Goal: To measure the angle of tilting as the sitter tilts (analogue to digital) – IF the seat tilts towards right, MCU will process the command and through wireless net, send it to the server.
Load Sensor (Input) on both sides of the chair.
• Strain gauge/Pressure Switch/Load Cells
• Active sensors require external power source
• Analogue (Output changes continuously over time)
Power source (charging port)
Power storage battery
Controller or system amplifier
Wifi DLNA, Wi-Fi Direct with P2P-Client, and P2P-GO
Cloud services support to assist in the development of cloud-based applications for use with the IoT.
Why not mobile phone? In real life its highly inconsistent, tested video_2017-04-05_16-12-56 using a mobile phone app Catkun. Check out the Sensmark article about the consistency of gyro sensors across mobile phone brands. Its value is also subjected to external factors.
Inspired by the orchid for its out-of-the-world, irregular form.
Things to include while detailing (& Observations from sail ships):
tensional strings to hold down the structures and the connection
Rain cover (using tensile screens)
Fabric joints (because large pieces of fabric are joint by many smaller pieces)
bulge within pieces of fabric because of inflation
Updates on the detailing (& Eye level view)
Opted for a less exaggerated inflation because the outcome looks better than that for a rounded air chamber/tube-ish thing. Looks more subtle with shallower indents between each air tube. This means that the way the fabric joins will be at the curved area.
Large pieces of fabric sewn vertically, so that theres no fabric joining marks on the exterior surface.
What if the screen is curved upside down?
Inspiration of the entrance area taken from the curvature of the orchid.
Curvature of the entrance is more ergonomic for a projection from a human’s POV from the ground. Neck tilt cannot be too high otherwise it will look like watching from the front seat of the cinema. A human being’s depth of vision is 114 degrees horizontal-wise. Considering that, I have to decide how big the seating area is. From the center of the cinema, a person must be able to see the whole screen.
Two screen curvatures.
Both intersection marks the area where a person sits. First picture shows back of the theatre while the second shows the middle of the the theatre.
Orchid-Inspired designs research
• Tilted the panels for more organic look and feel. Straight lines are too geometric in appearance, vertical lines create a sense of seriousness.
Currently modelling this in Rhino. Bent convex metal piece in T-shape/or H shape. Curvature inspired from bounce stilts from Kingsmen’s female assassin – sleek, flexible, responsive.
Moving in two different direction is a visual input for motion sickness. Thus I narrow down the direction of tilt to only one – left and right. Amount of movement – gentle tilt that the seater can feel and detectable by the machine through weight on different parts of the seat.
I like this grouped seats in the image above. I like the minimalistic frame for grouping the seats together. I feel like this can tilt the chairs all together, creating an element of competition between seaters of different chair units.
Below is the exploration of levitating the chairs, and stacking them using temporary bleacher platforms (boring—).
The last sketch is a projector/sound system inspired from Star Wars machines.
Bring back stacked tilting chair instead of inflated.
Opt for a more opened up form.
Spot printing tribal patterns on the surface of the inflatable dome.
Ron Resch‘s geometric tessellated origami folding, folded structures which offer more possibilities than Buckminister Fuller’s Geodesic Domes. They are easy to set up, offer many shape possibilities, and they are visually stimulating with planes and patterns. (BMF’s domes can be constructed in very limited ways – with tensile supports and fabric, and full inflation with air blowers.)
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.
Whether you’re throwing a corporate event or building a virtual reality game, creating an experience that truly immerses an audience is no easy feat. I spoke to writers, game designers, immersive theater producers, and others on the forefront of experience design and asked them all the same question: What do you think is the secret to creating an immersive experience or world? Here are their top tips.
Use Details To Make Your World Feel Big And Alive
“Pay attention to the details. The little, transformative things are what bring a setting to life, and if they ring false, they can jar the viewer/player/reader right back into the real world. For example, when I wrote my first Halo novel, I included a passage about how warm and familiar the sun’s radiation felt on the narrator’s skin when he returned to his home planet, compared to all the other worlds on which he’d been fighting aliens. One of the writers at 343 Industries, which now produces the Halo games, called out how he loved that bit because it anchored the character and made the story feel much more real to him.”
— Matt Forbeck, game designer and author of books such as Halo: New Blood, which builds off the game franchise’s expanded fictional universe.
“Create a list of every element within the party and design it to your vision. We make a big list of elements within the party then customize each to suit our theme. How are the waiters dressed? How are the guests dressed? What sort of drinks are you putting in their hands? What is the food and how does it look? To throw a truly fantastic event you have to customize every element to your satisfaction.”
“When you’re creating an immersive experience you’re inviting someone into another world, you want to be a good host. That means providing a sense of place, and a sense of a world beyond that place. Audiences crave a sense that the portion of the world they get to see and explore is part of something larger, even if they never see it. This is as true for an immersive environment that never leaves a small room, or an epic feature film. If a breeze is coming from somewhere in the virtual space – the human audience knows that there’s a world with wind and gravity out there subconsciously. We all crave these details to understand the world around us, it’s satisfying and exciting to explore these worlds. To make a truly transportive experience, audiences crave the sensory richness we would find in the real world around us–not only visually–but in the care and attention to sound, scale and the imagined world off-stage.”
-Caitlin Burns, COO of Datavized, an immersive design and technology lab specializing in WebVR and data visualization. She currently serves as Vice Chair of the Producers’ Guild of America’s New Media Council and East Coast Co-Chair of the PGA Women’s’ Impact Network.
At this BBQ Films event for “Teenage Mutant Ninja Turtles”, audience members were cast as members of the Foot Clan (Photo: Jacob King for BBQ Films)
Be Clear About Your Expectations From The Audience
“We are social animals, so the single best element of a transportive event are the people that are in it with you. We start all of our ideation with a simple call to action. What version of self are we asking our guests to be when they walk into our transportive cinematic world? Are they good, or bad, or both? Are they prom-goers? Are they villainous trainees? Are they just out to save the Empire? If we get social setting right, then each audience member is part of a bigger whole, and everyone can feel it. And it feels good.” -Gabriel Rhoads, co-founder of BBQ Films, a New York-based event production company that specializes in immersive cinema.
“The old rule that there’s no such thing as ‘character’ but instead there’s only “action” applies to the role of the audience in an immersive experience. I always give the audience a clear task or work to do. Rather than try to create a complicated backstory for the audience—which usually leads to boring exposition—give them something to do. That action will tell them who they are, and how they should relate to the other characters in the story world.” -Michael Rau, co-founder of the narrative technology company Wolf 359, and co-creator of “Temping”, an interactive installation performed at the 53rd Lincoln Center Film Festival.
Provide A Sense Of Status
“Provide the audience with a clear sense of status. More so than anything else—immersion, choice, etc.—status helps participants see how you are inviting them into the story world or experience you’re creating for them. That doesn’t mean youhave to cast them in a role per se, but you do need to let them know they have a role to fill, however large or small. Transformation, therefore, starts with properly positioning people towardsplay.” -Byron Laviolette, Creative Director of The Mission, an experience design agency based in Toronto. He also holds a Ph.D. in Interactivity and Play Theory.
Use Limitations To Your Advantage
“If you’re putting on an event, think about the unusual characteristics surrounding your venue, then devise a way to best utilize these atypical circumstances. Some of the most creative expressions are born from having to circumnavigate a limitation with the venue. here are times when I’ve devised an entire map-point system with actors simply because I didn’t know how else to get people to find the venue. Another time, there was an elevator that we didn’t know what to do with, so we hired an actor to steal people from the party for a 1-on-1 storytelling experience.”
“Be generous with the amount of agency you give your audience. Once you’ve created a space that is different from daily life, allow your visitors to engage with it in a meaningful way. Adults carry with them the innate desire we all experienced as children: to play and to pretend. This is not a childish desire, but a human desire. Where do audiences want to be transported? In some ways, we want to go to a place that feels new and exciting, but perhaps what we want more is to be present and experience our true self.”
-Andrew Hoepfner, creator of the immersive theatrical production Houseworld.
“The unparalleled sense of presence that VR provides has lead the audience to question their agency within the worlds they explore. Choice is no longer enough. Let go of traditional narrative and experiment with emergent storytelling. This will become increasingly important as the Maker Generation matures with this new medium.”
-Stefan Grambart, Creative Director of Secret Location, whose past projects include the Sleepy Hollow VR Experience for FoxTV.
Create A Space That People Can Project Themselves Into
“For a world to be truly immersive, you have to leave it unfurnished, and without wallpaper. This flies in the face of the unwavering trajectory towards 360-degree construction. But I’m talking about the invisible stuff. The walls no one else see. The armchair in the corner with the childhood cat that nobody notices. The laughter that shakes free a piece of mental chewing gum that has been stuck in your hairy memory for decades. It doesn’t matter if it is a book where words trigger detailed mind films, or if it is a contraption filling your vision with undulating panoramas, or it is an installation with kettles and faxes and hands to touch. If the player’s self isn’t imported into the world, it’s all paper thin. They have to project themselves into it in some way. They need to hear their breath in order for it to be alive.”
– Christy Dena, writer-designer-director atUniverse Creation 101; Cofounder of Forward Slash Story; Chair of Games, SAE Creative Media Institute.
“For a successful immersive experience, put your audience at the center of the work, and think about it from their user perspective. If the audience is made the protagonist, they will see the most meaning and relevance for themselves. They don’t have to role play, but the work will serve as a Rorschach for them and create layers of meaning in the space that you allow for their agency and interpretations.”
-Tom Pearson, co-artistic director at Third Rail Projects, which puts on immersive theatrical and dance productions that include Then She Fell and The Grand Paradise.