Creative Connections
Polytechnic Institute of Lisbon
Designing Emotions: Strategies for Furniture Designers View Digital Media
Paper Presentation in a Themed Session Dan Lewis
Investigating the characteristics of furniture most loved by consumers, this research presents a tool for designers to create new products that emotionally connect with people. The research undertaken explores methodologies associated with emotional design with the intention of producing a tool to enable furniture to be designed that is more attractive and emotionally connected to consumers, thus, increasing the length of ownership and reducing premature disposal. It contributes to knowledge through building on existing emotional design literature whilst filling a gap developing a tool specifically for the design of furniture. A mixed-methods approach that is both inductive and abductive has been adopted for the data collection. The research uses a cross-sectional approach gathering data from consumer surveys, interviews and multiple creative workshops. Action research was used as the underpinning methodology to enable a continuous reflection to be gained from learning and diagnosing. Two sets of primary data were collected, initially a consumer survey, completed by 275 people, and secondly 12 one-to-one semi-structured consumer interviews. A wealth of rich data has been generated, resulting in clear themes that have been used to inform the development of the first iteration of a designer tool. Results of the initial testing of the tool are presented which draw on the successes and identified weaknesses to provide opportunities for further refinement. This research offers valuable insight into the emotional connection between consumers and their furniture, and the useability of the toolkit from a designer’s perspective.
The Value of Empathy in Design Disciplines View Digital Media
Paper Presentation in a Themed Session Greta Mehlberg
This paper examines empathy and its importance in designing our world. It highlights the belief that design requires empathy and designing with empathy should be a baseline, not an accolade. Examples of design without empathy help to understand the necessity of it in design, including but not limited to defensive architecture. The difference between inclusive and exclusive design and the seeming obviousness can further the understanding of why empathy is needed due to our biases. As designers “the sense of well-being and perception of a good life” to all, is required. However, design disciplines don’t necessarily always award projects for empathetic design but rather those that are sustainable, LEED, or Zero Net Energy, or based on aesthetics. This analyzed different ways the field of design does and does not successfully incorporate empathy within all its aspects. It surveyed the American Institute of Architects (AIA) awards criteria in recent years as well as other important architecture awards criteria. The initial findings suggest that while empathy in design is starting to be addressed in scholarly articles and in academia, it lacks recognition and value in the field of design. Understanding the scale of design and its effect on the world can be our starting point.
Graphic Design: Distance Learning in Higher Education View Digital Media
Paper Presentation in a Themed Session Maria Inês Lourenço
This paper reflects on the working methods adopted in teaching during a pandemic (COVID-19), particularly in graphic design (curriculum unit with a solid practical component) in higher education. Namely, the challenges that were unexpectedly put on teachers, i.e., from one moment to the next, they were forced to change the way of teaching from face-to-face to virtual (distance learning), as well as the challenges (facilities and difficulties) that both the teacher and the students felt throughout the classes.
Can Design Bridge the Gap Between Physical and Virtual Realities?: How Props Can Enhance the Immersive Experience - a Pilot Study View Digital Media
Paper Presentation in a Themed Session Noha Fouad
Recently, Virtual Reality (VR) technology has greatly advanced, piquing the curiosity of people in various professions. It is considered a strong and responsive tool that elevates human-computer interaction, making it more intuitive and user friendly. VR has become particularly indispensable in the field of art and design, where it plays a notable role in 3D modelling, prototyping, and user experience testing. However, most VR devices available in the market only offer visual and auditory inputs. This study primarily investigates the use of a physical prop and engaging the sense of physical touch in creating a more immersive experience. The study also explores whether using a prop to enhance immersion also affects memory retention of the viewed experience. A common VR scenario, the rollercoaster experience, was utilised and a physical element was introduced to it: the harness. Two VR rollercoaster conditions were created: one with participants sitting on a chair, and a similar condition where they were secured in with a harness. Qualitative and quantitative tools were used to achieve a mixed-method data collection process: Physiological, observational, and self-reporting techniques were used to acquire data in this study. Four biosensors were used to measure heart rate, breathing rate, skin conductance and brain activity. Additionally, a survey was also conducted with each participant. Lastly, observations made during the study were analysed using the thematic analysis technique. Early results confirmed that there is a positive correlation, with varying degrees, between the use of props in both immersion and memory retention.
Votive Terracotta Idols of Molela : Sustainability of an Ageless Culture View Digital Media
Paper Presentation in a Themed Session Shatarupa Thakurta Roy
Preservation of cultural knowledge is the key of sustainable expansion of indigenous livelihood. In the practice of habitual art, the aesthetic freedom is intrinsic to social norms. Votive terracotta idols of Molela prevails a quintessential ageless style, suckled with ritualistic necessities, yet the process of making is quite playful and spontaneous. Situated in a remote location in Rajsamad district, Rajasthan, India, ‘Molela murtikala’ is distinctively identified for its execution of hollow-relief sculptures. They are directly hand sculpted with malleable clay in additive method without using any wheel, mold or subsidiary tools. The artists of this region do not find idol making adequate to sustain a living and therefore engage themselves in farming. The terracotta plaques are fragile and the hilly roads are unsuitable for transportation. They have fixed customers who are primarily the tribal communities of Madhya Pradesh and other nearby states. The idols are made twice a year for ‘navratri’ festival when the tribes accompanied by the ‘bhopa’ priests, drummers and other performers arrive at Molela in pedestrian procession as customers. The idols are baked in low temperature, painted with mandatory colours and made ready for worship with the age-old belief of inculcating the protective spirits in them. The paper studies the flagbearer artists of the ethnic society to understand how the community ethos tacitly travels through generations by nitty-gritties of a crafts-skill. It qualitatively analyses the restrictive nature of Molela art that also allows its practitioners to be free and expressive in execution.
