Electrochromic materials exhibit a reversible color change that is triggered by an applied voltage. Controlled color change, low voltage operation and the memory effect are three unique material properties defining electrochromic materials. As a result of an electron transfer or redox reaction, the material is able to switch between its bleached (transparent) and colored state. As this color change is a chemical reaction, it only requires an applied voltage to trigger and complete the electron transfer, thus afterwards the applied potential can be removed and the material will stay in its current state; i.e. the memory effect. Electrochromic materials are processed into a sandwich structure of thin layers that enable it to change color when a voltage is applied to it; i.e. an electrochromic device (ECD). An ECD operates through two electrodes that are connected to both the positive and negative of the voltage-source, and the two electrochromic layers. These electrochromic layers are separated by an electrolyte, that allows ion transfer, enabling change of color. Optimizing this layer structure, results into the definition of four stacking sequences, based on their vertical or co-planar stacking sequence (i.e. vertical stacking of the EC layers or merging of both EC layers in the same layer with separated electrodes) combined with the substrate used; conductive and insulating. These four stacking sequences are characterized on their transparency, shape/pattern changing abilities, coloring, design of the images displayed and interaction between the two EC layers; i.e. technical characterization. As result of this material characterization, ‘the puzzle of electrochromism’ is designed. ‘The puzzle of electrochromism is an edge-matching puzzle, with as goal to puzzle four geometric shapes by matching the sides of the adjacent puzzle pieces. Solving this puzzle communicates the goal of the demonstrator (i.e. the technical and experiential characterizations) to the puzzler, while emphasizing the simplicity and possibilities of integrating electrochromic materials in design. The ultimate goal is to inspire the puzzle to make use of electrochromic materials in their product designs, through exiting creativity and curiosity. When a puzzle piece is connected to the framework, a closed loop circuit is created between the voltage source and the coin cell battery, thus the puzzle piece will change its color. When the polarity is reversed (i.e. the puzzle piece is turned 180 degrees within the horizontal plane), it immediately switches from its primary EC layer to its secondary EC layer or vice versa. All primary EC layers will form the first puzzle to be created and all secondary EC layers the secondary puzzle. Meaning, ‘the puzzle of electrochromism’ is not just one puzzle, but includes two different puzzles. Besides the controlled color change, the other unique material properties it demonstrates are: low voltage operation, memory effect, simplicity and transparency. All individual puzzle pieces represent a different stacking sequence, through which the shape/pattern change (i.e. single and double image display), coloring (i.e. immediate and color flow), design of the images displayed (i.e. isolated and linked) and interaction between the two EC layers (i.e. overlap, connection and separation) are demonstrated. In the end, ‘the puzzle of electrochromism’ is a demonstrator making electrochromism easy understood, explainable and approachable for designers to use within their product designs; i.e. the aim of this thesis. On top of this, it is not only a good demonstrator but also a good puzzle according to the ten puzzle principles of Shell (2008).

This master thesis is a graduation project of the master study Integrated Product Design at Delft University of Technology. It was executed in collaboration with the Material Experience Lab in the faculty Industrial Design Engineering. The project follows the Material Driven Design method by Elvin Karana. The material being researched is the Formlabs ceramic resin which was newly developed and has been on the market for approximately a year now. The Formlabs ceramic resin is a 3D printable ceramic material which uses photopolymerization to solidify the resin into objects. The material requires extra steps and experimenting and is now mostly used in educational and researching environments, because of the challenges it brings. These challenges mainly occur because not enough is known about the material and the way of use. However, the Formlabs material has a great potential of being more user friendly and easier to use than other 3D printable ceramic materials. This is because the material is made for the specific 3D printer allowing them to work together perfectly, increasing the ease of use and success rate. The main research question for this thesis is: Which technical and experiential material properties should be emphasized to create unique material-user experiences? The research started with understanding the material by executing user studies, technical tests and by conducting many tinkering experiments. The tinkering process was based on the information provided by Formlabs. These experiments and tests led to several insights which created a clear overview of unique and interesting material characteristics. User studies concluded that the material was perceived as rough and tactually offensive but as pure, inviting and aesthetically pleasing because of the mat white colour, translucency and lack of impurities, creating a sensorial incongruence. Some interesting directions came forth out of the tinkering phase and the user studies. It is possible to create controlled cracks in the walls of objects. Another interesting opportunity is the possibility to produce hidden Internal structures which play with the translucency of the material. This is possible because of the high precision 3D printing technique used. Lastly digitally modified surface textures can be created which alter the tactual experience of the material. The translucency of the material and the possibility of digitally modified surface textures were further explored during this project. It was concluded from user studies that people experienced textures inspired by nature as more tactually pleasing. Furthermore, the translucency of the material allows for light to add depth to the more dimensional textures making the experience even more pleasing. An envisioned material experience was formulated by combining the findings and insights from the tinkering process. The envisioned role of the material was to attract people and invite and encourage them to interact with the object by touching and holding the surface. The tactile stimulation experienced is pleasant because of the digitally modified surface texture. When interacting with the object a hidden feature becomes visible emphasizing the translucency of the material. This hidden feature will showcase the opportunities 3D printing of translucent ceramics brings. User studies and an ideation session was held in order to materialise and realise this envisioned experience. This ideation resulted in a design direction: Design a product set or a product made up out of different components, which initially look identical but become distinguishable when a hidden feature is unveiled, by emphasizing the material’s translucency. The final product concept came to be a interactive table lamp which encourages people to explore the effects of light on the material. The lamps has digitally modified surface textures which remove the original tactile offensiveness, creating a pleasant tactile experience. It is also made up out of different components which look identical until the lamp is turned on, unveiling hidden textures.

The aim of this project was the design of a new exhibit for Science Centre Delft, using lifelike reproductions of historic paintings created by the research project "3D fine art reproductions". Using reproductions of paintings opens up doors to interact with paintings like never before. The main challenge was researching how the use of these reproductions of paintings can create an added value in experiencing art for the young audience of the Science Centre (7 to 12 years old), and finding a way to incorporate the research outcomes in the design of an exhibit. Experiencing art is different for everybody. Although the content of the aesthetic experience is personally dependent, a general structure of the experience can be identified (Csikzentmihalyi & Robinson, 1990). The viewer can be involved with the art on multiple dimensions: the perceptual dimension, the intellectual dimension, the emotional dimension and the conversational dimension. For an engaged aesthetic experience, it is important that the challenges of the work of art on one or more of these dimensions are in balance with the skills of the viewer. If these two are not in balance, the viewer should be facilitated in the process to enable him/her to have an engaged experience.How this facilitation should look like and on which of the dimensions of art it should focus, depends the interests and skills of the user.Research showed that because of the young audience of the Science Centre, the focus in this project should be on the perceptual dimension: facilitating the process of exploring the canvas and consciously looking at the art. This fits best with the aesthetic development of the target group and will enable the Science Centre visitor to have an aesthetic experience relevant to them (Housen, 2008). The final design of this project makes the aesthetic experience into a tangible experience, by providing the user with clear goals and tools to explore the painting. This way, an engaged aesthetic experience can arise that fits well within the Science Centre context. The design consists of three parts, combining different goals and stances.1) The first part focusses on the formal elements of art: the building blocks of an artwork. Small pieces of the painting are printed separately, for the user to find back in the painting. All search pieces are based on one of the formal elements, making the user aware of their existence.2) For the second part, flowers from the painting are printed separately. The visitors can create extra flowers onto the painting. Doing this, the user can experience how the formal elements are used, and how their actions have effect on the composition and balance of the painting.3) The third part evolves around a personal question. The painting is split into a grid, and the visitors are asked to choose and vote for their favorite piece. This question functions as a probe to look at the painting from a personal point of view. The design was evaluated in a thorough user research. The research showed that the exhibit enabled the Science Centre visitor to have an engaged aesthetic experience, in which they consciously explored the painting.

The project is part of 3D fine art reproduction program in the faculty of industrial design engineering. The Smart Frame, as the name of the exposition setup for 3D printed fine art reproductions, was designed to provide specific information regarding the content of the painting and the technique of the painter in an universal way. However, there is no clear proposition of the valuable outcome for a target user group in a certain context. Hence, this follow-up project will first gain insight from the current user experience of the Smart Frame, then define target group based on the various expectation of art museum visitors. In order to make the new design of the exposition setup more convincing and promising, this project will also illustrate the future vision of art museums. Followed by the proposition, an user-orientated design goal and interaction vision will be formulated. Finally, there will be a redesign of the Smart Frame (the Smart Frame 2.0) aiming at the fulfillment of the design brief. Therefore, the design assignment for this graduation is: “To redesign the Smart Frame for optimizing user experience after clarifying its proposition”

This project is initiated by Stan Buckens, a radiologist from the RadboudUMC, who believes in realizing passive four-dimensional (4D) CT scans for the wrist. At this moment the wrist is mainly scanned and reviewed statically in 3D. However, it is desirable to see what happens on a CT scan during movement (the fourth dimension) of the wrist, as many clinically significant, debilitating and painful wrist pathologies are dynamic in nature and cannot be fully appreciated statically. Recently it has become technically feasible to have patients actively move their wrists in specific directions (e.g. flexion/extension or ulnar-/radial deviation) to create the fourth dimension, so that the wrist can be reviewed dynamically. However, according to S. Buckens (2019) active movements of the wrist are less desirable than passive movement as patients are typically able to (partly) compensate for wrist instability using forearm muscles, masking potentially significant pathology. During this project a suitable solution is designed to passively move the patient’s wrist in a precise and safe way in the gantry during scanning. Within the analysis phase, a context analysis and state of the art research resulted in six focus areas. Subsequently, in the research phase these focus areas were used to obtain optimal understanding of the product’s solution space and to create and evaluate possible solutions for the design problem. For the focus areas market- and literature research was conducted, various experts were consulted and prototypes were developed and tested. Based on the outcomes of all focus areas a set of design decisions was made throughout the project, eventually leading to the final design of the product. The product makes use of a cable-pulley system in combination with stepper motors which facilitate the desired passive wrist movements. Patients are able to place their arm on top of a standard, where special 3D printed parts (with an integrated adjustment mechanism) are able to fixate their forearm. Additionally, velcro straps are used to account for the variation in arm size. Furthermore, the patient’s hand can be fixated by another 3D printed part; again a velcro strap is used to improve fit and fixation. Electronic parts are integrated in the system to automate the movement, while at the same time allowing the radiologist and laboratory technicians to operate the product. A first evaluation showed that the product is able to facilitate the desired passive wrist movements and is able to fixate both the patient’s forearm and hand well. However, concerning future development the product should be improved on several aspects. Therefore, a set of recommendations is given together with a testing- and implementation plan for the hospital.

The start point of the graduation project was including the RICE method inside the first aid kit, which was shifted to designing a first aid kit for outdoor sports. The new design focus is more valuable to develop a new product solving practical problems. During the research phase, the literature research provides basic understanding of first aid kits, as well as the injury knowledge of the human body. It guides the project how and what the product should include and treat, making it sufficient and convenient for emergencies. The interview and observation about outdoor sports are keys of scenario analysis. Helpful insights were obtained from videos and participants. The first design focus was found on how to apply treatment alone when one arm is injured and dysfunctional. Users have to apply treatment themselves with only one hand. The second design focus comes from the evaluation of current first aid kit evaluation by going through all steps of treatments where all supplies are simply stacked and only designed to be used by two hands. The information obtained by users should be well arranged to improve the use efficiency. To achieve the design goals, design focuses were detailed as a requirement list based on research insights. The whole product was divided into a few independent parameters, in which a few requirements should be fulfilled. Ideas were generated, compared and selected in each parameter and were integrated into a complete concept. The concept was theoretically workable to be further developed in the next stage: concept validation. In this stage the concept was divided into different parts again, aiming to make cardboard or 3D printed prototypes for each parameter and help validate the concept through iterations respectively. The final design for each parameter was integrated into a complete product. The final prototype is a realistic and satisfying product, as proof of the concept that fulfils all design goals. User tests and discussion were conducted as the last step of the project. Participants were observed if they can quickly understand the design and use it smoothly. They pointed out the defects of design and gave advice for further development.