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References

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MCDONAGH, D. AND THOMAS, J. (eds.) (2015) ‘Design + Empathy = Intuitive Design Outcomes’ The Design Journal [Online] 14(2011) pp 147-150. Available from https://doi-org.ezproxy.herts.ac.uk/10.2752/175630611X12984592779881. [Accessed: 29th October 2022]

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VARDEHAUGEN (2015) Floor plan for Villa Stamsund [Online] Available at- http://vardehaugen.no/real-scale-drawings/ . [Accessed: 2nd November 2022]

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PEREZ, S. (2021) Kitchen Project.

PEREZ, S. (2019) Kiosk.

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GAO, W., WU, C., HUANG, W., & LIN, B. (2021) ‘A dat structure for studing 3D modeling design behavior based on event logs.’ Automation in construction. [Online] 132 (2021) pp 103967. Availiable from- https://doi.org/10.1016/j.autcon.2021.103967. Accessed: 22th October 2022]

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VAZQUEZ-MENDEZ, M., CASAL, G., SANTAMARINA,D., & CASTRO, A. (2018) ‘A 3D Model for Optimizing Infrastructure Costs in Road Design.’ Computer-Aided Civil and Infrastructure Engineering [Online] 33(5) pp 423-439. Available from- https://doi-org.ezproxy.herts.ac.uk/10.1111/mice.12350. [Accessed: 28th October 2022]

FOSTER, S., HALBSTEIN, D. (2014) Integrating 3D Modeling, Photogrammetry and Design [Online] Rochester, N.Y.: Springer. Availiable from: https://books.google.co.uk/books?id=wH4pBAAAQBAJ&printsec=frontcover&dq=3d+modeling+what+is+it&hl=es&sa=X&redir_esc=y#v=onepage&q=3d%20modeling%20what%20is%20it&f=false. [Accessed: 30th October 2022]

KRZYWINSKI, M. (2016) ‘Points of view: Intuitive Design’ Nature Methods. [Online] 13(11) pp 895. Availiable from: http://dx.doi.org.ezproxy.herts.ac.uk/10.1038/nmeth.4041. [Accessed: 30th October 2022]

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LAING, P.M. (ed.) (1993) Ergonomics: a practical guide. 2nd edition. Chicago: National Sefety Council

NOYES, J. (2001). Designing for Humans. Psychology at Work. New York: Psychology Press, Taylor & Francis Group, Hove and New York

FILIMOWICZ,M. (2020) Foundations in Sound Design for Linear Media: A Multidisciplinary Approach. [Online] Milton: Routledge. Availiable at- https://ebookcentral.proquest.com/lib/herts/reader.action?docID=5793723 [Accessed: November 6th 2022]

SIGMAN, A., MISDARIIS,N. (2019) ‘alarm/will/sound: Sound design, modelling, perception and composition cross-currents’ Organized Sound.[Online] 24(2019) pp 54-70 Availiable from: https://www.proquest.com/docview/2306120984/fulltextPDF/EAB85670CB314206PQ/1?accountid=14660. [Accessed: November 6th, 2022]

SONNENCHEIN, D. (2001). Sound Design: The expressive Power of Music, Voice and Sound Effects in Cinema. California, Michael Wiese Productions.

BRANDI, U. (2006). Lighting Design: Principles, Implementation, Case Studies. [Online] Basel/Berlin/Boston: Walter de Gruyter GmbH. Available from: https://ebookcentral.proquest.com/lib/herts/detail.action?docID=3045442. [Accessed: 30th November, 2022]

WHITE, M.D.,(1989) ‘Update: Interior design light sources’ Interior design. [Online] 60(11) pp 164. Available from: link.gale.com/apps/doc/A7871899/AONE?u=uniherts&sid=summon&xid=61faff86 [Accessed: 30th November 2022]

CENTAUR COMMUNICATIONS LIMITED (2005) ‘Lighting Design” light touch’ Design Week. [Online] 2005, Available from: https://link.gale.com/apps/doc/A138927363/AONE?u=uniherts&sid=summon&xid=a5168e2f. [Accessed: 30th November 2022]

YUAN, J. (2021) ‘Research on the Effect of Light and Shadow in Computer-aided Interior Design’ Journal of Physics: Conference Series. [Online] 2074(2021) pp. 012053. Available from- https://iopscience-iop-org.ezproxy.herts.ac.uk/article/10.1088/1742-6596/2074/1/012053/pdf. [Access: 30th Novemeber 2022]

CHEN, Y & CHEN, R. (2020). ‘Design thinking based on reflective level in emotional design’ E3S Web of Conferences [Online] 178 p. 02082. Available from - https://doi.org/10.1051/e3sconf/202017902082. [Accessed: 27th November 2022]

DING, M., DONG,W. (2018) ‘Product color emotional design considering color layout’ Color Research & Application. [Online] 44 (2) pp 285-295. Available from- https://doi-org.ezproxy.herts.ac.uk/10.1002/col.22338. [Accessed: 27th November, 2022]

HO, A.G., & KIN WAI, M.G. (2015) ‘Emotion Dsign, Emotional Design, Emotionalize Design: A review on their Relationships from a New Perspective’ An Internal journal for All Aspects of Design. [Online] 15 (2012) pp 9-32. Available from- https://doi-org.ezproxy.herts.ac.uk/10.2752/175630612X13192035508462. [Accessed: 27th November, 2022]

CHAPMAN, J. (2005). Emotionally Durable Design; Objects, Experiences & Empathy. London: Earthscan.

COOPER, R. & PRESS, M. (1995) The design agenda: a guide to successful design management. Chichester / New York / Brisbane / Toronto / Singapore: John Wiley & Sons

VALENCIA-ROMERO, A & LUGO, J.E. (2017) ‘An immersive virtual discrete choice experiment for elicitation of product aesthetics using Gestalt principles’ Design Science. [Online] 3 (11) pp 1-24. Available from- https://doi.org/10.1017/dsj.2017.12. [Accessed: 2nd December, 2022]

HU, G; SHENG, A; ZHANG, Y; PAN, Z & ZHANG, M. (2016) ‘An Analytic Measure of Perceptual Factors for Color Composition’ COLOR research and application [Online]41(2) pp 165-174. Available from https://doi-org.ezproxy.herts.ac.uk/10.1002/col.21952. [Accessed: 2nd December, 2022]

YILMAZ, S. (2018) ‘An aesthetic approach to planting design in urban parks and greenspaces’. Landscape Research [Online] 43(2018) pp 965-983. Available from- https://doi-org.ezproxy.herts.ac.uk/10.1080/01426397.2017.1415313 [Accessed: 2nd December 2022]

PETERSON, D.J., & BERRYHILL, M.E. (2013) ‘The Gestalt principle of similarity benefits visual working memory’ Psychonomic Bulletin Review, [Online] 20(2013) pp 1282-1289. Availiabe from- https://link-springer-com.ezproxy.herts.ac.uk/article/10.3758/s13423-013-0460-x [Accessed: 2nd December 2022]

HAN, S., HUMPHREYS, G.W., & CHEN, L. (1999) ‘Uniform connectedness and classical Gestalt principles of perceptual grouping’ Perception & Psychophysics. [Online] 61(4) pp 661-674. Available from- https://link.springer.com/content/pdf/10.3758/BF03205537.pdf?pdf=button%20sticky [Accessed: 2nd December 2022]

HIGGINS, I. (2015) Spatial Strategies for Interior Design. [Online] London: Laurence King Publishing. Available from- https://ebookcentral.proquest.com/lib/herts/reader.action?docID=2048463. [Accessed 6th December, 2022]

SULLY, A. (2015) Interior Design: Conceptual Basis. [Online] Cham: Springer. Available from-https://ebookcentral.proquest.com/lib/herts/reader.action?docID=2094539&ppg=29. [Accessed 6th December 2022]

Perez, S, (2020) Design process of kitechen design

(SANTISTEBAN KITCHENS, (2022) Most recent projects, Abril 2022 [Instagram] available at https://www.instagram.com/p/Cc8CaSgLD2-/ [Accessed date 6th December 2022]

REID, G.W.(2007) From concept to form in landscape design / Grant W. Reid. 2nd Edition. Chichester: John wiley & Sons.

RIOTAMA, T., & HERDIANSYAH, H. (2019) ‘Passive design implementation as sustainable development approach on vertical housing case study: Sentra Timur Residence’ IOP Conference Series: Materials Science and Engineering. [Online] 703(2019) pp 012032. Availiable from- https://iopscience-iop-org.ezproxy.herts.ac.uk/article/10.1088/1757-899X/703/1/012032 [Accessed: 10th December 2022]

PANDELAKI, E.E., & FIRMANDHANI, S. W. (2022) ‘Inclusive space for children in vertical housing’ Journal of Architecture and Urbaism.[Online] 46(2) pp 100-106. Availiable from- https://doi.org/10.3846/jau.2022.15250. [Accessed: 10th December 2022]

RIOTAMA, T., SODRI, A., & SUNDARA, D.M. (2022) ‘AIP Conference Proceedings’. Study of passive design and energy in vertical housing [Online] 2534 (020010) pp 020010-1 to 020010-6. Available from- https://doi.org/10.1063/5.0105743 [ Accessed: 10th December 2022]

SWASTO, D. F. (2018) ‘Friendly vertical housing: case of walk up flat housing development in Yogyakarta.’ IOP Conference Series: Earth and Environmental Science. [Online] 126(1) pp 12178. Available from- https://iopscience.iop.org/article/10.1088/1755-1315/126/1/012178. [Accessed: 10th December 2022]

MALOUTAS, T. & KARADIMITRIOU, N. (2022) ‘Chapter 1: Introduction to Vertical Cities: urban micro-segregation, housing markets and social reproduction’ In: MALOUTAS, T. & KARADIMITRIOU Geography, Planning and Tourism. [Online] London: Edwrd Elgar. Availiable from: https://doi.org/10.4337/9781800886391.00007. [Accessed: 10th December 2022]

THOMAS, G. (2017) How to do your research project: a guide for students. 3rd edition. Los Angeles: SAGE.

O’LEARY, Z. (2017) The essential guide to doing your research project. 3rd Edition. Los Angeles: SAGE.

DUL, J., & NEUMANN, W. P. (2010) ‘Ergonomics contributions to company strategies’ Applied Ergonomics. [Online] 40(4) pp 745-752. Availiable from- https://doi.org/10.1016/j.apergo.2008.07.001. [Accessed: 8th December 2022]

UNIVERSITY OF WATERLOO. (n.a.) CENTRE OF RESEARCH EXPERTISE FOR THE PREVENTION OF MUSCULOSKELETAL DISORDERS (CRE-MSD) [Online] Available at- https://uwaterloo.ca/centre-of-research-expertise-for-the-prevention-of-musculoskeletal-disorders/people-profiles/patrick-neumann. [Accessed: 8th December, 2022]

TORONTO METROPOLITAN UNIVERSITY (n.a.) Patrick Neumann. [Online] Available at- https://www.torontomu.ca/pneumann/. [Accessed: 8th December, 2022]

ROTTERDAM SCHOOL OF MANAGEMENT ERASMUS UNIVERSITY (n.a.) Faculty & Research; Prof.Dr.Ir.J. (Jan)Dul. [Online] Available at- https://www.rsm.nl/people/jan-dul/ [Accessed: 8th December, 2022]

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Annotated Bibliographies

This book explains the importance of lighting in spaces, and generally in humans’ life. It talks about the significative impact that lighting on its own can have on a person’s wellbeing both emotionally and physically. The author stated the importance of lighting in design by establishing it as a building material in its own, since it helps adding an additional layer in the complexity of the design composition.

One of the main arguments made in this book is about the superiority of natural daylight over artificial lighting, not only as supporting in the design, but also as part of the ergonomics of the place by creating a comfortable space. However, although the replacing of natural daylight is impossible, it is important to note that daylight is not static, and it varies not only from the time but also from the season of the year, so by placing daylight as the main factor for designers and architects to focus on could result in a bias design.

But as a designer myself it is really important to recognize that when a space can take as much advantage as possible from the natural daylight, it is not only reflected in the users comfortability, but also in the overall financial savings and also the environmental impact that this can cause.

CHAPMAN, J. (2005). Emotionally Durable Design; Objects, Experiences & Empathy. London: Earthscan.

This book explains the way in which humans relate to objects, and explains that this is a phenomenon that has being going on since millions of years ago, since the beginning of communities and societies. However, it goes into detail about the differences that industrialization and consumerism has impact on the way we relate to inanimate objects.

But the main argument that I found the most interesting of this book was that the author relates the emotional design with sustainability. They argue that by providing a strong emotional connection between the user and the product, people will be more motivated on maintaining the product for longer and reduce in this way the environmental impact that consumerism has how a day, because, as explain in the book, it is common that users tend to discard products that still have viable lifetime, because of the lack of importance that its given.

As a designer this is a very interesting subject because we usually tend to focused on the functionality and overall aesthetic of our designs, however by creating emotional bonds with the clients with the products, we can add an intrinsically value that is unmeasurable and also be able to create a relationship with the client and the brand itself.

This article analyses the emotional experience that users have with the designed products under four different perspectives: self-image expressions, implication and understanding, narrative interpretation and metaphor. This are the different ways in which users create emotional bounds and communication with products, which is important since it makes consumers construct an emotional dependency and can even translate to brand loyalty.

By analyzing four different products under these four perspectives, it provides examples on the importance of this added value. But its most important argument that I found the most interesting, was that it proposes a design strategy to create emotional bonds with the users. By generating a sense of empathy, participation and control, the authors provide this new perspective for emotional design communication. Which sometimes these emotional connections are not that clear and direct and can even be overlooked. But being in a very industrialized and highly technological market, having that unique element, that is emotional design, it allows the products to be seen as of higher value.

HIGGINS, I (2015) Chapter 3: Developing conceptual ideas. In: HIGGINS, I. Spatial Strategies for Interior Design. London: Laurence King Publishing. Available from- https://ebookcentral.proquest.com/lib/herts/reader.action?docID=2048463&ppg=37. [Accessed: 6th December 2022]

This chapters dig into the forms in which a designer can apply a concept when creating a space. And how sometimes it can be hard connecting the abstract of an analogy to the physical space and also meet all the criteria of the space in regards of the needs and requirements for the users. It also explains what a concept and the form in which conceptual ideas can be transform into analogies. And this is considered as the starting point for any concept. And this concept can come from many different sources, like the client, the site, the design approach and the programmed.

I found this very interesting and useful since I consider this to be one of the hardest parts of my own personal design process. I tend to focus first on the usability of the space and then focused on the aesthetic, and this makes it harder for me to stick to any concept or idea that the space might benefit from having. And this text not only reinforces the importance of establishing a concept and keeping it as the core of the design, but also provides with examples and explains the form in which concepts can be achieved by different processes, along with study cases to show its veracity.

The article talks about the color gestalt, which is basically the way the gestalt principles can be apply on the color. When a color is applied to a product, whether it is a two-dimensional objector or on a 3D surface, the color gestalt refers to the patter and component of the image composition.

One of the most helpfull points made on this article, is that although the color gestalt can be seen as mainly focused on color elements or relationships, it brings light on how only a few artists have also experimented on composition analysis. Because the patter composition in which color is applied is also a graphic factor that influence the color gestalt.

I found very useful and interesting the experimentation that is made in the article and the way that it proposes a mathematically backed up perceptual model for perceptual color composition features. This is a proposed method to help evaluate the design and helps as a tool to understanding the perceptual factors of color composition.

Krzywinski, M. (2016) “Intuitive design,” Nature Methods, 13(11), pp. 895–895. Available at: https://doi.org/10.1038/nmeth.4041.

Martin Krzuwinski is a Canadian Staff Scientist at the Canada’s Michael Smith Genome Sciences Center. He is a software creator and a scientific designer. Krzyuwinski talks in its article about the importance of taking into consideration the intuition inferences to add information/value to a figure. He mentions also how the Gestalt principles can be consider to make good judgment in the selection of shapes and colors.

The shapes and colors chosen should reflect the purpose, properties, and roles of what they represent. Although some inferences on for example color, can vary depending on the context and culture, it should be avoided to take any decisions that might confuse the message of the design. He also notices that sometimes we can even discard elements altogether to avoid confusing the message, for example, if elements like colors, an be consider arbitrary to a design, and its use can confuse the message, we should discard it altogether.

For a good intuitive design, we should always anticipate any unwanted interpretations by the inferences the users might have on purely stylistic elements.

NOYES, J. (2001). 4. Work Environments. In Robinson, P. (ed.) Designing for Humans. Psychology at Work. New York: Psychology Press, Taylor & Francis Group, Hove and New York

The importance of ergonomics and designing for Human Factors, is theoretically a very new termn that has been growing, and has also become increasingly popular and complete .The specific selected chapter focuses on the implementation of ergonomics and human center design in the workplace. Explaining the evolution that this has had over the years and on how many studies, experiments and research has had to be done, and is continuing to be done, for this since humans are a very complex system and its interaction with their environment, both physically and psychologically is ‘not always straightforward due to the large number of factors that can influence human-environment interactions.’ (Noyes, 2001, p.96)

It is very important as designers and architects to understand the history of our terminology because that allows us to understand the reasoning behind it, and the reason why its so important. Ergonomics and human factors are always being controversial in a business center environment because it is not a certain science and is also an investment that tends to be overlooked as an expense instead. So the importance that professionals such as the author, Jan Noyes who has received the Otto Edholm medal for her contributions to applied research in ergonomics, is invaluable in the area because it brings this topics to light so businesses can recognize their importance.

Peterson, D.J. and Berryhill, M.E. (2013) “The gestalt principle of Similarity Benefits Visual Working Memory,” Psychonomic Bulletin & Review, 20(6), pp. 1282–1289. Available at: https://doi.org/10.3758/s13423-013-0460-x.

The authors of this article mentioned about how the elements of connectives and spatial proximity of the Gestalt principles do in fact facilitate the Visual working memory. However not all of the elements of the Gestalt principles can be considered to actually benefit or stimulate this memory although these principles have a similar base of visual perception.

This is because our visual memory is actually very limited in capacity. Behavioral estimates of visual working memory capacity, defined here as the number of item representations stored simultaneously, converge on an limit of ~4 items (Alvarez & Cavanagh, 2004; Awh, Barton, & Vogel, 2007; Cowan, 2001; Luck & Vogel, 1997)

With the use of the Gestalt Principles, when we group elements with similar shapes, our visual relates them as belonging together. However, one very important element for our visual memory to consider this is if these elements are also following the gestalt principle of being in proximity, as in actual physical space. On this article several experiments are shown to how the visual working memory accuracy results vary and how when the element of similarity and proximity are part of the experiments, the users feel more confident and perform better.

This article focuses on the environmental impact that residential buildings, specifically on vertical housing. And proposes the use of passive design to diminish this impact. Because each of the vertical housing still need to meet the standard housing regulations, providing for a more drastic environmentally friendly approach to the whole building might result in a very substantial financial increase, which will discredit the main purpose of this vertical housing which is of providing a more economically friendly housing opportunity in the limited space.

It’s interesting how by proposing passive design strategies, that might seem simple, but it’s crucial to consider since the very beginning, it can create an important impact in the environmental impact. For example, caring for the position and orientation of the building, will allow for a better use of natural light, which will reduce the use for electric energy. Also, by applying openings in the building, depending on the environment in which the vertical housing is, can benefit the entering of heat. Also, the types of materials used for the construction, as well as the interior adaptation of the place are crucial to allow for a more aesthetic, environmentally friendly, and flexible space so residents could be comfortable.

As an interior designer is very important to understand the great impact that a well thought design can bring in a whole building which will affect hundreds of people. And it is also important to keep insisting in giving interior design and architecture the necessary importance from the very beginning of any project.

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SONNENCHEIN, D. (2001). Chapter 4 From Sensation to Perception. In: Sonnenchein, D. Sound Design: The expressive Power of Music, Voice and Sound Effects in Cinema. California, Michael Wiese Productions.

This chapter goes in depth about the different ways in which humans can perceive sounds, and explains the importance in recognizing that listening is not the same as hearing. When designing sound, not only in multimedia/cinema backgrounds, but could even be as part of space design, as part of thearapy or just when wanting to give out a message, we have to recognize that there are many different elements that can affect and alter the sound outcome, and also that there are different ways in which a message can be deliver.

The author provdes a couple of examples on the way sound influences the deliery of a message, like ‘an uh-oh followed by a glass breaking, we can assume that someone is responsible for this […] or at least knew that it was coming.’(Sonnenchein,D, 2001, p.81) However if we go deeper on how the brain can intepret sounds, there are even sounds that can directly affet a persons phisical and mental state, as far as altering its tempreature, heart rate, anxiety, etc, or it can even cause phisical pain.

The main reason why as an interior designer I find very interesting and useful the science behind sound design, is because It is an element that can easily be overlooked when designing a space, but it can end up making or breaking the whole purpose of the space. For example if we design an auditorium and use sound absorving materials, it might cause a direct impact in the usability of the space, or if the form that we distribute the furniture is not in the correct position, it can cause that what is being said by the presentator to be lost in the background ambence sound and not place any ground for the audience. As designers we always should strive on designing as successfully as possible considering all possible scenarios and situations.

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saraelisaperezpierrez · 3 years ago

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Critical Analysis

The authors of the text “Ergonomics contributions to company strategies are Jan Dul, and W. Patrick Neumann. Jan Dul is a professor of Technology and Human factors at the Rotterdam School of Management, Erasmus University, who has focused most of his research on functional design, specifically in ergonomics, he also has given numerous speeches at management events in which he has shared his experience in creating creativity focused environments on innovative businesses. And Dr. W. Patrick Neumann is a professor at the Ryerson university, part of the Mechanical and Industrial Department, whose research is focused on the system design of effective and sustainable work system, he is formerly the coordinator of the Ergonomics Initiative in Injury Prevention in the Faculty of Applied Health Science at the University of Waterloo in Canada. Both authors have focused their work on human centeric design and performance for corporate strategy.

The main argument that the authors refer to in this text, is that nowadays ergonomics is mainly considered later-on in the design process, where any strategic design decisions have already taken place, which causes any changes required to alter the project significantly both in time and in budgeting. The main reason why managers decide to include ergonomic, is not because of the benefits that this can bring to their processes, but to avoid any negative effects or non-compliance in legislation since it is a believe that ergonomics is only related to the physical wellbeing. However, if companies decided to implement ergonomics in their strategy, not only will it be normalized and better accepted to be used earlier in the design process, but also be used for overall improvement in the company that will allow them to strategize better to reach business objectives.

One of the most important arguments that the authors made, is that if companies change their current approach and decide to connect ergonomics to the company strategy, that can completely transform the position in which ergonomics is currently placed . By implementing ergonomics to the company strategy from the beginning, that will create a more positive approach to it and can begin to identify all the benefits that it can really bring, not only on physical health, but also in overall system performance improvement.

https://doi.org/10.1016/j.apergo.2008.07.001 [Accessed: 8th December 2022]

The images above where created by the authors to explain how the relationship that is currently applied between the strategy of a business to achieve their main goals, and the form in which ergonomics is mainly isolated and left as part of an additional step. (figure 1). Meanwhile the figure two shows the difference that will happen if economics is considered as a central point in any business strategy, it could be involved and provide results in any part of the plan of action.

A very interesting way that the authors provide a clearer explanation on how ergonomics can be applied to reach the overall business objectives is by firstly dividing a company strategy into three areas; ‘Business Function Strategies, Cross-Functional Strategies and Corporate Strategy.’ When focusing on business function strategies, the text refers to the main function that a business has, like product design, marketing, finance, etc. So, for example by implementing ergonomics to the strategy of a product design company, that can assist not only in understanding better the needs of the users, but also in creating products that are easy to produce, which at the end of the business chain will translate in a reduction of expenses, time and errors, that can later instead leave room for product innovation. Cross-functional strategies involve more than two business functions affecting each other, and in here ergonomics can add value to the cross-functional strategies and tactics which is more complex, but the contribution of ergonomics assists as a connector to integrate the business functions. And for corporate strategy which involve the highest management levels of an organization, ergonomics can serve in creating competitive advantage by focusing their services or products as having unique characteristics that users can relate too and find attractive.

I personally find that the lack of value and importance that is given to ergonomics can also be reflected in the rush of companies to cut expenses, and obduracy to implement newer and more innovative strategies. If we focused mainly on businesses which create or offer products or services that are to be used directly by the user, meaning that don’t have any third party involved and directly go from business to user, it is very common to find that process that should be realized by specific design professionals, like industrial designers, architects, ergonomist, fashion designers, product designers etc, are overlooked and become responsibility of areas that do not have the required experience and understanding, sometimes even of areas that are not related, for example, sometimes engineers end up taking over the processes of design as well, or management take over tasks related to marketing.

As it is mentioned in the text, the application of ergonomics in a company is usually because of negative motivators, to avoid physical injuries, and to meet legislative requirements. While we cannot ignore that it is very important to have those in consideration, the importance of ergonomics can be seen from the basis of human health. Poorly implemented ergonomics in a business can cause work accidents and associated costs. So, it is understandable that the first thought when thinking about applying ergonomics is to outsource this responsibility to the departments of health and safety. Of course the physical health of the workers and clients should be a priority issue, however limiting the possibilities that ergonomics can provide to a business is misusing an element that can give a business more user friendly products, error free-processes, improvement in businesses integration, cost cutting, good working conditions which improve employee retention, and an image of social responsibility and corporate sustainability, that will result in a competitive advantage and differentiator from the competition.

It is a very important responsibilily as design professionals and architects to continue pushing and bringing light to such an important subject. Since we are the main sources that can demonstrate that the benefits that can result from proper applied ergonomics as part of the strategy of the main objectives,are visible even in the financial outcomes of a business and can overall aid in achieving the main business goals.

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References

TORONTO METROPOLITAN UNIVERSITY (n.a.) Patrick Neumann. [Online] Available at- https://www.torontomu.ca/pneumann/. [Accessed: 8th December, 2022]

ROTTERDAM SCHOOL OF MANAGEMENT ERASMUS UNIVERSITY (n.a.) Faculty & Research; Prof.Dr.Ir.J. (Jan)Dul. [Online] Available at- https://www.rsm.nl/people/jan-dul/ [Accessed: 8th December, 2022]

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10. Methodology Blog

At the beginning of this blog, I was not expecting to enjoy the process as much as I did. At first, I was of the idea that the process of methodology for writing these blogs was going to be mainly with an objective focused. The majority of the research gather is of a qualitative methodology since my specific interests in the area of interior design and architecture are focused on the intrinsic value that any design has, and on how it is used or perceived by the public.

The majority of the sources utilized on this research are being primary sources, and I wanted that with each written blog I could get information of not only the general topic that is being discussed, but also the examples and previous experimentation that other professionals have made in relation to the subject. With the writing of just the first blog of Intuitive design, I notice how unrealistic it was to believe that the majority of the research could follow an objective methodology approach. Specially in the creative arts area, it leaves the research in a very basic level if we keep a neutral and disinterested position. Besides the topics selected for each blog where subjects that I have found interest in, and the main form in which the topics were chosen for each blog was based on my own personal experiences. I took everyday activities, topics of conversations, and even personal inquiries, and I proceeded to investigate on how design and architecture is being utilized in these specific situations.

With these topics investigate they were three specific topics that spark a particular interest for me, this where Blog 1- 3D modeling, Blog 3- Ergonomics and Blog 8- Spatial Strategies in interior design. Mainly because I discover that I had already at least once In my professional career as an interior and product designer, have used before, although I was not aware of not nor did I had as much knowledge of the subjects. And O believe I also subconsciously had the Hawthorne effect on myself, because I felt that my own work was being reviewed by myself as part of the investigation.

It was a very interesting experience, and overall, I believe that keeping the research of the topics mainly related on design, the method of investigation that was used was subjective research, since the results of the qualitative data depended widely on my own interpretation and the ideology and mentality of the authors researched.

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References

THOMAS, G. (2017) How to do your research project: a guide for students. 3rd edition. Los Angeles: SAGE.

O’LEARY, Z. (2017) The essential guide to doing your research project. 3rd Edition. Los Angeles: SAGE.

#methodology

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9. Vertical Housing

As a young adult who will very soon begin their process of finding a place of my own, I have been very aware of the increases in demand and pricing of housing. By investigating this I cross upon the topic of Vertical Housing which is being applied in many different parts of the world that have a housing issue.

Vertical housing started to develop as a form of spatial optimization because of the scarcity of land in urban areas. And although it is a successful solution, it does come with its own issues, because regulations for housing sustainability are not able to be evaluated in the cases of vertical housing. Also the typology of these spaces tend to change over time, the style and necessities of housing are constantly changing, along with new technologies. So when creating a vertical housing, passive design strategies are a must so that the buildings can successfully adapt to their environments and surroundings as well as to changes that will come with time. All of this ends up having a direct impact on the residents quality of life and comfortableness.

Also it is very interesting to see the strategic spacing has have to be taken in consideration when creating vertical housing in order to make these places inclusive for all the possible members of the residence, including children, pets, people with disabilities and the elderly. But one of the most important things to take in consideration when creating vertical design, is the orientation in which the buildings are going to be facing, and the size and amounts of windows that have to be present in each individual unit. Because lightning is one of the most important elements in a home in order to create a harmonious space, and provide a healthy environment, as well as to allow for electrical savings and environmentally conscious spaces, this realistically also affects the shadowing that will be taken over the surrounding spaces.

There are many forms in which architects and designer are finding ways to make this vertical spacings more flexible and adaptable, one example is that mention by Julistiono, E.K., Arifin, L.S., and Widadya, B. M. (2021) ‘by proposing a lightweight and multi-purpose partition, it is expected that an adaptable space in each vertical housing unit can be achieved, and thus although with typical and limited area, these units can function efficiently and satisfy the occupants’ needs’ (Arifin, L.S., and Widadya, B. M , 2021, pp150)

Some of the examples of this lightweight design, is by using materials that can provide a different architectural distribution without the need of altering the buildings or structure, as well as elements that are adaptable and changing, for example as we can see in the image below, adaptable furniture that will allow for one same space to be used in different forms, which not only will help with the used of space, but also will provide a modern and distinct look to it.

https://dimensi.petra.ac.id/index.php/ars/article/view/24196.[Accessed: 6th December 2022]

By using and experimenting with different materials and taking advantage of new technologies, designers and architects aim for more areas to be also able to provide a personalized space and a sense of adaptability in limited areas. And also compensate as much aspossible for the environmental impact that this type of housing causes.

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References

#vertical housing #vertical design

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8. Space and Layout

One of the most interesting shifts in the history of architecture and interior design for me is the beginning of free plan constructions. This means that the architectural structure and walls of a building create a lot of opportunities for interior design to be applied because it allows for as much flexibility as possible for creatively creating a space. This is the most basic element when designing the interior of a space because we have the inevitable limits of the structural elements of a building.

However, once having the proper space, the first step in the interior design process to begin planning and organizing the areas, all of this based on the journey that we as designers want the users to have. There are many ways in which you can begin planning a space, personally I prefer using 3D programs and firstly trace the overall space that is available and then begin organizing the interior. Another option is drawing by hand or on a 2D program the space available with following the scale measurements as close as possible to have a better understanding of the space.

As it is mentioned by Ian Higgins (2015) ‘the spatial organization of most interior design projects is driven by the building’s function or buildings program’ (Higgins, I, 2015, p 19) Although it is important for a space to be able to adapt to a variety of objectives, it is of most important that the interior functions for what it was created. It is the job of the interior designer to guide the user’s path and anticipate and influence the user’s intentions on the environment. So when we begin to plan the space distribution we have to keepin mind that the user’s intentions are a priority, meaning their reasons to go inside the building and the path and steps that they could take, and also the environment, which is the main purpose of the project.

A very important element to keep in mind when designing an interior space, is the proportions. For example, have you ever gotten a nice frame or painting to place on your home, and when you place it where you originally planned, you notice it looks out of place, it makes the rest of the room feel off or might even create a weird illusion that the space is smaller or narrower. One reason for this might be that the proportions where not correct. Keeping a proper relationship between the width, height and depth of a space its crucial for creating a harmonious space.

For example, when I was creating this space, which was a kitchen for a private residence, I had to consider two main users, since as mentioned by the client there is usually one person that does more complex cooking, and a second person that prefers to prepare simpler meals. So when I decided to plan the journey of the users I created two paths (1- black / 2- blue). So that both users could use the kitchen at the same time without interfering in each other’s path and being able to take advantage of the space as much as possible and in a safe manner. It was also important to consider the usual processes that is taken when using a kitchen, the first steps is usually gathering the ingredients, so the refrigerator, cupboards, and pantry must be on the first line of the kitchen so the first user (1-black) could have easier access to it and direct line with the sink to proceed to step two which is usually washing the ingredients. Steps three and four usually go hand in hand which is preparing the ingredients and cooking them, so I leave good working area next to the sink and in between the grill, and the oven/microwave tower. Leaving for both users the last step which is eating the food to end on the same spot so they can have a sense that they’ve experienced the same path together.

(Image of Perez, S, (2020) Design process of kitechen design)

Now when considering the proportions, because the space had very big ceilings, and the main purpose was to make the space feel as big as possible, I opted to use horizontal woodgrain so that the proportions of the space and the directions which the eyes move when looking at the kitchen were going in the same direction. As well as providing a long central bar which was not very wide to also maintain the long proportions of the space.

SANTISTEBAN KITCHENS, (2022) Most recent projects, Abril 2022 [Instagram] available at https://www.instagram.com/p/Cc8CaSgLD2-/ [Accessed date 6th December 2022]

They are many different spatial strategies that an interior designer can choose from when deciding the experience that they want to provide the users. Some of these spatial strategies interiors use are linear strategies, grid strategies, centralized strategies, cluster strategies and radial strategies. It depends on the communication that the space will give, since, as mentioned by Antony Sully (2015) ‘It is open to reach designer to read and interpret what significance and existing building’s structural details will affect the design progression, and these interpretations may vary from one designer to another.’ (Sully, A., 2015, p 40)

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References

Perez, S, (2020) Design process of kitechen design

(SANTISTEBAN KITCHENS, (2022) Most recent projects, Abril 2022 [Instagram] available at https://www.instagram.com/p/Cc8CaSgLD2-/ [Accessed date 6th December 2022]

REID, G.W.(2007) From concept to form in landscape design / Grant W. Reid. 2nd Edition. Chichester: John wiley & Sons.

#space design #interior design

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7. Gestalt Principles

A couple days ago, a friend of mine from Sri Lanka, asked me to take a picture of her, she handed me her phone and didn’t give me much instruction on how to use it, the phone was another brand very different from mine, and the text on the phone was also in another language, however, in the center, right below the frame gridlines, there was this big white round button, so my brain immediately identified that big element in the center that is next to a very common element of photography, as the shoot button, so I knew that this was where we were supposed to click to have the picture taken. And after this interaction, it got me thinking, how is it that I knew where it was, even though it was in a completely different language and the phone was in a very different layout than mine?

When researching about this, I came across the subject of the gestalt principles. The Gestalt principles are a psychological study that has been widely used in design because it studies the way people group different visual elements together, and how with this they interpret the whole picture differently than they would each part individually.

Nowadays, the aesthetic of an object is a key factor for a consumer to decide whether to choose it or not. We might think that functionality, pricing and quality are main elements, however, in this competitive and industrialized market, the visual part of a product ends up being, more times than not, a key factor that clients take in consideration. The gestalt principles are even ‘consider as aesthetic guidelines by design scientists’ because it helps explain the way people distinct individual elements and how they interpret them as a whole picture. There are seven main principles of design which are proximity, continuity, symmetry, closure, parallelism, and similarity. And this can usually be used to predict people’s preferences regarding the aesthetic of an object.

VALENCIA-ROMERO, A & LUGO, J.E. (2017) ‘An immersive virtual discrete choice experiment for elicitation of product aesthetics using Gestalt principles’ Design Science. [Online] 3 (11) pp 3. Available from- https://doi.org/10.1017/dsj.2017.12. [Accessed: 2nd December, 2022]

In the image above (VALENCIA-ROMERO, A & LUGO, J.E., 2017, p.3), we can see how the three main elements for design, can be linked together with the gestalt principles, as the connector from aesthetics, function, and object preference. The elements of a visual design, might be consider as arbitrary and just for aesthetic and emotional purposes, should be objective and rational, and most importantly justify with what it communicates. Although for successful intuitive design is very valuable to follow the principles of Gestalt, it is important to keep in mind that these principles do not reflect the meaning the users might relate to the visual characteristics.

We can consider for example everyday shapes for clarity, arrows communicate movement and direction; points represent a focused point; elements surrounded by a circle can represent unity, while elements organized in a circular manner can communicate continuity/cycle and processes. Colour also plays a key role in intuition and judgment ; however, we should remember that the context of colour can vary from culture, scenario, public, and even background. For example, Red in a romantic background might represent intensity and passion, or even as a form of attracting a certain public. Meanwhile in a very technological/ engineering scenario, Red might be intuited as danger and as a form to detract the public.

The principles of gestalt are also applied in architecture and landscape design because the clarity and intuitiveness of a space can be provided by the connection that the people perceive on the environment as a whole. The different areas of design use different principles of gestalt depending on their intentions, and their state, for example, a 2D design element might not be able to apply the same principles of gestalt as a 3D element.

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References

#gestalt principles #gestalt therapy #design

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6. Emotional Design

The emotional experience that someone can have when presented with a product, is a key factor for the user’s decision to buy it. Emotional design is consider under two perspectives, as mention by Ho, A.G. & Kin Wai, M.G. (2015) it can be consider as ‘a tool that designers can use to deliver their messages and emotions, while others have believed that it is a kind of experience and response when an individual is using an object. Meanwhile, some researchers have regarded emotional design as a means to establish consumer expression, and as a representation of the users' identity or personality.’ (Ho, A.G. & Kin Wai, M.G., 2015, pp 10)

When we as designers focus on the emotions of our design, besides the functional and ergonomic aspects, it can allow the users to feel a stronger bond with the design and, they can have a more positive and meaningful experience. However, the emotional connection that people have with inanimate objects, is not something new or unheard of, there are even many archeological findings that demonstrate the importance of the materialistic culture, although it is most commonly found that hard to get products or those that required longer hours in crafting, used to be considered as a higher value, both in their intricate value and also in the emotional value that they were given. And in today’s industrialized and materialistic society, this has become harder and harder to witness. As mentioned by Jonathan Chapman (2005) ‘Although emotional attachments are not extinct yet, durable connections between users and their mass manufactured counterparts are very rarely forged.’ (CHAPMAN, J. , 2005, p.62).

As I’ve mentioned before, I graduated as an industrial designer, and which part of industrial design includes product design, and sometimes it’s not very clear the way in which we as designers can add that emotion to our products, successfully being able to create a connection between the users and the products is clearly easier said than done. However there are many strategies that can be used, for example, creating empathy or sympathy to a product, by having the user identify or find a sense of intimacy with the product, this can also be achieved by the form of publicity used for the product. Another strategy is by creating a sense of participation between the user and the process of using the product, for this is very important they have very clear understdanding of the characteristics of the target population. And also another way is by having the users acquire a sense of control, for modern society having a sense of control over their environment results in positive emotions.

As it was mentioned at the beginning, it is a topic of debate how to consider emotional design and the two common perspectives in which it is considered. We have spoken now about the perspective of having the users feel a personal experience when using the product, and since this can result in very personal and distinct scenarios, it is very open for interpretation and a product that can be considered as emotionally strong by some people can be seen as irrelevant by others. Now the other perspective of emotional design, which is when the designer is able to deliver a specific message has to following different strategies.

For designers to transmit their emotional messages through their products, we can add clear direct images that the users can relate to; for example, as mentioned by Yi Chen and Runchu Chen (2020) ‘Taking children’s education products as an example, the coding suit Kano Harry Potter Wand developed by Kano and Warner Bros Consumer Products has an emotional packaging design in terms of narrative interpretation. The film plot is combined to give the product legend and story.’ (Chen, Y & Chen, R., 2020, p. 2). But also, the use of symbolism and metaphors could be applied to achieve this emotional connection with people. Some metaphors and symbolisms can be more obvious than others and it is important to note that the interpretation of these symbolism is also dependent on the users’ background, culture, etc. It is a complex and very interesting topic since both strategies face their own complications, and are dependent on many external factors.

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References

CHAPMAN, J. (2005). Emotionally Durable Design; Objects, Experiences & Empathy. London: Earthscan.

COOPER, R. & PRESS, M. (1995) The design agenda: a guide to successful design management. Chichester / New York / Brisbane / Toronto / Singapore: John Wiley & Sons

#emotional design #emotions

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5. Light Design

We are all being influence by light since it is the basis of all existance. The type and amount of lighting can affect our overall mood and even our health. For example during winter when days are most commonly dull,there is a higher number of cases of depression among the population; ‘roughly 70% of the population feels minor depressive mood swings’ (Brandi, 2006, p. 8). And as humans have been evolving we have felt the need to create artificial light, which is greatly used in interior desin and architecture.

Most of us would have probably had an experience in which the lighting in a place was just not it, and it might have even caused physical problems, like headache, discomfort on the eyes, and even made us feel more tired than usual. And nowadays, light is an essential element to create a safe and comfortable work environment. Specially because it is natural daylight that our eyes and body perceive as more comfortable because of the way that our eyes are able to discern colors with it in comparison to artificial lighting which does not reproduce the colour spectrum like sun-light does, our retinas sense this and have to overcompensate for it, which causes our eyes to react by being tired more easily.

BRANDI, U. (2006). Lighting Design: Principles, Implementation, Case Studyes, Base/Berlin/Boston: Walter de Gruyter GmbH

We can se an example of this on the images above found in the book of Lighting Design: Principles, Implementation, Case Studyes; by Ulrike Brandi, pg 11, in which we see the same image shown in different lightings, image a) is the object in direct daylight, image b) In artificial yellow light, and image c) is the object as it should be perceived by the human eye. Here we can see that there are more similarities in the hues between image a) and c).

So not only is it very important when designing a space to consider the amount of natural light, and also the type of artificial light that would (most probably inevitably) be used, like for example ‘the ever-popular PAR-38 lamp is a powerful, controllable source available in a wide variety of wattages and beam spreads’, (White, M.D., 1989, pp 1), halogen lights, fluorescent lamps, HID lamps, etc, all depending on what the final purpose of the space is, and the necessities that it has.

Fortunately for interior designers and architects, technology has provided us with advanced programs that assist us in lightning design in a very realistic manner. Since computer-aided design has grown in popularity and has now resulted in an inseparable tool when designing an interior space, and many of the most advanced programs have recognize the importance of having realistic shadows and light, however, since all these are parameters that can be modified, it is our responsibility to keep them as realistic as possible and properly investigate about the place, position of the building in relation with the sun, the materials, and the proper kind of artificial lightning required.

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References

#light design #light

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4. Sound Design

Part of my experience as an International Student is meeting a lot of people from very different backgrounds, not only culturally but also academically. When studying my bachelor’s degree, the majority of the people that I surrounded myself with were schoolfellows of my same career. And recently, I’ve had the opportunity to share space with students from MA Creative Music Production, and I found very interesting how their experiences could also be connected to my own background of product and interior design.

Being a sound designer involves much more than just understanding and having experience with music . Sound designers must have a deep understanding firstly on the physics of sound, the behavior of sound waves and their interaction and effect on humans. I found this very interesting since having our final product provide a whole and thoroughgoing experience is something sound design has in common with interior design and architecture.

Sound is cause by objects vibrating, and there are many elements, like materials, form of production, modifications, etc ,that can and will affect the sounds since it causes an alteration in the patterns of the vibration, which will result in different sounds being created.

Like we can see in the image below by Filmowicz, M. (2020) even though it is not visible to the naked eye, the patterns created by vibrations can be very different and thus resulting in different sound waves.

‘The force of sound can be destructive as well as creative,’ (Sonnenschein, 2001, p. 70) since sound can affect matter directly.And this is used not only in music and multimedia, but also in medicine, for example the device called Litotriptor that sends ultrasonic waves is used as a treatment for treating stone kidney stones snice its shocks are able to break the stones.

Sound design can have a significant impact on the users not only psychologically but also physically. There are even sounds that can affect body temperature and heart rate, energize or dissipate tension, and can even help release pain. Therefore investing in proper investigation when working with sound is of great importance since it can end up causing the opposite effects and even negative consequences than what it was initially intended. An example of this are automobile alarms.

As mention by Sigman A. & Misdariis, N. (2001) ‘Unlike other domestic and industrial security systems, audible automotive alarms have proven to be ineffective as deterrents, and are often considered more as an antisocial nuisance than as a benefit to the public.’ (Sigman A. & Misdariis, N., 2001, pp. 54) This is because certain sounds, specifically referred as ‘synthetic auditory warnings’ (Sigman A. & Misdariis, N., 2001, pp 57), can cause levels of indifference and even repulsion. Which ends up being almost an obsolescence element by not being able to achieve its specific purpose and cause the opposite and should be set as a particularly important element for investigation and improvement.

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References

SONNENCHEIN, D. (2001). Sound Design: The expressive Power of Music, Voice and Sound Effects in Cinema. California, Michael Wiese Productions.

#sound design #noise

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3. Ergonomics

Ergonomics is a scientific discipline that has been evolving through the years to focus more and more on the nature of humans. Its purpose can be summarized as the study and understanding of interactions that humas have, as mention by Karwosky, W. (2012) with ‘other elements of a system and the profession that applies theory, principles, data and methods to design in order to optimize human well-being and overall system performance.’ (Karwosky, W., 2012, pp 3)

The main purpose of ergonomics is to provide a human centered approach to design looking to optimize human wellbeing on a whole structure, meaning that it doesn’t not only concentrate on a single element of the design. The design in which ergonomics is being apply can include many different areas like architecture, engineering , systems, community, organization, environment, etc… or any area that involves human interaction because it involves many different disciplines, like we can notice in the image shown below.

https://ebookcentral.proquest.com/lib/herts/reader.action?docID=817338 [Accessed: 25th October 2022]

My main experience with ergonomics has been with product and space design. As an industrial designer that has created products and also worked in the area of interior design and architecture, it is impossible to create something without having to apply ergonomics, as creators we are always thinking of ways for the public/users to find our designs as the most fitting, comfortable and usefull.

When focusing on the physical elements of ergonomic, which are usually the most obvious and clear, we can refer to it as anthropometry, which is the measuring of humans. And since there are no two humas that measure exactly the same in every aspect, ergonomics relies on the average data of this dimensions.

The negative results of not applying ergonomics when desining are far more dangerous and can even cause physical damage to the users, as mention by Liang (1993) ‘If anthropometric data is not applied to the design of the work environment, physical stress can result.’ (Liang, 1993, p. 7) And work accidents can be even an idicator that there are ergonomic issues that require attention.

When I was designing this space, which consisted of a private work area and a living room, I had to consider measurements for around 3-5 people. The main ergonomic elements in the privacy area had to ensure there was enough room for a person to be safely and comfortably for around 5 to 8 hours each day.

This was of great importance to me and should always be considered as one of the main factors when designing any form of workstation/space for people, not only because they are spaces where people spend the majority of their time but also because of the physical relationship the user wil have with this space and its direct impact on their productivity and phsyical and emotional health.

PEREZ, S. (2020) Home Renovation Project

LAING, P.M. (ed.) (1993) Ergonomics: a practical guide. 2nd edition. Chicago: National Sefety Council. (p.73)

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References

LAING, P.M. (ed.) (1993) Ergonomics: a practical guide. 2nd edition. Chicago: National Sefety Council

NOYES, J. (2001). Designing for Humans. Psychology at Work. New York: Psychology Press, Taylor & Francis Group, Hove and New York

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2. Intuitive Design

When I came to the United Kingdom, one of the first things that really made an impression on me was, on how easy it is to navigate by myself around the city, at least compare to where I come from. The design of some of the streets is very intuitive, there is a deliberate usage of colors to indicate things, textures on the sidewalk, divisions, lights, etc.

A good intuitive design anticipates all the unwanted interpretation that can be given to it. In any forms of design, whether its Architecture, Interior, Product, Digital or even IU, the visual elements are of great importance. For a design to be intuitive, it must have effective communication. Which means that every element of it should transmit a consistent story.

In recent years, people are starting to demand for more inclusive products and spaces that provide a higher quality on their lives. And because of these designers and architects have had to rely on empathic strategies to be able to gain better insight and understanding on what the users need and expect.

https://www.interaction-design.org/literature/topics/empathize [Accessed: 28th October 2022]

But achieving an intuitive design is not just a matter of making people happy, as mention by McDonagh, D. and Thomas, J. (2015) ‘[…] using empathy to discover the meaning of deep user-product relationships helps them to develop new products, services and environments that resonate with users and meet more than just their utilitarian needs.’ (McDonagh, D. and Thomas, J., 2015, po 148) It is most importantly a matter of flexibility and adaptability that allows for a proper sensitivity and understanding of the real needs of the users, which result in more authentic and effective designs.

https://www.interaction-design.org/literature/topics/empathize [Accessed: 28th October 2022]

This however is easier said than done, since intuition is not precisely common ground for everyone, and there have been many studies trying to explain the complexity of the intuition process that happens on people’s brains. However, as was found in the experiments shown by Blacker, A., Popovic, V., and Mahar, D. (2003), when we present users familiar shapes, even on a completely different scenario, or with a completely new product, they are able to navigate easier and clearly show a level of familiarity or knowledge, and this results in a significant reduction of time for people to be able to use a product or a space in the proper way.

So, it is the job of the architects and the designers to be able to not only empathize with the users and provide inclusive designs, but also to research on the previous general experience of the users to identify the common elements that will allow for people tu intuitively navigate in a successful way and avoid any misusing of the designs.

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References

INTERACTION DESIGN FOUNDATION (2022). Interaction-Design.ORG [Online] Available at- https://www.interaction-design.org/literature/topics/empathize. [Accessed: 28th October 2022]

#intuitivedesign #design

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1. 3D Modeling

As a designer, one of the most used forms of communication is 3D modeling. The reason for this is that it is one of the most visual and direct ways that an idea, space or object can be portrayed, and also to understand space and distribution better without having to resort to physical, real scale prototyping.

http://vardehaugen.no/real-scale-drawings/ [Accessed: 2nd November 2022]

Through the years there have been immense technological changes and advances , specially on 3D computer modelling programs. 3D modeling as presented by Autodesk (n.d.) is ‘the process of using a specific software to create a mathematical representation of a 3-dimensional object.’ (Autodesk, n.d.)

It is a market that has been expanding very rapidly and has allow for accessibility in the field since it has become less expensive, and more refined.

PEREZ, S. (2021) Kitchen Project.

3D modeling can go from small scale object design, to big scale road planning. And since it is based on mathematical background, the precision is incomparable. For this, there is the sophisticated science of Photogrammetry and the technique of Stereophotogrammetry, that is the estimation of 3D coordinates of an objectto create a 3D mesh to form the shape of an object or space.

However architecture is usually limited to floor plans rather than 3D models because of the difficulties and technology required to represent all the complex information. Many programs rely on the manual input of data to be able to enter a stage recognition in which all the basic structure is divided into layers.

PEREZ, S. (2019) Kiosk.

3D modeling has been adapted into many fields in recent years, specially in media and design. Some of the most common examples we can see are in computer vision products, such as Xbox’s, Kinect, Playstation’s Move, etc. Many of this softwares even allow the users to actively interact with the programs, by having the programs recognize the user by infrared sensors.

All of this advances in 3D technology should continue being implemented in areas of Architecture and design to be able to provide a more in depth process of spatial understanding, as well as promoting tecnologies that can consequently provide cost reductions, less human error, and overall a more positive impact on the public since it facilitates the participation in the earliest stages of design.

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References

VARDEHAUGEN (2015) Floor plan for Villa Stamsund [Online] Available at- http://vardehaugen.no/real-scale-drawings/ . [Accessed: 2nd November 2022]

PEREZ, S. (2021) Kitchen Project.

PEREZ, S. (2019) Kiosk.

KUMAR, A. (2021) ‘1. Design for Creative and Immersive Technology in KUMAR, A, Immersive 3D Visualization. Berkley, Ca.: Apress. pp 1-6

#3d design #3d

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