This project aims to introduce first year Industrial Design Engineering bachelor students to the world of Industrial Design through the creation of an exhibition that centers around the products from the faculty’s Heritage Collection. The exhibition, located at the entrance of the faculty, is designed as an educational tool that uses the displayed products to showcase the various dimensions of Industrial Design. Currently, the products displayed in the faculty are not sufficiently contextualized and fail to fully convey their historical, technological, or cultural significance. This project seeks to address that gap, providing new students with a more comprehensive and accessible narrative to help them better understand the evolution of Industrial Design and its role in contemporary society.

The exhibition was created to fill a gap identified during the research phase: the lack of a historical educational approach to Design within the faculty’s curriculum. It allows visitors to explore the history and identity of the displayed products, highlighting the importance of choices related to materials, production technologies, aesthetics, and functionality. This is done through four distinct thematic areas, each dedicated to a specific aspect of the product. The pieces in the Heritage Collection are not merely objects but concrete testimonies of how Industrial Design has addressed challenges and needs over time, offering innovative solutions that continue to influence daily life.

Another goal of the project is to spark students’ interest in research and innovation, encouraging them to reflect on how past designers were able to anticipate future needs and how to carefully observe a product to fully understand its meaning. The exhibition, therefore, not only celebrates the past but also inspires a new generation of designers to look ahead with creativity, critical thinking, and an awareness of the emotional impact that an object can evoke.

For the creation of the exhibition and the communication strategy, various methodologies were explored and then integrated into the exhibition as essential parts of the process. Interactive design, storytelling, and emotional design methodologies were analyzed, all aimed at engaging visitors and creating an immersive educational experience. These techniques were then applied through the use of informational panels, multimedia supports, interactive installations, and narrative paths. The goal was not only to convey information clearly but also to spark curiosity and reflection, making the history of Industrial Design accessible and engaging for a diverse audience.

Background

This master’s thesis focuses on developing a game that utilizes ChatGPT and the Sciffle Box to guide players in discussing their understanding of corporate values and connecting more deeply with corporate values based on their own human values. Values are abstract and challenging to comprehend. In corporate value training, personal values are often disregarded, resulting in a reduced impact. This project aims to unpack these abstract human values, rendering them more accessible for understanding and communication. By integrating ChatGPT and the Sciffle Box, value communication can become more playful and immersive. Through the connection to their own values, the design has the potential to create a greater impact on employees, fostering a deeper connection with their corporate values.

Research and design

The study employs a five-stage methodology to investigate the symbiotic potential of the Sciffle Box, human values, and value communication through gaming. This journey involves a literature review focused on understanding values and corporate values, along with research on the Sciffle Box and its contextual use. Three co-design sessions are conducted with master students at Delft University of Technology, identifying various contexts using a value based Sciffle Box game. Insights are synthesized into an opportunity map, followed by iterative design of five prototypes, culminating in the deployment of the most effective design. The final prototype is built with Unity on the Sciffle Box, evaluated by seven staff of Ijsfontein. The final design mapped out five different working dilemmas that are merged in five narratives presented by non-game players played by ChatGPT. Each dilemma has a behaviour goal which matches the corporate values. Players are divided into four teams; each team will have five different human values cards that can only be used once. By applying those values cards, players need to discuss with their team on what is their understanding of corporate values. In the end, each team will present their solution and vote for the best value that can solve the dilemma and match with corporate values. Non-game players will provide feedback based on the value that got the most votes.

Evaluation and discussion

The integration of the Sciffle Box and ChatGPT elevates user engagement and comprehension of values. The application of different value theory, demonstrated in the selection and categorization of values, ensures a comprehensive spectrum is represented, fostering nuanced, meaningful discussions among participants. The utilization of ChatGPT showcases AI’s potential in enhancing value-focused game play, generating contextually relevant feedback, and enabling valuable, interactive dialogues. Moreover, the project bridges the gap between personal and corporate values found in conventional corporate training, prompting users to align their individual values with corporate ones, a catalyst for behavioural changes that harmonize personal aspirations with organizational objectives. While limitations do exist, such as the finite range of value cards and the reliance on ChatGPT’s feedback accuracy, the project’s key findings underscore substantial potential for the Sciffle Box as a tool for effective value communication and awareness in a corporate context. Further research can be done to explore how to use AI technology in various ways (text/ audio/video) in corporate training serious games, how to stabilize its performance, and support meaningful conversations. Simultaneously, additional research can discover more value structures that can support value communication in context.

As more smart city technologies are being developed, more attention should be directed on how to include citizens to align such technology with public values and facilitate contestability. This involvement can take place during different phases. To ensure the legitimacy of a machine vision system, citizens should be involved to discuss when a model is performing acceptably. However, enabling this civic participation is a challenge due to a lack of awareness, knowledge, and understanding.

This graduation project explores opening up the discussion around acceptability of a machine vision system, using the scan car development process in Amsterdam as a use case. This discussion clarified acceptability based on trade-offs made during the development phase. To open up this discussion, citizens first need to be able to understand before they can judge such a system and its trade-offs. This resulted in creating a tangible approach to machine vision development, merging elements from fields as TUI and XAI.

The final design was evaluated within three sessions. The results suggest that providing a tangible representation and context-specific examples improved the subjective understanding of participants. The design enabled participants to form and articulate their own opinion about what is acceptable and take part in this discussion. The findings suggest that a tangible approach to participatory machine learning could involve
citizens and other non-expert stakeholders in informing and steering a machine vision model during the development phase to close the legitimacy gap.

Facilitating this communication, the project shows a possible contestability loop between citizens and developers in the co-construction of public AI. Ultimately, the design contributes to the field of participatory design approaches to public and responsible AI by providing a practical example.

In the last few years the smart building market has grown exponentially and is estimated to be worth around 100 billion by the year 2025. The amount of active competitors, combined with the required time and effort to launch a new sensor-based product, makes it difficult to enter the market and slows innovation. WeAreReasonablePeople (WARP), a Rotterdam-based digital design agency, is trying to broaden its impact by starting a venture under the name SensorBloxx. This venture is building a universally implementable base to simplify the launch of new sensor-based products. WARP will design the first ‘flagship’ product build on SensorBloxx to test this universally implementable base and start encouraging other companies.

In order to catch the attention of fellow innovators the product needs to stand out from the competition. A projection of the metaphorical competitive analysis on the Dutch market provides a better understanding of which businesses should be targeted to increase the flagship’s viability. Although it initially seemed that the viable audiences were already being targeted, a change of perspective has shown the potential of small-sized businesses in five sectors based in office environments.

Various rounds of qualitative research with stakeholders in the targeted audience indicate the flagship’s ability to treat these sectors identically. Desk research brings to light potential motives for business owners to start generating indoor environment data. However, business owners are explicitly devoted to use the data to optimise the work experience of their employees.

A concept is created based on the findings of the explorative qualitative research. This concept is presented to existing and new participants within the target audience. These concept validation sessions provided a better understanding of how the flagship should optimise the employees’ work experience. The results of the concept evaluation sparked an iterative digital prototyping process that led to a new concept embodiment. This concept embodiment and its functioning have been once more validated to confirm the flagship’s desirability.

A final design arose, a flagship called ‘DROP’, a non-intrusive sensor-based product that optimises work experience. This flagship involves employees in realising an optimal work environment together. DROP combines a non-intrusive calm display and a supportive mobile interface for employees. DROP can function as a flagship since it genuinely fulfils the needs of a target audience that competitors are barely targeting in the smart building market.

This graduation project arose from Erasmus MC’s mission to continuously improve the patient experience. The results of the patient monitoring by Erasmus MC showed that an intervention at their ophthalmology outpatient clinic (OOC) could contribute to this objective. The patient satisfaction scores on wait time experience were very low at this outpatient clinic. Previous research has already shown that wait time experience is an important impact factor on the overall patient experience.The project started with a literature study. The literature study looked at the topics of patient satisfaction, communication of patient information and the waiting experience. For each of these topics, patient expectations and uncertainty appeared to be among the most important drivers. The result of the literature study was a set of possible interventions, each based on adjusting and managing patient expectations and reducing uncertainty for the patient.Next in the project was mapping the context where these possible interventions happen. This user and context research concerns the environment and work flow of the clinic and patient needs and characteristics. For each sub-topic, the research method was chosen that provided the most valuable and reliable information with the least possible burden on the patients of the outpatient clinic. Methods used include walk-alongs, expert interviews, system analysis, user experience account analysis and empathy mapping.Three main causes of dissatisfaction of patients were identified in the research. Firstly, the unrealistic expectations that patients have about the length of a visit. Secondly expectations about the provision of waiting time information, partly caused by the hospital itself, that are not being met. Lastly the lack of a clear overview of the different steps a patient goes through during a visit for both patient and employee. The complexity of the patient cases at the ophthalmic outpatient clinic in combination with the work flow at the outpatient clinic makes it difficult to predict the steps and waiting times during a patient visit based on the information present in the system. However, three data sources were found in the study that can serve as a reliable source of information to provide personal appointment information to patients. Another important finding of the user and context study is the way in which patients’ visual impairments affects their waiting experience.The design phase consisted of designing ways to apply the proposed interventions within the described context while considering the limitations of the patient group. This resulted in the following three recommendations: adding information to the appointment letter, optimizing the provided digital and printed information for OOC patients, and providing OOC patients with personal, dynamic appointment information during their wait using a physical information booth in the waiting area of the clinic. These recommendations work in unison with each other to ensure the desired effects for all patients during the full patient journey. A prototype of the designed physical information booth was developed and used in user testing to evaluate certain aspects of the design concept.

Death is and endlessly interesting and relevant topic. After all, every human will encounter it one way or another. The common denominator among the many cultural and ideological perspectives on death is the cessation of all biological processes of an organism. But beyond that come rituals, values, and beliefs, all of which are subjective and open to interpretation. This graduation project was about what this subjectivity means for children. Children generally start developing more abstract questions about life and death at the age of 9 to 11. How can we educate children on something that we cannot fully describe and define ourselves?

This graduation project was conducted in collaboration with Nederlands Uitvaart Museum Tot Zover, a museum that aims to encourage people of all ages to reflect on death, mortality, and bereavement. For a couple of years, the museum has had the ambition to increase their impact on children’s death education with an experiential concept that operates outside of the museum walls. This ambition aligned with my own in the overall project goal: I aimed to design the narrative concept of a Tot Zover pop-up exhibition for 9- to 11-year-old children about the subjective aspects of death.

From the project goal, I derived the main research question: How do 9- to 11-year-old children currently learn about the subjective aspects of death and how could storytelling make a positive contribution? Among other activities, I conducted literature research and contextmapping sessions with schoolchildren. I concluded that children currently learn about the subjective aspects of death – now classified as the psychological and metaphysical aspects – in isolation, since the topic is not often discussed. A positive change could be made through storytelling: telling stories to a group of children invites them to share their own experiences, fantasies, and reflections, which promotes feelings of comfort, and which may enrich the perspectives of the listening children.

I used the research insights to form a central theme which the narrative concept should discuss. I defined that the concept should ask children what death means to them instead of teaching them what to think or believe. Children should see that death has many faces and each one may be open to interpretation. Contrary to the current situation, death should not be something the children wish to avoid, but an approachable entity. The concept should present children with a diverse and colorful spectrum of death stories, which may contradict one another or take the children out of their comfort zones.

The theme, using the narrative blueprint called the hero’s journey, was implemented in my design goal: to give 9- to 11-year-old schoolchildren space to: (1) explore death stories, (2) embrace that such stories, in their variety, may be authentic and personal, and (3) explore their own stories. I defined that, through the interactions with my concept, children should feel adventurous, imaginative, acknowledged, and connected.

The criteria led to the design Mijn Eigen Hein, the narrative concept for an exhibition that travels across locations of the OBA (Public Library of Amsterdam). It is a result of an iterative ideation and conceptualization phase, where developing a detailed narrative was complemented by designing the interactables that would bring that narrative to life.

While interacting with the concept, children explore death stories embodied through a collection of 10 Hein masks that represent contrasting perspectives on the subjective aspects of death. They learn to embrace that death can be many things, and that anyone is free to form their opinion. In the climax of their journey, they express their own stories by making their own Hein and add it to the digital collection by scanning it in a presentation ritual.

The design outcome is a storyboard of the children’s learning journey, concept art for the exhibition scenography and prototypes of the learning materials and the collection of Hein masks.

The concept was evaluated with positive results through a prototype test with schoolchildren and through feedback meetings with experts of experience design. I concluded that Mijn Eigen Hein fulfills the design goal. Children understood the story’s moral, and they could use the mask as a canvas for their personal stories. Although it was found that not all children share their deepest ideas, I argued that even those children learn during the journey by hearing their classmates’ diverse stories. The interaction qualities could unfortunately not be evaluated through the test with children, as I found that they do not yet possess the linguistic skills to reflect on their interactions and experiences on the required level of abstraction.

Mijn Eigen Hein has the potential to be a viable way of contributing to death education beyond Tot Zover’s museum walls, by which this project accomplishes its main objective. I would, however, recommend the museum to place the embodiment design concept’s technology high on the priority list. Moreover, Tot Zover will need to attract funding and further develop the narrative with the OBA and possibly other partners if the project is scheduled to launch in September 2023.

In its academic context, the project has generated new insight on the merits of storytelling in death education of 9- to 11-year-old children. More specifically, making use of this age group’s inherent fantastical worldview, although controversial in children’s psychology, proves to make an effective and fitting contribution to breaking the death taboo. If the concept was implemented on a large scale, I could imagine that it would help to shape a generation that is open-minded about other death perspectives and that gives death a healthy place in their lives.

The goal of the project is ‘to make retail areas go from a place to buy to a place to be’. Retail environments have the potential to become a place to be and add value for visitors, the local community and society as a whole. After performing research on various different levels, both quantitative and qualitative and both with consumers and external stakeholders, new consumer vales emerged for retail areas in the city. They were transparency, connection, atmosphere, exploration and authenticity. Exploration and authenticity were chosen as the two core values to form a design direction. A conceptual model was produced to add value to retail areas: in order to create a place to be, a story and an experience are necessary. The story is what brings authenticity to a place, and that can be achieved using storytelling. An experience can be created through multisensory design and can provide the core value of exploration. Using this model, a possible design was created: the story box. This concept provides a multisensory storytelling experience. The story box is a physical cube placed in the street that tells a story through exploration. Users move around the cube to go through the stages of the discovery process: touch, see and hear.The three sides of the cube are assigned with different colors: green, red and blue. Users then can step inside the box and hear the full story. The experience is not just limited to interacting with the cube, it is extended to interacting with the entire street. Both the effect of the authentic stories and the exploring discovery are extended into the street. For the authentic stories, in addition to the large cube, small cubes using the same colors are placed throughout the street at the entrance of shops and stores. Shopowners can participate in the project and adopt a small cube. These small cubes provide the story of the shop or store in audio, once a visitor places its hand inside the cube. For the exploring journey, small colored tiles are placed on the facades throughout the street. The colors coordinate with the colors of the interactions with the cube: touch, see and hear. The small tiles each provide another little discovery journey: green tiles mean there is something nice to touch, red tiles meansthere is something nice to see and blue tiles mean there is something to hear. The final concept gives meaning to retail areas and provides and authentic story in an exploring way.

The monthly number of non-western immigrants that applied for a status in the Netherlands has been constantly rising from 955 in May 2021 to 3590 in November 2021 (CBS, 2021). During the first period in the AZC, “newcomers” are purposely distanced from Dutch society. This has as an effect that when they finally get an official refugee status, they have a hard time finding a fitting job. They lack the social network (social bonds, social links and social bridges) that are needed to obtain certain goals or wishes. As previous waves of refugees have struggled to find their role in society, many people consider that the core objectives of integration policies have failed, leaving in their place unfulfilled promises of equal treatment, and polarized or fragmented societies, which strengthens the biases towards newcomers even more (Orton 2012).

As social capital is seen as one of the pillars for successful integration (Ager & Strang (2019), the goal of the graduation project at first was to train locals to be active connectors in linking newcomers to their network in order to help them achieve their goals and ambitions.

Through conducting desk research, interviews, analyzing existing buddy networks and the mapping of newcomer needs, 10 design principles were distilled that helped to define the final design goal. The research and concept ‘Shadow of the Future’ by Besnick (2000) showed that when referring to or when referred to people need to understand past actions to portray this understanding of the future. This resulted in the finding, that there is not such a thing as training locals to be active connectors but locals should get acquainted with newcomers to a level that they feel comfortable to refer them to their network.

Next to this insight, the clustered data gathered through interviews revealed that newcomers experience challenges in paving a new path and setting goals. As newcomers have been raised in a more collectivist culture, they have always acted upon the collective interest. However, with the disappearance of the value of previously obtained degrees and their collective society, awareness of the self and its corresponding goals is crucial, to be alte to function within the dutch individualistic society.

The developed concept, namely a personal growth workshop has been designed in a way to facilitate both the creation of a network and the shaping of goals based on ‘the self’. The workshop creates a space in which newcomers and locals meet to partake in a personal growth workshop. Through a mutual goal, a social script and through offering a way to build ‘the shadow of the future’, the outline of a personal development workshop supports the acquaintance process between local and newcomer.

This workshop has been prototyped, piloted and evaluated iteratively three times. These pilot’s had been used to evaluate the effects on acquainting and personal growth, but also provided insights to develop the concept further. The findings of these pilots showed that the workshop has had a positive effect on the attitude of locals towards newcomers and that the workshop created more awareness of the self. The pilot has great potential in opening up a network through acquainting, but more research has to be conducted to facilitate the right micro interactions.

Trust is a major contributor to a team's performance. Trust needs time to be built. Engaging into an open discussion can shorten the time needed to build trust. The well-being tracking tool support students and coaches in their way of communicating their emotions about the project. This leads to: 1. A lower chance of conflicts within the team 2. A higher chance of understanding each other 3. A better teamwork experience 4. By talking about emotions, you are being open and vulnerable, which can only happen in a trusted environment.

Accenture Liquid Studio (LS) as a technological innovation consultant company presents their technical capabilities by demo showcases for promoting business opportunities. Demo Theme Park is the collection of all their demo showcases. It locates in LS Utrecht office as a company in-house technical exhibition. A mobile app, Liquid Studio Passport is proposed throughout this project for enhancing the Them Park exhibition on visitor experience by augmented reality technology. The passport visit plan conducts a holistic experience for visitors that it facilitates preparation before arriving, enriches interactions along visiting, and values takeaways to promote further communications between visitor and Liquid Studio by the ending. The project is initiated as: Creating interactive smart visit experience for inspiring studio visitors among multiple technology showcases around Demo Theme Park in order to promote new business possibilities. Analysis To build a tangible basis for further design processes, a research phase was initiated for gathering valuable insights around the Theme Park exhibition visiting context. It includes analysis on both internal and external perspectives for conducting design challenge statements with its context scope. Conceptualization Base on insights from analysis phase, a design goal is proposed as “Design an explorative, collaborative, and discoverable mixed-reality journey for Liquid Studio in-house visitors to enhance the sense of consistency during visiting tech demo exhibition”. Ideation, Conceptualization and Design activities were conducted accordingly. The ideation was also considered as a reflection for better preparation on later processes where the scope of the design was setted as to design a overall journey experience. A number of sub-concepts were generated which was then modularized into functional features and consisted into a 9 step journey flow. The flow was then used for validate whether the modules are useful along the journey or whether any part is missing. Storyboard was made for concept evaluation sessions for participants to walk through the journey along the storytelling. The sessions were executed for insight gathering that finally to conduct a journey solution that fulfils the design goal. Final Design According to the finding from analysis and conceptualization, the final design was conveyed with a concept overview, a journey flow and a journey map. To validate whether the design could match with the design gaol, two prototypes were made for user/visitor tests separately for the journey carrier, which is an AR (augmented reality) mobile application, and the using scenario as the participants are not able to visit the exhibition on-site under the corona situation. The final evaluation was addressed, and as a result, the design fulfilled the properties as desired quite well in general. As the project is part of the long-term development of the demo Theme Park for Accenture Liquid Studio, recommendations were made for later developments. As currently it is processed and proposed theoretically, it will need more insights from in field context researches.

It is all about increasing fairness in the coffee industry. The coffee chain is not fair. This unfairness has been hidden from most of the actors in the coffee chain. The lack of communication is considered to be a vital element of the mentioned injustice. Moyee, a newly born company, has taken a different approach by shifting the value-adding activities to the countries of origin of coffee. Moyee has started investing in and developing roasting and packaging facilities in Ethiopia since 2012. What can help Moyee leave more of a positive impact? Moyee is doing very well in terms of leaving an impact in coffee-growing countries. However, Moyee’s relation with customers and consumers in coffee-consumer countries is not fruitful enough. By means of Vision In Product Design methodology, Strategic Design approach, Design Roadmapping methodology, Cultural Strategy and Road Map for Creative Problem Solving, Moyee’s values were translated to a future image called Vision. The process was followed by creating three steps (to be called Horizons) towards the Vision. The goal is to have a balance between Ecological, Social and Financial costs of the coffee and achieving a system that consuming coffee leaves equal or more Ecological, Social and Financial Impact than the costs it causes. Horizon 1 It is about building up a Conscious Community of consumers. Consumers will be reached to with content addressing their concerns such as sustainability, equality and quality. Excellent customer experience and personalized communication between Moyee, farmers and consumers add up to loyalty. Simultaneously, customers will receive engaging information about the coffee chain to increase their awareness about the existing injustice. Meanwhile, in the coffee-growing countries, Moyee will expand the roasting and packaging facilities to Kenya, starts Experimenting with True-costing and Living Income. Furthermore, a dedicated team starts the farm project. Horizon 2 The next step is to give the community the power to shift and adjust their impact. It will be possible to trace back a bag of coffee and see who has been involved in the process of making that coffee. Customers will receive real blockchain-proved impact points based on their purchase and contribution to the chain. At the same time, Moyee expands the roasting and packaging facilities to Colombia and run projects to achieve zero CO2 emissions. Horizon 3 Finally, any person in the coffee chain can connect to any other person directly. This system causes extraordinary transparency and builds up a personal connection. Meanwhile, by partnering with other businesses, the impact points can be used as a new currency to receive services or experiences. The Mizan Farm Project is getting matured and is ready to be executed in another context.

Smartphones and digital devices are ingrained within modern family life. While they provide many benefits they also create a social gap between parents and children. Interests of parents and children often do not align, as parents tend to prefer physical activities, showing a reluctance towards the prefered digital play of children (Hoika, E., Wu, Z., Alexander, J.J., & Thomsen, B.S., 2018). This creates a barrier in shared digital play. It would be valuable to break this barrier, as adults and children are more likely to be happy in general and feel more connected with their family members when they spend more time playing together (Ginsburg, K. 2007). In order to achieve this goal, a promising area to explore is the type of play that involves the interest of both parents and children. By combining tangible and digital elements a type of fluid play can arise, capable of breaking the digital barrier, resulting in family connection.UNGA is a loyalty campaign specialist which has shown interests in creating this type of play. Dutch loyalty campaigns, often targeted towards families and children, provide a context in which this fluid play will be explored, offering a platform to reach thousands of families. This leads to the project assignment of designing a fluid interaction with a smartphone to engage families in play, within the context of a loyalty campaign. Various design methods and tools are applied within this thesis, mainly following the research through design principles and exploring the possibilities of animation as a design tool. After exploring UNGA as a company to define its context, insights on family connections from the perspective of Dutch families are gathered. Furthermore the context of fluid play is explored by hands-on experimentation and desk research. By analyzing the results, a design focus is created, with the following design statement: fluid family play should encourage “poking fun” at each other, where parents and children are equally involved in a personal & physical activity.Subsequently, concepts are developed through multiple rounds of experiential prototypes, involving internal and external stakeholders in the process.“FliereFluiters” is introduced as the designed fluid play experience. By carefully utilizing tangible and digital elements in one fluid play experience, FliereFluiters compels to both children and adults, breaking the digital wall amongst family members. By combining a personal, physical and humorous activity within this experience, FliereFluiters manages to enable family connections, one surprise at a time. A loyalty model is proposed in which the concept reaches families through multiple channels. Supermarket interaction and social media aspects are proposed as means to introduce the concept to consumers, while the involvement with the concept takes place primarily at home.The design proposal is validated through the involvement of families and experts from different backgrounds. To fully validate the long term family impact of the concept however, a long term study involving the participation of Dutch families with a fully operational prototype is recommended.

The aim of this project was to propose several explorative experiential retail concepts which could strengthen and/or induce the value of the physical retail environment for millennials within developing omnichannel strategies. Additionally, such experiences desirably enhanced the bond between consumer, brand, and product through immersive narratives. These should be supported by rich interactions which blend the digital and physical realm.

Successful interfaces have often been the result of powerful metaphors. By likening an unfamiliar context to one we are more familiar and experienced with, it becomes relatable and easier to navigate. With its wealth of sensory stimuli, the kitchen space offers enormous opportunities for the creation of such metaphors. At the same time, the act of cooking is riddled with sensory “black boxes ”: Moments in which little to no information is available to the senses. In the kitchen, those are often caused by literal boxes: Ovens, microwaves, fridges, etc. Whenever these moments occur, the cooking process moves beyond sensory reach. Being deprived of any direct means of probing food throughout the process presents a significant challenge: Clues that would otherwise inform decisions and provide reassurance are no longer intuitively available. The lack of tangible, practical information is a core challenge for the development of future kitchen appliances. This thesis explores multimodality as a tool to resolve the difficulties users are currently experiencing. Multimodal interactions describe interactions that make use of multiple senses at once. By investigating the roles different senses play in human perception, this project builds a repertoire of engaging communication tools. Various techniques are developed to frame information in multisensory ways. By tailoring these techniques to their context of use, they can elicit experiences that are situationally relevant and enjoyable to the user. Using the findings of the multimodal explorations, this thesis developed a concept using haptic, spatial, and visual modalities. The interface of an oven was altered to guide users towards helpful and relevant information. This was done by including a multimodal dial into an oven's display unit. The dial uses its repertoire to expose information on ongoing processes that would typically be out of reach to users . By modulating its stiffness and texture it can, for example, tangibly inform users about the cooking progress. This three-dimensional, dynamic exploration of evolving processes helped users understand their choices and increased their confidence and enjoyment throughout the experience. For a luxury kitchen manufacturer such as Gaggenau developing interfaces that bridge the gap between the sensory, physical world and the digital future of technology is of great importance. This thesis hopefully contributes insights that will help Gaggenau shape the future of the kitchen.

Nowadays people become busier than ever before. Even though people still have 24 hours in each day, it feels as if no one has “free time” to do anything. Thus, busy people prefer using their limited time to clean the most important area indeed. It is how the idea “dust map” came. Users can create the map by themselves and the appliance will collect data to predict or explain the level of cleanliness at home. In this way, users are able to know which area should be cleaned the most and which area can be skipped out of their limited time. The project is to redesign the UI of Philips SpeedPro Max, based on this futuristic idea.

As the modern world progressing towards digital technologies, there is an increasing need for school students to learn programming skills so that they fit into the labor market now and in the future. Tangible programming toys and block-based languages are popular among younger children to learn to code. Students in middle and high school in several countries have begun to learn textual programming education as a step towards successful careers and educational opportunities. However, due to the visual nature of these materials and tools, they are inaccessible to blind students. Also, the accessibility aids used for interacting with computers in the first place are not accessible when it comes to programming. Braille displays are not accessible by most blind users as the braille literacy rates are falling, while screen readers do not read source code. Also, attempts to teach code using screen readers despite challenges kills the student’s enthusiasm. The project proposes a design approach to multi-modal human-computer interaction to reduce sensory and cognitive overload to enhance learning outcomes for this user group. The design goal was to develop an affordable audio-tactile interface, to help blind high school students to learn textual programming languages. Research insights were gathered from literature research, surveys, interviews, observation studies, and co-creation sessions with blind students. The insights were synthesized to form ideas, and concepts were explored. The final concept was then taken to a level of functional prototype and was validated in simulated tests. A sustainable business model was also developed to take the project forward as an open-source hardware venture.

As more consumer products and services are getting intelligent and collect data about the user, privacy has become an important topic of debate in society. New rules and legislation are being implemented to safeguard the user’s privacy. In addition, from a technological perspective, developments like the creation of the seven principles of ‘privacy by design’ for systems engineering aim to ensure that privacy is embedded within the functioning of these ‘smart objects’. However, there has not yet been given much attention to creating privacy through interaction design.

This project aimed to create a design approach which has the user’s control over their privacy at its core: The Privacy-Driven Interaction Design approach.

Through the creation of a conceptual framework, this project started with an analysis of existing theory of Human-Computer Interaction. It proposes three design strategies for creating smart objects that give the user control over their privacy:

1 | Design smart objects with Character;
2 | Design smart objects with Expression of Presence;
3 | Design smart objects with Frictional Feedback.

Through cinematic prototyping, this project explores these strategies and implements them in a case study.

For the case study, two smart gloves were created which aid veterans during their therapy for post-traumatic stress disorder. Both of the gloves have different characters to show the impact of the smart object’s character on the interaction between the user and the object. The smart gloves have both a conceptual purpose, which is to demonstrate how the design strategies can be implemented in a design process, and a functional purpose, which is to put the disclosure of information about the veteran’s stress levels and therapy progress in the veteran’s hand.

The conclusions from the creation of the conceptual framework and the smart objects during the case study lead to a guide for the Privacy-Driven Interaction Design approach. This guide is presented in the form of a checklist with ‘design questions’ and ‘design strategies’.

This report aims to present the potential of this design approach and the smart gloves for veterans. However, more extensive research is recommended to further develop both the design approach and the design concepts.

To improve the passenger experience at airports, an environment was designed around a relaxing chair. The goal was to create an environment in which passengers feel free to take some time to relax and forget about the aspects that cause them to experience stress or anxiety. The design is created to make the experience of passengers at airports less stressful and therefore more pleasant. This relaxing chair, the VITA Sentation Lounger, is equipped with the innovative Frequency Physio Support (FPS) technology. The FPS technology stimulates blood circulation, reduces muscle tension and with that it reduces anxiety symptoms, stress and the experience of pain (NEWAS,2018). A usability test with the VITA Sentation Lounger at Rotterdam The Hague Airport showed that the chair itself is experienced as very comfortable and relaxing. However, opinions about the FPS technology differ a lot, and passengers can evenly be divided in the following groups: 1. Passengers who prefer the chair without the FPS technology 2. Passengers who prefer the chair with the FPS technology 3. Passengers who don’t prefer one condition over the other. The usability test also showed that besides having a comfortable chair available, a more private area, having some kind of distraction available and being aware of time is very important for passengers to feel comfortable in the run-up to flying. The one thing passengers worry most about is missing their flight. Literature showed that a passenger brings individual perceptions, expectations and experiences into the environment, which all influence the overall comfort experience (Vink, Bazley & Jacobs, 2016). Additionally, being surrounded by greenery in combination with green and blue colours reduces stress levels (Fjeld, 2000), and the presence of lavender scent (Kristidima, Newton & Asimakopoulou, 2010) and relaxing music (Pothoulaki et al. (2008) and Khalfa, Bella, Roy, Peretz & Lupien, 2003) increases the experience of relaxation. Insights from the usability test and literature research resulted in two concept designs, of which one has been chosen to prototype and test in a second usability test. This concept design focusses on distraction and gives passengers the opportunity to forget about negative experiences and to focus on the positive things that come with the travel journey. The seconds usability test was conducted with a prototype of the chosen concept design. The test showed that the designed environment can contribute to a more comfortable and relaxing experience in the run-up to flying and participants mentioned that they would love to use the design at the airport. Main improvements include the possibility to safely store your luggage, the ability to see if the chair is occupied from the outside, and some problems occurred with unclear or even missing information that was given by the interface (control system). These insights lead to the final concept design that is showed in picture 1 and 2. For further research, it is mainly suggested that the final concept design is being tested at an actual airport with a broad group of passengers and some practical considerations need to be taken into account. Besides, it is very important to start convincing airports and airlines about the benefits the design can bring when it’s implemented in their lounges.

This report contains the research and design outcome of boarding experience design for hyperloop passengers. It is a master graduation project for Industrial Design Engineering at the TU Delft, in collaboration with the Delft hyperloop team, a student team participating in the Space X competition.

The current tour in the Rietveld Schröderhouse is outdated. Augmented reality can be the ideal solution to update the tour. This report looks into the possibilities for adding this.