about social media exposure was labelled the ‘attention gap’. Another phenomenon showed that the producers seemed to be dissatisfied in general by the use of social media. At the same time positive remarks about social media were expressed, in respect to agenda utilities and maintaining contacts. This phenomenon of contradictory sounds was labelled ‘the Stockholm syndrome’; because the producers were held captive by their social media captors in a metaphorical way. Another important finding describes the positive attribution of collaborations with other artists by the interviewed. Benefits mentioned were that it would speed up the production process, not only in the beginning (the ‘fuzzy front end’ in which samples are sought and a set up is made) but also when finishing up a track. A new interaction vision could be formed using the current interactions analysis. The vision was set to the qualities of playing with Lego, of which a mind map was made to find the categories to base the important qualities on. These qualities, emerging from playing with Lego are: Playful exploration, elemental learning, open source creativity, and belonging. These qualities would form the basis for the interaction design of the application. The application should enhance this feeling in the use. Therefore a scenario was made, portraying these qualities in the context of the backstage. The result could be converted into several sub-scenarios, which could be used for the diverse design iteration rounds. In the first design iteration, a cultural probe research was set up to gain insights into some extra habits of the target group online and in social media. One of the findings was that important moments in their career matter to the artist and this is proudly shown on social media. To determine the user flow for the new application, the second iteration was focussed on interactions in context. A contextual observation was done in a backstage situation. The findings that were done contributed to the construction of the user flow diagram of the application. The next design iteration was focussed on the graphic design of the application. Menu layouts were explored and a test determining the association between sound effect icons and sound effect names was conducted. The results originating from this study indicated a strong association between the distortion effect and its designated icon design. This was included into the final design. The dynamics of the interface were explored in the fourth design iteration. This concluded into specific points of interest for the gestures in interaction; the playful interaction swipe and the Collab showcase planet display. The last design iteration before concluding into the final design set out to explore and re-affirm the users’ willingness to share their material in collaboration using an online survey. The results showed, as was concluded earlier after the interviews, a positive attitude towards sharing own work. The final design could be developed following the five design iterations. This was done by combining the results of these cycles and implementing their conclusions and recommendations. In this phase some more guiding decisions were being put. The application would only be made available to users on the same network. This followed the need of the producers to strengthen their connections with other artists and in combination with the set context this was the best to simplify communications. Another decision was to combine the gesture interactions for the playful exploration and the proud moment showcase of earlier applications. The result was an application that allows users to log in, search for other people on the same network, see their collaborations and explore their music. Collaborations can be made with 2 – 4 people in total. The applications’ main activity, the collaboration, encompasses a workspace to which the online sample storage of the user can be linked. Sound can be added into the project using the record function. Via the library function, the samples of other participating users can be viewed and used, but only for as long as the Collab instance is active. Collab results can be shared to diverse social media of which the accounts can be connected to the application by the user. These actions show the transition from the interactions of playful exploration, elemental learning, open source creativity, and in the end the feeling of belongingness. One of the objectives of the project was to work out a prototype in such a degree that it could genuinely test the designed interactions and could be used to verify the designed experience. The prototype was developed according to the hypothesis that the designed interactions should emerge from the combination of the app required operation interactions and interface design. This is why the focus was on developing the prototype using Adobe CS Flash in combination with Actionscript 3.0. The prototype was tested using two types of evaluation methods. One was a usability test in which the participants were informed of the project and application beforehand and were then given the prototype and asked to fulfil assignments with it. The other test was an open assignment where two participants were asked to act out the functionality of the application while collaborating on a track. The final conclusions were that the playful exploration part was experienced as smooth. The elemental learning interaction with the product emerged on multiple occasions of the participants learning quickly using the simplified icons. The open source creativity could best be described as naturally, from the results of the second experience test. The feeling of belongingness was not directly proven from the test results but could be extrapolated. This experience was concluded from the finding that the participants were quick to invent use situations and atmospheres. The attributed fun value to the application by the participants is analysed. This concludes that a playful application could be an appropriate, and possibly even a welcome tool, given that it supports the functionality needed to synthesise material that can be of use, both in playful and professional musical co-operation, and thus can aid in the feeling of belongingness. The final project recommendations are about the ideal team composition, and state that to continue the project, a number of specialised team members would be chosen. The continuation of the recommendations for the evaluation of the design proposes a different evaluation approach within a real life context. Another recommendation is to develop the application in an earlier stage, with minimal functionality, to focus on the interaction design.","music production; music promotion; interface; interaction; experience; design","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Industrial Design","","","",""
"uuid:b7a078b0-e35b-4506-985c-90e68b669390","http://resolver.tudelft.nl/uuid:b7a078b0-e35b-4506-985c-90e68b669390","The enclave of the Binnengasthuisterrein","Coerant, R.","Meijers, W.L.E.C. (mentor); Koopman, F.W.A. (mentor)","2016","Redevelopment of an ensemble of buildings, varying from being built in the early 17th century to the late 20th century, to a university campus in the city center of Amsterdam. Research on the city, buildings and relevant theory on public space come together in a building design where old and new meet","heritage; Binnengasthuisterrein; experience; threshold; layering","en","master thesis","","","","","","","","","Architecture and The Built Environment","Architecture","","Heritage & Architecture","",""
"uuid:faca07a6-4e77-444a-8fb4-2e912d631eac","http://resolver.tudelft.nl/uuid:faca07a6-4e77-444a-8fb4-2e912d631eac","Desirability & Viability of a Passenger Cabin in an Aircraft Cargo Hold","Narayan, H.","De Lille, C.S.H. (mentor); Debacker, J. (mentor); Sivignon, S. (mentor)","2015","Today, two trends can be observed when it comes to commercial aircraft. On the one hand, on top, aircraft cabins are becoming increasingly cramped with more seats. On the other hand, below in the cargo hold, only about 40% of the volume is estimated to be used. The combination of these two trends leads to an interesting proposition - can passengers travel in the cargo hold? This project takes over the reins from a previous graduation report already executed towards this direction. The focus of the work previously done, was mainly on establishing that a passenger cabin in the aircraft cargo hold is a technically feasible option. However, in order for such a cabin to truly fly, it would need to meet the other two criteria for any new design or innovation - The business feasibility of such a proposition should be realistic and convincing. In addition, one must ensure that such a new cabin is desirable for passengers. This project views the concept of the Lower Deck Passenger Cabin through these two lenses. Insights and knowledge were gathered through several methods such as literature research, data analytics on airline databases and reaching out to experts from both within and beyond the field of aviation. Additionally, in order to better understand aspects of passenger desirability without developing a full-scale mockup, two prototyping routes were followed. One was through building a low-fidelity physical mock-up over an existing aircraft mock-up cabin. The other was through a virtual reality set up. Through analysis, opportunities and threats are identified when contrasting a travel experience in the Lower Deck to that in a regular aircraft cabin. This is followed by recommendations on how to not only address these threats but also to leverage opportunities that makes travel in the Lower Deck a differentiated flying experience. In conclusion, the Lower Deck is seen to possess the versatility to accommodate a range of uses encompassing both seats and functionality. To this end, several use scenarios for the lower deck are detailed in order to demonstrate this flexibility. Each of these scenarios touch back upon and validate the concept against the two chosen focus areas - desirability and feasibility. The key next steps are identified and recommendations are provided along with a roadmap to move the concept towards reality.","aviation; design; cargo; passenger; experience","en","master thesis","","","","","","","Campus only","2017-10-29","Industrial Design Engineering","Product Innovation Management","","Master of Science Integrated Product Design","",""
"uuid:3a443f31-a20f-4cd6-a616-0cbd25da47c6","http://resolver.tudelft.nl/uuid:3a443f31-a20f-4cd6-a616-0cbd25da47c6","REV’ENTUROUS! A strategy for an inspiring online platform","Wijnveldt, D.","Mugge, R. (mentor); Bakker-Wu, S. (mentor); Aarts, G. (mentor)","2015","REV’IT!, a Dutch company that creates motorcycle apparel. The challenge REV’IT! is facing is how to effectively communicate with their end users and enhance their brand equity. The preference of REV’IT! lies in an online solution that builts upon their value: Inspire to ride. Therefore, the assignment was formulated as follows: How can REV’IT! inspire people to ride - while building upon their brand values and qualities - via an online platform. Concluded from the analysis it became apparent that the touring and adventurous part of the community has the most to offer in terms of participation and the willingness to be part of a community. At the same time, travel experiences and stories really inspire people to go ride themselves. Hence, incorporating travel with the Dynamic platform will create a starting point for riders who want to get inspired or is looking for routes and locations to visit. From this thought, the platform REV’ENTUROUS! emerged. REV’ENTUROUS! is designed for motorcyclists who love to explore the world. Every trip is an adventure and worth sharing. Get inspired by stories of other riders, browse through routes from all over the world and plan your own trip to start your own story. The prototype can be seen here: https://marvelapp.com/b1c349. Aside from the stories that are uploaded by the riders, there will also be articles about riding and adventure on a motorcycle. These will be made by both REV’IT! staff and knowledgeable community members with experience. The aim of these articles is to educate people on travelling with a motorcycle. Topics of the articles will variate; riding techniques, gear, areas or countries to ride in and articles with tips for riders or planning trips.","strategy; platform; online; inspiring; brand; experience; REV'IT!; motorcycle","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Product Innovation Management","","Strategic Product Design","",""
"uuid:6d3ea6ae-0330-4454-8957-49c797f1dca0","http://resolver.tudelft.nl/uuid:6d3ea6ae-0330-4454-8957-49c797f1dca0","Theatre Experience, the experience of a visit in theatre from the visitor’s perspective","Brochard, T.","Van Kuijk, J.I. (mentor); Fokkinga, S.F. (mentor)","2015","This master thesis shows the research on what is ‘theatre experience’ and the development of the ‘total theatre experience evaluation tool’. The aim for the project was to research the experience of visitors in theatres and communicate this knowledge towards theatre directors. The project consisted out of 2 phases; the research phase and the design phase. In the research phase a customer journey of a visit in theatre is created, based on interviews with experts (theatre-directors). By doing literature research existing knowledge on user experience and theatre experience could be placed in this customer journey. One of the main findings was that the experience of the theatre visitor consisted out of two levels; (1) the performance –experience (experience related to the performance) and (2) the theatre-experience (experience related to the theatre it self). The overview of existing knowledge showed that there was a knowledge gab on the theatre-experience. What actually happens during a visit and how does this contribute to the experience of the performance, the experience of the theatre and the experience as a whole (the total theatre experience)? By doing observations in different theatres different elements influencing the total theatre experience were found. By doing user studies (emotion capture study) there was found how visitors experience a theatre visit. These studies resulted in ‘total theatre experience insights’, insights from the perspective of the user which summarize the most important findings. The design phase resulted in an evaluation method for theatre directors to evaluate their theatre on the provided experience. For this evaluation session an evaluation tool is developed. With this tool the theatre-directors are able to evaluate their theatre for every step of the theatre customer journey on both experience levels (performance- and theatre-experience).","theatre; experience","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Industrial Design","","Master of Science Design for Interaction","",""
"uuid:9604e979-5b98-4049-9436-589aab8a633d","http://resolver.tudelft.nl/uuid:9604e979-5b98-4049-9436-589aab8a633d","The experience of the Sacred","Van Berlo, J.","De Wit, L. (mentor); Koorstra, P. (mentor); Van der Voort, J. (mentor)","2015","","the sacred; phenomenology; experience; poetics of space","en","master thesis","","","","","","","","2015-07-01","Architecture and The Built Environment","Explore Lab","","","",""
"uuid:b4607af5-94b8-41d5-b02f-60bfe912536d","http://resolver.tudelft.nl/uuid:b4607af5-94b8-41d5-b02f-60bfe912536d","Design of a luxurious semi-submersible that provides an easy accessible and immersive underwater experience.","Dankers, P.H.J.","Van Heur, R.J.H.G. (mentor); Van de Geer, S.G. (mentor)","2015","In the world of superyachts there are many different toys to have an amazing luxurious experience. New is the private mini submersible that can carry up to five people depending on the size. However, you do not have to go deep to explore the magical underwater world and for some there is barrier to try out a submersible experience. The Scyllias, the result of this graduation project, is the answer to still have an amazing immersive underwater experience but in an approachable way. This master thesis shows the process and results of designing the Scyllias. The process is divided in three phases: the analysis phase, the ideation and conceptualisation phase and the elaboration and embodiment phase. The analysis phase the background of the context and the problem are being examined. This was done by means of interviews, literature study and internet research. The conclusion of this phase resulted in the design vision with design goal ""Design of a luxurious semi-submersible that provides an easy accessible and immersive underwater experience."" In the ideation and conceptualisation phase ideas for solutions to the problem were generated. First the problem of the transformation, submerging from above to below the water surface, was tackled. When this was done ideas for the inside of the pod were generated. Phase three was the elaboration and embodiment phase. The result is a detailed concept as a design proposal. The design is not optimized and many things are still to be developed. The dimensioning of the pod was tested by means of a mock up. The conclusion is that the Scyllias is a realistic solution to the design goal. Above the water the design of the Scyllias, both technical as aesthetically, meet the requirement of being conspicuous. The pod is easy accessible and when submerged will give the user a truly unique immersive underwater experience.","underwater; experience; semi-submersible; catamaran; luxury","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Industrial Design","","Master of Science Integrated Product Design","",""
"uuid:7b9d26b0-2d4e-41cc-bfcf-0bb8c561481e","http://resolver.tudelft.nl/uuid:7b9d26b0-2d4e-41cc-bfcf-0bb8c561481e","Filtered Surroundings","Van Markus, D.J.","Pimlott, M. (mentor); Parravicini, M. (mentor); Zeinstra, J. (mentor)","2014","The main theme of the studio is about creating a public interior; creating space by architectonic elements. The Mahlerplein is an problematic area because it shows no relation with its direct surroundings. For the studio of the Architecture of the Interior it means that the Mahlerplein should become an interior space, which means that certain architectonic elements should form a space with interior qualities.","interior; public; typology; transformation; experience","en","master thesis","","","","","","","","2014-12-19","Architecture and The Built Environment","Architecture","","New directions in the public interior","","52.337273, 4.873524"
"uuid:f82560ad-aaea-4829-8d31-6f1bb75e54af","http://resolver.tudelft.nl/uuid:f82560ad-aaea-4829-8d31-6f1bb75e54af","My Narrative & Our stories-Design socially engaging experience for Narrative","Liu, J.","Sleeswijk Visser, F. (mentor); Giaccardi, E. (mentor)","2014","“If you could relive a moment of your life, what would it be?” Beautiful moments are constantly happening in everyone’s life and the answer for this question can be different from person to person. Big life events such as wedding, graduation, the birth of your child, are certainly those memorable moments. But our life is also full of moments that are tiny and spontaneous, like having a brunch with your good friends, chatting with your family, that the beauty of them is often realized after it is gone. “What if we could capture every moment of our life?” With this idea in mind, the Narrative team developed a wearable life-logging camera that can log one’s life into a photographic E-memory. It is called the Narrative Clip. With the knowledge gained from a preliminary exploration of the context, the assignment was formulated as to create an engaging and inspiring experience of sharing life moments that is built on top of the Narrative Clip. Then a series of research activities were conducted and focused on both the Narrative user experience and general photography experience were carefully studied. “Sharing”, defined as a key interaction of social connection, was emphasized in both aforementioned research focuses. It is realized that users mostly prefer to use the Clip at special events in which family and friends (non-Narrative users) participate. The captured photos are often shared via two different ways, privately or publicly. Public sharing takes place mainly on social network platforms and is considered as self-expression to the public audience. Private sharing, on the other hand, targets at specific audience depending on the shared contents. Consequently, senders and recipients are closed connected to each other through such sharing behavior and thus creates the intimacy in between. This key insight set a clear direction of focusing on the shared experience between Narrative users and non-Narrative users and create dynamic interactions around the shared experience. As the project continued to the design phase, ideas were generated and four design concepts were proposed. Reflection and evaluation were carried out to keep polishing and elaborating the design concept. My Narrative & Our Stories, the final design, came into form. The design goal is to empower users to co-create an engaging reliving experience with their family and friends. Via a website crafted for this goal, Narrative users can effortlessly share stories with other non-Narrative users. Not only the shared contents are accessible for both groups, but also they can import photos from other devices to complete the stories. While browsing through the stories, they are encouraged and motivated to show their appreciation and add descriptive contents. All these collaborative efforts are used to present the story in a dynamic and engaging way. A subtle reminder is also created to motivate long-term usage. The final design was evaluated together both the Narrative users and non-Narrative users. The design received very positive feedbacks. The design achieves the design goal to create an engaging reliving experience between Narrative users, their family and friends. However, there is space for future development. Thus, some feedbacks were collected and recommendation were proposed.","Life-logging; social engagement; experience; Narrative","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Design for Interaction","","Master of Science Design for Interaction","",""
"uuid:89f358da-cc93-4744-94d7-50860bb64e9a","http://resolver.tudelft.nl/uuid:89f358da-cc93-4744-94d7-50860bb64e9a","Improving the Experience of Lumbar Puncture for Children","Nannen, P.","Molenbroek, J.F.M. (mentor); Vegt, N.J.H. (mentor)","2014","This report presents a six month project executed for the pediatric hospital Sant Joan de Déu in Barcelona, to improve the experience of lumbar puncture for children between eight and eleven years old. Initially, a literature study is carried out to understand the context, the opportunities, and the requirements of this medical method. Lumbar Puncture is a diagnostic method, in which a sample of cerebrospinal fluid (CSF) is collected between two vertebrae at the lumbar region of the back. Before the physician enters the intervertebral space, the child has to obtain a sitting or lying position with a curved back in order to give room for the needle to enter. It is a very delicate process in which a nurse locks the child to keep him from moving. In practice, some children experience a difficult time while the nurse tries to force them into the right position. As the child tries to move, the chance of a failed puncture increases and the physician may need multiple attempts, giving the child a higher chance of getting side effects afterwards, and, therefore, a possible traumatic experience. To get insights into possibilities to improve this experience for the child, qualitative research is done at two hospitals (Sant Joan de Déu, Barcelona and LUMC, Leiden). This research is aimed at understanding the different perspectives of the users attending this process; the child with their parents, physician and nurse. The outcome of this research gives an overview of the problem, divided into three main elements: (1) discomfort of the position; (2) bodily reflex; and (3) anxiousness from the needle. After analysing the anxiousness through the reversal theory, three main causes were found: (a) discomfort of being caught by the nurse; (b) ineffective communication; and (c) distraction. With these findings, the problem definition was created together with the following interaction vision: “I want the child to feel like Mowgli, sitting on his protective friend Baloo the bear (Junglebook)”, and transmitting the following interaction qualities: comfort, calmness, trust, control, playfulness. During the ideation phase, ideas were generated with an iterative approach to create an integrated solution; designing a persuasive, physical, and emotional support. To create a solution for the anxiousness of the child, a protective frame is created by looking at player types from Gamification literature. Their motivations are translated into solutions to help children holding on to the journey of a lumbar puncture. A selection of ideas is used in a generative session with children and the ideas are, afterwards, developed. In a second session with children, models of concepts are tested and the outcome is evaluated with the hospitals. A final concept which aims to improve the experience of the child by a fantasy journey is chosen. It consists out of three elements: (1) a travel booklet with tips from previous children and small exercises to transmit trust in a playful way; (2) a visual overview of the fantasy journey with clear visual steps for the child; (3) a customizable protective buddy. In the last phase of the design project, the design elements are improved and developed with the outcome of the test results. The travel kit is evaluated with pediatric pedagogues from the LUMC and a prototype of the full journey was made to carry out an assessment at hospital Sant Joan de Déu in a semi-realistic setting. All in all, it shows that the experience can be improved as aimed for. Recommendations are given, focussing on further development to also persuade the highly anxious children.","medisign; children; experience; lumbar puncture; gamification; applied ergonomics; design","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Industrial Design","","Master of Science Design for Interaction","",""
"uuid:1e1dc534-3c20-4067-be18-1339080f01bd","http://resolver.tudelft.nl/uuid:1e1dc534-3c20-4067-be18-1339080f01bd","Design an Omnichannel G-Star Shopping Experience for 2018","Licina, M.","Van Dijk, M.B. (mentor); Tempelman, E.Y. (mentor); Kool, P. (mentor)","2014","Retail business is radically changing in this decade, due to (mobile) internet and changing relationships with consumers. In order to thrive in this new world, G-Star should adapt to create a seamless partnering experience with it’s customers - something quite different from the current sales and distribution approach. I have designed such an experience, for the year 2018, focussing on two elements. First, a store with a digital layer, but centered around the tactile, high-context experience. And through a digital ‘cloud’ that allows for a personalized relationship with each customer. Approach My approach is based on the Vision in Design (VIP) methodology developed at TU Delft. It focusses on re-framing and reinvention by creating future opportunities, instead of solving incremental present-day problems. Problem Three meta-factors combine to turn the world of 2018 into a ‘showroom without walls’: Re-balacing Relationships: In the past, retailers used to have power over consumers: they had local mini-monopolies on distribution and knew more than their customers. This power balance reversed because of the Internet, but developments like big-data are changing it again. Polarized Journeys: Customers will increasingly optimize non-interesting purchase journeys, seeking maximum convenience and ‘maximize’ the pleasure and quality of experience of meaningful purchase journeys. Proposition Overload: Divisions are fading between taste-making media, product-making brands and fulfillment-oriented retailers. Together with many new sales channels, (social) media outlets, brands and propositions, the 2018 consumer will face a myriad of decisions. My assignment was to envision the most valuable shopping experience for this new future, thereby choosing how to respond to these developments. Strategic Solution I want to give people an option to build an empowering partnership with G-Star. This should happen in a way which is fitting for the brand: in a conditionally accepting and product-oriented manner. We help you find the best denim, but don’t celebrate your dog’s birthday. My recommendation is to focus on maximizing experience, leaving the super-efficient shopping and optimizing consumers to platforms like Amazon and Zalando - it’s an arms race we cannot expect to win. For experience-driven consumer attitudes, we should offer options to partner with, which boast clear added value. For example, remembering your style and size preferences, access to celebrity curators or ability to reserve products when visiting a store. Likewise, consumers that choose to disregard, instead of partner with should still be able to shop at G-Star, albeit less valuably. Finally, we choose to distinguish between two attitudes that fit the above criteria: Hands-on Venturing: For customers with clear taste preference who prefer to be in-control when shopping, the store should behave like a tool they control to find the coolest products and optimize their experience. G-Star takes on the role of a ‘wingman’ who assists you valuably. Attuned: Customers who need more guidance and prefer to be ‘taken for a ride’, need to trust in G-Star to take the lead. Like snowboarding a challenging mountain, G-Star should take on the role of the more experienced snowboarding partner, who leads the way, but still lets you ride. Design Proposal The final concept design is framed in the form of customer journeys, where the customers interact with a physical store environment with a digital layer and with a digital ‘cloud’ which allows for a ubiquitous, personalized relationship with G-Star. Getting the customers to experience a more edgy, empowered, raw version of themselves by bonding with G-Star clothing is still at the core of each journey. The store concept is a 150 m2 monobrand store, designed to serve both the Hands-On and Adhering attitudes - who traverse different routes in order to enable fitting interactions for each group. The store offers many touchpoints with a ‘digital layer’, yet this layer does not stand in the way of a contextually rich, tactile G-Star experience, as this is one of the biggest values of a physical store. An example are interactive mirrors that allow for 360 photos, digital measuring, rich media info on products the customer is wearing, product and price comparison. By ‘cloud’, we refer to a digital platform that makes all relevant information available to both customer and G-Star in every part of the journey and in any place or device. To create trust, this information can be accessed, edited, adjusted, elaborated and removed by customers. The compounding nature of this data-partnership could prove incredibly effective after some time, as customers grow a strong and valuable relationship with G-Star. For example, G-Star knowing your measurements can help predict product sizes and reduce returns. Also, having access to (famous) curators can lead to entirely new ways of selling clothing, i.e. periodical subscriptions where personalized sets are delivered to customers, together with exclusive messages from their curators. The designed concept is expected to be technologically viable by 2018 and costs can be kept similar to those of a present day G-Star store of the same size. In order to gauge market opportunity and customer response, real-world testing with actual customers has been performed in G-Star flagship store. We’re not executing an existing product/service, but deploying entirely novel ones. Thus, in order to further validate and develop the concept, I advise Lean Methodologies in quick, iterative sprints, opposed to a linear approach to product development.","retail; omnichannel; design; experience; vip; vision in design; augmented reality; multichannel","en","master thesis","","","","","","","Campus only","2016-07-18","Industrial Design Engineering","Industrial Design","","","",""
"uuid:3a1e446e-17d1-4efe-86f0-3508ab5fe410","http://resolver.tudelft.nl/uuid:3a1e446e-17d1-4efe-86f0-3508ab5fe410","Welcoming Insects at the Table: Designing a new Experience of eating Insects","Ortiz Sanchez, M.A.","Schifferstein, H.N.J. (mentor); Jepma, E. (mentor)","2014","This thesis documents the process of designing a new experience of eating insects for Westerners. By using the ViP approach, a research phase was carried out which revealed topics into food acceptance and choice, and the relationship between food, biology, psychology, and culture. Interviews were conducted to find out what people think of eating insects and about their eating habits. An experiment was performed along with analog observations to determine how people behaved and reacted to manipulating, cooking, and tasting different insect dishes. A memory-work session was conducted to discover the symbolic role of insects. Subsequently, a vision for a future context and design was proposed, and finally a concept was developed: The Hive restaurant. The concept tries to alternate between positive and negative emotions and to divert the attention away from the insects, to eventually create anticipation and curiosity, which in their turn will create an experience and environment that will encourage insect consumption.","entomophagy; insect eating; emotions; experience","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Industrial Design","","Master of Science Design for Interaction","",""
"uuid:2d5083b5-e12a-428b-bfc2-55cb4826a46a","http://resolver.tudelft.nl/uuid:2d5083b5-e12a-428b-bfc2-55cb4826a46a","Designing backlighting to enhance the experience of porcelain tiles","Kop, J.","Hajian, M. (mentor); Pont, S.C. (mentor)","2014","Light has always been an important aspect in our daily lives. Many years back the people on earth only had light from the sun to rely on, after that the flame and other light sources like the incandescent lamp and LED lighting were invented. A pioneer in lighting design (Richard Kelly) defined lighting as three different groups; ambient lighting, focal glow lighting and play of brilliance lighting. Ambient lighting illuminates everything around us; focal glow lighting illuminates certain objects or areas; play of brilliance lighting itself attracts the attention. Therefore play of brilliance lighting can be seen as a more decorative lighting. The focus during this graduation project is on decorative lighting in combination with translucent porcelain tiles. These tiles are produced by the design company Studio Barbara Vos. The tiles are made from a special porcelain mixture that uses ashes from bones to create the translucency. In combination with a textile imprint, the tile shows different light intensities over the tile when it is placed in front of a light source. In order to create a wall with porcelain tiles and light behind them, the lighting product is developed during this project. During the research phase information about ceramics, lighting and their combination is discussed. The variety in lighting created a comparison between five light sources where the LEDs and the LED-strips turned out to be the most suitable for this product. The choices are based on a long durability, small size, rather low costs and the flexibility for the design. The target group for the final product is a group of people that have more money to spend than a regular household. This was already a predefined target group because of the rather high costs of the porcelain tiles itself. Surveys amongst people within the design industry confirmed this target group and also showed that the product will be attractive to hotels and restaurants. By looking at products and their prices of competitors in the lighting and tiling industry a price range was defined for the final product. The complete analysis phase resulted in a list of requirement that was divided into four different groups; production, use, installation and maintenance. The most important design aspect were derived from the requirements and listed below: - homogeneous light - dimensions - connecting - light intensity - wall mounting - heat management - maintenance All these design aspects created a basis for the concept development. After idea generation and testing different models eventually three concepts were created. By using the design aspects in combination with a Harris Profile, the most promising concept was chosen and optimized during the embodiment phase. The final design is a lighting product with the dimensions of 150mm x 150mm x 18mm which can be placed behind a porcelain tile. The product carries a diffusing acrylic sheet enclosed by RGB LED-strips on two sides. These strips shine light into the sides of the acrylic which causes the light to exit the sheet perpendicular to the LED-strips. The light from the LED-strips spreads over the complete surface of the acrylic which causes the desired homogeneous light. Multiple lights can be connected by using the two connectors on the product that can be used as both an input as an output. The used RGB LED-strips enable the user to set the desired colour or effect. A prototype of the product in combination with porcelain tiles was build and a user test was conducted. The results show that the product looks attractive and that it would be suitable for hotels and restaurants and wellness centres. The colours on the remote control do not resemble the colours of the illuminated tiles perfectly; therefore a recommendation was done to find a suitable control system. People do perceive the illuminated lights as looking luminous under bright and darker circumstances.","lighting; experience; LED; porcelain","en","master thesis","","","","","","","Campus only","2016-01-31","Industrial Design Engineering","Integrated Product Design","","","",""
"uuid:e779a7c0-86d0-44c5-a580-07aa6de33418","http://resolver.tudelft.nl/uuid:e779a7c0-86d0-44c5-a580-07aa6de33418","The added value of flagships for German car manufacturers","Plijnaar, G.M.","Van der Voordt, D.J.M. (mentor); Kooijman, D.C. (mentor)","2014","","added value; flagship; German; retail; experience; strategy","en","master thesis","","","","","","","","","Architecture and The Built Environment","Real Estate & Housing","","Real Estate Management","",""
"uuid:ca691725-b2a7-4de4-95ed-5d234e9ecea6","http://resolver.tudelft.nl/uuid:ca691725-b2a7-4de4-95ed-5d234e9ecea6","Creating drinking water awareness at Into the Great Wide Open","Axpe, M.","Brezet, J.C. (mentor); Van Hoevalaak, J. (mentor)","2013","This master thesis is focused on delivering a new drinking water experience, with the aim of creating pro-environmental awareness at Into the Great Wide Open (ITGWO), a music festival based in Vlieland. Water is essential for life, and there are many problems related to it that have to be solved in order to ensure drinking water to the future generations. The project aims to solve a part of the problem and giving a solution for tap water users at the festival. This report illustrates the solution found that has followed a combination of creative and sustainability methods.","water; sustainability; festival; awareness; experience; disposable","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Design for Sustainability","","Master of Science Strategic Product Design","",""
"uuid:10424157-0e4e-477f-ab9d-a31c99e212ec","http://resolver.tudelft.nl/uuid:10424157-0e4e-477f-ab9d-a31c99e212ec","Directed Movement: Towards a wayfinding based approach of design","Van Zutphen, M.D.","Pietsch, S. (mentor); Van de Voort, J.A. (mentor); Van der Voordt, D.J.M. (mentor)","2013","The graduation project Directed Movement guides you through the research regarding the personal abilities and environmental characteristics which can ensure a good wayfinding experience. This theory is used to design a (complex) public building as part of the South Bank Centre in London.","wayfinding; environmental perception; cognition; south bank london; experience; complexity","en","master thesis","","","","","","","","2013-11-30","Architecture and The Built Environment","Architecture","","Explorelab","",""
"uuid:eea701a7-f6c4-40ef-8687-547b44c0a88c","http://resolver.tudelft.nl/uuid:eea701a7-f6c4-40ef-8687-547b44c0a88c","Introducing experience marketing in the leisure industry","Castricum, N.","Hekkert, P.P.M. (mentor); Brand - De Groot, S.C.M. (mentor)","2013","This graduation report contains the development and outcome of a new experience marketing concept for Apenheul. From the very start of the strategic analysis, the concept has been developed to fit the Apenheul lifestyle and is combined with work from the field of designing for experiences. The concept has been detailed in terms of experience as well in its appearance and construction, due to high-end prototyping.","experience; marketing","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Industrial Design","","","",""
"uuid:341ffef5-18db-4b08-8dda-11d02f71c13a","http://resolver.tudelft.nl/uuid:341ffef5-18db-4b08-8dda-11d02f71c13a","Design of rain gear for race cyclists","Maliepaard, L.C.A.","Van de Geer, S.G. (mentor); Jellema, A.H. (mentor)","2013","The goal of this graduation project was to enhance the cycling experience for competitive race cyclists through the design of a rain garment. This was done by exploring the race cyclist’s context and experiences and translating this into a garment that fits the users experience.","cycling; clothing; sports; race; experience","en","master thesis","","","","","","","Campus only","2014-07-01","Industrial Design Engineering","Industrial Design","","Master of Science Design for Interaction","",""
"uuid:1da66a2a-7417-4ba9-8f06-cfce3425044e","http://resolver.tudelft.nl/uuid:1da66a2a-7417-4ba9-8f06-cfce3425044e","Designing a social TV experience","Lim, T.L.","Freudenthal, A. (mentor); Simonse, W.L. (mentor)","2013","The assignment Ziggo has no unique social media service or feature in their Ziggo interface proposition. My assignment was to design social TV features for this Ziggo interface. The target group were the ‘Young & single’ (16-34 years). The approach Vision in Product design was combined with Contextmapping to create a meaningful and coherent product story based on the interactions and context of product use. The vision Internet changed user behavior and their expectations in terms of mobility, availability, immediacy and relevance. Internet beats TV on these aspects, making it an increasingly popular source of content and entertainment. In contrast to this change, people still have a need to share their (TV)experiences. The vision statement I want to enable people to add value to linear TV, by making TV experiences shareable on social media. The solution The Ziggo+ app offers users a social media network, which allows them to share their TV experience, while adding value to linear TV. Ziggo+ users edit and share all the interesting pieces of TV making Ziggo+ a source of relevant TV content you can enjoy anytime and anywhere.","TV; sharing; social media; social TV; interaction; experience; ViP; contextmapping","en","master thesis","","","","","","","Campus only","2014-05-21","Industrial Design Engineering","Design Engineering","","Master of Science Design for Interaction","",""
"uuid:6d48629c-a043-44d7-922b-5b93f37c29f0","http://resolver.tudelft.nl/uuid:6d48629c-a043-44d7-922b-5b93f37c29f0","The experience of public space in The Hague South East","Bruggeling, C.R.","Harteveld, M.G.A.D. (mentor); Caso, O. (mentor); Van Dorst, M.J. (mentor); Mihl, H. (mentor)","2013","This booklet studies the possibilities of the design of public spaces, in the light of two influential theories by Kevin Lynch and Gordon Cullen, published in the beginning of the 1960’s. They focus on the design of the public space in relation to the experience of the city users. Yet again and again these theories are referred to, even in present time, 50 years later. A literature studies first explores their theoretical relevance. It addresses both its reasons, its social implication and its intended effect, based on environmental psychology. Afterwards the practical relevance of these theories are examined. This is done in The Hague South East where currently good pedestrian and cyclist connections are lacking. Therefore the graduation project proposes the addition of 4 new routes as an urban design component and a landmark, forming the architectoral component. Together these interventions improve the legibility and attractiveness of the area.","experience; public space; urban renewal; landmark; Cullen; Lynch","en","master thesis","","","","","","","","","Architecture","Architecture & Urbanism","","","",""
"uuid:52975d76-480e-4101-8d69-28c4c024cd8b","http://resolver.tudelft.nl/uuid:52975d76-480e-4101-8d69-28c4c024cd8b","Design for Package Experience: Design tool for integrating user experience into the development process of Packaging at Philips Consumer Lifestyle","Huijse, M.F.","Wever, R. (mentor); Bakker-Wu, S. (mentor)","2013","This report documents research about designing for package experience in the process of the Packaging department (PAC) of Philips Consumer Lifestyle in Drachten. Package experience which is defined as the whole customer journey with Philips CL packages in contradiction to the term ‘unpack experience’ this term covers not only unpacking and buying (not a focus of this project) but also other aspects in the journey like: carrying, storing, the merchandizing factor her called stickiness or memorabilia and disposal. This report shows manners for implementing designing for package experience inside the existing process of Philips. The report consists of: 1) An internal analysis on the process of developing packages and packaging frameworks. 2) An investigation on the stakeholders in this process and their challenges of in the process. 3) A thorough literature search: 1) Which commercially validates creating package experience 2) Which supplies guidelines for designing package experience 4) The pitfalls in the current situation in the consumer lifestyle section and the competence of Philips in this situation. 5) A thorough user insight test on PAC its current packages on: usability, the fun factor or merchandizing factor of the package, the brand identity radiation, the quality radiation per price range. 6) It defines the problem of the current process with stakeholders 7) It constructs requirements and a design purpose for the tool 8) It generates a variety of ideas for a design tool which can be implemented into the process. 9) It thoroughly describes a final concept which methodologically designs the customer journey (in relation to the packages). 10) Investigates the content of the tool: divide under; general preconditions, ‘theming the experience’ (which sets up input for the experience) and customer journey with its structural implementations (structural research), usability (utility and use cue research) and summarizes brand radiation options. 11) Evaluates the concept through a design cycle test with a mockup of the concept.","packaging; unpack; experience; design tool; Philips","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Strategic Product Design","","Strategic Product Design","",""
"uuid:3d2c648d-09d6-406e-b114-3254290854dd","http://resolver.tudelft.nl/uuid:3d2c648d-09d6-406e-b114-3254290854dd","Towards an architecture of experience","Minter, C.","Nottrot, R. (mentor); Van den Dobbelsteen, A. (mentor); Healy, P. (mentor)","2013","Many urban and architectural designs bring about a different experience in its visitors than the designer originally intended. Typical architectural qualities such as ‘dynamism’, ‘harmony‘, ‘lightness’ are often guiding themes in the de- sign, but hardly ever experienced in reality when the design has been built. Especially the notorious grand schemes of sixties and seventies, intended to give lots of open green space and fresh air to its inhabitants, are experienced differently — nowadays people mostly experience them as unsafe and cheap. Luckily, there are also some examples of designs that are able to bring about positive experiences in its visitors, some of which are included in this research. The fact that many designs do not afford a positive experience is the problem that is addressed in this project, of which this written research is a part. It is due to a lack of knowledge of experience and a decent method for designing an architectural experience that designers fail in their attempts to create a positive experience. This research aims to fill that hiatus by providing relevant knowl- edge of perception and experiencing and a preliminary method for design. This is the design for a peaceful subway station on Kottbusser Tor, Berlin. It includes an urban design for the circus, a design for the underground station which is sustainable.","experience; merleau-ponty; descartes; skinner; corbusier; zumthor; eisenman; architecture; gestalt; maslow; Berlin; Kottbusser Tor; Kreuzberg; U-bahnhof; underground station; Peaceful; experience; sustainable","en","master thesis","","","","","","","","2013-01-30","Architecture","Explore Lab","","Explore Lab","",""
"uuid:cf428f1a-80d4-4773-871e-c4df92c84efb","http://resolver.tudelft.nl/uuid:cf428f1a-80d4-4773-871e-c4df92c84efb","Integrated Video Experience for MRI patients","Buratti, N.","Boess, S.U. (mentor); Melles, M. (mentor)","2012","Since its introduction, physicians around the world have largely used Magnetic Resonance Imaging (MRI) as diagnostic technique. It has been demonstrated that the patient experience during the MRI scan influences their breathing, and with that the scan time and image quality. Reducing the data acquisition time means to decrease the chance to incur into physiological distresses or to limit the set of physical constraints implicit within the MRI scanner. In this direction a research on a novel technique to guide a subjects’ breathing pattern through the use of a projected video has been carried out by the Basel University Hospital in Switzerland. This graduation project is based on that research and it is about the design of an integrated video experience for MRI patients to reduce phycological distresses by improving the respiratory efficiency and as a consequence the imaging time. On the market there are already three MRI video systems that could be used to show the video developed by the hospital. However these systems lacks in term of engagement and some of them may cause disorientation to the patient. Moreover most of these systems are not designed for a daily use. A new projection system has been developed with the aim of decreasing the patient stress by engaging him with a video screen placed in proximity of the patient face. This screen solution together with an innovative video projection technique designed by Knowledge Resources (Basel, Switzerland) allows to watch the video at any stage of the examination. The advantage is that the patient starts the immersing video experience before to enter in the scanner bore and it ends immediately after he his driven out. In particular this system help the first time MRI users to cope with the high stress level of entering inside the scanner bore. To prevent disorientation or dizziness the projection screen has been designed to do not completely exclude the patient from the outside environment. In particular the screen do not completely fill the field of view of the patient in order to let him to control what is happing around. Unlike the video systems already on the market this is the first example of an MRI video system who has been designed with the principal aim of decreasing the patient stress. The entire video system has been designed to be placed inside the MRI suite that is regulated by a specific product restriction. A working prototype of the video system has been produced with the aim of testing the video system principle and the user experience. However the short time nature of the project did not let the student to do that. In this direction those tests should be conducted by the client before to decide what is the next step in this project.","MRI; video; projection; experience; design","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Industrial Design","","","",""
"uuid:a9439dd5-dca7-41c2-a9e6-b163b8f9da8b","http://resolver.tudelft.nl/uuid:a9439dd5-dca7-41c2-a9e6-b163b8f9da8b","Engagement and Experience In Service Design: Development and Implementation of a New Service for the Prato Industrial District","De Sá, M.","Gemser, G. (mentor); Tabeau, K. (mentor)","2012","This thesis was elaborated as part of a project developed for the Italian Chamber of Commerce of Prato, during a collaboration with the MIT-MEL. The final output of the project is the design of a strategy to support the Chamber of Commerce in the implementation of a new service to the district of Prato. Faced with current economical and social pressures, the Chamber of Com- merce of Prato expressed the need for internationalizing the district. Prato is an industrial district in Northeastern Italy, highly specialized in fashion manufacturing. However, the general fall in demand and competitive pres- sure of new supply markets had immediate repercussions on the exports and economic situation of Prato’s industrial district. The research question addressed in this study is: How can stakeholders be better engaged in the experience of a service provided by a public sector organization? In order to provide an answer to this question, a literature research was done and a case study was performed. To reach the objective, the project is structured in three main phases: re- search, design, implementation strategy. The service, named Fashion Valley, was developed during the collaboration period and used as a case study for this research. From the literature and context analysis, a list of design guidelines to reach a greater engagement and thus create better experiences was developed. These guidelines lead to the creation of Fashion Valley, a discovery and management web-platform for the companies of Prato and external designers. The service creates new business opportunities in the district and facilitates the manufacturing process. The value exists for designers, companies and con- sequently to the Chamber of Commerce. Fashion Valley promotes the district and fosters new business relationships. The business model developed is the unification of all the steps which need to be taken in order to achieve a cohesive service strategy. Steps can be clus- tered in three diðerent levels: the technology implementation, engagement initiatives and long-term strategy, and are represented in the service road. Technology refers to all the backend development and design work needed in order to build the web platform where the service will exist. Engagement initiatives are meant to promote the district, create connections between us- ers (e.g. workshops and pilot group) and happen through the existence of the service. They widen the already existing service touchpoints to not only digital but also physical experiences. Moreover a greater engagement of stakeholders will least to the continuity and exploration of the service opportunities over time. Furthermore the project outlines a strategy for the coming four years, thus the chamber will still need to be flexible towards any changes that might occur. The graduation research on the basis of this project has unveiled challenges inherent to the management of service design approaches within the public sector.","service design; experience; engagement","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Product Innovation Management","","Strategic Product Design","",""
"uuid:03f4d4e9-914c-4c71-b7f5-4b7ac4264f3c","http://resolver.tudelft.nl/uuid:03f4d4e9-914c-4c71-b7f5-4b7ac4264f3c","Making hospitals more hospitable: designing new coffee systems for the hospital context","Klein Hemmink, B.","Melles, M. (mentor); Buijs, J.A. (mentor); Wessels, H. (mentor)","2012","Health Care is gaining attention in the public debate, because our greying society leads to ever increasing costs and includes a labour force that is not capable of dealing with the increasing amount of people that require health support. This development is putting pressure on society in economic, but also social terms. Privatization processes force hospitals to work more efficient, to compete for customers more pro-actively and to find new sources of revenue. They will put more effort in attracting patients by improving the patient experience. This makes so-called Post-Discharge Satisfaction (PDS) scores increasingly relevant. As a direct result, the hospital environment and the way it is organized is changing over the coming period of time and this will also have consequences for the business that Douwe Egberts Coffee Systems (DECS) is in. In this project I analysed how DECS can offer a meaningful contribution to enhancement of the patient experience in the hospital context. This eventually resulted in Douwe Egberts Invite, which is an on-demand coffee service that contains a premium single serve capsule machine that gets installed near the patient’s bed on reservation. Douwe Egberts Coffee Invite helps to foster social connectedness between patients and relatives and furthermore enhances the patient’s feeling of independence. For hospitals, Douwe Egberts Coffee Invite forms an opportunity to enrich their service portfolio and gain additional turnover.","health; care; coffee; tea; patient; experience; hospitals; hospitality; service design; system design; customer-driven innovation","en","master thesis","","","","","","","Campus only","2013-06-15","Industrial Design Engineering","Industrial Design","","Master of Science Strategic Product Design","",""
"uuid:c3bf2626-982c-438d-8444-d8b756642ba3","http://resolver.tudelft.nl/uuid:c3bf2626-982c-438d-8444-d8b756642ba3","Green Keys: How sustainable principles regenerate the Westland spatially","Crielaard, M.","Nillesen, A.L. (mentor); Sijmons, D. (mentor)","2012","The Westland is an area where the experience, resilience and usability are under pressure. This research and plan aims for changing the Westland mainly by focussing on renewal of glass-houses and the solution of environmental problems such as water storage and water quality. By the use of routes and the linking of a renewing programme along these routes there arise corridors, with these corridors the Westland is spatially changed into a more sustainable area.","Westland; glass-houses; horticulture; climate; renewal; water; recreation; experience; resilience; usability","en","master thesis","","","","","","","","","Architecture","Urbanism","","","",""
"uuid:17ab0240-8229-4879-98f2-29f021370670","http://resolver.tudelft.nl/uuid:17ab0240-8229-4879-98f2-29f021370670","The Green Terminal","Breeuwer, J.","Keyson, D.V. (mentor); Brand, S.C.M. (mentor); Manders, C. (mentor)","2012","In the near future, Amsterdam Airport Schiphol possibly wants to open a terminal that will take care of the airport handling process in a sustainable, innovative and user-friendly way. Moreover, the passengers and employees should be made aware, in a pleasant way, of the sustainable nature of the airport handling process of this terminal. The main research question for this graduation project is: “How can an airport handling process become more sustainable; and how can passengers experience these sustainable improvements in a positive way, as a part of their activity? This project has resulted in a mixture of sustainable concepts, which are applied in a fictive terminal design. Every concept that is applied in this ‘green terminal’ building is sustainable, user-friendly and can be experienced by the passengers. Most concepts are focussed on energy efficiency, health & wellbeing and sustainable water consumption. All concepts contribute to a comfortable and healthy terminal concept.","terminal; theGROUNDS; Schiphol; sustainable; experience; green; airport","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Industrial Design","","Master of Science Integrated Product Design","",""
"uuid:1d5072b5-e358-4c5d-bb40-bf5461632680","http://resolver.tudelft.nl/uuid:1d5072b5-e358-4c5d-bb40-bf5461632680","Dwelling a narrative experience: Embracing the diversity in the experience of dwelling","Visco, F.","Jürgenhake, B. (mentor)","2011","This is an infill/parasite housing project. The site is the corner in a typical urban block of the city of Berlin. The urban position of the project was based on the idea that ""A city must be read as a carpet of fragments, as a continuum sequence of SPATIAL and PROGRAMMATIC PATTERNS."" My design proposal is for a new fragment of the patchwork city, that provide a narrative experience moving through a juxtaposition of spatial forms. The architectural position for the dwellings was based on the idea that the HOUSE must meet the events of dwelling, in a continuum sequence of changing SPATIAL and PROGRAMMATIC PATTERNS. In my work I tried to show how: Reading the space as a juxtaposition of spatial and programmatic patterns is a guide to organize the complexity of the city and to think about a house that embrace the diversity of the events in the narrative experience of dwelling.","dwelling; experience; parasite; flexible house; flexibility; housing; diversity; Berlin; tower; house; home; changeability; changeable; narrative experience; spatial forms; patchwork city; juxtaposition; urban interior; spatial patterns; programmatic patterns; private domain; generic space; dynamic thresholds; living +; infill level; hybrid building; living+working","en","master thesis","","","","","","","","","Architecture","Architecture","","Architecture and Dwelling","",""
"uuid:8fea99ce-4b5b-4310-804e-77ad3f72aa20","http://resolver.tudelft.nl/uuid:8fea99ce-4b5b-4310-804e-77ad3f72aa20","The course towards home: The path through seamed spaces","Pilati di Tassullo Guy, F.M.L.","Jurgenhake, B. (mentor); Kaal, S. (mentor); Cuperus, Y. (mentor)","2011","","dwelling; path; experience","en","master thesis","","","","","","","","","Architecture","Architecture","","Dwelling Studio","",""
"uuid:87ed69f8-fe2a-4569-ac6c-ba249c3f6dfb","http://resolver.tudelft.nl/uuid:87ed69f8-fe2a-4569-ac6c-ba249c3f6dfb","Multisensory design in architecture: Concept development for a multisensory experience in a high school library","Van der van der Worm, S.","Schifferstein, H.N.J. (mentor); Pasman, G.J. (mentor); De Jong, G.E. (mentor)","2011","DP6 architectuurstudio developed a new high school building for the Sint Nicolaaslyceum in Amsterdam. First a multisensory concept for the library of the new school building was developed using the multisensory design approach from the faculty of industrial design engineering, Delft. The second part consists of a guideline for multisensory design in architecture. This guideline is based on an extensive evaluation of the concept development process. The project started with intensive literature and user research. The literature study showed it is important, when focussing on human well-being in environments to take into account that users need the possibility to create the desired level of privacy, they need a certain level of change and complexity in order to be stimulated. Furthermore natural processes and a link to nature in an environment is perceived as positive by users. During users research the users – high school students – of the library were involved in the context mapping research process. Context mapping is used to gain empathy with the user and to understand their dreams and wishes for the environment. The user research started with observations of the users within the library and interviews with employees. Then twelve students filled in booklets explaining interesting aspects of their everyday life. Finally user sessions are done with two 3rd grade classes. All results combined results in the conclusion that the main desire for the library is to have a motivating library. This results in the design goal ‘design a motivating multisensory library for the Sint Nicolaaslyceum’. Further investigation of the concept ‘motivation’ led to the interaction vision “the room should guide you like an easy flowing river”. The main target expressions that are empathised are: inspiration, reliability and support. The vision with its main characteristics lead to a concept separated in three main parts. Every part communicates one of the target expressions. The final concept consists of an inspiring pathway, bookcases that empathise reliability and supportive work spaces. The multisensory character of the designs contribute to the expression they communicate. The pathway meanders through the whole library. It consists of three layers, when walking across this floor a congruent fluid is moved by the users’ body weight. The sub floor, containing inspiring images, short stories and images which are linked to information which is available in the library, shows. The upper layer of the floor is made from scratch resistant plastic. This layer is slightly compressible, which gives it a bouncy feeling when walking across. Furthermore it contains a very subtle smell; the smell is called tranquil escape and is scented with lime and geranium which gives it a light and fresh appearance. The polymer which encapsulates the scent is developed by Eastman Innovation lab. The bookcases have a wave shaped shelf in them which is made from the same material and colour of the pathway. It represents the information from the bookcases flowing into the floor and back. The other material used for the bookcases is pressed lacquered bamboo. This gives it a solid, warm and natural appearance and feel. The expression which it carries out; reliable is expressed by its solid character and the use of warm coloured and feeling, solid wood. The glass shelf communicates transparency which is an important characteristic belonging to reliability. Finally there are three types of work places; the individual work places, group work places and computer work places. The work places should support the activities of the users in every specific place. This does not only include the ergonomic aspect but the preferred way of working, level of privacy and the support of the posture belonging to the performed activity as well. The individual work places should enable students to work concentrated and quietly. The group work place should enable students to work together and therefore should have a dynamic character. The computer work places are similar to individual work places. In addition group lessons are given here sometimes. Therefore all chairs have to be able to face the same direction. To create suitable environments, the aesthetics and feel of the furniture is taken into account; furthermore special attention is given to the lighting and acoustics. The evaluation of the concept led to an adjusted road map of the original Multisensory design method. The method is presented in a booklet called “multisensory design in architecture”. After consulting DP6 the decision is made to make a booklet with theoretical value and practical information without it being a proposal for implementation in their process. The final booklet contains the background of MSD, the MSD current method is explained. In addition detailed set of sensory characteristics that can be addressed in architecture is defined while evaluating the project, this set is presented and explained in the booklet. Finally interesting findings from literature are presented.","multisensory design; high school; architecture; senses; experience; target expression","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Industrial Design","","Master of Science Design for Interaction","",""
"uuid:832ad60f-136f-4c15-bd46-0454e4c8f5c6","http://resolver.tudelft.nl/uuid:832ad60f-136f-4c15-bd46-0454e4c8f5c6","A narrative experience in a patchwork city","Lijbers, A.J.","Jurgenhake, B. (mentor); Cuperus, Y.J. (mentor); Kaal, S. (mentor)","2011","Fluctuating through the fragments of the patchwork city, the dweller moves through a sequence of juxtaposed spatial forms that define the narrative experience. A patchwork is a metaphor to explain the way in wich the city is made up: It is not the result of any unitary drawing but it comes from the collage of fragments, I n a progressive definition of diverse scenes. In this graduation project the dwellings are the spatial forms. The relationship of the spatial forms makes the space. A space that is a narrative experience within a patchwork city.","Patchwork city; experience; dwelling","en","master thesis","","","","","","","","2011-12-16","Architecture","Dwelling","","Graduation MSC3/4 `At home in the city´Berlin-Spree","",""
"uuid:4acf14d7-6945-4dab-8da3-06deb3cfe698","http://resolver.tudelft.nl/uuid:4acf14d7-6945-4dab-8da3-06deb3cfe698","Guntroller + Perivision: Enhancing The Experience of Video Games","Van Wijk, X.L.","Aprile, W.A. (mentor); Saakes, D.P. (mentor); Luijben, S. (mentor)","2011","Vogel’s is market leader in Europe for the business of placement and mounts for audio and video equipment. Always looking for opportunities to expand their market, they have started developing accessories for the gaming industry. In order to become a serious player in the market for gaming accessories Vogel’s wants to gain knowledge of gaming and the gaming experience. This led to the assignment: ‘Design a product that enhances the gaming experience (of existing videogames)’. The first step to design a product that enhances the gaming experience is to make a clear definition of the word ‘gaming experience’. Experience is the reactional relationship between the subjective world of a person and the objective world around them. Applied to gaming, the experience can be defined as the relationship between the gamer and the physical, virtual and social environment he is involved in. There are many factors that influence this relationship, like player type, immersion, the physical environment, social interaction, game genre, platform and in-game perspective. Based on this definition, an overview is made of products that influence either one of these factors to get an overview and understanding of the current market for gaming accessories. 3 levels have been identified on which products can enhance the gaming experience. Level 1 products are independent gaming accessories which are not directly involved in gameplay or part of the direct interaction with the game. Level 2 products enhance the gaming experience by modifying the input or output from the game. Finally level 3 products combine technology creating a complete new type of game in- and output or platform. It requires the cooperation of game developers to create games for the new technology. Since Vogel’s has indicated they will not be developing a new technology, a level 3 product is not an option to develop in the near future, but it could inspire a long term vision for the company. Based on the basic conception of gaming experience questionnaires were sent out among a wide variety of gaming contacts to get a global impression of the gamer demographic. There was a wide variety in the gamer types, it was clear a categorization was needed. However as explained in the introduction stage, there is no clear categorization of gamers yet based on their experience of games. The hardcore and casual distinction is ambivalent and too simplistic. It became an important objective to find a categorization that showed the full spectrum of the gaming experiences and the most significant distinctions to allow for a user centered approach to the design of a gaming accessory aimed at improving the gaming experience. It was decided to focus on the console gaming market, because it fit well to Vogel’s’ current product portfolio. Based on the feedback from the first questionnaires a subsequent in-depth interview was done with a small group representative of the console gamer audience. Based on the finding of the in-depth research, the Gaming Experience Model was formulated as described in section 7.2. The most important finding was that apart from the factors as described earlier, commitment and identification are important factors that influence the gaming experience. Identification is a psychological process whereby the subject assimilates an aspect, property, or attribute of the other (in this case other ‘gamers’ or simply the activity of gaming) and is transformed, wholly or partially, after the model the other provides. Commitment is a component of identification; it is the relative strength of an individual’s identification with and involvement in a particular organization (or in this case the activity of gaming). The Gaming Experience Model identifies 4 types of commitment: immersion, skill, communion and knowledge With this holistic understanding of the gaming experience 2 brainstorm sessions were organized to create product ideas. The first brainstorm was organized with a mixed group of young creatives, who were not updated on the project and research findings. The purpose was to inspire and ‘break out of the box’ after analyzing the gaming experience so intensely for months. The result was a wide variety of bizarre ideas of which the direct application in a product was not immediately obvious, but the exercise explored the gaming experience spectrum in a playful matter and worked inspiring. The second brainstorm was done at Vogel’s with a team of colleagues from the R&D department. The brainstorm was more structured and the team was informed of the findings on gaming experience. The results were product ideas that were more concrete, but also less surprising. The most promising ideas were selected and further developed, until finally 2 concepts were left: the Guntroller and the Perivision. Prototypes were created in order to evaluate the concepts through user testing. The Guntroller concepts aims at enhancing the experience of First Person Shooter games, by improving the look and feel of the controller. The concept could be further developed in to a standalone product (a controller) or an accessory (a controller add-on). The Guntroller adds a bright flickering light to the shots fired in game and a translational recoil effect (instead of the rotational vibration that is standard on most console controller nowadays). The Perivision was inspired by the light design as applied on stage in music, TV or theater productions. It aims to improve the gaming experience, by applying visual effects to the physical environment in the user’s peripheral vision. The characteristics of the peripheral vision are directly related to the built of the human eye. There is no color perception in the peripheral vision for example. This understanding led to a set of guidelines to design light effects for the Perivision from a dramaturgical point of view. A research study was set up to evaluate both concepts. The same participants were used, but the products were tested and evaluated separately. The Guntroller was highly rated on all positive and ‘impressive’ aspects. Participants indicated that especially the light effect on the controller contributed to its intensity. The Perivision was rated a bit lower, on both the positive and negative aspects. Overall it was less noticeable.","videogames; gaming; experience; peripheral vision; recoil; first person shooter; accessory; games; gaming experience; dramaturgy; light design; perivision; guntroller; firearm; gun; kickback; design","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Industrial Design","","Master of Science Design for Interaction","",""
"uuid:9811fdc0-8c3b-42be-aa5e-b7953753c8a0","http://resolver.tudelft.nl/uuid:9811fdc0-8c3b-42be-aa5e-b7953753c8a0","Designing the new sports bar experience: Research of the old and development of the new experience inside the Sport Café","Linders, A.","Bruens, G.N. (mentor); Langeveld, L.H. (mentor)","2011","The Sport Café in Delft is a well known and most used area by lots of different user groups. The years of use have worn-out the current interior and the interior is in need of a new appearance. The goal of this project is to design the new experience of the Sport Café keeping in mind the different wants and needs of all the different target groups of the Sport Café; the primary target group, the students, the secondary target group, the staff and employees of the TU Delft and the tertiary target group, the daily visitors for lunch and dinner. The project starts with an analysis of the company. Aspects as the image, the identity and the goal of the company are described. A SWOT-analysis shows the strengths as well as the weaknesses of the Sport Café. The external analysis focuses on the surrounding area of the Sport Café. The market position is compared with competitors and important trends in demographic and society are invested. An additional small research is added that investigates in sitting positions of different personal relations. An observational research is conducted next to find out more about the life inside the Sport Café. The results of this research are captured in different floor plans of the area with specific information. To complement the conclusions of this research a more elaborate user research is added. With this more specific research I was able to get to know the users of the Sport Café better. All the knowledge about the Sport Café and its users let to the set up of the design specifications for the new experience inside the Sport Café. The design of the new experience is divided into two different phases. The first phase focuses on the design of the shell of the Sport Café, the interior. The second phase focuses on the small scale design, the furniture. The synthesis phase comes together when the interior designs are combined with the furniture design in the fusion. Three chosen interiors are arranged with different furniture designs with an appropriate mapping of the area. The choice of the new interior of the Sport Café is based on all the before set requirements from the analysis phase and the user researches. This results in the new experience inside the Sport Café. Three furniture concepts have been chosen for further elaborations. The chair concept has been chosen, based on important aspects as the furniture design for the remaining part of the project. The biggest and last challenge with this chair is to make it stackable. This last requirement was added last and required a few changes of the design. The design is finished with a small ergonomic research that resulted in the dimensions of the chair. The materials of the chair have been chosen is such a way that the chair is able to withstand the dirt and moisture from the people using the chair after exercising at the Sport Centre and it can be used outdoor during the summer. The chair has also been tested on different loads on the seat and is analyzed with the use of a simulation. The sales price of the chair is determined to be 200,00. This price is based on a costs analysis of the materials, the labor costs, the supplies and the development costs. As a final a real life scale prototype has been made to analyze the aesthetics and dimensions of the chair. The design of the new experience inside the Sport Café as well as the chair design have been concluded with a criteria check and recommendation.","interior; experience; furniture","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Industrial Design","","Master of Science Design for Interaction","",""
"uuid:67005899-4472-4a45-99ef-7ac752d75dac","http://resolver.tudelft.nl/uuid:67005899-4472-4a45-99ef-7ac752d75dac","Making the Tent Cool Again: Making the recreational tent a more integral part of the camping experience","Eskonen, H.","Sonneveld, M. (mentor); Tassoul, M. (mentor)","2011","This project seeks to determine how the recreational tent could become a more integral part of the camping experience. Instead of looking at “what is wrong” with current tents, this project focuses on defining how the recreational tent can better fit into the user’s outdoor experience. By focusing on the factors that make outdoor recreation enjoyable on an emotional level, the project defines a new context for the tent. The resulting product becomes a place for human interaction and bonding rather than simply a place to sleep and store belongings.","tent; camping; experience","en","master thesis","","","","","","","Campus only","2012-01-25","Industrial Design Engineering","Industrial Design","","Integrated Product Design","",""
"uuid:02fb34a7-3047-40cb-ac9b-615ef101e489","http://resolver.tudelft.nl/uuid:02fb34a7-3047-40cb-ac9b-615ef101e489","Descriptive Designing: A search for awareness of space and experiences in architecture","Schäfer, M.","Havik, K.M. (mentor); Van Dooren, E.J.G.C. (mentor)","2010","For my graduation project in ExploreLab at the TuDelft, I have been given all the freedom to create my own assignment. With the guidance of Klaske Havik, Patrick Healy and Elise van Dooren, I have created this project which is a search for tools which can implement the experience of space within the design process. I have done this by using literature as a tool. The project is half a theoretical project, in which I examined the use of literature as a tool. The other half exists out of three small designs which each test and analyse the theory part. The three designs have in common that they are designed for a blind character, which emphasises the experience of space not by sight, but through the other senses. The designs differ from each other in the way literature is used as a method. Each design is based on a different book and a different angle (writer / narrative / character). Also the function of each design is different according to their location. The thesis, which comes from the theory, together with the three designs, forms my graduation project in which I have explored the experience of space and the tools to implement it into the design process.","literature; space; experience; blindness; phenomenology","en","master thesis","","","","","","","","2011-02-06","Architecture","Architecture","","ExploreLab 09","",""
"uuid:e44b277d-e8c0-47d9-ae9b-6afdd2c37a64","http://resolver.tudelft.nl/uuid:e44b277d-e8c0-47d9-ae9b-6afdd2c37a64","D.Scape: 'A design strategy and concept design of the first Dilmah brand and product experience environment'.","Dawood, J.S.","Brezet, J.C. (mentor); De Wit, L.M.M. (mentor)","2010","This executive summary gives a concise explanation of process and results that led to the design strategy and concept design for the first Dilmah brand and product experience environment, named D.Scape.","experience; brand; space","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Design for Sustainability","","Master of Science Strategic Product Design","",""
"uuid:1123cd4b-3a24-47b2-b0a8-7699f2822859","http://resolver.tudelft.nl/uuid:1123cd4b-3a24-47b2-b0a8-7699f2822859","Creating the perfect outdoor game experience","Steenis, L.","Dekker, M.C. (mentor); Jellema, A.H. (mentor); Ferwerda, J.A. (mentor); Van Uden, J.C. (mentor); Versluis, S. (mentor)","2010","What if you mix (indoor) gaming with outdoor play? Nowadays children spend much more time indoor instead of outside, playing with friends. Outdoor play is good for both physical as mental development of children, and this problem was the foundation of this design project. Two years ago the idea was risen by Auke Ferwerda to develop an outdoor game console, which in the end has led to ten working models. These products however were mainly developed to obtain functioning prototypes, without having to invest in mass production. The current product is a shoulder band that contains positioning technique, for which four external antennas are needed. The feasibility was leading in this design process, not the user. For this reason a new design track was started with focus on the end user, and that is what this graduation report is about. The assignment was to design a new outdoor game console, which invokes an outdoor game experience that is fun and appealing for children of the age 8-12, and is more physical active than playing indoors. Children should all have their own device to create personal feedback, to be differentiating from the current competition. The end product should be used in the existing neighbourhoods of the Netherlands. It should be possible to play many various games with the designed product, to address a broad target group and to make sure the console remains interesting over time. The to be designed experience will be a mix of the world of gaming as well of outdoor play. A design process was chosen that is based on designing a new experience. When you want design an experience it is important to know the user and its context. For that reason the ViP method was partly used, to research the context and to generate visions about how the product should interact with the user. Together with more conventional idea generation techniques, this resulted in four and ultimately one final concept. A large part of the design project was spend on the research; literature research as well as user research. Many hours of observations were carried out at a primary school, combined with in-depth interviews, creative sessions and play sessions. The goal of this qualitative research was to discover how children nowadays experience outdoor play and gaming; what makes it fun, what are the needs. A good understanding was gained about the context of the user, and the following interaction visions were stated: - encourage - simple - ‘cool’ - trustful - free - Analyses of the context eventually led to more concrete design directions like: the console should offer more complexity and depth than current outdoor games, it should trigger the fantasy and creativity of the children, it should not hinder social communication and should help to find playmates in the neighbourhood. After a long design track, with much focus on the appearance of the product, the communication of game signals and of course the introductory game, the final concept came into life. The end product is a handheld product named the ‘Blop’ and is a stick that communicates through a ring of LED light, sound and vibration. You can operate the stick with three buttons and a turning wheel for changing settings for example. The main operation of this device is however is done by making gestures with it. The final shape has been developed with feedback of the children. They seem to like organic shapes the most. The result is that the Blop has an organic design with an own identity, playful but mature enough to be considered as a console. The two buttons that are located at thumb and index finger are easy and fast to operate. The top button indicates that there is no need for delicate handling - just hit the top and start playing! The Blop has a soft ring to protect it from impact and the bottom has a soft and round shape as well. The organic body fits comfortably in a child hand, and can be firmly held in the fist while running around. To protect the Blop even more a strap is enclosed as well. There was chosen for a handheld product because the feedback of light, sound and vibration is well communicated this way. It encourages to interact with it, and gives the possibility to use gestures as an input. Besides, a stick can be many things in a child’s imagination - a sword, gun, racket, whip, paddle... you name it! The home station of the Blop is not only for charging the device, but is mainly the gate for connecting easily with your friends. The home station is provided with Internet access, so it will connect through your online profile with your friends. Once you arrive home, you press the main button while its in the station. The home station will check if your friends are home. If they are, your blop will light up and start making noises! You can call them over VoIP, or summon him to play through the blop. The game that will be sold together with the blop is an adventure game. First the children will adapt their avatar in front of the PC, and choose skills and powers - this will help them get through the mini challenges that wait ahead. Once they start playing, the children will have to move from home to home (plastic discs) and complete several mini-challenges to reach the secret treasure. At every home you can collect a star (a light that lids up), and if you’ve collected enough stars you can win the level! If you meet your friends at a home you can battle them or cooperate to win extra stars or even a secret key... Are you ready to row, fight, swim and puzzle your way through the levels??","children; play; outdoor; gaming; game console; experience; outdoor game experience; kids; child; game; physical; active; communication; Ultra Wide Band; gestures","en","master thesis","","","","","","","Campus only","","Industrial Design Engineering","Industrial Design","","Master of Science Integrated Product Design","",""
"uuid:21c4c3d5-c415-4b2c-b636-53e5ccaab2fc","http://resolver.tudelft.nl/uuid:21c4c3d5-c415-4b2c-b636-53e5ccaab2fc","Preferred Security Experience: Designing a security area with a human perspective for Schiphol Airport","Hoogervorst, M.R.","Mulder, I.J. (mentor)","2010","Schiphol Group is owner and operator of Amsterdam Airport Schiphol and driven by the ambition to become Europe’s Preferred Airport. The airport industry has become a fiercely competitive market due to prizefighters. As Schiphol is quite an expensive airport for airlines and passengers, it has to distinguish herself by quality and service. In order to stay competitive in the long run as well, it is crucial to look further ahead. Also in the consumer market changes can be identified: Due to the increasing safety regulations for airports, the security checks have become stronger and more intensive for passengers in the last few years. These measures strengthen the feeling of safety on one hand, but on the other hand security is experienced worldwide more and more as a unpleasant process. At Schiphol airport security is even marked as one of the largest dissatisfiers in the passenger perception. As a result of this changing context new passenger needs will emerge with regard to security. This project explores how Schiphol can distinguish herself by creating an innovative security area for 2020 in which the needs of the passenger are the drivers of the design.","security; experience; innovation","en","master thesis","","","","","","","Campus only","2011-04-23","Industrial Design Engineering","ID and PIM","","Master of Science Strategic Product Design and Master of Science Integrated Product Design","",""
"uuid:033d8f85-d9d4-4710-aae8-28eb12d2a19b","http://resolver.tudelft.nl/uuid:033d8f85-d9d4-4710-aae8-28eb12d2a19b","The freedom of light characteristics in atmosphere perception for the living room","Choy, H.Y.","Heynderickx, I. (mentor)","2009","With the introduction of LED lighting, nowadays designers and architects have more flexibility to evoke emotions and create certain atmospheres in a space by means of artificial lighting. The perceived atmosphere in a space is an experience of the surroundings in relation to ourselves; it is an affective evaluation of the environment (Scholten et al., 2003; Vogels, 2008). Previous studies related to atmosphere perception have given valuable insight into the relation between white light and the perceived atmosphere (Vogels et al., 2008). Moreover, in (Seuntiens and Vogels, 2008) four atmospheres (cosy, relaxing, activating and exciting) were designed by professional lighting designer for a standard living room and verified by end users. This study found clear commonalities between the professional lighting designers with respect to the chosen light characteristics to evoke a certain atmosphere in the room. However, it was not clear how much variation in light characteristics was allowed before an initially perceived atmosphere disappears. In the present research three experiments were conducted to investigate the allowed variation in light characteristics (luminance, color temperature, hue and saturation) on two atmospheres, namely cosy and activating. In the first study, a tuning experiment was conducted in order to investigate the allowed variation in light characteristics on the initially perceived “cosy” and “activating” atmosphere. In general, the results of the first experiment showed that participants allowed quite some variation in light characteristics in both atmospheres. On average participants allowed an increase in luminance of the white light sources of a factor two to four compared to the initial luminance level, and a decrease in luminance of at least a factor of two. Furthermore, a consistent change of about 800K was allowed for the increase in color temperature in the “cosy” atmosphere and the decrease in color temperature in the “activating” atmosphere. Due to technical limitations, the decrease in color temperature in the “cosy” atmosphere and the increase in color temperature in the “activating” atmosphere were not investigated in this study. Finally, the allowed change in hue and chroma of the colored luminaires was found to be larger in the “activating” atmosphere than in the “cosy” atmosphere. In order to investigate the effect of a change in light characteristics on the perceived atmosphere, a difference scaling experiment was conducted. In this experiment, participants compared the average allowed change in light settings as obtained from the first study to the light settings corresponding to a “cosy” or “activating” atmosphere as reference. A short version of the original atmosphere questionnaire of Vogels (2008) was used to assess the perceived atmosphere in the room. The results showed that an increase in luminance of the white light sources reduced the cosiness and tenseness of the atmosphere, and enlarged its liveliness and detachment (with a reverse effect for a decrease in luminance). A decrease in color temperature was found to increase the cosiness, and to reduce the liveliness and detachment of the atmosphere. With regard to the colored luminaires, a change in hue was found to mainly affect the cosiness and detachment, whereas a decrease in chroma mainly affected the liveliness and detachment. In a follow-up experiment participants assessed the perceived atmosphere for the allowed change in light settings without the initial “cosy” and “activating” atmosphere as a reference to compare with. In general, similar trends with respect to the changes in the atmosphere were found, however, the effects were considerably smaller. This indicates that participants found it more difficult to distinguish the atmosphere related to the different light settings when they could not directly compare them. In this study, boundaries for the allowed variation in luminance, color temperature, hue and chroma were obtained for the “cosy” and “activating” atmosphere. In addition, the results gave further insight into the relation between light and perceived atmosphere. However, this research also has its limitations in the sense that some light characteristics, such as the spatial distribution of the light, and its dynamics, as well as the spatial configuration of the light sources, were not included. More research is needed to investigate the effect of these aspects on perceived atmosphere further.","atmosphere; lighting; experience; perception; living room; home","en","master thesis","","","","","","","","","Electrical Engineering, Mathematics and Computer Science","Man-Machine Interaction Group","","","",""