This is my final prototype, which will be showing part of the interactions in my concept.  I prototyped using processing with arduino to simulate the tuning of colours through the sliding action.  I hacked an optical mouse and used it to track movements along the X-axis.  Using processing, I was able to translate the the position of the mouse cursor, into values that were able to change the RGB LEDs accordingly.

I’ve also fitted a mini speaker within the lamp to have sounds playing from within the lamp, and the sliding movements of the lamp will also trigger a fast-forward in the audio clip.  This is to simulate the tuning of the sound recordings when you tune the colours.

This is a video of my prototype at the graduation exhibition.  It is showing the tuning of colours thru the sliding movement of the lamp.

The freqLight switches on via a simple downward push on the top.  freqLight senses the action and lights up gradually.  It will shine the colour pattern that was recorded the previous night.  This colour pattern is referred to as the Sleep Symphony.

To change the colour of freqLight, the user will physically shift the lamp either to the left or to the right.  Shifting the lamp will simulate the passing through of the Hue values and the light changes accordingly.

As the colour evolves, the user will be able to hear sounds coming out of the lamp.  These sounds are either the recordings of the user’s dream journals or sounds captured from the space, tagged by that specific Hue value.  Metaphorically, this action simulates the tuning of a radio, using the colours as frequency channels.  Once the user had selected his desired colour, the top part of freqLight will start to behave according to what was recorded for the past 7 nights.

Since the behaviour of the lamp is dependant on the user’s sleep patterns, the rhythm and intensity will be erratic, just like the movements while asleep.  Visually, this lamp behaviour simulates the burning flame of a candle, adding a poetic expression in the lamp.  The user is then able to scroll through the behaviours of the lamp to arrive at a more stable behaviour or to listen to the recordings.  To do this, the user will physically rotate the lamp clockwise or anti- clockwise on its base, which is like controlling the dial on a radio/tape recorder to forward or backward the media.  As he arrives at a dream journal (i.e. voice recording), the flickering stops and the whole lamp, both the top and bottom, changes to a uniform colour.

The sound recordings (both the environmental sounds and dream journals) will be stored in an onboard memory.  It has sufficient memory to contain accumulated data over 7 nights, after which the oldest piece of information will be overwrite by the latest input.  During replays, the sound recordings of a certain colour frequency will be played one after another and then looped.

Removing the recordings is also possible through a simple ‘pouring‘ gesture.  While the audio are being played, to remove them from the memory, the user will pick up the lamp and inverts it.  The lamp sensing this change in orientation will set a mark on the audio clip and when the lamp is put back on its base, an end mark is set and the content that was in between these 2 points will have been deleted.

As the sound recordings will be put in loop, if the user does not want to hear them, he is able to tune down the volume and freqLight will stand there in silence lighting up the space.  The volume is manipulated via rotating the top part of the lamp.

Now, when the user decides to sleep, the sensing pillow senses a change in pressure as the user rest his head on it.  This triggers the freqLight to switch to fade mode.  In the fade mode, the lamp dims and then brightens simulating our respiratory patterns.  This behaviour also helps to calm to the user, and thus inducing sleep.  Simultaneously, this activates the monitoring of the sleep patterns.  Intensity of the lamp will be reduced gradually through the night.

The pillow senses the head movements of the user.  Whenever the pillow senses a shift in pressure and position, it will send a signal wirelessly to the freqLight to increase the Hue values.  Since the Hue values are derived from the colour wheel, the colour will start evolving and end with the same colour.  The choice of colour is Red, as Red symbolises full of energy, which causes movement.

When the user wakes up the next morning, as his head lifts from the pillow, freqLight automatically switches back to lamp mode retaining the longest colour state it was in for that night.   Hence reflecting the REM stage of the user’s sleeping patterns for that night.  During the REM stage, the body is said to be “paralysed” because this stage is also known as the dream phase.  The paralysis is a natural state induced by the brain to prevent bodily harm while dreaming.

Then the top part of the lamp starts to display the user’s sleep observation for the night.  The display shows the colours and the changing rate in a compressed time frame, which is controllable by the user.  This allows the user to have a quick awareness of how his night has been.

Now, if the user wants to record a journal entry of his dream last night, he simply picks up the lamp and speaks into the top of the freqLight, like talking into a microphone.  The recorded will be saved as a sound clip in freqLight’s onboard memory, and it also syncs to mobile devices and computers archiving the media.

After about 60 minutes of inactivity, freqLight will start to dim and eventually switch to standby mode.  Therefore there is no conventional on/off switch on the freqLight.

DREAMfreq! is an interactive lighting system that consists of an ambient lamp, which I called the freqLight, and a sensing pillow.  The pillow will have embedded sensors to sense the user’s head movement.  Every movement made by the user will trigger an accumulated increment in the hue values of the freqLight, transforming the colours.

The increase in the hue values will be gradual and constant.  So when the user wakes up and see the end state of his freqLight, he will have a brief idea of how his previous night has been.

DREAMfreq! also records sound.  This ability serves as an enhancement to the monitoring of the sleep patterns.  The user is able to playback observations from past nights, enabling him to watch his lamp colour evolve in relation to the exact rate of change.  As the colour evolves, the environmental sounds captured that night will also be played.  So if the user snores while he sleeps, his snoring symphony will be heard on the replay.  With this added piece of information, the user will have a better understanding of his night.

The next layer of interaction happens when the user wakes up.  If the night before, he has got an interesting dream that he wants to remember, he is able to trigger the sound capture function of the freqLight.  With images of his dreams still fresh in his mind, he quickly activates the sound recorder and verbally describes the dream out loud.  freqLight records 60 seconds of his speech and becomes his personal dream capture.

After which, to revisit the dreams, he tunes the freqLight to a colour, and all the sound that is recorded in that specific range of colour will be played.  If in that colour he tagged a dream recording, the voice recordings will be played back in the midst of the rest of the environmental sounds.  Just like tuning a radio frequency, hence the name – DREAMfreq!

DREAMfreq! is a concept ambient lighting system that monitors an individual’s sleeping behaviours.  It senses the user’s movement while sleeping and translates them into soothing colours that light up the space.  With this layer of information, the user is able to have a rough understanding of what has been happening while he was unconscious.  It could help the user on taking decisions of his sleep time, changing the mattress for a better sleep, or lowering the temperature of the room because it is warmer in the summer.

Another aspect of the concept is based on the fact that everyone dreams while they are asleep.  As mentioned in the investigation phase two, dreams occur when we enter the REM (Rapid Eye Movement) stage of our sleep cycle.  In this stage, brain activity starts building up, and rapid eye movements could be observed.  As one wakes up, he transits from a sub-conscious state of mind to conscious.  During this quick transition period (usually about 10 minutes), fragments of our dreams are still “visible” in our head.  However, as we get out of the bed to start our day, we fully transit into our conscious state and hence the dream fragments were lost.

One method that is widely practised by anyone who wants to remember his dreams is to keep a dream journal.  A dream journal could exist in any form.  Essentially the idea is to quickly capture the dream by scribbling down keywords, doodling representations or even voice recordings, upon waking up.  This act of capturing embeds the dream into our conscious state of mind.  Thus allowing us to revisit the dream and further define them clearly at a later time.

Proceed to the next post for more project details …

Now, I’m starting to prototype according to what I’m designing.  Putting parts of my previous prototypes together for the final design.  This prototype triggers the LEDs via IR sensors, and then uses the potentiometer to tune the colours. I’ve also added a homemade lamp reflector to test the effects of the light bouncing off the wall.  I’m considering using the wall as a reflector to increase the lighted surface area.

A time lapse observation video of my sleeping behaviour. I was trying to understand how much one actually move about during sleep when supposedly only the brain is active.  5 hours of sleep in 3 mins 30 secs.  Enjoy!

First attempt in using arduino to control dc motor. I experimented with IR distance sensor to trigger the motor. and then using a potentiometer to change the hue of the RGB LEDs and also changing the rotating direction of the motor. I added the 2 flaps of tape to the dc motor to show the change in direction.

Created a capacitive touch sensor out of a piece of soft fabric. I programmed it to gradually increase the hue values of the RGB LEDs upon contact of the hand.

Instead of the potentiometer, I switched to using a push button to control the increment of the hue values.

My first attempt on RGB LEDs.  Again, using the potentiometer to simulate an analog input, I used it to tune the colours.

Using push button to switch on LED, and using potentiometer to give pulses.

Using potentiometer as an analog input to change the state of the LED.  Stable to fading.

DREAMfreq! is my currently ongoing Master thesis project.

DREAMfreq! is a concept ambient lighting system that takes interest in sensing human emotions through natural sleeping behaviours.  It allows users to evaluate their sleep patterns and supports in the collection of their voice recorded dream journals.  Using light objects as a translation medium to sense and to trigger access into our emotions; the captured information (i.e. sleeping behaviours and audio) is translated into ambient illumination which the user is able to access and playback in the future.

DREAMfreq! is not an accurate measure of the users’ emotions, but an interactive layer that perceives user behaviours while they are asleep and unconscious, which could help to inform their conscious.  Essentially DREAMfreq! creates awareness; it is up to self-interpretations to make sense of the emotions.  Allowing this bridge between our conscious and sub-conscious will open a channel to a quality sleep and better lifestyle.

]]> http://tinkeraction.wordpress.com/2008/09/15/domus-academy-08-master-thesis/ Mon, 15 Sep 2008 16:06:43 +0000 NOJ http://tinkeraction.wordpress.com/2008/09/15/domus-academy-08-master-thesis/

So this week was the official kick-off of the Final Thesis at Domus Academy, MA I-Design.  The topic which I’ve decided to investigate and work on is the topic of “LIGHT EMITTING DESIGNS” aka LEDs.

Essentially we are required to design an interactive light piece.  This blog will serve as a medium for me to archive and share my research and works-in-progress as I develop my Master Thesis.

Of course, comments are welcome.  Cheeeeeeers!

x.x

Temasek Design School 2004

Final Year Project

Designer: Jonning Chng

Introduction

The sea is a formidable lure.  Its unknown drags the panic stricken, its currents pulls away.  Based on these two conditions, one physical, the other psychological, the design for Drowning Defender addresses both factors in concept and in design.

The Drowning Defender is a two-part lifesaving device, consisting of a jet propulsion unit, and a floating aid.  When racing towards a victim, the two units work as one, with the propulsion unit adding speed to shorten the distance between lifesaver and victim.  The enhancement in speed is one of the key added values of this product.  Upon reaching the victim, the floating aid is used to support the victim.  The floating aid is designed to better support the victim, with the added structure of a leg stand that helps support the vertical weight of the victim.  The aerodynamic design of the main floating device caters to the carrying of the upper torso that allows the victim to fully lean their weight on the device.  This way, the floating aid provides an extra sense of security.  With the help of the leg stand, the victim is able to rest their feet on a solid surface, instead of having their feet hanging weightlessly in the water (which is the usual cause of anxiety in victims).  These will eminently reduces panic and anxiety, key psychological issues in the success of rescue efforts.

The propulsion unit is activated in the last leg of rescue by the lifesaver, as it carries the weight of lifesaver and victim, to speedily assist in the return to safety.

The Drowning Defender is an innovation that understands the preservation of human life.

Drowning Defender has been awarded a reddot Award in 2005, and was recognised as a Top Nominee for INDEX:Award 2005.

Images of Physical Model 1:1 scale

drowning.defender - Lifesaving system, complete

Rescue floating aid

Front jet propulsion unit

:: Steps in the rescue ::

Domus Academy 2008 – Around Mobile | Always Beta!

Project Leader: Setsu Ito

Collaborators:

Jakkapun Charinrattana, Michelle Man, Jonning Chng

Abstract

Undoubtedly, Milan turns into the most vibrant city overnight because of the Salone del Mobile.  It is the time when artists and designers alike get the opportunity to showcase their work in galleries and urban infrastructures all over the city, be it bus stops, bridges, or even footpaths. People can immerse themselves in the world of creativity, wherever they are.

As the Salone ends, the liveliness fades, artists and designers resort to the conventional ways to exhibit their works, in the physical and the virtual environment, confined to assigned spaces.

EVERYDAYSALONE is a revolutionary online community-based system that blurs the boundaries between the virtual and physical reality.  By integrating virtual artwork with the real physical environment, a new form of self-expression is born, allowing the freedom to show artwork anywhere, hence creating a Salone atmosphere in our everyday lives.

Keywords

+  Freedom

+  Portability

+  Self-Expression

+  Social-Expansion

+  Discovery of new landscape

Introduction

Unique events like Salone del Mobile bring an array of creative people together.  City streets and urban spaces turn into live galleries that allow various artists and designers to showcase their works.  The city becomes “alive” and so are the people, who come together to experience the creativity, and exchange “ratings” on the best design spots.  The excitement of not knowing what and who you will run into is probably the most attractive part.

As the Salone ends, the city returns to its former self.  People retreat into their own “personal space”, and resume to their daily lives.  Art is no longer “everywhere” but confined to Design Museums, or online websites.

Details

This project attempts to recreate a Salone atmosphere in the urban space that is not limited to a certain time of the year, but integrated into our everyday lives.  By embedding virtual artwork into the physical environment, artists have the freedom to showcase their work anywhere, with the physical environment as the “canvas”.  A new behaviour is created as the viewers no longer need to resort to the conventional ways to discover and view artwork.

The design proposal is an online community-based system that enables an interchange of information between exhibitors (e.g. artists, designers) and viewers.

However, unlike other online portfolio or design websites, the exhibitors can show their works in the physical environment without disrupting the existing urban infrastructure.  This extension into space dimensions can be done by virtually “pasting” his artwork on the desired physical location using the “Sketchpad” device, which registers the location and orientation via GPS by the system.  This system allows the viewer to see the artwork through his mobile phone camera, connected wirelessly to the online system.  Once viewed, the viewer can give ratings, comments, or save the link to share with his friends in order to participate in the EVERYDAYSALONE community.

The process consists of 5 steps:

1. Subscription to EVERYDAYSALONE

The exhibitor subscribes to EVERYDAYSALONE service, and creates an online user profile.  The system uses his uploaded avatar image to generate a unique High Capacity Colour Barcode, called grID. The exhibitor can save this grID and print it out on an ordinary inkjet printer for later use as a sticker.  He will also receive the Sketchpad device via mail in order to proceed.  These two things complete his subscription process.

2. Uploading work onto EVERYDAYSALONE

The exhibitor creates artwork using his computer and uploads his work onto the online system. This generates a unique link to his profile page.

3. “Pasting” and exhibiting Artwork

The exhibitor downloads the link of the artwork onto his “Sketchpad” device and uses the device to virtually “paste” the artwork onto the physical environment.  (The artwork cannot be seen through the naked eye).  The device registers the location via GPS of the pasted artwork, and sends the information back to the online system for storage and processing.  Once completed, he finds a landmark nearby the artwork (e.g. a bus stop) with the EVERYDAYSALONE poster on it, and pastes the grID that he printed out earlier in the assigned space.

4. Viewer accessing Artwork

The viewer who notices the EVERYDAYSALONE poster, captures the grID pasted on it using his mobile phone camera.  This automatically sends a request to the online system, which identifies the viewer’s location, and the artwork of the exhibitor whose grID he captured.  The system then sends the related data: GPS directions to the artwork, and also the streaming image/render (360^o views) of the artwork previously pasted by the exhibitor, viewable from the mobile phone screen.

5. Viewer participating in the community

Once viewed, the viewer can give feedback to the community by sharing views/comments or give ratings to the artwork.  They can even send the captured image or link to their friends.  This forms an ongoing cycle that connects the viewers and exhibitors together, allowing an interactive rapport that builds on the creative community.

Sketchpad Details

The Sketchpad device has the main function of virtually “pasting” the artwork onto the physical environment and allows the editing of the artwork.  The beauty of this design is the ability to use it in any orientation.  We wanted this device to be as ‘invisible’ as possible to the user, because designers need to feel less restrictive to be creative.  The indented holes in the back profile of the Sketchpad are soft silicone buttons.  Pressing on any of the back buttons will trigger the menu on the graphical interface.  This enhances the freedom of use of the device, as the user is able to hold it in any orientation and still able to activate the menu selection.  The touch screen with special pressure sensor allows any pin-like surface to be used as a pen (e.g. a pen cap) without the need for a specific stylus.  Equipped with modern technologies like GPS, distance sensor, and digital image capturing, this device allows the user to place the artwork more precisely onto the physical environment.

In Conclusion …

This project creates a new “virtual” landscape for the urban infrastructure.  A device with a simple user interface allows the exhibitor to showcase their work anywhere in the city.  Therefore, the exhibition of their works is no longer limited to conventional mediums such as physical spaces or even online galleries.  For example, instead of using a flat background for the artwork, the “canvas” itself is the cityscape, making the artwork and the urban landscape more dynamic.

This project brings about a new behaviour for people to view and exchange comments about art or design, allowing exhibitors to publicize their work.  The thrill of discovering new artwork, designs, or even installations wherever the viewers happen to be makes this project more interesting.  Everyday activities like waiting for the bus could be an entirely new experience.

In addition, the use of the grIDs (High Capacity Colour Barcode) allows the exhibitor to customize their own IDs.  Simple reproduction of this code through printing makes it a “low-tech” form of self-advertisement like a name card.  Most importantly, the 2D or 3D artworks are displayed “virtually” which means that the urban infrastructure is preserved.

This system is especially suitable for young artists who wish to publicize their work with limited funds.  However, the target users are not limited to creative exhibitors.  The usage can be extended for commercial purposes, such as selling or buying items.  Advances in technology in the future may also enable 3D animations to be “pasted” in a certain location, which makes the viewing experience even more immersive.

Domus Academy 2008 – Retail Therapy

Project Leader: Massimo Banzi

Collaborators: Su Hyun Lee, Ekene Ijeoma, Jonning Chng

Abstract

Change.Clothes is an installation for D&G’s stores where people can change the clothes of 3 visualised D&G models using clothing from the store.  By physically moving clothing items, it triggers the models to take off and put on the particular piece of clothing.  Change Clothes could be used for promoting D&G’s collections, and creates a point for consumers to interact with the installation, with other consumers, and also with D&G.  The images of models are displayed by projecting interactive video on semi-transparent surfaces.  The videos will be seen from both inside and outside the store; hence it could also be a form of window display.

Keywords

+  Experimentation

+  Freedom

+  Irony

+  Anti-conformism

+  Playfulness

Introduction

More than a style, D&G represents a lifestyle: a brand that speaks the language of youth, and enjoys experimenting with materials and forms in complete freedom.  D&G lives in a metropolitan world without geographic borders, from which it derives stimulation, inspiration, icons which is then transformed into collections brimming with style, irony and anti-conformism.

In most retail stores, mannequins are used as means to communicate the brand’s image.  They are usually fitted with the brand’s latest collection to show the progressiveness in their products.  Other than showcasing the latest outfits, body language of the mannequins on display paints a picture of the brand’s style and story.  The importance of body language is something which is consistent throughout fashion and lifestyle advertisements.

Mannequins tell consumer what to wear and how to wear the brands’ collection.  They portray different characters and personalities of a brand through different styles and poses but can also be used to communicate different things such as the consumer’s playfulness, togetherness, shareness and styleness in the store.

What if the consumer actions could change how the mannequins behave?  Wouldn’t this be ironic?

In the mid 1970s, the concept of using real models as mannequins was created.  These “Mannequin Models” would pose for up to an hour at a time in the windows of the store as “Living Mannequins”.  Below is an example of a “Living Mannequin”  in the window display:

D&G’s models can be used as “Living Mannequins”.  And they can change what they do and wear based on consumers actions.  Through these actions the consumers can gather and share their playfulness and style with D&G and other consumers.

Details

Change.Clothes is an installation for D&G’s stores where people can change the clothes of 3 D&G models using clothing from the store.  Change.Clothes could be used for promoting D&G’s collections.  The images of models are displayed by projecting video on semi-transparent surface.  Since we are proposing this setup to be located at the storefront, before the segmentation of the genders, the videos will be seen from both inside and outside the store.  This will become a secondary window display, hence creating curiosity in passers-by walking by the store.

Installation seen from outside the store.

Installation setup in the store.

The installation will have pieces of outfits from a collection available.  Customers are able to place pieces of clothing in front of a model and watch the model on screen put on the same piece of apparel.  When you remove or replace the piece of clothing, this will trigger the visualized model to take off the same clothing, and pass it to the next model that is standing in the next screen.  This on-going taking off and putting on process will generate random combinations of style.  Hence the consumers are exposed to a wide range of possible fits with D&G’s collection. With Change.Clothes consumers are able to mix and match clothing to have a rough visual feel, before physically trying them on.

Consumers will interact with the installation by taking selected items from the rack and placing them on the interactive table in front of the screens.

Basic setup of the installation.

Programming for this installation is done using Openframework software.  And each piece of clothing is tagged using RFID.  The system recognizes the items via the RFID tags, and through the Arduino board, will trigger the specific videos to play.  For the prototype installation, we worked with 3 models, 3 pieces of top, and 3 pieces of bottoms.  Based on that we worked out a total of 48 possible combinations.  And we filmed a total of 288 different videos to be triggered by the interactions.

The whole idea of the interaction is to make the videos seem seamless.  Hence the video shooting process was rather tedious as we had to make sure we had all the directions of passing covered for each piece of clothing.  Passing to the left, passing to the right and passing to the front.

Below is a simulation video of the visualised models interacting with the consumers.  As the consumer place an item on the installation, the model will pick up and put on that item.  Physically removing the item will trigger the model to remove the clothing and passing on to another model.

In Conclusion …

Change.Clothes is an installation that is ideal for a retail environment as it is engaging and it serves a function in allowing consumers to mix and match clothing with a ‘physical’ body to try on the pieces, before deciding to try it on themselves.  It also triggers social interaction when other consumers within the store come together to interact with the installation.  Consumers are able to share views and comment on outfits, hence confirming their decision in purchasing the goods.  Since the visualized model starts off wearing just undergarments, this further enhances D&G’s brand identity that is often associated with sexuality, thus injecting a little bit of playful fun in the whole experience.

]]> http://tinkeraction.wordpress.com/2008/08/27/g2s-green-gardening-system/ Wed, 27 Aug 2008 12:07:28 +0000 NOJ http://tinkeraction.wordpress.com/2008/08/27/g2s-green-gardening-system/

Domus Academy 2008 – Domestic Garden

Project Leaders: Domenico Pisaturo, Claudio Moderini

Collaborators:

Gianpaolo Tucci, Mauro D’Alessandro, Jonning Chng

Abstract

Our project aims to design a system that connects user’s home behaviours to the cultivation of a garden shared by a community.  The system creates environmental awareness in the user through suggestions of sustainable behaviours that is translated into the satisfaction of the garden needs.  A reward system in terms of harvest is put in place to stimulate the community towards a sustainable lifestyle.

Keywords

+  awareness

+  sustainability

+  behaviours

+  resource optimization

+  harvest

Introduction

G²S is system that is applicable to different models of dwellings: high rise urban infrastructures and horizontal flat neighbourhoods.  Essentially our interactive system works in the domestic environment, as a medium between users and the common garden, which is the shared open space in which the community seed, cultivate and harvest different crops (i.e. food fruits, flowers, etc.).   This space is eventually perceived as our domestic garden.

The system is set in a community of users who are concern about their footprint on the environment, and loves the idea of cultivating biological food for a healthy diet.  Hence, our project hopes to encourage people to a more sustainable lifestyle.

Our research was oriented to survey daily resource consumption in an average urban lifestyle.  As the footprint of humans on the planet is getting more evident, it is important to encourage people to be aware about the concept of sharing resources with the nature, because this will be more and more necessary in the future.  Some of our research is referencing from existing verticalfarm projects.

Details

Like human beings, plants require water and energy for their growth and survival.  G²S is an interactive system which is aimed at harmoniously connecting plants with people in terms of behaviours and needs.

Through the system’s interface, the user is able to monitor his resource consumption within the home.  Resources are identified as water and energy consumed in daily home activities.  Primarily, G²S works on a utility system whereby the user is able to project and set his consumption rates for the month, which is defined in our project as 100%.  Within this 100% of resources (Water Bank and Energy Bank), the user will able to make contributions to the garden whenever he feels that he has the capacity to do so.

The system’s interface also allows the user to constantly monitor the status of the garden.  Status in terms of health, needs, and harvest periods of the crops.  This information could be communicated to the user both through a local network and a mobile web service.  Hence, the interface is essentially the triggering point of actions performed on the common garden.  Garden needs are defined as water and energy; therefore the user can remotely decide to satisfy these needs via the contributions of their exceeding daily resources.  In return, the system will assign them a corresponding amount of credits to use for the harvest sharing.

G²S is also designed to be able to suggest to the user home activities in terms of water and energy consumption according to their objective. These objectives are defined as mid-long term cultivation planning.  For instance, if the user learns that the upcoming harvest is something that he wants, through the system he is able to indicate the amount he intends to receive.  The system understands the user’s objectives and suggests different combination of daily activities (ie duration of appliance usage, duration of showers, etc).  These suggested home actions will maintain the overall consumption under a sustainable threshold which allows them to reach an optimum level of contributions, hence achieving their objectives.

Scenario Illustrations ::

< coming soon … >

System Functions ::

Monthly excess of allocated resources are translated into credits for the exchange of available harvests.

System generates a comparison between the users resource consumption and the gardens needs.

System translates the gardens needs visually for the user.

User is able to set objectives in terms of harvests and system will suggest home activities in relation to resource consumption.

In Conclusion …

Currently G²S is a basic ubiquitous home system that we are proposing.  What we have presented gives a brief outline of how the concept of gardening could be fused into daily habits of our society and promoting sustainability as a result, creating sustainable awareness in people in relation to their physical behaviours in their homes.  What G²S is doing basically gives users a concrete translation of their daily activities into contribution towards a shared cultivation.  In return of their good behaviours, they get to enjoy a good harvest of biological food.

The potentiality of our project is primarily focused on the elements surrounding the idea of gardening.  A future enhancement to the project will be to focus more on the physical aspect of gardening.  For instance, physical daily involvement by the user can be encouraged through bonus credits system, or recognition of ‘gardener-status’ levels.  In this case, G²S can enhance its role of directing people towards a more sustainable civilization.  To further stimulate the awareness, knowledge and experience sharing can also be possible through the system, hence creating a collaborative environment within the community.  Remote monitoring could also be implemented through mobile web services.  This will allow the users to be more closely knitted to their garden and their sustainable cause.  We do believe this consciousness of sustainable habits can be embedded deeper in modern lifestyles through involvement of people in collaborative activities like gardening.

<some of the icon graphics are extracted from sites like www.istockphoto.com>

]]> http://tinkeraction.wordpress.com/2008/08/25/eden-20-my-garden-of-life-stories/ Mon, 25 Aug 2008 12:15:39 +0000 NOJ http://tinkeraction.wordpress.com/2008/08/25/eden-20-my-garden-of-life-stories/

Domus Academy 2008 – accessOS x ITSME Project

Project Leaders: Chiara Diana, Claudio Moderini

Collaborators:

Lars Rosengren, Lionel Chen Chu-Hsiang, Jonning Chng

Abstract

The project focuses on developing a user interface for an operating system built upon the metaphor of story telling, incorporating relations between people and communication, as fundamental building blocks. We focus on how to design a structure for how to navigate, create, edit, share and collaborate on multiple stories. Eden 2.0 is a representation of your life stories, visualised as a garden of trees, outside your window. It captures a concept for how to interact and navigate through an operating system built on stories and relations.  The design aims to provide a powerful collaboration environment, while incorporating simplicity and an easy to understand organic structure of navigation.

Introduction

Today the culture of computer use sees the purpose of computing in establishing contacts, enabling social connections, accessing networks, creating, publishing and sharing contents.  These complexities of human actions and interactions are starting make the current desktop metaphor seem obsolete.

Based on the theme accessOS, Eden 2.0 is built upon stories, relations and venues as the main pillars of the system.  Our starting point of the project was to find an organic structure of organising and navigating data.  This would be more flexible to handle connections and evolution of elements in the operating system.

Our main focus was to investigate how to represent a navigational structure that works with multiple stories in an operating system.  And eventually to visualise a simple, easy to understand structure to integrate the stories and elements.

Eden 2.0 is essentially based on the metaphor of a garden.  Standing at the window, looking out to your garden of life stories.  Trees in the garden represent stories.  Stories that the user has planted and has full control over.  From a single stem, the tree branches out forming sub-stories that is part of a main story.

The stories are contextually organised on the screen, in order to quickly be able to focus on the recently most important stories, based on historical access, quantity of content and frequency of recent access.

Details

Eden 2.0 primarily has two spaces, the main working space and the navigational space.  The navigational space could be perceived in 2 different perspectives; the front navigational view gives a general overview of your stories, allowing easy access to more recent stories.  Whereas navigating the garden from the top allows the ability to easily zoom in and out to locate specific stories, sub-stories and elements.

The main work space is divided into panels.  On the left side there is the Information/Notification Panel that provides real-time information about the operating system, such as navigation preview of the stories, information of elements being accessed and system notifications.  On the right, the Communications/Actions Panel organises the user’s contacts and communications.  It is also possible to navigate the garden with the Communications/Actions Panel, by filtering stories through selection of contacts and communications.

When the pointing device positioned at the top or bottom of the screen, the Applications Bar and Time Bar will slide into view.  The Applications Bar at the top acts as the point of access to all applications available on the system and there is a preview feature of recently used applications.  The motion of the Applications Bar emulates the movement of a window blind; hence relating to the metaphor of a window looking into the garden.  Bottom of the screen, the Time Bar will slide into view.  The Time Bar is another navigational tool of the operating system.  Selection of time frames will filter off stories that do not fall within the selected time periods.

The configuration of the main work space is inspired by Mondrian’s grid-based paintings. The user is able to customise and manage the work space depending on the user’s needs.  There are some icons to quickly configure the space to some basic layouts, or the user can simply click on the panels and drag to position and resize.

Opening the window (main work space), the user will gain access to the garden of stories.  In the garden view, the Information/Notification Panel and the Communications/Actions Panel will remain in view as peripheral panels at the side.  They are still active and accessible in the navigational space.

In the garden, trees represent stories.  To create a new story is like planting a new seed.  And the seed will grow into a tree depending on the amount of content and activities.  Clicking on the “+” icon will open up options to create a new story.  Stories could also be created by selecting multiple elements.  Dragging trees or elements into trees, will allow the user to create sub-stories in that story.  Visually, it is like the tree has grown a new branch.

In the front navigational view, stories with more activities and recent access will appear in the foreground of the garden.  While the older stories will slowly fade into the back, towards the horizon.

To get an overview of all the stories, the user is able to switch to the top navigational view.  Navigation in the top view is based on hyperbolic tree structure.  Clicking on a story or an element will immediately centres the selection, and highlighting all related elements and contacts.

In natural trees, analysis of the tree rings is able to provide various information about the tree.  For instance  age and seasonal climatic conditions, etc.  Emulating that, our tree structure organisation will have the more recent elements located near the centre of the story representation.  Main methods of navigation in this space is panning and zooming.

As the elements are being selected, filtered information starts to appear in the peripheral panels, i.e contacts and communications.  Filtering of information is also possible through selection of time frame period on the timeline is located at the bottom of the screen.  By simply clicking and dragging on the desired period, the visualisation will filter off information that does not fit into the selection.

In Conlusion …

In a wide context Eden 2.0 provides a good example how to build an easy to understand mental model, for navigating a perceived three-dimensional space.  Furthermore, the hyperbolic tree structure is good way of dynamically organising and making connections between elements in an operating system, which is worth further investigation, but which also poses a level of complexity to the user.  Another relevant aspect that is highlighted in Eden 2.0 is the time bar.  This gives an example how a user can quickly visualise data from a specific moment or moments in time.  Finally, although mildly expressed in the project, Eden 2.0 opens up for interesting combinations of web service integration, which combined with a complex versioning system, can become a powerful tool for collaboration between people.

Domus Academy 2008 – Excentric|Eccentrico

Project Leader: Stefano Cardini

Collaborators:

Hyeonjeong Jeon, Trusha Sawant, Gianpaolo Tucci, Jonning Chng

Abstract

Children have wild imaginations.  Having imaginary companions is part of a child’s growing up days.  Imaginative play is nature’s way of teaching the developing child some of life’s simple lessons.  iMON is a portable toy that gives life to their imaginary creations, who will stick by the child in times of fear and loneliness.  Interaction between the child and the device stimulates enjoyment and establishes connections with other children.  iMON will make every childhood experience a long lasting one.

Keywords

Introduction

Most children create imaginary companions in their mind to help them deal with difficult situations.  It was once considered a problem if a child has an evident imaginary friend.  However, through the years, that notion has changed.  Having an imaginary friend is a natural tool for the child to explore the world around him.  Observing interactions between the child and his imaginary friend gives clues to the mental and emotional well-being of the child.  They will tend to give their imaginary friend attributes that they themselves lack of.  Hence, such observation is another form of communication from the children to the world around them.  Having an imaginary friend also allows the child to practice authority and responsibilities at a very young age, as children are always being told what to do.

Toys stimulate the child’s imagination that is not yet so encumbered with ‘real’ things.  The toy has to be the center of attention and lends itself to diversity without limitations.  Thus bridging reality with fantasy.

Most interactive toys are intended to be a child’s friend but they resemble more of an electronic pet than a friend.  These toys seek attention; they beg to be played with, fed, and talked to with the simplest of interactions.  And they usually just end up as another material that the family possesses.

Instead, iMON is a playful device with visualising functionalities, tactile feedback and it stimulates creativity as it has customisable features.  Another purpose of iMON is to provide the child a sense of companionship and security in times of fear especially in the dark.

Details

iMON is designed to enhance the imaginative play of the child.  With projection capabilities, the child is able to visualize their ideal imaginary friend with customisable parts.  iMON takes the form of non human-like aesthetics.  This language is adopted because most children have common fear of monsters and creatures.  Therefore, iMON is a monster that the child has by his side in his ‘fight’ against the other monsters.  Monster versus monster; this creates an ironic sense.

In times of fear, the child is able to project the animated image of his imaginary friend on any surface.  With the visualisation, it assures and reduces anxiety in the child.  When you give a tight hug, it glows.  This tactile feedback will provide increased assurance and calm the child’s emotions.

Plug-ins : Decorative ::

Allows the child to customize the look of his/her iMON to resemble what they had imagined.  This creates a closer emotional connection and sense of ownership between the child and the toy.

Plug-ins : Functional ::

Besides customising the physical look of their creations, some of these attachable components will also alter the functional capabilities of their toy.  Thus making their imaginary friend a unique and special one.  The functional plug-ins enables iMON to perform various interactive activities, which varies from simple to complex functions.  Hence, the child will never get bored with iMON, and it also promotes a ‘grow-together’ environment just like a close buddy.

With iMON, the child’s social window is further expanded.  Collaborative game play and interactivity is another feature of iMON.  With sensors and wireless connection, the child is able to connect with other children for games and innovative story creating.

Plug-ins : Stories ::

Storytelling with the parent is one the favourite activities for young children. It promotes family bonding which is very crucial in a child’s early development stages.  With the embedded beam projection, iMON boosts this experience by visualising characters and scenes, bringing the story to life.  The story contents come in the form of Storybook plug-ins.  Another innovative feature of iMON is enabling the child to create his own stories.  With the Storybook plug-ins, he is able to select characters from the stories to play with, and eventually creating his own fairytales.  Collective story creating is also possible with other iMONs.

All activities performed by iMON are stored and could be archived when the device is put to charge.  The charging dock has a friendly interface that allows the child to manage the contents hassle free.  Archiving memories is another emphasis of iMON.  With the archived data, the child is able to ‘re-live’ his childhood experiences.

Sketches – Form exploration ::

Scenario Illustrations ::

1. The scenario starts with the child first time receiving an iMON.  He names and personalize his iMON.

2. The scene then goes on to show one of the play functions that could be individual or collaborative play.

3. The video ends by showing how iMON besides being a fun toy, also helps in a child’s daily life.

Product Details ::

In Conclusion …

To sum it up, iMON grants children the possibility of giving ‘life’ to their imaginary friend.  The projected visualisation, tactile and sound feedback creates an intuitive interaction between the child and their companion.  It also provides sense of security to the child in moments of fear and insecurity.  Customisation features promotes creativity and inculcates the Learning-by-Doing method (Bruno Munari).  Personalisation will also give the child a sense of ownership and uniqueness.  iMON allows the children to make connections with their parents and friends, thus improving their social development.  In the future, after the child has stepped into his teenage or adult years, iMON will serve as a chest full of treasured memories of their childhood experiences.

Future possibilities :-

• Develop various contents in form of games, stories, etc.
• Develop new modes of interactions through using newer technologies.
• Facilitate ‘growing-together’, intellectually and emotionally.
• Develop a iMON shop and a play spot catered for collaborative play possibilities.
• Using similar technological platform, develop versions for the older market.

]]> http://tinkeraction.wordpress.com/2008/02/20/lean-mean-circle-drawing-machine/ Wed, 20 Feb 2008 22:00:17 +0000 NOJ http://tinkeraction.wordpress.com/2008/02/20/lean-mean-circle-drawing-machine/

And now, see it in action!

Great news hailing from back home!

Singapore based sneaker boutique Limited Edt has collaborated with New Balance to produce Singapore’s first ever collaboration between a local sneaker boutique and a major sporting goods company. The Made in England New Balance 577 BBL has been made in a limited run of only 140 pairs worldwide. The shoes are individually numbered from 1 to 140. This collaboration is to mark the 5 years anniversary of Limited Edt since they started out in 2003 as the first sneaker boutique of its kind in Singapore.

The Burgundy/Black colourway of the shoe matches the interior of the store with gold threading and gold highlights representing the opulent decor of the store. The shoe also comes with 2 sets of laces and 2 sets of lace locks. One in gold and one in silver, with the silver representing the actual mock ‘Bank Vault’ door within the store that is a secret chamber of some of the most limited, rare and sought after sneakers ever produced.

My bro, Alvys and I were involved in designing some of the graphics for this special release. We designed the shoe box graphics and prints for T-shirts which will be given out on the day of the sneakers release. The box has a combination lock that unlocks with the serial number of the sneaker.

Well, I’m really excited about this collaboration. Can’t wait to see the outcome in person.

And thanks LE for the love!

Source: Limited Edt (SG), Sneaker Freaker