Because of human interventions in our seas, like commercial (over)fishing and the introduction of diseases, the presence and biodiversity of natural reefs is declining severely. Reefs provide a habitat for a variety of marine species and are of great value to marine ecosystems. Therefore, it is of importance to recover affected reefs.

Also in the Dutch North Sea, a majority of the reef has disappeared, including reefs of the European flat oyster (Ostrea edulis). Oysters in particular play a key role in reef ecosystems and are therefore the ideal starting point for the recovery of reefs in the Dutch North Sea.

There is no possibility that these oysters will naturally recover: they are not numerous enough to naturally breed and spread. Therefore, there is a need for active restoration. Several methods for restoration exist already, however, these are not proven to be effective and have several drawbacks.

Recently, marine biologists suggested a new method for the restoration of flat oyster reefs, where oyster larvae settle on a small product, which then gets sown in the ocean and naturally form oyster beds. However, this method is theoretical; no such product is developed yet. The goal of this graduation project is to develop this product: from conceptualization to embodiment to preliminary validation in laboratory settings. By the end of the project, the product is ready for field tests and will ultimately enable the restoration of reefs.

Literature review showed no reference model or design guide, as no such products exist yet. Therefore, ideation started with the exploration of basic shapes and their behaviour underwater. These basic shapes were altered in such a way to fit the purpose, whereafter several iterative steps concluded in five final concepts. A practical approach enabled quick iterations.

Simultaneously, exploration of bio-based materials suitable for an application underwater resulted in a material that meets requirements. Two concepts were chosen and made into operational prototypes to test in laboratory settings. These tests, executed in a sediment flume, indicated the performance of the products in water flow. One of the two concepts was more successful in this simulated environment; this product is elaborated.

The final product promotes larvae settlement on the product and allows people to touch the product without touching settled larvae. The product sinks to the sea bottom and stays in place as much as possible, which entails resisting water flow up to 1.9 m/s. The design protects larvae against larger predators and makes sure they stay above the sediment. Finally, the product is large enough for a grown oyster and persists between six months and two years on the seabed, after which the naturally occurring material degrades into biologically safe components.

In conclusion, a product has been designed that can enable the restoration of oyster reefs. With this product, large areas of reef can be restored in an effective and minimally invasive manner. As the indication of performance is only performed in laboratory settings, the advice is to validate in a relevant natural environment to improve knowledge about this product and method. These tests should clarify the performance of the product and the material.

Cities are in an urgent need to adapt to the impacts of climate change, particularly, high temperatures and heat stress. Urban Forests are the most effective means of climate adaptation. However, the multiple benefits of urban trees are highly undervalued in the urban contexts. This project focuses on positioning urban trees as effective agents in improving the overall liveability of cities. The premise of the project lies in the fuzzy front end of the innovation process where the i-Tree technology is being redeveloped for its effective adoption in Netherlands. The goal of the project is to synchronize the technical potential of i-Tree as a tool and communicate the benefits of trees to multiple stakeholders in the process.

The overall design direction aims to address these problems through a series of interventions across the system of urban forestry. The concept introduces a public awareness campaign to bridge the knowledge gap between citizens and other stakeholders. The campaign is proposed to stretch over a duration of 10-11 months with several touchpoints along the way for citizens to get enthusiastic about the idea of maintaining and taking care of urban trees. The touchpoints aim to target events like Dutch Design week, Boomfeestdag (Tree Festival) and Springsnow festival. To make the awareness program desirable and interesting. A podcast series and a guide is developed called “How to befriend a Tree?”. A concept for the i-Tree Eco tool is proposed which communicates tree benefits in a way that is comprehensible by all the citizens. All the touch points lead the audience of the campaign to the digital platform of i-Tree Netherlands which helps people become caretakers of trees easily.

In the current moment in time, there are large societal transitions happening, such as the transition to sustainable energy or the transition towards a circular economy. Design-led transitions are societal transitions towards more sustainable futures, led by designers (Irwin, 2015). These transitions help us to move towards a more sustainable future for organizations, and are there- fore something largely all companies would want to participate in to accelerate this. In this increasingly complex, dynamic and networked world (Dorst, 2015), companies cannot solve these large-scale societal issues alone.Therefore, in order to accelerate the transition, it is vital for companies to work together, as the challenges of today cannot be solved by companies by itself. One of the ways in which companies can collaborate is in ecosystems, which has increasing interest of scholars and practitioners. Specifically, this project focuses on transition ecosystems, a specific type of ecosystem focusing on accelerating transitions. In transition ecosystems, companies build multilateral partnerships that need to interact with the shared goal to help accelerate transitions. These ecosystems are first explored by parties and then formed before they work towards the transition. The forming phase of ecosystems is a critical phase, since during this phase a lot of tensions and complications arise, which need to be taken into account in order to have a succesful ecosystem formation. These tensions occur, because within forming an ecosystem there is a gap between the organisational perspective and the ecosystem perspective Organisations want to participate in the transition in order to stay relevant, but might feel threatened or vulnerable by having other parties present. If actors can move towards an ecosystem perspective, they are able to find new collaborations. In order to be able to see their possible new roles and co-create possible futures in the ecosystem, they need to release their concern about current threats and competitiveness. In order to get these parties out of their current role, a dialogue is needed between actors striving to form an ecosystem. This project included a design approach to understand how designing ecosystems can accelerate transitions. For this research, 15 interviews are conducted (13 initial interviews and two follow-up interviews for validation).These interviews informed the designer, to design a toolkit to bridge the gap between the organizational and ecosystem perspective in transition ecosystems. The Value Network toolkit designed in this project aims to bridge the gap between the organisational and ecosystem perspective. It aims to do so by allowing organisations to think free of the constructs of the current situation, see their organisation in a new role and see the value of the ecosystem . The toolkit is aimed at strategic designers facilitating the forming phase of an ecosystem. In the value network toolkit, three tools were developed to facilitate discussions to relieve tensions. The three tools were validated and tested using both expert interviews and a test case, and based on this iterations were made. 
The project concludes with a critical reflection and relates back to existing literature.

For the fashion industry, 2020 was a year of change. As the covid-19 pandemic ravaged the world, the industry suffered its worst year on record (Business of Fashion, 2021). Consumer behaviour shifted, and supply chains were disrupted. The industry had to rethink their business and define the 'new normal', which meant adapting to trends and focusing on digital solutions.   One of the solutions could be digital fashion. Digital fashion is computer-generated fashion that can be worn with your digital bodies - avatars - and with physical bodies by using AR technology. PVH, a global apparel company that manages lifestyle brands such as Tommy Hilfiger, has identified digital fashion as an opportunity for new digital products/services or digital ventures and is looking to use it in innovations that 'Win over Gen-Z' and 'Commit to Sustainability'.   The aim of this research is to provide Area52 with a recommendation for how to pursue digital fashion innovation within the coming ten years in the form of a future vision and a strategic roadmap. Extensive literature review and multiple generative research methodologies like focus groups, semi-structured interviews and co-creation sessions were used to empathize with all stakeholders. Subsequently, various elements of Vision in Product design (Hekkert & Van Dijk, 2011) and Design Roadmapping (Simonse et al., 2015) were used to synthesize the insights into a set of recommendations that are structured in a why-how-what format.  Why? In our envisioned future, Gen Z are identity nomads that want to be unique and continuously develop and discover new sides of their identity through the fashion they wear. They would prefer to have an endless wardrobe with which they can try something new every day. However, the environmental impact and cost hold them back. In the on-demand and augmented society that the world is heading towards, this problem can be answered with the future vision: In 2030, augmented fashion will be the ethical means for Gen Z to express and stretch their identity through instant experimentation.  How? In the stated vision, digital fashion changes the interaction between consumers and brands from a one-way stream to an infinite interaction loop. Tommy Hilfiger facilitates the continuous discovery of the identities a person wants to identify with. Consumers can explore and experiment with digital styles in the physical domain using AR technology endlessly. In turn, Tommy Hilfiger perfects their consumer profile with the data they receive.   To arrive at the future vision, I propose a three-horizon approach for Tommy Hilfiger:  H1 Enhance physical fashion H2 Build blocks for phygital fashion H3 Instant experiments with augmented ethical fashion  What? Based on the roadmap, future vision and brand-user interaction, the desired product-user interaction is defined in the form of guiding principles. The principles state that Tommy Hilfiger's digital fashion solutions should foster experimentation in a way that: (1) Is Playful, (2) Is Dynamic and Iterative, (3) Offers Interesting Variety, (4) Is Accessible, and (5) Enables Feedback.  The way these principles can be put to practice in product or service designs is demonstrated in the final vision concept 'Anywear'. Anywear is a 2030 platform that connects style-influencers to people who want to experiment with new identities. Through a subscription model, users get access to an infinite digital wardrobe that they can use across the entire phygital environment. It gamifies fashion and guarantees newness by monetizing success for creators.    The concept provides Tommy Hilfiger with: Insight into how their products are styled, New inspiration for designs, Customer engagement, Data on consumer personality, preferences, community and possibly even activities, based on the fashion they choose to augment.      

This project is about inclusion in the museum sector. Concerns around inclusion and equality are rapidly increasing. And, due to these societal dynamics, museums are in times of fundamental change towards inclusivity.

At the start of the project, a theoretic framework depicting the different layers and elements of inclusion was developed. This knowledge helped to gather rich contextual insights in the research phase of the project; exploring inclusivity from the museum sector’s perspective and the visitors’ perspective. As a result, three key challenges and opportunities from the sectors’ perspective, and the key visitors’ needs, were identified. From synthesising these findings, it was found that the key opportunity and challenge for the project lay in addressing the relationship between museums and the public: to help move towards a mutual symbiotic relationship, where both parties are able to benefit from.

Based on this challenge brainstorming, experimentation, and observations were done to iteratively develop a strategic service concept. The final concept that evolved was Habitat. To put it briefly: Habitat is a digital museum platform that gives small pieces of context and sparking questions related to art pieces, to support visitors’ curiosity and line of thinking. And, it allows visitors to leave their own ideas, thoughts, or opinion on augmented sticky notes. Habitat’s ultimate contribution to inclusion is that it, on the one hand, helps visitors to become active participants, and allows them to see what art can do and mean to them, without needing to be an art-expert. And, on the other hand, it helps museums to better understand their visitors, tap better into their (inclusive) needs, and facilitate the space to build a mutually beneficial relationship the public.

In validation tests with museum visitors, the concept’s desirability was investigated. In parallel, expert evaluations were performed. The insights from these activities combined were used to formulate the final recommendations. Here advice is being given on how to answer the following questions, related to the desirability, feasibility and viability: ‘Can it be done?’, ‘Does it bring value?’, and ‘Can it be sufficiently supported?’. The project was primarily centred around the Dutch museum sector. However, input was also gathered from international sources and the project aims to be as inspirational and scalable as possible for cultural experiences and organisations, in and beyond the Dutch cultural landscape.

Finally, what this thesis in particular advocates for, when designing for inclusion, is to focus on finding out what people might have in common and what connects them. In terms of defining peoples’ needs, designers should not focus on separating groups of people to fit simplified personas, instead they should look out to find universal needs shared among all. This will help to recognize common grounds on which inclusion can be built. Besides that, this thesis advocates to adopt a system thinking mindset when designing for inclusion. Doing so will help to understand the interactions between the actors in the system, the environment around them, and to see who gets excluded, why, and how.

Temperatures in the planet are rising, our cities are not designed for extreme weather and that makes urban heatwaves a deathly hazard. The Red Cross, an organisation who’s vision prevents and alleviates human suffering partnered with the TU Delft for a strategic design approach to find solutions for this wicked problem. This project explores the collaboration of the humanitarian sector in the urban environment. Cities are alive and they can offer space for innovation and experimentation. This master thesis is the result of a highly collaborative process, in which experts from different disciplines were interviewed, a thermal image study was performed in the cities of Delft, Amsterdam and Utrecht and literature review was executed. After collecting data, design directions began to arise. Heatwaves are invisible, people are not aware of the risks, the vulnerable groups are varied and vegetation can help bring the temperatures down. The result of this twenty weeks of work is a three step strategy to be followed by the Netherlands Red Cross. See, Share and Solve. See the heat. Urban heatwaves are dangerous because they are invisible Share the data. Show people how hot it can really get, also share solutions Solve the problem. A call to action, connect citizens and volunteers with organisations that are working with vegetation in the city. To share the data, structures across the city are proposed, cooling stations. By placing cooling stations in the city, the Red Cross can offer a temporary solution by providing shadow to the citizens but can also share information with citizens on how to cool down themselves, their homes and their neighbourhoods. Together with the Red Cross volunteers, neighbours can get involved in activities to bring vegetation on to the city in order to lower the temperatures and at the same time build strong communities with those who live next door.

The COVID-19 pandemic had a major impact on the daily routines of families in the Netherlands. From March 2020, strict measures were taken by the government to prevent the spread of the virus; The Dutch population was under quarantine. This caused many changes in the everyday life of families. Using an exploratory process with six families, research was conducted over six months into what families could learn from this quarantine time. Remote Context Mapping, a Corona-proof co-creation session, Zoom-interviews and iterative prototype tests ultimately led to a design which incorporates the lesson learned. The exploration with the families showed the quarantine made the worlds of the families smaller. As the world became smaller, families began to appreciate other things; the little things in life. This was because there were fewer possibilities, creating new standards. Comparing yourself to others became harder, so they were more satisfied with their own lives. Finally, less pressure was experienced from others and themselves, therefore the families were living more in the moment. As the worlds of the families were experienced as smaller, the relation between parent and child changed. The lesson families have learned from the Corona times is that we must continue to give valuable meaning to the moments of being physically together at home. The defined design goal from the conducted exploratory research is: To make family members aware of the moments of togetherness and spend those moments in a valuable way, even if rhythms and routines are less synchronized and when living less in the moment. Based on the interviews and prototype tests the PIN Light is designed. The PIN Light is designed to consciously experience the moments of togetherness and to use these moments in a valuable way, despite the busy lives which will return. It helps families to stay abreast of each other’s lives, it allows families to appreciate the moments together and it connects family members by creating a “moment of light”. The PIN Light can be implemented within a broader context as well. It could be implemented in social work, within family homes and it could help to connect blended families. Therefore the learned lesson from daily routines during Corona times adds value in an even broader context than traditional families only.

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.

Due to the increase of political friction and terrorist attacks, the Netherlands Ministry of Defence (MinDef) is preparing its armed forces for combat situations. If these occur, a large number of victims is expected in a short amount of time, which puts pressure on the military medical chain. As it is crucial to treat patients as early as possible, low resource medical treatment facilities (Role 1 MTFs) are placed near the battlefield. Heavily wounded soldiers are transported to this facility, where they are stabilised in order to survive transportation to a facility with more resources. Due to the Role 1 MTF’s critical function, it is of importance that the communication of patient details is optimal, as it improves the patient flow and survival rate. Currently, the communication of patient details causes a delay in the treatment process. This graduation project aimed for the improvement of patient detail communication by providing insight into the current communication process and formulating a vision for future innovation. By performing different research activities, such as observations and interviews, an understanding of the Role 1 MTF and the used communication methods was developed. This resulted in an overview of communication problems that affect the efficiency of care and are experienced as frustrating. The key influence of these frustrations was the lack of situational awareness (SA), which became the focus of this project. To summarise the research findings, a journey map was made. The journey map provides an overview of the events that take place within the Role 1 MTF, the communication activities, the workload, and the cognitive load as it is perceived by the general military physician (AMA). It was decided to focus on the AMA, as this person has the role of commander and has to makes the medical decisions. Design opportunities could be identified from the journey map and were used as a starting point for ideation. The ideation resulted in several design ideas, which were evaluated on their desirability and credibility. The insights obtained from this evaluation were used to formulate a future vision, which was visualised in a vision map (figure 1).
The future vision describes three innovation horizons to increase SA and improve the communication of patient details in the Role 1 MTF. The first horizon describes how process innovation could be achieved in the short term. The second horizon proposes the adaptation of available technology, which can be implemented within 15 years. The third horizon describes disruptive innovation for the far future, where the Role 1 MTF will become obsolete.
In the end, this graduation project provided a tool to evaluate the communication of patient details in the Role 1 MTF and a vision for future innovation. These tools are the outcome of user-centered research, which makes them of value for the MinDef and can support future innovation for the Role 1 MTF.

Vincent van Gogh, one of the most important figures in Art history, left the world not only his art, but also a large number of letters. The letters bare the first-hand witness of his unique life stories and precious insights about his art. Dedicated to the works and stories of Van Gogh, the Van Gogh Museum (VGM) wants to redesign the current letter gallery in the museum, aiming at creating personal connections between visitors and Van Gogh. To achieve this, multiple user research activities were conducted, based on which three design strategies of the letter gallery were defined. Then a design concept of the gallery was generated. There are three scopes of the research: "personal connection", "personal connection with Van Gogh", and "connecting with Van Gogh in the VGM letter gallery". To address these scopes, a group session, two rounds of visitor interviews, a Van Gogh fans interview and a letter booklet research were done. With the research insights coming together, the author generated the model of "layers of connections with Van Gogh" which illustrates that in order to achieve personal connections with Van Gogh in the letter gallery, the design strategies can be: 1. Trigger visitors' interests in letters through art; 2. Hit visitors' focus points by layering the information; 3. Encourage further exploration of the letters after visitors leave the gallery. Then, how to realize such design strategies? The author proposed a concept of the gallery, consisting of six parts: 1. Introduction; 2. Trailer; 3. Interactive programme; 4. Narrative structure; 5. Online content and 6. Link to VGM multimedia guide. The design explorations mainly focused on "part 3 Interactive programme" and "part 4 Narrative structure", with three concepts generated for each of the two parts and followed by visitor evaluations. After the design explorations, the final concept was presented, consisting of part 1~4. Part 1 Introduction shows the letter themes in the form of stamps, to make the information easier to understand. Part 2 Trailer consists of projections of a painting and a letter quote of the same theme which switch every 10 seconds, to trigger visitors' interests in more letter contents that they will see next. Part 3 Interactive programme give visitors a quick opportunity to engage with the letters without diving into the whole story. In this programme, users can create their own letters using Van Gogh's letter pieces and send the digital letters to someone by scanning a QR code by their phones. Lastly, part 4 Narrative structure presents the selected letters in six life phases of Van Gogh. The four parts together aim to satisfy the three design strategies and the needs of visitors in different engagement levels.

There is an increasing number of products in the market. Many of them get copied the second they launch. In the end, everything looks identical. Digitalization is the main reason behind, causing the commoditization of the products (van Erp, 2011). Eventually, a brand becomes the only thing creating difference among competitors. However, instead of blaming the digital revolution, it is possible to take a step back and find a way out by designing from the brand perspective. So, what is the brand experience? Brand experiences can be defined as the overall experiences that cover customers’ sensations, feelings, thoughts, and actions lived within a certain brand. These experiences cause customer responses through brand-related stimuli (Brakus et al., 2009). Designers play an important role in the creation of brand experiences by translating the brand into the design. A touchpoint is considered as the final version of a design that is made for a certain brand. It can be a website, mobile application, packaging or a tangible product. Therefore, the design of the manifestation is a quite similar process with the standard user-centric design processes. The only difference is that while the user-centric design processes have the focus of the user, in this design process the focus is the brand. During the brand experience design process, there are many difficulties that designers face. The main reason behind is that in the literature, there are no inductive or deductive methods for designing for brand experiences nor is there a process for making a product or a service ‘on brand’. Think the brand out loud is a tool designed for validating the concepts if they are ‘on brand’ or not. The tool consists of a manual, card set and two boards. The card set is a selection of brand values, personalities, and emotions, and boards (explained in the manual) help both to define the brand’s core elements and to select concepts according to those core elements. While the tool guides the design team to discuss and reach a consensus, at the same time, it reveals the strengths and weaknesses of each design concept and helps to define directions for the final design.

Voice-technology is, as the name entails, technology that enables the exchange of information through voice. As this technology is currently growing in adoption and usage of customers, the popularity at organizations and researchers is increasing noticeably as well. Normally new intelligence is associated with impressive high-end capabilities. However, this technology is still in its early stages of development because, although humans may be more capable of speech-interaction, the machine now needs to learn from its users. It is important to understand the principles rooted in human communication in order to understand user’s underlying expectations of conversational interfaces and to design for a desired user experience. Conversational interfaces are creating opportunities for new touchpoints between brands and its customers. It adds a new dimension to a customer’s experience and interaction with brands and their services. Brands need to decide how to behave as one of the partners in the collaboration driving this machine-driven conversation. On top of that, a new challenge is found in how to expose a unique identity without any visual and tangible elements to rely on. Alongside a case study for the lifestyle brand Rituals, a brand-driven strategy is proposed to design a voice-interaction service integrated with personified voice-identity. It is of great importance to form a unique and recognizable position within speech-technology corresponds to the existing brand in order to engage customers with a relatable personality. The Rituals case study is used to extrapolate general guidelines, set out in a design kit. It functions as a practical tool to guide organizations in the innovation process towards a voice-interaction service. This project has found a branded identity in the context of voice-technology, defined by an unique fusion of five components. The brand functions here as an overarching connecting factor.

In a world with an ever-increasing overflow of information, what are we supposed to believe? Even credible sources are distrusted or no attention is paid to their communications at all. The RIVM (National Institute for Public Health and the Environment) is looking for new ways to communicate their findings in such a way that people do not only believe it, but also that they take it into account in their behaviour. A new approach is proposed to find new compelling ways to communicate through design. In doing so, a new way to design for behavioural change in general is composed. The idea behind this approach is the following: People understand their world in a certain way. They have models in their mind about how all kinds of phenomena in this world work. These mental models help people to interpret and predict, which is fundamental to making choices on how to act. Therefore, if we could influence those mental models, we get a new handle on guiding behaviour. This project has explored exactly that handle as it investigates the questions: How can we influence people’s mental models through design? And how can those mental models influence behaviour optimally? Many examples of mental models and designs that embody them were analysed thoroughly. This resulted in a wide range of types and dimensions of mental models and designs, which were collected in a framework. The framework offers strategies to compose, evaluate and refine mental models and designs that embody them. The framework, translated into a toolkit format, was tested with students. Although still lacking validation, the framework seems to be a good basis for further steps: -The framework and the initial toolkit as drafted in this project are a good start for developing a more usable toolkit. The initial test results suggest that the many handles that the framework offers for designing mental models and their embodiments are mostly useful. -The framework offers future research a comprehensive palette for analysing mental models and designs that carry them. The mental model approach as explored in this project is relevant not only for the design of specialized behavioural interventions, but also for design in general. It uncovers, and provides handles on, an element of design that is widely applicable since many designs and communications explain (or could explain) a mental model.

Municipalities all over the world are struggling to find their role in this fast-paced society. The general attitude towards the government is negative and people experiencing its services as inefficient, irrelevant and unpersonal. Their functioning shapes people’s sense of trust in and expectations of the municipality. Despite efforts by incorporating modern technologies the relationship between citizens and governmental bodies are not improving. To date, service optimizations focusses on improving efficiency, accessibility and transparency. A problem-driven approach might achieve in a state of neutrality. However, the goal of the thesis is concerned with enhancing well-being of citizens in the municipal service center. Reducing or preventing inconveniences does not promises increased well-being. Moving into the positive zone requires a different strategy: a positive design approach. Activities make up 40% of our happiness level and are vital to our well-being. By investigating what people experience during these activities, possibilities will arise to enhance well-being. Analyzing people’s micro-emotions yielded 144 emotional events that elucidate that people experience one positive on two negative emotions. Dissatisfaction, confusion and unpleasant surprise make up for 23% of negative emotions while satisfaction makes up for 47% of positive emotions. Emotional events are either beneficiary or harmful to our needs. The universal need for Acknowledgement and Ease are carrying the majority of negative emotions in the current situation. However, an opportunity is found in contributing to a sense of belonging when framing interactions in a municipal service center of well-being. It aims to bring municipality and citizens closer, shape trusting relationships and aims to provide citizens a feeling that they are accepted and part of a bigger whole. Creating a sense of belonging is put at its core to design a positive and meaningful moment that contributes to people’s well-being. With many concerns in the context, a dilemma driven approach was applied that juxtapositions people’s concerns to inspire ideation. A concept was created that introduces a positive moment in the waiting room. The concept keeps track of people’s appointments, and meanwhile people can listen to stories that stimulate a sense of connectedness in citizens. An iterative process resulted in a final concept that was tested with 12 people. User test concluded that the prototype evoked only positive emotions, one rich experience and it contributed slightly to a sense of connectedness. Altogether, the concept positively created a moment that elevates people, making them feel connected to others and shed a fresh perspective that broadened people’s horizon.

This project aims to plant a seed in the minds of children to develop sustainable behaviour now and inspire an attitude of environmental stewardship for the future. Children grow up in a take-make-dispose world driven by consumerism. This world is characterised by the continuous production of new consumer products. This has a significant negative effect on the environment. For a sustainable future, people’s behaviour needs to change. Changing children’s attitude towards toy ownership has been identified as an opportunity to create this behaviour change. This lead to the following design challenge: How can I create an experience that engages children to change their behaviour towards toy ownership to inspire environmental stewardship? One of the most efficient ways to make products more sustainable is by extending product life. Extending product life is put into practice by having children pass on toys they have outgrown. By studying children using the context mapping method it was found that they find it difficult to let go of their unused toys. Extending product life and difficulty to let go are conflicting statements. For children below the age of five this is unavoidable, therefore the target group is children aged 5 - 6 as this is the youngest group possible to set in motion the desired behaviour change. Solution directions for the desired behaviour change were generated. The Toy on adventure concept was selected to further develop as this concept uses a narrative which allows for a perspective shift to occur with the child. A shift from a negative association (losing your toy), to a positive one (allowing your toy to go on adventure). In order to convince the child to participate in the concept, action tendency needs to be recognised. Multiple in-context interventions with the users were performed to find effective action tendencies that facilitate behaviour change. The following design elements were established: the power of growth, storytelling, negative emotions & pride. Using and integrating these design elements, the final design was created: Olli Play. Olli Play is an episodic storybook including action items and supporting props (play mat/bag & headdress) to make it easier for children to pass on toys they have outgrown. The design elements are embedded as follows: Episodic storytelling engages children with the experience of Olli Play. The concept of the power of growth is used in the narrative to make the letting go of toys part of growing up. Negative emotions are used to create a rich experience according to the theory of design for emotion. The use of pride provides the after the fact gratification necessary for the experience to have a lasting effect in order to inspire environmental stewardship. The interaction with the final design was tested in a three day testing session. The results showed that the intended effects were accomplished. As expected, the child experienced great difficulties with the thought of letting go toys at first. But as the interaction progressed throughout the days, the attitude of the child was transformed and the overall experience was perceived to be very enjoyable and the toys were gladly given away. The interaction also sparked interest in environmental stewardship. This way, Olli Play creates immediate sustainable behaviour and inspires the intended attitude of environmental stewardship.