The top row explains to users how to link their devices with the cinema/playscape, temporarily named Moove-moove (Pronounced “move-movie” because I can’t think of a name that’s easier to relate to). The second row shows home page and the other main pages.
Few things I would like to address with this post:
Big picture: Narration of the immersive experience
Inspiration for the experience design (Analysing existing experiences, how could my experience be something unique? a) Energy levels, b) Space design
Sketches, Form of Equipment and Rationale
Technology & FYP Booth
ONE. Big Picture
Narration from a first person POV:
I approach a space where I can hear excitement coming from, to only see part of the excitement going on as flashes of light and sound emitted from a small entrance to an interestingly-shaped enclosed structure.
Entering the doorway, a score board lies in my line of sight, displaying usernames and “_ _ _ kcal”, and I do not comprehend what that means until later.
At the entrance, floor projections leading into the activity area listed the instructions to interact with the space inside. – Download an application, enter your name and personal information.
The space is covered in patterns, projected from overhead. They look dynamic, in sync with the energy levels in the room. The projections also blanketed the interesting, enticing and tactile structures in the room that looks inviting for me to take a seat, a spot where I can observe what is going on. As I take a seat, the light senses my presence and brightens with my presence, then dulls down to darkness in my spot while I sit for another 10 minutes. It is like the party quietened in the spot that I sit on.
Suddenly, the projection recedes, as if they are leaving through a focal point in the wall. At the same focal point, a regular rectangular screen appears, and a loud voice booms through the speaker “Batman Telltale”, together with the tacky background music. Instruction appears on a corner of the screen – for its audience to tilt left, right, hop and stoop in order to move on to the next screen, go back, change program, or select another program, or make decisions in the storyline – during the lead in. A box appears on the top right hand corner – stating the decision of the majority of the people in the place.
-> Using movements to direct what you want to see or what’s happening.
Intuitive ways of using movements to direct:
Tilt right/step right -> Proceed
Tilt left/step left -> Back
Hop (Upward motion) -> Next program
Dip (Downward motion) -> Previous program
2 commands: IF-THEN-ELSE-THEN-IF (2 options)
(The story starts.) When the group of people tilts, the space acknowledges action with light and colours. When the majority tilts right, a wave of light hits from the left to the right of the whole projected space.
DURING LONG HOURS OF INACTIVITY. The sensors senses it, and the space becomes an exploration game. In the dull dark room appears a curious ray of light, inviting people to step in it. When the person does, the light hops and hops and hops to furniture in the room, hops on the furniture, and invites the user to climb on. Once that is done and more activity can be sensed, the room brightens up as if it feels the energy of the people in the space, and programs continue to be played to entertain its guests.
Apart from storylines, include:
• Mixed media, for reference, Snapchat Stories.
• Reality TV related to sports and gameshows for eg. running men, the best/funniest moments of reality tv (just an idea, it can be like a mixed media channel by Netflix, each program taking minimally 90 seconds )
LEAVING THE ROOM -> The phone sensors tabulates the total amount of energy consumed by the person (in kcal) and it is displayed in your personal app.
TWO. Analysing the Spatial aspect of other experience designs
From left to right, first row -> Theme Parks, Clubs, and SEA Games
From left to right, second row -> Horse Racing, Interactive gyms
The desired effects lie very close to the experience of a club – > Different levels of energy from high to low. A transition point being the counter/bar to energise/lose some steam. The full picture completed by disco lights and the music. The life of the party (DJ booth), and the dance stage being the center of attention, where the party gravitates to, like a focal point.
THREE. Sketches, Form of Equipment and Rationale.
Form of equipments: Taking inspiration from mobius strips (See previous post for older sketches) to create different equipments for creative play.
^ On mobius strips
Experimental models of mock ups – using paper. From the mock ups I played with, I realised that mobius strip furniture idea can be explored further.
Booth: I’ve considered 2 options to give the industry reviewers a droplet of the full experience.
Option 1 (Crazy)
Scaled model of the space
Screen showing application, space rendering, a video of the transitions between programmes and game shows.
Sample interactive project taken from https://threejs.org/ closely related to the idea of Rewarding Movement.
Interactive projection of (3) on 5. a scaled down mobius loop chair.
Option 2 (Less crazy)
Scaled model of the space
Screen showing application, space rendering, a video of the transitions between programmes and game shows.
Projection directly on the scaled model
Peer, please advise me in this. If option 2 is approved, I can find collaboration with others (IM/engineering) to make the interactive projections and motion sensors, because I should focus on the screen, space and furniture.
Broadly, we know that if you don’t capture a member’s attention within 90 seconds, that member will likely lose interest and move onto another activity. Knowing we have such a short time to capture interest, images become the most efficient and compelling way to help members discover the perfect title as quickly as possible. After all, the human brain can process images in as little as 13 milliseconds.
Consider Brutalism as architecture in the raw, with an emphasis on materials, textures and construction, producing highly expressive forms. Seen in the work of Le Corbusier from the late 1940s with the Unite d’Habitation in Marseilles, the term Brutalism was first used in England by the architectural historian Reyner Banham in 1954.It referred to the work of Alison and Peter Smithson’s school at Hunstanton in Norfolk because of its uncompromising approach to the display of structure and services, albeit in a steel building rather than reinforced concrete.
Part sculpture, part architectural installation, all play.
The Brutalist Playground is a new commission by Turner Prize nominees Assemble and artist Simon Terrill, exploring post-war design for play.
What to look for in a brutalist building (an architectural style, not the idea of a playground)
Rough unfinished surfaces
Small windows in relation to the other parts
Design for play can take many forms. The Brutalist playground invites children to the place for unstructured play. There’s no obvious equipment pressing users to grab any poles and start doing pull ups, there’s no expectation of how to use the space but to move and explore being on various parts of it. Cubes can be moved/stacked/sat on/stood on etc. Without any strong identity which tells the users what to do with it, the users can use them for any purpose they want. This will work better than a usual playground because a usual playground (made for children and adults) speaks of predictability and routine.
Studying a HDB estate with an interaction area consisting of play/exercise areas for 3 different age groups, I noted the distinct differences between the spaces.
Design: Strong narrative (images), engaging for the senses: sound, sight, touch.
Design: More exploratory, movement-play (which allows the child to challenge his/her physical abilities), less narrative, visually engaging (colours, texture). A combination of different movements.
When I was a child, I would go there for a game of catching/game of crocodile on the “terrains”, or to challenge myself to use the features under preset conditions (ie climb from one end to another without touching the floors/certain colours).
A playground can encourage many types of movements and also one type of movements. Other movement-play examples for adults: Bouncy Castle in South Bank London by Candy Crush.
How easy is it for people to stay at the outdoor movie area?
How do I balance between the various reasons for coming?
My answer for that is to provide the option for different levels of engagement.
I refer to readings and credit the thought process of John Falk, in his theory of 5 Different Kinds of User Experience. Based on his almost 40 years of research in the field, he has come up with 5 “experience types” which he says are pretty much universal in all people, regardless of demographic. These describe basic human needs. They are:
After research on John Falk’s theory, my answer for the first point is to look at the bigger picture and design for majority of these personality profiles.
What is needed:
Equipment which allows interaction
Newest concept as of now:
Using webbed surfaces as a seating and interactive tilting system for group tv viewing activities. I chose web surfaces because it allows constant movement as a default and fulfils the purpose of my project, which is to encourage physical movements. The use of webbed surfaces are supported by the point that a way of encouraging physical activities is through social interaction. Webs create a sense of awareness of new additions to the seating area and also urges the sitter to move and adapt to new additions. Activities which allows the users to gain credit for shows will take place on a separate hard surface, incorporated with tilt and infrared sensors. (SKETCH)
The comments received are as below:
Some people would not visit the place because they prefer to watch TV shows in their own comfort zone.
Its institutionalising the exercising and moving part of the experience. It becomes as stick approach instead of a carrot approach.
It is ok to institutionalise the business.
Has to be grounded instead of suspended, not ergonomically friendly to sit on or manuveur around especially through the middle of the net.
Take a look at Joe Colombo. (Design philosophy: He believed that “all the objects needed in a house should be integrated with the usable spaces; hence, they no longer ought to be called furnishings but ‘equipment.'” These “dynamic pieces of furniture” were useful because “habits change, the interior of rooms has to change with them.”) Link: http://www.r-and-company.com/biography_detail.cfm?designer_id=51
Rethinking the concept:
The project that I have come to design is speculative, assuming that people will be motivated to make changes to their lifestyle and that the idea will appeal to the general public.
Through this project I hope to help to cultivate an awareness of the negative effects of a sedentary lifestyle and subtlely change the behaviors of long hours of sitting. I embarked onto this project with the assumption that there will be a greater awareness of the effects of sedentatry lifestyle and hoping that people’s aspirations will be sufficient for the project to take off. These are dangerous assumptions taken that design, aimed to be behavioral changing, operates within an intricate web of socio-cultural and economic situations. Hence for the project to take off, it has to be contextualised and meet real needs. It needs a stepping stone for it to be applied into the real world.
Looking at corporate companies which have greater incentive to make such things happen are companies which has a welfare system for its employees. Technology companies and creative offices such as Google and Apple offer flexible and creative work environments.
Quoting Craig Nevill-Manning, on Google’s philosophy and its real physical embodiment in the architecture of Google:
“The philosophy is very simple,” Mr. Nevill-Manning said. “Google’s success depends on innovation and collaboration. Everything we did was geared toward making it easy to talk. Being on one floor here removed psychological barriers to interacting, and we’ve tried to preserve that.” Among innovations that sprang from seemingly chance office encounters are the Google Art Project, which is putting thousands of museum works online, and enhancements to the company’s AdSense and AdWords advertising platforms. Razor scooters make it easy to get around the huge floors (each covers five acres), which offer every conceivable gathering space, from large open spaces to tiny nooks with whimsical furniture.
The experience product I design has to cater to a certain age group. As previously mentioned, the age group is young adults 20-39 years of age, in the initial stage, becuase they are early adopters of technology and are more receptive of new ideas. This has to be further narrowed down, specifically to people who spend majority of their time behind screens in order to be more convincing.
To broaden the range of activities offered by the space, I researched on the equivalents of 2-3 mins of walking per hour, as recommended by studies.
The article link below shows other activities which have an equivalent Metabolic Equivalent of Task (MET) of MET 3.0-6.0:
The activities can be classified as aerobic, muscle strengthening and bone strengthening activities, described below.
Aerobic activities require moderate physical effort and include, but are not limited to: biking slowly, canoeing, ballroom dancing, general gardening, using your manual wheelchair, arm cycling, walking briskly, and water aerobics. Examples of vigorous activities are basketball, jumping rope, running or bicycling on hills, soccer, m laps, and martial arts.
Not sure whether you are at a moderate or vigorous activity level? Try the talk test. If you can talk while you are active, then you are participating at a moderate level. If you can only say a few words without stopping to catch your breath, then you are engaging in vigorous activity.
Strengthening activities work all the major muscle groups – legs, hips, back, chest, stomach, shoulders, and arms. These activities include, but are not limited to: lifting weights, push-ups, sit-ups, and working with resistance bands. Don’t have weights? Common household items such as bottled water and soup cans can also be used.
Bone-strengthening activities produce a force on the bones that promotes bone growth and strength. This force is commonly produced by impact with the ground. The good news: bone-strengthening activities can also be aerobic and muscle-strengthening like running, jumping rope, basketball, tennis, and hopscotch.
Perhaps the types of activities can be simplified into stretching, walking, lifting, pulling/pushing, hitting, jumping, climbing etc. The space should be able to accomodate a few of these activities.
According to this article walking 2-3 mins per hour is not a panacea to sedentary lifestyle. The mandatory 250 mins of exercise per week is equally important for good health. Perhaps if the space is able to accomodate actual 250 minute worthy work outs, it will be able to capture a wider audience who are seeking to spice up the experience of exercising.
Below is the refinement before the proposal of ideas. My previous proposals tried to please too many aspects – the project might never be satisfactory, because it will never be able to solve all the problems properly. Besides, there is no real problem between the choice of activities of outdoors VS indoors, and there are equally healthy options for indoor activities.
Hence I have streamlined the most important problem of modern forms of recreation – level of physical activity – and split it into two extreme ends. From the survey, most people do not know what is sedentary activity, the negative consequences, the correct ways or turning the effect around, and ultimately, most are not too conscious of the amount of hours they spend sitting/not moving. An active lifestyle stimulates the happy hormones, and reduces health issues and mortality. The common idea of an active lifestyle is 250 mins of exercise a week, as defined by WHO, but this does not cancel the effect of sedentary lifestyle. Hence to really be healthy, we have to look into how we manage during our inactive hours.
The survey results states that most people surf the net/watch TV for recreation. Hence I would like to improve activeness during the TV watching/bingeing hours.
Previously I proposed the concept of “positive addiction”. This still applies to the project as I’m working on turning TV watching – an unhealthy addiction which allows other habits such as binge eating and long inactivity to form – into an activity which makes use of “enjoyment” to help people get used to moving at TV intermissions/intervals to cancel out the negative effect while they TV binge.
2 ideas were proposed previously- (1) Food + Exploration, (2) Pop up Cinema.
With the realignment of the issue identified, I have decided to go with (2).
(1) is a confusing concept, walking to reduce sedentary lifestyle as part of the project is an indirect effect. Most cheap thrills as such (eg. Pokemon Go) does not hold attention well, and passes quickly. It becomes an activity that people engage in out of convenience of being at certain locations, not purposely done because it has lost its novelty.
(2) can be tweaked to give a direct cause and effect between watching TV and light physical activity. The real reward of watching TV nowadays lies in being able to watch TV without ads, skip to any part of the show you desire, instead of “finding a popup cinema” which I previously thought would be interesting.
Research has shown that breaking up long hours of inactivity better cancels out the effect of sedentariness. Hence by combining the desire to skip ads and need to break up long hours of activity, I think it might be more logical to give the audence the choice to skip tv ads – by doing some light physical activity.
Nevertheless the activity has to be enjoyable. Through the survey, I have also collected responses as to what is “enjoyable”, and social interaction, being one of the key to enjoyment, cannot be left out of the equation.