People and nature (in western society) are growing more and more disconnected from each other. We forget we are a part of nature, and instead live in a world we have completely designed ourselves. Because of this, we miss out on a lot of experiences and benefits most of us do not even realise nature offers. We once were a part of nature, and still are, and probably will always be.

This project attempts to make this human-nature connection visible, through the medium of air. It is all around us, and while the biggest part of the "outdoors" stays there, air manages to creep through cracks and holes of our buildings, providing a bridge between in- and outside. Next to that, as air is invisible, people are not aware of this connection between in and out, functioning as a metaphore. The challenge is to make the invisible visible, and use the changes in environmental air pressure to power a kinetic art piece. It will be ever changing, moving with the flow of the weather, showing the transience of nature.

The artist/designer Arjen Witteveen (atelierAW) aims to bridge this gap and inspire people with an art piece to feel more connected to their environment and get a feel for the environmental air pressure as a natural phenomenon.

This report will attempt to provide an advice on how to best achieve such an artwork. The physical principles of air are analysed, after which gradually evolving experimental setups are constructed to eventually turn into a user tested prototype. All this to gain an insight into the many challenges there are on the way to such an artwork. The report will finish with a list of recommendations to the client (Arjen Witteveen), so that he can continue the development of this installation.

Contestability, i.e., a property that makes AI systems open to human intervention throughout their lifecycles, has been claimed to be essential for counteracting algorithmic harms. By enabling decision subjects to influence algorithmic outputs, contestable AI systems aim to safeguard decision subjects' rights to autonomy and dignity. Despite the interest and relevance of contestability in HCI, little is known about whether and how elements of contestable AI systems can empower decision subjects in algorithmic decision-making. In this dissertation, we aim to generate empirical insights into decision subjects' needs for and fairness perceptions towards contestable AI systems in decision-making. By focusing on decision subjects, this dissertation leads to a set of recommendations for organizations setting up algorithmic decision-making processes. These recommendations encourage organizations to account for the interests of those impacted by algorithmic decisions from the early stages of the design process.

In this dissertation it was investigated how the acoustic environment perceived by patients, or soundscapes, in Intensive Care Units (ICUs) could be optimized to support more human-centered ICU stays. The dissertation had two objectives: first, to explore how human-centered design could contribute to positive listener experiences for ICU patients with a needbased, listener centric soundscape approach; and second, to evaluate the effectiveness of this approach, i.e., to what extent designed soundscape interventions could benefit patients in terms of soundscape perception, emotional states, and stress. To achieve these objectives, a combination of listener-centric, evidence-based practices was employed rooted in human-centered design and sound-driven design. The five studies in the dissertation featured a mixture of qualitative and quantitative methodologies, including interviews, questionnaires, and physiological measurements. The project was a collaborative effort between the faculty of Industrial Design Engineering of TU Delft, the Critical Alarms Lab, the Adult ICU department at Erasmus Medical Center, and Philips.....

Aura is a desk accessory which motivates you towards performing physical activities in the form of micro-activities.

The project originated with the goal of creating an interactive light and sound installation for Highlight Delft, an innovative art and technology route. This involved incorporating holographic projection and spectral tuning to convey a specific perceptual phenomenon. The initial phase included extensive research into holographic projection, spectral tuning, and a broad literature review on perception. Experimentation with acquired knowledge informed the practical application, distinguishing effective principles and guiding the design process.

From the experimentation phase, three design directions emerged, with the idea of projecting coloured visuals on multiple layers of semi-transparent textile standing out. Tuning the projection in terms of colour and timing allowed visuals to move between the textile layers. By integrating storytelling into the concept a design brief emerged. However, during the development of the first concept, the design brief missed focus, leading to more complex ideas. Emphasizing communication, the focus shifted to conveying how spectral tuning can influence depth perception in the current setup. This resulted in the emergence of concept 2 with a simplified design involving two layers of textile and a projector.

A preliminary test of concept 2 revealed a need for additional information to enhance understanding and appreciation. The addition of an illustrative introduction before experiencing the installation, significantly improved attributes such as perceived depth, beauty, immersion, engagement, and coherence. These insights guided refinements in the final design, including a shortened visual narrative, added audio for increased engagement, and an elaborate exhibition space design. Attention was consistently committed to communication at various levels.

A final validation test produced varied results but consistently high scores on every attribute. Feedback and recommendations from the test were wellreceived, eliminating ambiguities. Even individuals outside the test expressed enjoyment of the experience. Despite the project’s initially broad scope, a focused approach, particularly in communication, developed in a final design that communicates clearly and evokes joy and interest in viewers.

This thesis presents the development of a novel smart lighting system designed to enhance the well-being, mood, and productivity of individuals in indoor environments, particularly desk workers. The project was inspired by the increasing awareness of light's impact on human health and the need for human-centric lighting solutions in office settings, with a specific focus on addressing Seasonal Affective Disorder (SAD) and the lack of effective lighting in typical workspaces.

Grounded in the principles of salutogenic, biophilic, and human-centric design, the system aims to go beyond traditional functional lighting by integrating with natural circadian rhythms to support psychological and physiological well-being. The development process involved in-depth analysis, concept exploration, and multiple design iterations—culminating in a high-fidelity prototype that provides customizable, adaptive lighting to suit users' changing needs throughout the day.

The final design is a modular lighting system that offers both optimal light intensity and meaningful biophilic animations, enhancing concentration, mood, and overall health. It provides a unique blend of functional and aesthetic benefits, addressing not only the technical requirements of lighting but also offering nature-inspired visual effects that foster a sense of calm and connection to the natural world.

In conclusion, this project demonstrates the potential of smart lighting systems to transform indoor environments into healthier, more adaptive spaces. Future work will explore scalability, integration with other smart building technologies, and extended user testing to further validate the system's effectiveness across diverse environments.

Awe, the feeling of encountering something greater or more powerful, has been explored in design and the arts. However, the potential of creating awe through the interplay of light and textiles remains underexplored. While the possibilities are vast, the precise tuning of their respective qualities to elicit a sense of awe over time have yet to be thoroughly investigated. This project aims at creating a light sculpture that elicits a visual awe experience by experimenting with interactions between the material organza and lighting.
To start and give direction to the project, the Material Driven Design (MDD) method was used. Moreover, a literature review about awe, organza, light and light-material interactions was carried out. Besides, three separate experiments were conducted involving 22 participants in order to find which variables of organza and lighting would elicit what emotions, what rate of a visual awe experience and what meanings/associations by using an adapted version of the Experiential Characterization toolkit from the MDD method.
The results of the three experiments showed that high-intensity red and blue lighting colours, a hole-patterned organza construction and the room's lighting turned off elicits the highest rating of the awe experience.
The final light sculpture – made from organza with circular patterned holes, high-intensity red and blue lighting and projections of storytelling dynamic light textures – elicits a visual awe experience of different intensities during one loop of three light textures.
The process of designing this installation serves as a case study demonstrating how the interplay of light and organza can evoke awe and enhance people's experiences, potentially leading to benefits such as increased state of focused attention and awareness on the present moment and improved psychological well-being.

Human-computer interactions should be as inclusive as possible, nowadays. Designers play a vital role in making products, services, and systems usable by a diverse range of users. Mobile applications use vibrations (tactons) to convey information about, for example, messages coming in. The quality of vibrotactile communication can be greatly enhanced by involving in the desing proces the experts when it comes to feeling: people with deafblindness.
By involving the haptic experts, mobile applications using vibrotactile communication can become more inclusive for all users.

This thesis addresses the challenge of usability versus flexibility when co-designing with haptic experts. The goal is to establish an equal level of control among all co-designers, including the haptic experts. To achieve this, Shape2Vibe has been developed by using a research-through-design approach. The design process drew inspiration from cross-modal perception. Moreover, clay modelling experiments were conducted for creating embodiments of four dinstinct basic vibration effects from Adafruit’s haptic motor library.

Shape2Vibe has proved effective in facilitating communication during the co-design process, enabling participants to express their ideas through the positioning of blocks. Equal control is ensured for all co-designers because communication for all participants is brought to the same level. The four shapes representing basic vibration effects adequately support co-design sessions for everyday design cases, such as fire alarms.

However, designing vibrations to convey emotions or association-based scenarios requires additional communication and a more layered approach due to the context dependent nature of emotions. Therefore, it is recommended to further research wether more association based shapes facilitate more abstract design cases.

Overall, this thesis contributes to the advancement of inclusive designs by assisting other designers in co-designing vibrations with haptic experts. By having involved haptic experts, the research has succeeded in creating an inclusive and usable tool and method useful for applications in the field of vibrotactile communication.

This master's thesis was completed at Tu Delft in collaboration with Signify, with the goal of providing guidance into the use of digital manufacturing in lighting design by creating a lighting system concept for the context of nursing homes.

The following design goal elements emerged in this context to improve the well-being of elderly residents. The goal was to incorporate these elements into a lighting system concept that is manifested in a working prototype.
• Bright – Many nursing homes are too dark for the elderly to perform tasks. Vertical illumination may improve the perception of brightness and spaciousness.
• Natural – From the perspective of biophilic design and healing environments, nursing homes could benefit from natural light, shapes, and materials to improve the space’s restorative affordances.
• Lively – From the standpoint of lighting design, nursing homes could benefit from lively elements such as patterns and brilliance to balance the visual aesthetics.
• Pleasant – The aesthetics and light effect should not be annoying because several residents will glance at it daily.

The project started with literature research on lighting and biophilic design, visiting fairs on lighting and 3D printing, and meeting stakeholders from Signify and nursing homes. Prototypes were created iteratively and with increasing fidelity with light sources, cardboard, and 3D printing throughout the project to explore and evaluate ideas. Image-generating AI tools served as inspiration, and parametric design was used to model complex designs. The product experience design was guided by Nine Moments of Product Aesthetics, and the theory of Unity and Variety guided the product experience design in the detailing of the concept.

Livy, the final concept, consists of 3D wall panels and spotlights that together create a nature-inspired light effect. The lighting system increases the perceived brightness of the room by vertical illumination and reflecting diffuse light into the space from vertical wall panels. The light also improves the liveliness and brilliance of the lighting atmosphere by creating dynamic shadows and caustics. Natural materials are introduced through the wooden panels and filaments in a natural shape and pattern. The light is warm white and indirect for a pleasant feel.
A formal validation was conducted with elderly residents (N = 13) in a nursing home. Ratings of brightness, naturalness, liveliness, and pleasantness were rated on a four-point scale. The judgments revealed that the majority of these goal elements were judged positively. The prototype appeared bright (Mean = 3), lively (Mean = 3.2), and pleasant (Mean = 3.5) with the luminaires switched on. Several participants perceived the concept as natural (Mean = 2.4) and referred to natural metaphors. As expected, the brightness was rated significantly higher compared to the luminaires switched off, which was not true for the other ratings.
The project offers valuable insights and a practical example of how digital manufacturing can be used in lighting design within Signify. There is potential for designing illuminated surfaces that combine natural patterns and materials with lighting to create visually appealing spaces. This digital approach also demonstrates opportunities for Signify to develop products that cater to aesthetic preferences and, in particular, lighting needs in a context. Additionally, it identifies opportunities for further steps to make products better reusable or recyclable.

This thesis addresses the problem of light pollution in cities, caused by public lighting. Currently, 99% of American and European citizens live under light-polluted skies (Falchi et al, 2016). Light pollution has measurable negative effects, as it increases energy consumption, disrupts ecosystems and wildlife and harms human health (IDA, 2013).

This research aims to reduce the amount of light pollution in Amsterdam Noord, a district in Amsterdam, the Netherlands, in the form of a case study. A Design for Darkness strategy, that helps reintroducing darkness into our urban nightscapes (Stone, 2019), is applied to structure this thesis. With the help of a literature review, interviews and observations of the research area, a short term Design for Darkness strategy for Amsterdam Noord can be developed.

The outcomes of this research suggest that the lighting in the green structure in Noord can be turned off, that experiments with lower light levels in residential areas should be conducted, that light nuisance in the form of glare and light trespass should be diminished, and that more lighting plans should focus on a qualitative, perception-based lighting approach, instead of only designing with a quantitative basis. Furthermore, the results indicate that dimming the lighting would be beneficial for the reduction of light pollution, but the lighting system in Amsterdam Noord is currently not fit to apply dimming regimes, and more budget is needed before this system can be applied.

Based on the insights from the Design for Darkness strategy, a list of policy recommendations for Amsterdam Noord is drawn up, and these measures express the need to set up regulations to minimize the causes of light pollution, and to educate people in the public and private sector about ways to preserve darkness.

Pancreatic cancer is one of the deadliest types of cancer and generally has a 5-year survival rate of 5%. Surgery (pancreatoduodenectomy) is the only form of curative treatment for patients diagnosed with pancreatic cancer. If the tumour is operable, the resectability of the tumour depends on the level of tumour-vessel contact. Based on CT scans, assessing the resectability of the tumour can be critical and demands expertise.

Philips, collaborating with Catharina Hospital Eindhoven and Eindhoven University of Technology (TU/e), has an oncology team called Eindhoven MedTech Innovation Centre (e/MTIC), working on a health care innovation regarding Pancreatic cancer enabled by AI (artificial intelligence) and Medical Image Guiding. This graduation project focuses on this pancreas use case; an integrated imaging workstation is being developed using 3D visualisation and enabling AI to enhance the workflow.

This graduation project focuses on improving healthcare professionals' user experience and interaction within an integrated imaging workstation. The project focuses on visually communicating tumour detection and vascular segmentation, resulting in better diagnosis and surgical planning. The aim is to eventually design a visual language (a design language system guideline) to improve the workflow and experience.

A user review was conducted using videos of user tests performed previously in the pancreas use case. This review led to the usability problems and the user needs of the 3D model in the pancreatic use case. A professional critical study was also conducted, revealing the prototype's strengths and weaknesses.

Eventually, a redesign for the 3D model was developed. This model is focused on showing resectability to improve the workflow. Moreover, uncertainty regarding the tumour size and shape is visualised as well.

Additionally, a DLS guideline for similar applications within Philips focused on medical 3D visualisation was designed at the end of this thesis.

Finally, 3D visualisation, enabled by AI, improves the workflow within a medical imaging workstation.

The amount of people working from home has been increasing. However, working from home has its issues and consequences. The degree to which one experiences recovery from stress and fatigue is limited when working from home, which has consequences on motivation, performance, health, and well-being. The aim of this project was therefore to develop a product that supports restoration during working from home. One way to achieve restoration is described by the Attention Restoration Theory, which poses that interaction with an environment can restore mental fatigue if it meets four properties: 1) a sense of being away, 2) fascination, or effort less attention, 3) extent, or a feeling of immersion, and 4) compatibility and congruence between the person and the environment. If an experience meets these properties, it can have similar restorative powers.  User research with homeworkers following the context mapping method revealed where the opportunities for an intervention lie. This user research showed that the four properties of attention restoration were not all met in the current home-work-environment, thereby limiting the possibility for the home-work-environment to be restorative. Especially the sense of being away is limited, due to inability to distance oneself physically as well as psychologically from the workplace. A design direction was defined: re-establishing the borders between work and non-work, and making the switching moments more conscious.   Nature is particularly good in meeting the four properties of attention restoration. Besides, nature can reduce stress, and improve mood and wellbeing. Biophilic design takes into account these advantages of nature and translates them into guidelines for design. A red thread throughout the concepting phase of this project is therefore biophilic design. The resulting design of this project is Ecflo, an inflatable lamp that functions as a break-reminder through dynamic light textures. Ecflo creates a liminal moment at the switching moments between work and non-work. Upon the start of a home-work-day the user inflates Ecflo, an interaction functioning as energizer. When it is time for a break, Ecflo moves and creates light effects, drawing the user’s attention away from the screen, towards a moment of fascination. Ecflo creates a conscious decision at this switching moment: continue work, or take a break. This way, it helps in structuring the home-work-day and helps separate work and non-work. Ecflo is restorative in the sense that it creates fascination through random and ephemeral patterns and movements. The design sustains interest, and thereby creates extent. The design is compatible in the sense that it is suitable for working from home and the home environment. However, evaluation study showed that the feeling of being away is limited, as Ecflo does not fully create an escape experience. Evaluation of the concept was done using the Perceived Restorativeness for Activities Scale. However, this scale is not fully suitable for product evaluation. Development of a research method suitable for evaluation of a product’s restorative potential is thus needed to evaluate Ecflo’s restorative potential. For further development of the concept, a functioning model should be made and tested with homeworkers.  

The world around us is filled with materials. Our ability of visual material perception informs us how to navigate and interact with our environment. It tells us, for example, whether food is fresh, if a chair is strong enough to sit on, how much force to use to pick up a glass, etc. Painters have studied how to depict the world and the materials therein for thousands of years. We believe that the material depictions within paintings can be leveraged into insights for the scientific understanding of material perception. In this thesis, we studied the perception of painterly depictions of materials and aimed to make the study thereof accessible to other researchers with the release of the Materials In Paintings dataset. We collected a large set of paintings from museums and galleries. Then, we used an online crowd-sourcing approach to annotate material identity (fabrics, stone, etc.,) and gather spatial material segmentations (i.e., “cutting out” piece of the painting that depict the material). In the first study, we measured the perception of material attributes (soft, rough, fragile, etc.,) across a range of materials and found that painterly materials trigger distinct distributions of perceived attributes and we furthermore compared these distributions to those for photographic materials. In the second study, we continued crowd-sourcing annotations on material identity and material segmentations and combined these into the Materials In Paintings dataset. In a number of cross-disciplinary demonstrations we presented novel findings across art history, human perception, and computer vision. While these demonstrations are useful in their own right, the main focus here was the release of the dataset. Next, we used the dataset as a source of stimuli for two studies into specific materials. First, for fabrics, we studied the perception of satin and velvet and the effect of presenting only local or, both local and global information, and found that the perceptual distinction between these two fabrics becomes more ambiguous when removing global information. Furthermore, we showed that local image cues can affect perceptual responses for shininess but not for softness. Lastly, we studied the perception and depiction of pearls by identifying three image features that might trigger the perception of pearliness. In a series of experiments, we confirm the role of these image features but find that the presence of only one of these image features, highlights, is already sufficient for naive participants to trigger the perception of pearliness. Conversely, expert participants (art historians or pearl experts) perceive depictions with all three features as more pearly, which implies the existence of visual expertise for pearl perception. All in all, in this thesis we show the benefits of studying material perception through painterly depictions of materials and enable further study with the release of the MIP dataset.

Slamp spa is an Italian company, so far known for the design and production of decorative handmade lamps and lighting systems. Most of their current products are intended for indoor use. However, their plan for the coming years is to expand its portfolio with products also intended for external use. Due to the generality of the topic, extensive research was carried out in order to narrow down the issue. The outdoor lamp market, trends, materials, and the production possibilities of Slamp were carefully analyzed. Interviews with users of outdoor lighting were also conducted. The analysis resulted in the selection of private use, portable lamps as a category for the designed product. The first stage of the project was summarized by defining the target group, personas, and scenarios.

The concept development stage was carried out. It was characterized by a large amount of generating ideas through simultaneously trial and error, testing, searching for the form, application, and proper operation of light. It was a process that combines the features of a structured, methodological approach to the work of an IDE and the work of an artist looking for inspiration and a starting point through continuous experimentation. The stage was completed with the evaluation of the best concepts and the selection of one, which was then subjected to further development and embodiment design.

The result was a wireless lamp designed for indoor and outdoor use. The product directly responds to the needs of the interviewed users who emphasized that despite the installed external lighting, they used additional light sources such as candles, LED lamps, lanterns, etc. The lamp’s purpose is not to fully illuminate, but rather to provide additional or intimate illumination of the surroundings and a space in which the users are located. The lamps allow them to tune the mood and atmosphere, especially in a garden, on a terrace or a balcony. Furthermore, there is full freedom of how to use the lamp. It can stand horizontally, vertically, on the side, however users want, depending on their needs. It is recommended to buy not one, but two or three lamps to achieve optimal flexibility and optimal space illumination possibilities.

This graduation project follows the process of researching, developing and creating a demonstrator for a surface design using the electroluminescent material - EL for short - a sandwich structured composite that emits light when alternating current flows through it. The project kicks-off with an analysis phase where the electroluminescent material and relevant client products are introduced. This includes a detailed description of the EL material from working principle to pre-fabricated versions possible to purchase from online stores. Next the EL materials themselves and A+N products were tinkered with. New DIY techniques are introduced which can help to create quick prototypes. This phase also was helped by three searches: experiential characterisation, luminescence measurement and connecting a sample to an oscilloscope to see how frequency affects the colour output. The surface design phase started with rapid prototyping ideas; a few selected ones were iterated on and turned into phosphor covered models that light up under UV light. The chosen concept direction is a set of twisted stripe designs that can be organised into a large pattern on a wall. The concept development started with creating all the elements of the tile set and some possible large patterns. During a long iteration phase the final version of the concept - a simple tile set with two different twist designs was developed. The last chapter describes the production of the demonstrators; the making of the EL sheets and then the assembly steps. The chapter introduces the final design - the LUX TWIST tile site. The LUX Twist Tile set is a modular surface installation that uses electroluminescent (EL) material to create an illuminated 3D pattern on a wall. The base module is a tile with twisted electroluminescent strips on it. The set consists of different tile designs, the featured twist comes in a curved and a straight option, available in left and right orientations. An empty tile is also part of the set to increase the variety of creatable patterns. The tiles can be connected with wire plugs at the back, which allows the current to flow from one to another. The last tile has to be connected to an inverter, then it can be plugged into a socket. The size of the installation and the pattern created with the different tiles can be completely customized to fit a desired environment and lighting conditions.

Within this graduation project, the qualities and potential of bioluminescent micro-algae will be explored with the use of the Material Driven Design Method, as described by Karana et al.(2015). This project aims to provide designers first insights in the behaviour of the bioluminescent algae by looking at the relation between movement and light. The first step will be to understand the different factors that influence the growth of the organisms, in order to be able to create a sustainable living environment that allows us to effectively maintain and grow the organisms. Afterwards, reflecting upon the growing process and creating general guidelines for effectively growing material. Next, the response of the material in regards to different types of stimuli was explored and three types of agitation forms (rotation, pulse and vibration) were evaluated; providing first insights in how the type of stimuli affects the characteristics of the light, with a focus on changes in total light output over time, differences in experiential qualities and boundaries of the material. Based upon the questions that resulted from the exploration phase, a research structure was defined. Within the research, key insight in the flash characteristics and overall behaviour of the light, with regards the temporal form, textural qualities and spatial distribution of the light, will be analysed; taking the first steps in describing the complex relation between movement and experiential qualities of the light. In the end, providing an overview of factors that can be adjusted to alter the flash characteristics and general behaviour of the light. The project is concluded with the design of a research object, in the form of a small scale interactive exhibition; displaying the findings of the research phase and sparking the interest of other designers; stimulating further research and promoting the use of bioluminescent materials.

This master thesis report gathers the research and design activities executed in 100 working days, in order to investigate the future context of autonomous driving. More specifically, the communication between the human driver and automation during the automated driving modes (Long Out of the Loop and Standby modes) has been investigated to answer the knowledge gaps of mode confusion, transparency, and information load. The project was supervised by SWOV, the Dutch Institute for Road Safety Research.
The project approach refers to a double-diamond structure which includes firstly, context research as background knowledge about autonomous driving and HMI. Secondly, an extensive user research involved experts, drivers, and human factors as the core of the study. Thirdly, an Experience Journey Map was developed to set bases for the design definition and Functional requirements, and HMI qualities. The design goal for the project has been based on the research results, aiming to unobtrusively inform drivers about automation status, driving mode and their responsibilities during autonomous driving mode through the HMI, while the driver is performing non-driving related activities. The HMI concepts have been developed according to iterative conceptualization and evaluation phases to conduct experiments with participants evaluating lo-fi prototypes about singular interactions and design elements, collecting conclusions, and highlighting strengths for each concept. Those helped to put together a final concept that includes the best elements of previous phases.
The final design proposal is a holistic experience that incorporates together different HMI options such as ambient lighting, central display, variable windshield dimming, the windshield visual effects and haptic feedback in order to create a complete experience to test with a sample of participants.
The final user tests have been conducted digitally with participants who evaluated the interface of automated driving modes while participants were asked to focus on secondary tasks. The tests showed that the ambient lighting (together with adjustable windshield dimming) of the vehicle certainly helps to set the driver’s mindset and support secondary tasks. The messages on the windshield and 3D glow effects obtained good results in terms of transparency. Drivers, indeed, understood more information about road situations and automation behavior. This encouraging results open horizons to new applications about ambience and visual information. Globally, the new information presented to participants was perceived as pleasant, informative and unobtrusive. Participants accepted the new HMI options with confidence and enthusiasm, although, some aspects of the central display were not fully understood in terms of usability.

In conclusion, the design research conducted in the first part of the project brought a fresh view of the user’s perspective. The insights from the human-centered design approach are extremely useful to investigate the communication to establish between humans and automation. This master thesis also contributed to bring some initial but promising results in the new direction of HMI design for Mediator project.

This thesis provides the reader with the necessary theoretical frameworks to understand the research aimed towards answering the question: which associations do people have with atmospheres influenced by dynamic light textures? This question is then used to provide a framework of guidelines for the designer. A review of lighting design history introduced the terms ambient luminescence, focal glow and play of brilliants proposed by Kelly (Kelly, 1952). Research into perceptual psychology then disentangled principles of perception to the reader, after which it was found that mood was commonly used to measure the impact of environments. Contradictory results of studies suggested that mood lacked a reliable method of measurement. In a study by Vogels (Vogels, 2008), introducing the term atmosphere as a stable alternative for mood, defined as the affective evaluation of the environment, was introduced. In this study, the impact of static light conditions on atmosphere perception was investigated. It was found that four underlying variables are of influence when perceiving environments with static light conditions: cosiness, liveliness, tenseness and detachedness. Focusing on dynamic light conditions, a distinction was made between using real-world or abstract dynamic patterns as stimuli. The way people perceive real-world scenes was found to vary depending on culture and background (Nisbett & Miyamoto, 2005) (Kuwabara & Smith, 2016), leading to the preference for abstract patterns. A translation of abstract patterns into dynamic light textures was made by considering the principle of ensemble perception. Inspired by the natural world 39 stimuli were created. Participants were subjected to these stimuli in an experiment, finding that participants use the same words when describing atmospheres influenced by dynamic light textures through a frequency analysis. Participants’ responses were clustered according to their meaning, resulting in a 40 word lexicon. A set of 13 stimuli were shown to 16 participants in a second experiment, and participants’ responses were recorded using a questionnaire containing the 40 word lexicon. 
It was found that participants gave relatively the same responses. Additionally, it was found through a principal component analysis that three underlying variables are present in the perception of atmospheres influenced by dynamic light conditions: tenseness, liveliness and detachment. Furthermore, it was confirmed that people are able to distinguish between the perceived atmospheres. Cosiness was not found to be a principal component in our construct. Regarding the workings of the underlying variables found, we found that liveliness is influenced by organisation of shapes in the texture and colour contrasts. Tenseness is influenced by the complexity of individual forms within textures; it is also influenced by colour contrasts. Brilliance contrasts in the texture influence liveliness of a space; sharpness contrasts influence the sense of detachment. Dynamics in the textures, like the rate of change, influence both the liveliness and tenseness axes and might influence the detachment axis. The findings of the experiments and analyses were used to develop a framework usable by designers, noting however that several points of recommendation were made to improve the reliability and usability of this framework.

As we move towards a world in which the lines between the physical and the digital are increasingly blurred, we see a maturing vision for architecture that actively participates in our lives. Our architectural surrounding has become so closely tied to technological trends that the two ultimately define each other. The push for ubiquitous networking and device inter-connectivity in buildings is fueling the development of a new wave of smart devices with embedded electronics, sensors and wireless connectivity that can collect, process and exchange vast amounts of data. This data can be used to inform and ultimately enhance the experience of the occupants and users of built environments. It is thus understandable that, the more recent trends in lighting design, has been to use it as a form of ambient light communication to create more lively and dynamic environments based on live data. This thesis project focuses on exploring the use of this technology in architectural environments in order to enrich the experience of users of public architectural environments with the aid of ambient light communication to inform them of relevant information and entice them to perform desired actions.
Specifically, this project set out to answer two questions: Can ambient light communication be used to convey information without the need of a priori knowledge or training? Can ambient light communication be used as an effective means of triggering a desired behavior in humans? To answer these questions, two experiments were designed and carried out. The results of the first experiment showed that most participants did indeed have a common perception of the selected data categories. This means that the participants shared a common understanding of these visualizations which suggests that in more general terms, light visualization can be used to form a very basic language to transfer information. Similarly, after the conducting the second experiment, it was concluded that ambient light communications can be used effectively to trigger certain desired behaviors and actions in humans (specifically, direct the attention and gaze of humans using directional cues).
4 different novel applications of ambient light communication concepts within office environments were presented which combined its aesthetical value, its ability to convey meaningful information and trigger desired behaviors. Specifically, we explored how the results of the experiments could be used in order to find more concrete solutions in a specific scenario. It was shown that the conclusions drawn from the first experiment could be used effectively to determine the best visualization to communicate a particular information. Based on the results, we saw that the proposed concepts can take advantage of various light characteristics and their effects on human physiology as well as psychology to create persuasive environments which are intended to improve the experience of the occupants and users. In summary, the concepts provided in this project are merely a demonstration of the capabilities and benefits of ambient light communication and its ability to provide useful information and create persuasive environments which enhances the experience of the users of built environments

While following courses at Industrial Design Engineering (IDE), students learn different steps of the design process. Little attention is paid to the last step of presenting the created product resulting in unprofessional photographs. The light studio is the developed concept and solution for this problem.

A dome-shaped structure with integrated LEDs and camera and a studio background within makes it possible to easily take photos. An interface linked to the camera and lights makes it possible to control the light placement through sliders and change the camera settings within the program. Information about the light placement, camera settings and photo editing is given in the interface.

A user test was conducted with IDE students. Results showed that the concept idea is in line with the design goal to motivate students in taking professional product photos. An element of the design goal which could be refined was the understanding and clarity of the information given in the interface. Therefore, a redesign has been made to target that part of the design goal. Recommendations are given for further development of the concept by conducting a second user test and creating the final design.