EJ
E.J. Jepma
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8 records found
1
Creating sparkles at De Nederlandsche Bank
Connecting potential visitors to the exhibition of the National Numismatic Collection
De Nederlandsche Bank (DNB) will be renovating their building in Amsterdam. In contrast to the ambience of the current building, the new building is designed to radiate openness, friendliness and sociality. This thesis suggests a manifestation that will create sparkles for potential visitors in the environment of DNB. The sparkles are for the National Numismatic Collection (NNC) as well as for DNB in general. The manifestation functions as the bridge between DNB, with its stately and businesslike appearance, and the average person in our society (especially young adults) with their personal, emotional and human traits. Meet ‘Perspective’. The design, located in the Frederikspark, stimulates the sparkle within the potential visitors of DNB by challenging their perspective mentally and physically. A tunnel of rings guide people to the entrance of the building. Every ring presents an auditive message on the different sides of the concept value, such as historical value or emotional value. The discovering of these sides goes together with the optical illusion that some ovals are rotated in such a way that they seem circles from the front. The interaction vision metaphor for this is Alice in Wonderland, where she gets interested to explore more when she sees the talking rabbit. ‘Perspective’ is adaptable to the wishes of DNB, for either Holidays, DNB campaigns or social issues in society. The audio fragments can be adjusted and for the lighting inside of the rings different colours can be used. The design attracts people and engages them with the message of DNB. It triggers them to walk into of the building and have a coffee, wander along the art collection and delve into the exhibition area of the NNC.
...
De Nederlandsche Bank (DNB) will be renovating their building in Amsterdam. In contrast to the ambience of the current building, the new building is designed to radiate openness, friendliness and sociality. This thesis suggests a manifestation that will create sparkles for potential visitors in the environment of DNB. The sparkles are for the National Numismatic Collection (NNC) as well as for DNB in general. The manifestation functions as the bridge between DNB, with its stately and businesslike appearance, and the average person in our society (especially young adults) with their personal, emotional and human traits. Meet ‘Perspective’. The design, located in the Frederikspark, stimulates the sparkle within the potential visitors of DNB by challenging their perspective mentally and physically. A tunnel of rings guide people to the entrance of the building. Every ring presents an auditive message on the different sides of the concept value, such as historical value or emotional value. The discovering of these sides goes together with the optical illusion that some ovals are rotated in such a way that they seem circles from the front. The interaction vision metaphor for this is Alice in Wonderland, where she gets interested to explore more when she sees the talking rabbit. ‘Perspective’ is adaptable to the wishes of DNB, for either Holidays, DNB campaigns or social issues in society. The audio fragments can be adjusted and for the lighting inside of the rings different colours can be used. The design attracts people and engages them with the message of DNB. It triggers them to walk into of the building and have a coffee, wander along the art collection and delve into the exhibition area of the NNC.
Designing for Experience-driven Safety in the Efteling
Positively influencing guest behaviour to avoid falling phones during the ride of Baron 1898.
The rollercoaster Baron 1898 in the Efteling is a unique and thrilling experience. However, the Safety Department observes an unwanted phenomenon: Occasionally, guests do not safely store their small personal belongings, such as phones, which then fall out during the ride. The result is a lost or broken phone or other personal valuable. Not properly storing personal belongings is considered undesired guest behaviour and is addressed in this thesis.
The problem addressed in this thesis is twofold: First of all, the undesired guest behaviour is caused by expecting guests to make rational decisions in the distracting, emotion-laden immersive environment that is created by the Efteling. Secondly, safety measures are commonly seen as disruptive to the immersive experience created through storytelling.
Experience-driven safety is proposed as a solution to this problem. This type of safety design takes guest experience, rather than a safety problem, as starting point of the design. The result is a safety solution that allows the guests to remain in the immersive experience, while directly targeting the undesired behaviour.
Through ideation, the field of experience-driven safety has been explored, forcefully expanding towards safety-focussed and experience-focussed solutions. The concept that was chosen is the Kompel jacket, a wearable that allows guests to bring their items safely along during the ride of Baron 1898. It plays into the needs of the user behaviour found in the analysis phase, such as a staying close to personal belongings. Moreover, it takes an active role in the storytelling, transforming regular Efteling guests into 19th century miners (Kompels) before entering the attraction. The solution is placed in a low-pressure touchpoint – the queue area – to address guests while the distractions from the environment are still relatively low.
The iterations of this design concept focussed on exploring the clarity of visual cues on the jacket. These communicate the risk of losing phones and the functionality of the jacket as a storage solution. Four different varieties of the jacket were created with communicative elements ranging from experience-focussed to safety-focussed. These were tested with potential users to find the most effective balance between creating an authentic mineworker’s jacket and creating a functional storage solution. The two varieties that aimed at an authentic mining look were considered to be confusing. The variety with the strongest safety elements was preferred and most effectively convinced the participants of safely storing their belongings. The active role the design concept takes within the storytelling assumedly allows for some leeway in adding strong safety cues without breaking the immersive experience.
Guest behaviour needs to be fully uncovered to design functional products within the immersive context of the Efteling. This thesis suggests experience-driven safety as a promising method for capturing the guests’ attention and steering their behaviour within the emotionally turbulent environment of a theme park.
...
The problem addressed in this thesis is twofold: First of all, the undesired guest behaviour is caused by expecting guests to make rational decisions in the distracting, emotion-laden immersive environment that is created by the Efteling. Secondly, safety measures are commonly seen as disruptive to the immersive experience created through storytelling.
Experience-driven safety is proposed as a solution to this problem. This type of safety design takes guest experience, rather than a safety problem, as starting point of the design. The result is a safety solution that allows the guests to remain in the immersive experience, while directly targeting the undesired behaviour.
Through ideation, the field of experience-driven safety has been explored, forcefully expanding towards safety-focussed and experience-focussed solutions. The concept that was chosen is the Kompel jacket, a wearable that allows guests to bring their items safely along during the ride of Baron 1898. It plays into the needs of the user behaviour found in the analysis phase, such as a staying close to personal belongings. Moreover, it takes an active role in the storytelling, transforming regular Efteling guests into 19th century miners (Kompels) before entering the attraction. The solution is placed in a low-pressure touchpoint – the queue area – to address guests while the distractions from the environment are still relatively low.
The iterations of this design concept focussed on exploring the clarity of visual cues on the jacket. These communicate the risk of losing phones and the functionality of the jacket as a storage solution. Four different varieties of the jacket were created with communicative elements ranging from experience-focussed to safety-focussed. These were tested with potential users to find the most effective balance between creating an authentic mineworker’s jacket and creating a functional storage solution. The two varieties that aimed at an authentic mining look were considered to be confusing. The variety with the strongest safety elements was preferred and most effectively convinced the participants of safely storing their belongings. The active role the design concept takes within the storytelling assumedly allows for some leeway in adding strong safety cues without breaking the immersive experience.
Guest behaviour needs to be fully uncovered to design functional products within the immersive context of the Efteling. This thesis suggests experience-driven safety as a promising method for capturing the guests’ attention and steering their behaviour within the emotionally turbulent environment of a theme park.
...
The rollercoaster Baron 1898 in the Efteling is a unique and thrilling experience. However, the Safety Department observes an unwanted phenomenon: Occasionally, guests do not safely store their small personal belongings, such as phones, which then fall out during the ride. The result is a lost or broken phone or other personal valuable. Not properly storing personal belongings is considered undesired guest behaviour and is addressed in this thesis.
The problem addressed in this thesis is twofold: First of all, the undesired guest behaviour is caused by expecting guests to make rational decisions in the distracting, emotion-laden immersive environment that is created by the Efteling. Secondly, safety measures are commonly seen as disruptive to the immersive experience created through storytelling.
Experience-driven safety is proposed as a solution to this problem. This type of safety design takes guest experience, rather than a safety problem, as starting point of the design. The result is a safety solution that allows the guests to remain in the immersive experience, while directly targeting the undesired behaviour.
Through ideation, the field of experience-driven safety has been explored, forcefully expanding towards safety-focussed and experience-focussed solutions. The concept that was chosen is the Kompel jacket, a wearable that allows guests to bring their items safely along during the ride of Baron 1898. It plays into the needs of the user behaviour found in the analysis phase, such as a staying close to personal belongings. Moreover, it takes an active role in the storytelling, transforming regular Efteling guests into 19th century miners (Kompels) before entering the attraction. The solution is placed in a low-pressure touchpoint – the queue area – to address guests while the distractions from the environment are still relatively low.
The iterations of this design concept focussed on exploring the clarity of visual cues on the jacket. These communicate the risk of losing phones and the functionality of the jacket as a storage solution. Four different varieties of the jacket were created with communicative elements ranging from experience-focussed to safety-focussed. These were tested with potential users to find the most effective balance between creating an authentic mineworker’s jacket and creating a functional storage solution. The two varieties that aimed at an authentic mining look were considered to be confusing. The variety with the strongest safety elements was preferred and most effectively convinced the participants of safely storing their belongings. The active role the design concept takes within the storytelling assumedly allows for some leeway in adding strong safety cues without breaking the immersive experience.
Guest behaviour needs to be fully uncovered to design functional products within the immersive context of the Efteling. This thesis suggests experience-driven safety as a promising method for capturing the guests’ attention and steering their behaviour within the emotionally turbulent environment of a theme park.
The problem addressed in this thesis is twofold: First of all, the undesired guest behaviour is caused by expecting guests to make rational decisions in the distracting, emotion-laden immersive environment that is created by the Efteling. Secondly, safety measures are commonly seen as disruptive to the immersive experience created through storytelling.
Experience-driven safety is proposed as a solution to this problem. This type of safety design takes guest experience, rather than a safety problem, as starting point of the design. The result is a safety solution that allows the guests to remain in the immersive experience, while directly targeting the undesired behaviour.
Through ideation, the field of experience-driven safety has been explored, forcefully expanding towards safety-focussed and experience-focussed solutions. The concept that was chosen is the Kompel jacket, a wearable that allows guests to bring their items safely along during the ride of Baron 1898. It plays into the needs of the user behaviour found in the analysis phase, such as a staying close to personal belongings. Moreover, it takes an active role in the storytelling, transforming regular Efteling guests into 19th century miners (Kompels) before entering the attraction. The solution is placed in a low-pressure touchpoint – the queue area – to address guests while the distractions from the environment are still relatively low.
The iterations of this design concept focussed on exploring the clarity of visual cues on the jacket. These communicate the risk of losing phones and the functionality of the jacket as a storage solution. Four different varieties of the jacket were created with communicative elements ranging from experience-focussed to safety-focussed. These were tested with potential users to find the most effective balance between creating an authentic mineworker’s jacket and creating a functional storage solution. The two varieties that aimed at an authentic mining look were considered to be confusing. The variety with the strongest safety elements was preferred and most effectively convinced the participants of safely storing their belongings. The active role the design concept takes within the storytelling assumedly allows for some leeway in adding strong safety cues without breaking the immersive experience.
Guest behaviour needs to be fully uncovered to design functional products within the immersive context of the Efteling. This thesis suggests experience-driven safety as a promising method for capturing the guests’ attention and steering their behaviour within the emotionally turbulent environment of a theme park.
A lighting infrastructure for data visualisation
On the 3D printed bridge by MX3D
Development of a lighting infrastructure for the sensor-instrumented 3D-printed MX3D bridge to visualise the dynamically generated data, resulting in an animation and lighting technologies enabling this animation to be displayed on the sides and top of the bridge.
...
Development of a lighting infrastructure for the sensor-instrumented 3D-printed MX3D bridge to visualise the dynamically generated data, resulting in an animation and lighting technologies enabling this animation to be displayed on the sides and top of the bridge.
The dynamically expressive dress
“Non verbal expression of emotions through desirable Techno-Fashion”
How do we express and experience body language, and how can we translate that into an application of Techno-Fashion that is desirable and understandable, for the wearer and his/her environment? How can this application provide an alternative for the current use of regular clothing? Through research about current expressive behaviour through clothing, it was found that there is a desire for an outfit that can dynamically change according to ones mood. Through the Vision in Product Design method, a future context has been created: In a world where technology enables clothing to be dynamically expressive, an application of Techno-Fashion makes people feel more comfortable when expressing themselves, offline, and helps with the human value in interacting. The designed garment is a dress that is able to change its aesthetics according to the expressive desire of its wearer. When the user finds herself in a social setting with a moderate expressive atmosphere, she can choose to change the expressive aesthetics of the dress to being subtle. When being in a more outgoing atmosphere, she can change the dress aesthetics to expressive. The dress makes use of fiber optic wires, LED’s and miniature motors to change the hues and silhouette of the dress. In the end the design proves to be a credible alternative for current expressive behaviour through clothing, and it provides a design that creates a deeper connection with its wearer.
...
How do we express and experience body language, and how can we translate that into an application of Techno-Fashion that is desirable and understandable, for the wearer and his/her environment? How can this application provide an alternative for the current use of regular clothing? Through research about current expressive behaviour through clothing, it was found that there is a desire for an outfit that can dynamically change according to ones mood. Through the Vision in Product Design method, a future context has been created: In a world where technology enables clothing to be dynamically expressive, an application of Techno-Fashion makes people feel more comfortable when expressing themselves, offline, and helps with the human value in interacting. The designed garment is a dress that is able to change its aesthetics according to the expressive desire of its wearer. When the user finds herself in a social setting with a moderate expressive atmosphere, she can choose to change the expressive aesthetics of the dress to being subtle. When being in a more outgoing atmosphere, she can change the dress aesthetics to expressive. The dress makes use of fiber optic wires, LED’s and miniature motors to change the hues and silhouette of the dress. In the end the design proves to be a credible alternative for current expressive behaviour through clothing, and it provides a design that creates a deeper connection with its wearer.
In this report the role of lighting at music festivals was explored. Research was done into the use and placement of event lighting at festivals. The findings were translated to a living room setting. The festival experience is transferred to a domestic context. Result of the design process is a system of individual lights that are controlled by a algorithm. Synced with music, this creates a light show tailored to that music. Users get a more immersive music experience while listening to music at home. The design builds on the hue system by Philips Lighting.
...
In this report the role of lighting at music festivals was explored. Research was done into the use and placement of event lighting at festivals. The findings were translated to a living room setting. The festival experience is transferred to a domestic context. Result of the design process is a system of individual lights that are controlled by a algorithm. Synced with music, this creates a light show tailored to that music. Users get a more immersive music experience while listening to music at home. The design builds on the hue system by Philips Lighting.
HelloPreggo!
A tool that encourages pregnant teenagers to eat healthy during their pregnancies
This thesis walks the reader through the research and design process of ‘HelloPreggo!’, a tool developed for pregnant teenagers to guide them towards a healthier nutritional lifestyle during pregnancy. To start off, both literature and empirical research have been conducted on teenagers who are pregnant in the Netherlands in order to understand (1) who we are talking about, (2) what their current situation is and (3) what needs and values can be identified within this target group. Literature was found on the professional perspective of teenage pregnancies. Subsequently, three professionals in the field have been interviewed among which an author of a paper. This research identified many contextual factors that the target group has to deal with. These context factors leave them clueless & indecisive and affect their self-esteem & self-efficacy. Their resilience, however, is strong and they are willing to do what is best for their unborn child. A context mapping research was done to gain deeply rooted information from the target group itself. Sensitising booklets gave clear insights into their daily life and their behaviour towards food. Subsequently, generative sessions were held that provided insights in their underlying values and needs; e.g. the status of being a mother, not to be perceived as less, a need for peers and daily activities. In addition, literature research was conducted on food behaviour and behavioural change. Based on the findings in the conducted researches, a list with twenty design guidelines was established together with the following design goal: ‘To create a set of experiences that engages young mothers-to-be to mature towards a healthy nutritional lifestyle during pregnancy’. This design goal was enhanced with a clear interaction vision and personas that visually characterise the target group. The design process started off with a brainstorm session after which a design direction was chosen. This evolved into the initial concept of a gamified idea of a ‘cookbook learning calendar’ consisting out of challenges. The goal of the game is simple: to complete all challenges and to get a hold of all items. Simultaneously, the user gains knowledge and skills about making healthy food choices. During each challenge, players gain knowledge about a nutritionally related subject and are provided with physical items to apply the newly gained knowledge to. The catch in this game is that the user needs the other players to continue to the next challenge. Aspects of this concept were further elaborated through several interventions; looking at the overall concept, its interactions and the design & content of all components. Hence, “HelloPreggo!” has been created.An interactive prototype was used to evaluate the concept. For this evaluation, a usage scenario movie has been created. This showcased the intended interactions to which the target group has responded. Subsequently, the different components of the concept have been evaluated. Attention has been given towards the implementation of the concept. The business model canvas was used to display the complete network behind “HelloPreggo!”, looking at two different cases; as a stand-alone organisation and complementary to an existing organisation. The closing chapter of this thesis finalises this report with a conclusion, limitations and recommendations of the concept for future research and development.
...
This thesis walks the reader through the research and design process of ‘HelloPreggo!’, a tool developed for pregnant teenagers to guide them towards a healthier nutritional lifestyle during pregnancy. To start off, both literature and empirical research have been conducted on teenagers who are pregnant in the Netherlands in order to understand (1) who we are talking about, (2) what their current situation is and (3) what needs and values can be identified within this target group. Literature was found on the professional perspective of teenage pregnancies. Subsequently, three professionals in the field have been interviewed among which an author of a paper. This research identified many contextual factors that the target group has to deal with. These context factors leave them clueless & indecisive and affect their self-esteem & self-efficacy. Their resilience, however, is strong and they are willing to do what is best for their unborn child. A context mapping research was done to gain deeply rooted information from the target group itself. Sensitising booklets gave clear insights into their daily life and their behaviour towards food. Subsequently, generative sessions were held that provided insights in their underlying values and needs; e.g. the status of being a mother, not to be perceived as less, a need for peers and daily activities. In addition, literature research was conducted on food behaviour and behavioural change. Based on the findings in the conducted researches, a list with twenty design guidelines was established together with the following design goal: ‘To create a set of experiences that engages young mothers-to-be to mature towards a healthy nutritional lifestyle during pregnancy’. This design goal was enhanced with a clear interaction vision and personas that visually characterise the target group. The design process started off with a brainstorm session after which a design direction was chosen. This evolved into the initial concept of a gamified idea of a ‘cookbook learning calendar’ consisting out of challenges. The goal of the game is simple: to complete all challenges and to get a hold of all items. Simultaneously, the user gains knowledge and skills about making healthy food choices. During each challenge, players gain knowledge about a nutritionally related subject and are provided with physical items to apply the newly gained knowledge to. The catch in this game is that the user needs the other players to continue to the next challenge. Aspects of this concept were further elaborated through several interventions; looking at the overall concept, its interactions and the design & content of all components. Hence, “HelloPreggo!” has been created.An interactive prototype was used to evaluate the concept. For this evaluation, a usage scenario movie has been created. This showcased the intended interactions to which the target group has responded. Subsequently, the different components of the concept have been evaluated. Attention has been given towards the implementation of the concept. The business model canvas was used to display the complete network behind “HelloPreggo!”, looking at two different cases; as a stand-alone organisation and complementary to an existing organisation. The closing chapter of this thesis finalises this report with a conclusion, limitations and recommendations of the concept for future research and development.
Biophilic Light Texture
Applying biophilic design principles to lighting design
This master thesis takes two concepts - light content and biophilic design - together into a design approach for designing biophilic light texture. Light content entails the design of digital content for LED lighting products, taking human experience of light as the main design objective; light texture is one of the lighting effects within the framework of light content as defined by Signify (Philips lighting). Biophilic design is an architectural design framework that takes the concept of biophilia as its premise. Biophilia is the human inclination to affiliate with natural features, like water, forests, wildlife, etc. Biophilic design aims to re-integrate this inherent affiliation with nature into the built environment.
The human experience of light, the visual qualities of light texture and the basic design principles of biophilic design are put together to arrive at a design approach for biophilic light texture. This approach entails a basic design principle, focusing on integration with both the architecture and its geographical, social and cultural context; and a set of practical guidelines on how to achieve this integration through the design of light textures.
This design approach was applied in a design project for Beersnielsen lighting designers. This project involved the interior lighting design of a newly designed visitor center for a nature reserve park. The central element of this lighting design is a chandelier that projects a light texture (light shadow projections) onto the arched ceiling of the interior. The dynamic and style of the light texture create an integration with the natural environment, while at the same time the graphic style, the scale and the structure of the texture make it an integral part of the architecture as well. It continues the character and atmosphere of the nature reserve park, to the indoor environment of the visitor center. A prototype was created to show a proof of concept for creating the desired lighting effect, and to be able to experience the effect on a full architectural scale.
The guidelines of the design approach as outlined in this thesis are specifically focused on light texture as a lighting effect, as showcased in the design project. However, the basic design principle of the approach can also be applied to lighting design in general. It is encouraged to explore this principle of integrated design for other lighting effects within the light content framework as well, potentially arriving at a comprehensive biophilic design framework for lighting design in general. ...
The human experience of light, the visual qualities of light texture and the basic design principles of biophilic design are put together to arrive at a design approach for biophilic light texture. This approach entails a basic design principle, focusing on integration with both the architecture and its geographical, social and cultural context; and a set of practical guidelines on how to achieve this integration through the design of light textures.
This design approach was applied in a design project for Beersnielsen lighting designers. This project involved the interior lighting design of a newly designed visitor center for a nature reserve park. The central element of this lighting design is a chandelier that projects a light texture (light shadow projections) onto the arched ceiling of the interior. The dynamic and style of the light texture create an integration with the natural environment, while at the same time the graphic style, the scale and the structure of the texture make it an integral part of the architecture as well. It continues the character and atmosphere of the nature reserve park, to the indoor environment of the visitor center. A prototype was created to show a proof of concept for creating the desired lighting effect, and to be able to experience the effect on a full architectural scale.
The guidelines of the design approach as outlined in this thesis are specifically focused on light texture as a lighting effect, as showcased in the design project. However, the basic design principle of the approach can also be applied to lighting design in general. It is encouraged to explore this principle of integrated design for other lighting effects within the light content framework as well, potentially arriving at a comprehensive biophilic design framework for lighting design in general. ...
This master thesis takes two concepts - light content and biophilic design - together into a design approach for designing biophilic light texture. Light content entails the design of digital content for LED lighting products, taking human experience of light as the main design objective; light texture is one of the lighting effects within the framework of light content as defined by Signify (Philips lighting). Biophilic design is an architectural design framework that takes the concept of biophilia as its premise. Biophilia is the human inclination to affiliate with natural features, like water, forests, wildlife, etc. Biophilic design aims to re-integrate this inherent affiliation with nature into the built environment.
The human experience of light, the visual qualities of light texture and the basic design principles of biophilic design are put together to arrive at a design approach for biophilic light texture. This approach entails a basic design principle, focusing on integration with both the architecture and its geographical, social and cultural context; and a set of practical guidelines on how to achieve this integration through the design of light textures.
This design approach was applied in a design project for Beersnielsen lighting designers. This project involved the interior lighting design of a newly designed visitor center for a nature reserve park. The central element of this lighting design is a chandelier that projects a light texture (light shadow projections) onto the arched ceiling of the interior. The dynamic and style of the light texture create an integration with the natural environment, while at the same time the graphic style, the scale and the structure of the texture make it an integral part of the architecture as well. It continues the character and atmosphere of the nature reserve park, to the indoor environment of the visitor center. A prototype was created to show a proof of concept for creating the desired lighting effect, and to be able to experience the effect on a full architectural scale.
The guidelines of the design approach as outlined in this thesis are specifically focused on light texture as a lighting effect, as showcased in the design project. However, the basic design principle of the approach can also be applied to lighting design in general. It is encouraged to explore this principle of integrated design for other lighting effects within the light content framework as well, potentially arriving at a comprehensive biophilic design framework for lighting design in general.
The human experience of light, the visual qualities of light texture and the basic design principles of biophilic design are put together to arrive at a design approach for biophilic light texture. This approach entails a basic design principle, focusing on integration with both the architecture and its geographical, social and cultural context; and a set of practical guidelines on how to achieve this integration through the design of light textures.
This design approach was applied in a design project for Beersnielsen lighting designers. This project involved the interior lighting design of a newly designed visitor center for a nature reserve park. The central element of this lighting design is a chandelier that projects a light texture (light shadow projections) onto the arched ceiling of the interior. The dynamic and style of the light texture create an integration with the natural environment, while at the same time the graphic style, the scale and the structure of the texture make it an integral part of the architecture as well. It continues the character and atmosphere of the nature reserve park, to the indoor environment of the visitor center. A prototype was created to show a proof of concept for creating the desired lighting effect, and to be able to experience the effect on a full architectural scale.
The guidelines of the design approach as outlined in this thesis are specifically focused on light texture as a lighting effect, as showcased in the design project. However, the basic design principle of the approach can also be applied to lighting design in general. It is encouraged to explore this principle of integrated design for other lighting effects within the light content framework as well, potentially arriving at a comprehensive biophilic design framework for lighting design in general.
Design doing
A study on design doing methodology and the application to a business perspective
SCOPE - Design thinking is the most used method of design within the faculty of design engineering. Design thinking methodology has three pillars, technical feasibility, user desirability and business viability. Every designer should design on the limits of new technology, make products that people want to use, all while maintaining a feasible business strategy.
Bende uses the term design doing for their way of working. The company focuses on making at an early stage in the design process. Use making as a means of detailing, in stead of detailing on paper or in virtual models.
“What is design doing?“
“How can design doing be applied in a business environment?”
CASE -The main question of the material exploration was;
“What is the impact of doing in stead of reasoning?”
In other words, what happens when a designer tries every material combination he/she can think of in stead of reasoning what the outcome will be? The goal is to do as much as possible and use the results as the criteria for success. When a new material combination is thought off, first thing is to apply it, test it and use the outcome of the test to see whether it is useful/interesting.
A total of 36 different materials combinations were tested during this phase. The outcomes were rated during a workshop. The highest rated experiments were the ones that had properties which are contradictory to what is expected of concrete. Concrete is heavy, hard, cold, geometric and sharp. It does not float, let light through or is shaped organically.
OUTCOME - Design doing has proven to be useful in a business environment. Important factor in the use of design doing is to save the results and outcomes of the testing and experimenting and using it in future projects and this is an area where Bende can improve.
For this purpose a format was created which consists of three steps, document, evaluate and consult. The first step is to document all aspects of a project, the first sketch as well the final result. The second step is to condense all the information of the first step to a manageable amount that shows the essence of a project. Third step is to consult this information in later projects and use it to improve the making process.
For this last step a physical material bank was designed, made and installed in the office of Bende. This bank serves three purposes; remind, inspire and inform. The material is a reminder of all the projects and materials that Bende has worked with. The second is to use the material samples as inspiration during idea generation and setting up new projects. The last purpose is to use the materials to show future partners what Bende has done, is capable of and can offer in a project. ...
Bende uses the term design doing for their way of working. The company focuses on making at an early stage in the design process. Use making as a means of detailing, in stead of detailing on paper or in virtual models.
“What is design doing?“
“How can design doing be applied in a business environment?”
CASE -The main question of the material exploration was;
“What is the impact of doing in stead of reasoning?”
In other words, what happens when a designer tries every material combination he/she can think of in stead of reasoning what the outcome will be? The goal is to do as much as possible and use the results as the criteria for success. When a new material combination is thought off, first thing is to apply it, test it and use the outcome of the test to see whether it is useful/interesting.
A total of 36 different materials combinations were tested during this phase. The outcomes were rated during a workshop. The highest rated experiments were the ones that had properties which are contradictory to what is expected of concrete. Concrete is heavy, hard, cold, geometric and sharp. It does not float, let light through or is shaped organically.
OUTCOME - Design doing has proven to be useful in a business environment. Important factor in the use of design doing is to save the results and outcomes of the testing and experimenting and using it in future projects and this is an area where Bende can improve.
For this purpose a format was created which consists of three steps, document, evaluate and consult. The first step is to document all aspects of a project, the first sketch as well the final result. The second step is to condense all the information of the first step to a manageable amount that shows the essence of a project. Third step is to consult this information in later projects and use it to improve the making process.
For this last step a physical material bank was designed, made and installed in the office of Bende. This bank serves three purposes; remind, inspire and inform. The material is a reminder of all the projects and materials that Bende has worked with. The second is to use the material samples as inspiration during idea generation and setting up new projects. The last purpose is to use the materials to show future partners what Bende has done, is capable of and can offer in a project. ...
SCOPE - Design thinking is the most used method of design within the faculty of design engineering. Design thinking methodology has three pillars, technical feasibility, user desirability and business viability. Every designer should design on the limits of new technology, make products that people want to use, all while maintaining a feasible business strategy.
Bende uses the term design doing for their way of working. The company focuses on making at an early stage in the design process. Use making as a means of detailing, in stead of detailing on paper or in virtual models.
“What is design doing?“
“How can design doing be applied in a business environment?”
CASE -The main question of the material exploration was;
“What is the impact of doing in stead of reasoning?”
In other words, what happens when a designer tries every material combination he/she can think of in stead of reasoning what the outcome will be? The goal is to do as much as possible and use the results as the criteria for success. When a new material combination is thought off, first thing is to apply it, test it and use the outcome of the test to see whether it is useful/interesting.
A total of 36 different materials combinations were tested during this phase. The outcomes were rated during a workshop. The highest rated experiments were the ones that had properties which are contradictory to what is expected of concrete. Concrete is heavy, hard, cold, geometric and sharp. It does not float, let light through or is shaped organically.
OUTCOME - Design doing has proven to be useful in a business environment. Important factor in the use of design doing is to save the results and outcomes of the testing and experimenting and using it in future projects and this is an area where Bende can improve.
For this purpose a format was created which consists of three steps, document, evaluate and consult. The first step is to document all aspects of a project, the first sketch as well the final result. The second step is to condense all the information of the first step to a manageable amount that shows the essence of a project. Third step is to consult this information in later projects and use it to improve the making process.
For this last step a physical material bank was designed, made and installed in the office of Bende. This bank serves three purposes; remind, inspire and inform. The material is a reminder of all the projects and materials that Bende has worked with. The second is to use the material samples as inspiration during idea generation and setting up new projects. The last purpose is to use the materials to show future partners what Bende has done, is capable of and can offer in a project.
Bende uses the term design doing for their way of working. The company focuses on making at an early stage in the design process. Use making as a means of detailing, in stead of detailing on paper or in virtual models.
“What is design doing?“
“How can design doing be applied in a business environment?”
CASE -The main question of the material exploration was;
“What is the impact of doing in stead of reasoning?”
In other words, what happens when a designer tries every material combination he/she can think of in stead of reasoning what the outcome will be? The goal is to do as much as possible and use the results as the criteria for success. When a new material combination is thought off, first thing is to apply it, test it and use the outcome of the test to see whether it is useful/interesting.
A total of 36 different materials combinations were tested during this phase. The outcomes were rated during a workshop. The highest rated experiments were the ones that had properties which are contradictory to what is expected of concrete. Concrete is heavy, hard, cold, geometric and sharp. It does not float, let light through or is shaped organically.
OUTCOME - Design doing has proven to be useful in a business environment. Important factor in the use of design doing is to save the results and outcomes of the testing and experimenting and using it in future projects and this is an area where Bende can improve.
For this purpose a format was created which consists of three steps, document, evaluate and consult. The first step is to document all aspects of a project, the first sketch as well the final result. The second step is to condense all the information of the first step to a manageable amount that shows the essence of a project. Third step is to consult this information in later projects and use it to improve the making process.
For this last step a physical material bank was designed, made and installed in the office of Bende. This bank serves three purposes; remind, inspire and inform. The material is a reminder of all the projects and materials that Bende has worked with. The second is to use the material samples as inspiration during idea generation and setting up new projects. The last purpose is to use the materials to show future partners what Bende has done, is capable of and can offer in a project.