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  • Berlin International  (17)
  • SRB Frankfurt/Oder
  • Kreismedienzentrum Teltow-Fläming
  • Bundesarchiv
  • Akad. der Künste
  • SB Schwedt
  • Kreisbibliothek des Landkreises Spree-Neiße
  • Hillmann-Regett, Jan  (17)
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  • Berlin International  (17)
  • SRB Frankfurt/Oder
  • Kreismedienzentrum Teltow-Fläming
  • Bundesarchiv
  • Akad. der Künste
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Years
  • 1
    UID:
    kobvindex_INT0000412
    Format: iii, 140 pages : , richly illustrated (chiefly colour) ; , 22.5 cm.
    Content: MACHINE-GENERATED SUMMARY NOTE: "The main research question is whether algae plastic in its current development is a suitable replacement for traditional or crude oil-based plastic. I stipulate that algae plastic can be used to make more sustainable products that have similar if not equal material qualities to non-bio plastic. Plastic is detrimental for the planet and the way we consume it is far beyond careless. Designers and researchers alike have long identified the problem and have put more focus in the last decades on creating sustainable products and working more and more in unison. Lately bio-plastics have become popular in both design applications and research studies, but they have many issues from recycling, to CO2 emissions to sourcing. Most use crops as their base influencing food availability and price. Cultivating algae does not compete with crops as it can grow in specialized bioreactors, or can be directly harvested from the ocean, sometimes even as algae bloom, which is potentially harmful for the environment. Algae and micro-algae are one of the fastest growing natural resources, so once demand rises and there for production methods are more sustainable and economically viable it will be significantly cheaper than crude oil-based plastic. Right now, due to its novelty algae-based plastic is not commercially available to the full extent that it could be. In my research I will determine the challenges and suitability of algae plastic by secondary research, case study and expert interviews and its value for material development in product design. A product development process will determine the stability of algae bioplastic with the help of CAD simulations. The aim is to find a practical and eco-friendly solution-based design innovation replacing a crude oil-based plastic material product with a biopolymer from seaweed, ideally creating a solution that is cradle to cradle, with a strong investigative focus on products for the aquatic environment.
    Note: DISSERTATION NOTE: bachelor thesis in Product Design, BAU International Berlin University of Applied Sciences, 2018. , MACHINE-GENERATED CONTENTS NOTE: PLASTIC : Introduction : or the plastic problem -- Plastic - the material : Thermoplasts ; Thermosets ; Elastomers -- Physical properties of plastic -- How plastic is made -- Effects on human health -- Plastic manufacturing methods : Extrusion ; Injection molding ; Rotational molding ; Blow molding -- Most common types of plastic and their application : Polyethylene (PE) ; Polypropylene (PP) ; Polyvinyl chloride (PVC) ; Polystyrene (PS) ; Polyurethane (PU) ; Polyethylene terephthalate (PET) -- Plastic : a short history and its relationship to design -- Plastic : a shift in perspective -- BIOPLASTIC : Bioplastic : an introduction -- A short history of bioplastic -- Bioplastics : a growing market -- What is bioplastic : a term definition -- End of life of bioplastics : What is end of life? ; Biodegradable ; Compostability ; Mineralization ; Marine degradation -- Common types of bioplastics : Protein based ; Lipid based ; Polysaccharide based ; From microorganisms/ fermentation ; Biotechnology -- Problems with bioplastic : Price ; Feed vs. food ; Material properties ; Recycling cycle -- Bioplastics : a sustainable solution? -- Where do we go from here? -- ALGAE : What are algae : an introduction ; The classification of algae -- Most common types of algae : Green algae ; Red algae ; Brown algae ; Diatoms ; Cyanobacteria -- Historical uses of algae : Modern use in industry ; Algae in design ; As a material -- Plastic from algae : Polysaccharide based: Ohoo edible water ; Making the Ohoo Bottle ; Agari Bottle ; Interview with Ari Jonsson (Agari Bottle) / Protein based : Soley Biotechnology Institute ; Algopack / Lipid based : Case study Triton Flip Flops ; Cereplast -- Advantages of algae-based bioplastic -- Challenges of algae-based bioplastic : Price ; Genetic modification ; Odor ; Material properties -- Is algae plastic biodegradable ? -- Conclusion : are algae the future? -- DESIGN : Materials in design -- Design brief : History of dog toy design ; Why a dog toy ? ; History of dog toys ; Material culture of dog toys ; Consumer persona ; Form study ; Mood board ; Product requirements ; Design -- Material -- Methods of research : Structure analysis ; Quantitative methods ; Secondary research ; Case study ; Expert interview -- Conclusion -- Bibliography. , ISSUING BODY NOTE: BAU International Berlin University of Applied Sciences is the former name of Berlin International University of Applied Sciences.
    Language: English
    Keywords: Academic theses ; Academic theses
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    URL: FULL
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  • 2
    UID:
    kobvindex_INT5470
    Format: 55 pages : , illustrations ; , 30 x 21 cm.
    Content: MACHINE-GENERATED SUMMARY NOTE : This Thesis aims to bridge the gap between the theories and application of environmental psychology for the design of a musician's project studio. By identifying the technical boundaries of the space, analysing various hypotheses and theories from environmental psychology, and underlining the needs of the users for all their activities, a model will be proposed, which can be used to design the ideal project studio for any musician.
    Note: DISSERTATION NOTE : submitted as bachelor thesis in Interior Architecture / Interior Design, Berlin International University of Applied Sciences, 2021 , MACHINE-GENERATED CONTENTS NOTE : 1 Introduction 1.1 Background 1.2 Context 1.3 Problem 1.4 Limitations 1.5 Aims and Objectives 1.6 Methodology 2 Project Studio 2.1 Definition 2.2 Activities 2.3 Rooms 3 Technical boundaries 3.1 Control Room 3.1.1 Noise Control 3.1.2 Initial-Time-Delay-Gap 3.1.3 Layout 3.1.4 Reflection-Free Zone 3.1.5 Acoustic Treatment 3.1.6 Control Room Examples 3.2 Studio Room 3.2.1 Noise Control 3.2.2 Acoustic Treatment 3.2.3 Examples 4 Environmental Psychology 4.1 Definition 4.2 Theories 4.2.1 The Stimulus-Organism-Response Model 4.2.2 PAD dimensions (Pleasure, Arousal, and Dominance) 4.2.3 Affect, Behaviour, and Cognition Psychology Theory (ABC Psychology) 4.2.4 Arousal Theory 4.2.5 Environmental Load or Stimulation approach 4.3 Application of the models to Interior Architecture 4.3.1 Model 1: Activity Categorisation 5.1 Model 1 Implementation to Project Studio Activities 4.2.2 Model 1 : Stimuli Taxonomies 5 Conclusion/Implementation to Project Studio 5.1 The Iterative Process of Musical Project 5.2 PLAN: Dominance - Flexibility - Movement - Divergent and Convergent thinking 5.2 MODEL 2: Movement 5.3 General model 5 Project Technically: 5.1 Acoustical arrangement 5.2 Psychologically: colour, texture, light 5.3 movement, spatial arrangement changing levels 4.3.1 movement 4.3.2 colour 4.3.3 changing levels 4.3.4 entrance/transitional points 4.3.5 ...? What else I implemented transitional points
    Language: English
    Keywords: Academic theses ; Academic theses
    URL: FULL
    URL: FULL
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  • 3
    UID:
    kobvindex_INT0003531
    Format: 113, [11] pages : , illustrations ; , 30 cm.
    Content: MACHINE-GENERATED SUMMARY NOTE: "The main research question is: How can we connect people in the digital age? This is the digital age, where everything and everyone is connected and linked with each other. Communication is easier than ever, and information is available at anytime and everywhere. People like to share their adventures and thoughts online, and generally enjoy presenting themselves on social media in a positive way. It seems like people are living in a perfect world, where everyone is having a good time and living a good life. But reality shows, that people have their smartphone, tablet, computer or other electronic devices constantly in front of their face. Everyone is doing their own thing and is more interested in their online presence or connecting with others online, than what is happening right around them. People are connected in the digital world, but somehow disconnected in the real world. In this thesis, I will focus on the dining table, because the dining table is my medium to connect people in the digital age. Dining is a very intimate ritual, which is usually shared by family and friends or acquaintances. People eat, talk, laugh and share. Dining is more or less the only time of the day, where we feel relieved. We enjoy good food, good company and celebrate a successful ending of the day together. I will design a special dining table and a special event. The purpose is to connect people. I will create an environment and design, where people feel comfortable and enjoy the ‘here and now’. I want people to have a good time, enjoy good food, good company and have fun together."
    Note: DISSERTATION NOTE: bachelor thesis in Product Design, Berlin International University of Applied Sciences, 2019. , MACHINE-GENERATED CONTENTS NOTE: THEORY : INTRODUCTION : Motivation -- A constantly moving & changing world -- Problem statement & aim -- Hello Fresh : concept -- Methodology -- FUNDAMENTALS & BASIS : The evolution of the dining culture -- Culture -- Importance of communication -- What is the perfect table shape? -- Observations -- Interviews -- The perfect shape -- Technology involved? -- PRAXIS : CONCEPT : Design briefing -- Fundamentals -- Product system -- URS : User Requirement Specification -- Target group -- Personas -- User journey event -- DESIGN : Colour concept app -- App interface design -- Material selection table -- Colour concept table -- C.O.D. measurements -- C.O.D. renderings -- CONCLUSION : Summary -- Future perspectives -- Special thanks -- APPENDIX : Images -- Literature.
    Language: English
    Keywords: Academic theses ; Academic theses
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    URL: FULL
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  • 4
    Book
    Book
    Berlin, Germany :Berlin International University of Applied Sciences,
    UID:
    kobvindex_INT0004856
    Format: vii, 122 pages : , illustrations ; , cm.
    Content: MACHINE-GENERATED SUMMARY NOTE: "Touch can trigger memories and emotions deep in one's brain. Physical touch is a basic human need and without realising one is constantly in touch with its surrounding. Many emotional communication channels have been conducted decoding emotions such as anger, sadness, happiness and fear just through physical touch. The main elements for graphic design are highlighted as colour, shape, typography and digital textures. In design actual physical material textures are associated with graphically designed products like packaging, print advertisements, brochures, corporate identity etc. Through the physical feel of material textures, messages can be communicated and ‘felt’ at a faster rate than using visuals textures and can result in less text used. The role of material textures is to communicate the message of the brand at a much more personal and closer level with the consumer resulting in quick feedbacks and reactions. A brand also needs to stand out and offer this experience on the first encounter with the user to expand and establish a connection with their customers. The first interaction a potential customer has with a brand through any medium like an advertisement or a product on a shelf sets the mood and future thought process to become a customer eventually. It is necessary for designers and the brands to understand and study such tactile sensations. Material textures, used on different packaging or print media, can convey a message and can provoke a pattern of emotions that the user is supposed to feel through these sensational elements. Understanding of sensations can aid the designer to predict the emotional attraction towards the brand and simultaneously dodge those that are unwanted, such as emotions of distaste in response towards a certain design. The design sets a guide and tool kit to decode and understand some material textures which can communicate messages, trigger feelings or memories associated with certain textures and existing materials. Some materials can be perceived differently but can trigger the same emotions, only the touch on fingers in either pleasant or unpleasant."
    Note: DISSERTATION NOTE: submitted as bachelor thesis in Graphic Design, Berlin International University of Applied Sciences, 2020. , MACHINE-GENERATED CONTENTS NOTE: Abstract -- Introduction -- Touch : The sense of touch ; Communication through touch -- Material texture : Material texture ; Material texture in graphic design ; Material texture communication -- Survey : Survey ; Survey data -- Texture in design : Textures implemented in graphic design -- Experiment : Experiment ; Experiment results ; Analysis -- Discussion -- Conclusion -- Project -- References ; Further readings -- List of figures -- Appendices : Google survey form ; Google survey data ; Experiment interviews ; Experiment survey forms.
    Language: English
    Keywords: Academic theses ; Academic theses
    URL: FULL
    URL: FULL
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  • 5
    UID:
    kobvindex_INT0004857
    Format: [vi], 107 pages : , richly illustrated ; , cm.
    Content: MACHINE-GENERATED SUMMARY NOTE: "Color blindness, a condition in which people see less vibrantly or fewer color variations, affects almost 5 percent of the entire world population. Despite this being a fairly common condition, it is rarely considered in many designs. As a result, some designs become difficult to read or understand depending on certain design elements. This research addresses the different color perception of color blind people and how it, in turn, affects their perception of design. Most of this research is based on a few conducted interviews with both colorblind people and non-colorblind designers. An online survey was also conducted on color contrast to test whether or not some colorblind design elements improve designs for non-colorblind viewers as well. The results show how designs can be improved through colorblind design and how the different perception of color blind people can affect their view of certain designs. This research also tackles the different uses of color and how the less abstract ones can be adapted for colorblindness. The practical part of this thesis is in the form of an educational interactive exhibition raising awareness of color blindness for a more inclusive design process. Its aim is to educate designers on how color blind people perceive color, and the impact this has on their perception of design. Due to the time frame, the scope of this exhibition is an advertising poster series and three interactive exhibits all implementing the research findings."
    Note: DISSERTATION NOTE: submitted as bachelor thesis in Graphic Design, Berlin International University of Applied Sciences, 2020. , MACHINE-GENERATED CONTENTS NOTE: Abstract Introduction 1.1 Scope 1.2 Methodology Color Perception and Color Blindness 2.1 Color Perception 2.2 Types of Color Blindness Color in Design 3.1 Color Blind Perception of Design 3.2 Uses and Importance of Color Designing for Color Blindness 4.1 Why Color Blindness is Overlooked 4.2 Colorblind Design Guidelines Research Methods 5.1 Interviews 5.2 Survey The Project 6.1 Scope 6.2 The Exhibits Conclusion References List of Figures Further Reading Appendix A : Interviews
    Language: English
    Keywords: Academic theses ; Academic theses
    URL: FULL
    URL: FULL
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  • 6
    UID:
    kobvindex_INT5495
    Format: 45 pages : , illustrations ; , 30 x 21 cm.
    Content: MACHINE-GENERATED SUMMARY NOTE : In Berlin, parents can have their children looked after free of charge from the age of one. The choice of childcare facilities is wide, but places are scarce. Whether it is a kindergarten, daycare or a Kinderladen1 - parents can decide which facility they suit the best to their child. If they want a facility with small groups, a particular pedagogical concept and a good childcare ratio, the choice often falls on one of the many Kinderläden in the city (Berlin 2021). This Thesis deals with the premises of Kinderläden, whose official name is Eltern-Initiativ- Kindertagesstätte (EKT). (Berlin 2021) What is a Kinderladen? Kinderladen / Kinderläden (plural) would be translated as children shops in English. No, these shops do not sell children, nor are there any toys or children's clothes for sale. Kinderläden, nowadays also often called parent initiatives, are small crèches and daycare centres self-governed by parents or educators. Their legal form is usually that of a non-profit association, in which the parents are members and provide the board of directors (BAGE 2021). On the one hand, this gives the parents a great deal of influence on all matters and the association's development. On the other hand, it also means bearing responsibility and volunteering for the facility. This commitment usually manifests itself in administrative work, cleaning, cooking or janitorial work. This commitment is time-consuming and not always fun, but it leads to a high level of identification with "their" parents' initiative / Kinderladen (BAGE 2021). Kinderläden have a history going back to the 1968s. The motivation for founding them was the criticism of the authoritarian upbringing of children that prevailed at the time, the general lack of kindergarten places and the demand for women's self-determination. The "Aktionsrat für die Befreiung der Frau" (Action Council for the Liberation of Women), founded by students of the Free University of Berlin, set up the first Kinderläden in Berlin in order to have more time for their political work (Berliner Kinderläden, 1970, 27). At that time, Kinderläden were established in vacant shops, especially in the big cities. That is where the name Kinderladen comes from, as they were usually opened in former stores. Why does a Kinderladen need multi functionally designed rooms? Of course, premises in former stores, where most Kinderläden are still located today, are not designed for the needs of daycare centres from the beginning. They often have to be extensively converted by the founders and furnished appropriately. There are various guidelines and requirements to be observed (DaKS 2019, 27-31). Since the founders of the Kinderladen are seldom architects or interior designers, this is a great challenge. The rooms of the Kinderläden are places where children spend much time, where they have their first experiences with other children, their environment and themselves. They are rooms in which children should be able to find their way around as well as in their homes. After all, they will spend most of their daytime here until they go to school. State kindergartens, or those of large sponsors, have a team of architects and interior designers for a kindergarten's new construction or renovation. Parents' initiatives are on their own. During the start-up phase, they have to look for a suitable building, the pedagogical concept, the staff, the financing, the future children, the food and much more. In the end, there are usually only a few weeks left for designing the space in these already tricky premises. Since the available space in Kinderladen is usually limited, not every room function can be accommodated in separate rooms. Most of the time, the rooms are furnished in a functional way, often with furniture from furniture catalogues. Impractical room layout, or missing furnishings, poor acoustics, inadequate lighting, such mistakes happen very often. The head of a Kinderladen in Kreuzberg described that such sources of error only become apparent during the Kinderladens operation. She also mentioned, for this reason Kinderläden often improve or redesign the rooms during the annual summer closing time (usually three weeks in summer). This is time-consuming and shortens their holiday period. But instead of improving the rooms, shouldn't educators rather enjoy their holidays and then start the new daycare year refreshed and full of energy? This work aims to improve the premises of Kinderläden by answering the following questions: How can the furnishing and multifunctionality of indoor spaces improve the quality of space in Kinderläden by creating versatile play opportunities? How can it be designed at the children's eye level to promote their independence and at the same time create a well-functioning working environment for educators? Can it be advantageous for Kinderläden to have multifunctional spaces for sustainable reasons? Since state-specific guidelines and regulations apply in Germany when planning and designing the interiors of daycare centres for children, this work focuses on Kinderläden in Berlin. The individual regulations will not be discussed further in this paper, but they will be taken into account in the subsequent design project. Since the variety of pedagogical concepts in Kinderläden is so numerous, they are not included in this work. Likewise, the crèche area is left out and only spaces for children between the ages of 3 and 6 are considered.
    Note: DISSERTATION NOTE : submitted as b-id Berlin International University of Applied Sciences, 2021 , MACHINE-GENERATED CONTENTS NOTE : 1. Introduction 2. History and Statistics 2.1 Historical Content: The History of Kinderläden 2.1.1 The beginnings of the Kinderläden 2.1.2 Parent-child initiatives in the 80s and 90s 2.1.3 Kinderläden at the beginning of the 21st century 2.1.4 From 2020: Kinderläden in times of the Corona pandemic 2.2 Statistics 3. Giving space for needs 3.1 A day in a Kinderladen 3.2 Children's needs for room design 3.3 Educators' needs for room design 4 Multifunction: The possibility of using rooms in a variety of ways 4.1. Fixtures in group rooms 4.2 Dining areas 4.3 Bathrooms 4.4 Spaces for retreat 5 Development of a multifunctional Interior Design for a Kinderladen 5.1 Description of the building in its current state 5.2 Design Proposal 6 Conclusion References List of Figures Appendix
    Language: English
    Keywords: Academic theses ; Academic theses
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    URL: FULL
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  • 7
    UID:
    kobvindex_INT0003532
    Format: 55 pages : , illustrations ; , 1 supplement (16 unnumbered pages : illustrations ; 30 cm.). , 30 cm. +
    Content: MACHINE-GENERATED SUMMARY NOTE: "Plastic waste and its repercussions on the environment is a widely discussed topic in today’s news. It appears as if the positive characteristics of oil based plastics, physical properties that made them gain popularity in the first place, get outshined by the excessive use, inadequate disposal and unsatisfactory recycling options available today. It is important for politicians, designers, producers and consumers alike to be aware of the plastic crisis and take responsibility in implementing change. A reference for positive sustainable adjustments are the principles of circular economies or cradle to cradle design. These adjustments demand changes in the way products are developed, produced, consumed and reclaimed, and take a long time to be implemented. For consumers, it can be disillusioning to see the effects of plastic waste getting discarded into landfill or littering city streets, and to know at the same time that recycling programs are not the optimal solution for these materials either. However, seeing creative, educational or scientific approaches to the problem can be an inspiration for tackling plastic waste on your personal account. In my research, I am going to break down the basics of plastic materials and the plastic crisis, as well as the concepts of sustainable design and its challenges. Analysing present attempts at tackling this crisis creatively is going to be the foundation for an experimental study on plastic waste, which will aim at finding ways to manipulate the material with simple techniques and household items. The findings from these experiments are going to be applied in designing a product line, whose step-by-step instructions will be shared in a community-driven database and can be reproduced by people of all ages and skill sets."
    Note: DISSERTATION NOTE: bachelor thesis in Product Design, Berlin International University of Applied Sciences, 2019. , MACHINE-GENERATED CONTENTS NOTE: INTRODUCTION : Problem statement & aim -- Methodology -- Motivation -- PLASTIC : Introduction & plastic crisis -- Classification and types -- Physical properties -- Production & manufacturing methods -- Current waste management & its limits -- Future of plastic materials -- SUSTAINABILITY IN DESIGN : Urgency and challenges -- Cradle to cradle design & circular economies -- Sustainable plastic design examples -- Greenwashing -- Bottom-up design -- DESIGN BRIEF : Context & relevance -- Challenges -- Value proposition -- Competitor research analysis -- Target group -- User journey -- Conclusion -- Bibliography. , SUPPLEMENT NOTE: accompanied by a supplement entitled: Exploring a bottom-up circular design approach in an experimental study on plastic waste : project (16 pages).
    Language: English
    Keywords: Academic theses ; Academic theses
    URL: FULL  ((thesis and supplement))
    URL: FULL  ((thesis and supplement))
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  • 8
    UID:
    kobvindex_INT5502
    Format: 65 pages : , illustrations ; , 30 x 21 cm.
    Content: MACHINE-GENERATED SUMMARY NOTE : "Any sufficiently advanced technology is indistinguishable from magic."- Arthur C. Clarke We are living in that future which about half a century ago Prolific Science fiction author Arthur C Clarke was professing in his attempt to define the boundaries of the possible future (Clarke 1962, 33). The technologies humankind has been using in their daily lives now are in many ways far more wondrous than the Entertaining Magics of old time with use of trickery and sleight of hand. We can comfortably say that our very common household remote controllers are even more capable than the magic wands of the wizards which they used to manipulate elements and objects (Fictional). We have reached an age where there is technological advancement to solve most of humanity's big problems if sufficient attention and effort is put into it. Although a bit slow, we see the sign of change with the focus shifting from fossil fuels to more sustainable forms of energy to address global warming issues. One area the technology integration has been excelling is the daily use products in common households. Our household devices which were clunky, cumbersome and somewhat difficult to operate have become slicker, smaller and so intelligent that they started to sense our needs and do what is needful for the moment. Heating systems are adjusting the temperature based on the user's preference of comfort, lights are turning on or off or even changing colors to match the mood of the user. More products are getting designed around the users and keeping their needs in the front and center. Technological advancements are being pushed to provide more understandability, convenience and ease of use of these kinds of products for many different demographics of users. These household devices are generally termed as smart consumer products because of their intelligence provided via sensors and connectivity with the internet. Consumers of these are slowly getting used to having household devices that can operate without conscious intervention. Interaction with these products are designed to be as optimal as possible, so that the users can receive the intended function without much effort of tinkering with the device itself. Also the interfaces are being brought down to context sensitive display screens on the device or just a smartphone that can connect to the device via bluetooth or wifi network. Two other other modes of interaction which are getting popular are voice and gesture. The benefit of these interface modes is that they use senses other than vision. That's why these interfaces are opening up new paradigms of interaction that can be more natural and intuitive to human cognition. These are also greatly advantageous to ensure accessibility for the users who face challenges to operate vision reliant interfaces due to vision impairment. However these other modes of interaction are still in their relative infancy. Upon investigating Gestural interfaces I have found that although the technology for sophisticated human gesture recognition and implementation for common household use has been in the market for more than a decade (e.g. Microsoft xbox Kinect device introduced in 2010, Samsung gesture control tv introduced in 2012), yet gesture control interfaces are very rarely implemented in mass for mainstream devices. Despite its obvious limitations in accessibility Visual only interface is still dominating the market, whilst until very recently voice control interfaces are getting popularized through smart home devices as Google home or Alexa by tech giants like Google and Amazon respectively. Part of the problem for gesture interfaces not having mass market appeal is that there is no established standard for implementing gesture-based interfaces that will create a consistent and predictable experience across multitude of available devices consumers use in their day to day life. References of Gesture-based Interfaces portrayed in popular media (e.g. Hollywood movies like Minority Report from 2002 or Ironman from 2008) are interesting to look at but don't really translate to real world implementability. So to ensure an acceptable, functional and enjoyable gesture-based interaction experience between the device and the users a tried and tested set of guidelines needs to be in place (Norman and Nielsen 2010, 46). These guidelines will be the stepping stone whenever an interface designer approaches to design gesture based interface for a device. In this paper I am going to propose some of the guidelines for implementing gesture-based interfaces for smart consumer products starting with assumptions derived from ethnographic observation, user observation, user interview and literature study. I am going to test these assumptions through user tests with different types of users with a simulated gesture-interface test rig followed by interviews. A Gesture set for a common household device will be designed to demonstrate how the guidelines come into play while designing gestures for smart household objects. I believe the set of guidelines from my research will be helpful to save time and effort for future gesture-based interface designers. These also will help to provide a better experience for the fully able users as well as users with disabilities to interact with gesture-based devices in their day to day life.
    Note: DISSERTATION NOTE : submitted as b-pd Berlin International University of Applied Sciences, 2021 , MACHINE-GENERATED CONTENTS NOTE : Table of Contents 2 Introduction 5 Gesture Interface 9 Smart Consumer Products 12 Considerations and Assumptions 15 Approachability 16 Acceptability 16 Inclusivity 16 Equitability 16 Approachability Assumptions (13) 17 Acceptability Assumptions (16) 18 Inclusivity Assumptions (10) 20 Equitability Assumptions (5) 21 Applied design research 22 User Test 22 Test Equipments 22 Personnels 22 Test Plans 22 Interview questionnaire 22 Test equipment Description 23 Personnel Role Description 23 Test Coordinator 23 Test Assistant 23 Test Participants 24 Test Plans 24 Interview Questionnaire 24 Performed Tests 25 Test Set 1 25 Test Setup 26 Test Plan 26 Test Outcome 28 Observation 28 Interview 29 Analysis of Outcome 31 Pattern of Gestures found 31 Findings 31 Assumption Status 32 Test Set 2 32 Test Setup 33 Test Plan 34 Test Outcome 35 Observation 35 Interview 35 Analysis of Outcome 38 Pattern of Gestures found 38 Findings 38 Assumption Status 38 Simulating other disabilities 39 Guideline for Gesture-based interface implementation 40 Use warm and welcoming Aesthetics 40 Provide additional mode of interaction 40 Provide Multi-sensory Feedback 41 Provide ongoing visual and audible cue when appropriate 41 Provide assurance on Privacy 41 Design gestures with room for inaccuracy 41 Calibrate the gesture recognition 42 Leverage the understandability and familiarity of Instinctive gestures 42 Have distinction between Interaction Gestures and Natural gestures 42 Design gestures that are performable without involving fingers 42 Check the gesture for cultural appropriateness 43 Gesture Design in Action 44 Designing Gesture set for a Household Device 44 Diagram with linear visual representation of performable gesture 48 Analysis of a Designed Gesture 50 Attributes of the gesture 51 Design Method 51 1. Identification of instinctive gesture pattern 51 2. Checking the gesture for inclusivity and equitability 52 3. Refining the gesture 52 4. Testing the gesture with user 52 5. Checking cultural appropriateness 52 Conclusion 53 Appendix 1 55 Design Project 55 Product Description 55 Design Scope 55 Design Approach 56 Features influenced by the Guideline 56 Shape and form Aesthetics 56 Multi Sensory Feedback 57 Ongoing visual and Audible cue 58 Assurance on privacy 58 Product feature and benefits 59 Product user demographic 59 Bibliography 60 List of Figures 63 Colophon 64
    Language: English
    Keywords: Academic theses ; Academic theses
    URL: FULL
    URL: FULL
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  • 9
    UID:
    kobvindex_INT0004886
    Format: 89 pages : , richly illustrated, plans ; , cm.
    Content: MACHINE-GENERATED SUMMARY NOTE: "Micro-apartments are a trend which is rising in the metropolitan cities in recent years. These single-room apartments are in high demand by young professionals due to their lifestyle. Research has shown that because these micro-apartments have no separation of different functionalities, people search to solve this problem. People use standard solutions or products to solve. It generally comes with the problem of hard to carry it around when they move and high prices. This study aims to discover further possibilities to design a divider that is more suitable for the specific target group, including literature research and interviews. The design aims to cover sustainability, portability, and affordability and make it more available."
    Note: DISSERTATION NOTE: submitted as bachelor thesis in Product Design, Berlin International University of Applied Sciences, 2020. , MACHINE-GENERATED CONTENTS NOTE: 1. Introduction 1.1 Problem statement & aim 12 1.2 Methodology 16 1.3 Motivation 17 2. Sustainable Design Solutions for Micro Apartments 2.1 Definition of micro apartment 2.2 The rise of Micro Apartments in Berlin 24 2.3 Separation of functionalities in small apartments 28 2.4 Room dividers: Current Competitive Landscape 38 2.5 Sustainability in design 48 3.Concept 3.1 Context 56 3.2 Design briefing 3.2.1 Target group 58 3.2.2 Challenges 60 3.2.3 Value proposition 61 3.2.4 User journey 62 4. Design 4.1 Key visuals 66 4.2 Materials 72 4.3 Specs and dimensions 74 4.4 Packaging 78 5. Conclusion 81 6.Bibliography 83
    Language: English
    Keywords: Academic theses ; Academic theses
    URL: FULL
    URL: FULL
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  • 10
    UID:
    kobvindex_INT5488
    Format: 34 pages : , illustrations ; , 30 x 21 cm.
    Content: MACHINE-GENERATED SUMMARY NOTE : "We see only when there is light enough, taste only when we put things into our mouths, touch only when we make contact with someone or something, hear only sounds that are loud enough. But we smell always and with every breath. "(Ackerman 1990, 6) How humans perceive and understand space is mostly directed by the five main senses sight, hearing, smell, taste and touch (Bradford 2017). The first impression and general atmosphere in interior design is shaped through visual perception, which is why it receives most dedication during the design process. The other four main senses often come secondary, but can still be included, some easier than others, to shape the impression and experience a space provides. Smell can be as important as sight since it triggers an immediate response in how we evaluate a space, an object, or a person and is always present (Ackerman 1990, 6). The aim of the thesis is to explore and discuss how scent can be used in interior design to improve wellbeing in working and learning environments, while simultaneously looking at the different ways of representing it. It is also highlighting the effect of smell stimuli in relation to interior design, as the topic is not widely explored, although the great effects on the human psychology are scientifically proven. Common mental health problems caused by workplaces are burnout through overworking, and associated with it, depression and anxiety (Koutsimani, Montgomery, and Georganta 2019). A study shows that 76% of surveyed employees, in the US, experience burnout on the job at least sometimes (Gallup 2020, 2). Most common symptoms are fatigue, sleep disorder, reduced performance, and concentration and memory problems (Schoen Clinic 2020). In another study, the number of surveyed students experiencing academic burnout hovers around the same number, at over 80% (Critchfield 2019).
    Note: DISSERTATION NOTE : submitted as bachelor thesis in Interior Design / Interior Architecture, Berlin International University of Applied Sciences, 2021 , MACHINE-GENERATED CONTENTS NOTE : 1. INTRODUCTION 1.1 Thesis Topic, Context and Aim 1.2 Methodology 2. SENSE OF SMELL 2.1 From nose to brain 2.2 Smell psychology 2.2.1 Memory 2.2.2 Anosmia and depression 2.2.3 Smell language 2.3 Effect of smell on mood and work performance 3. SCENT IN INTERIOR DESIGN 3.1 Smell Toolbox: Focus group 3.2 Use of scent in interior spaces 3.2.1 Invisible White 3.2.2 Olfactory Labyrinth 3.2.3 Anthropodino 4. CASE STUDIES 4.1 Waiting Room Experience 4.2 Multisensory game-based learning 5. COMPARATIVE ANALYSIS OF THE CASE STUDIES 5.1 Similarities / differences and their meaning 5.2 Application of scent stimulation 5.3 Transferable factors when it comes to working and educational spaces 6. DESIGN PROJECT 6.1 MonoDia 6.2 Greener 7. CONCLUSION LIST OF FIGURES BIBLIOGRAPHY
    Language: English
    Keywords: Academic theses ; Case studies ; Academic theses ; Case studies
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