What is The Immersive Physical Experience?
The space is defined by its boundaries e.g. walls. When activities and engagement are developed within, the space turns into the place.
Physical experience design incorporates elements from user experince design, architecture and behavioral design among others.
Meanwhile, the immersive experience design reinforces the multisensorial perception. Most commonly, the immersive experience design is discussed in the context of XR.
The immersive physical experience design production is embedded into the creation of a world of its own. While the experience detaches the audience from mobile devices and headsets, it allows a break from the noise coming outside.
The immersive experience design consists of generative non-linear storytelling, spatial audio, projection mapping, lighting, machine vision and sensor technology integrated into an environment.
With these tools, the immersion and interaction with physical and digital content create and transform the everyday space into a meaningful and collective engagement in the physical place.
What is Spatial Audio?
Spatial Audio is a technique of distributing sound in the physical or virtual 3D space. It enables us to have a better representation of how sound behaves in real life.
Spatial Audio delivers a sound field that deepens the sensory perception of our works.
Besides, surreal 3D soundscapes can be created using programming, sound design and different speaker set-ups.
What is Embodied Interaction?
This type of interaction supports visitors’ engagement in a contextual manner. The human body, its senses and place are taken into consideration.
Embodied interaction shapes and augments human cognition coupling motor movements and senses, including the interaction and environment itself.
The phenomenological shifts are focused to all senses beyond the audiovisual, from action-centred skills to motor memory.
We use cutting edge technology such as sensors, trackers and data scraping to bring meaningful communication between the human body, tangible objects and the physical and cyberspace.
What are the different design terms used at our services page ?
Incorporating Design Sociology with design research methods among other fields of expertise lies in sociological research interests.In order to enhance the engagement of publics and stakeholders and promote change in social agenda, uniting these fields of science benefit the interventions that encompass future.
Participatory and Co-Design:
Participatory design orignates from social right movements, meaning to facilitate social change by improving living conditions of the people within the community. By including participatory processes into the design process the excluded voices, especially those under marginalised social condition are enabled to be part of the development with their scope of interests through reflections,mutual learning, experimentation as action executed by multiple participants with diverse backgrounds.
The aim of the participatory and co-design is to re-evaluate societal power relations and identify inequality.
The lack of consensus can be met in co-design executions and as a design process should be viewed as a continuing and open process that might even lead into a conflict.
Critical Theory in Western tradition for reflective perspectives are grounded in various discourses including Marxism, feminism, racial and ethnic studies, media studies and psychonalysis. Not to mention the potential of Eastern reflective traditions like Buddhism creates a facinating direction to look in the field of HCI (human-computer- interaction multidisciplinary field of study).
As designers the values, motives, agendas are built into technology, and we shall pose a question on their effect?How can we find the blindspots in design decision making in order to empower life?
Whilst technologies reflect embedded cultural assumptions, in reflective design the questioning implicit values and assumptions take place. Instead of single- authorative interpretations, reflective design develops alternative ideas for possibilities obtained with multiple viewpoints.
While equally exploring alternative futures, implementing scepticism in ideals of mainsteam design, - critical design puts emphasis on merging together social and political theory.
Critical design as a research through design methodology renegoatiates the commercial and utilitian values even in provocative language and aims towards foregrouding the ethics of design practice.
It reveal hidden agendas and values by indentifying social and political dimensions of the objects and systems. When HCI as a field extends beyond usability and professional support tools the critical design recognises complexity and ambiguity. Recent approaches in HCI address social, aesthetical together with ethical dimensions focused on values-oriented design, postcolonialism, user experience, social justice and activism, Both the critical design and HCI have socio-cultural agendas implemented in lives of human and non-human, from policy-making to spiritual scapes, caretaking from childhood to senior age, from global social networks to cyborg identies.
Speculative design, contradictory to proble-solving, encourages to configure futuristic imaginary perspectives beyond expectations to be fully performing and functional design. Yet it is used to open up future possibilities while promoting initiatives by engaging publics and widening their understanding among latest technology and science.
Speculative design often communicates in manners of satire, exaggeration and allegory. It provokes participants of the design process not only rise questions on conventions and assumptions through speculative design artefacts and ideas it aims to discuss preferable futures.
It is commonly used method to propagate ideas but foremostly to speculate in a form of open debate and discussion environment, instead of usual forecasting, trend-spotting and generalisation.
The focus of the ludic design lies on deploying to supporton meaning making activities instead of on effiency, control and effectiviness in terms of technical, social pr psychological properties.
This is implemented on the use of the design space, probes and the design artifacts which design is avoiding clear and simplistic narratives. The activities should be based on curiosity and explorative with their ambiguous open-ended nature of design, focusing on how people make sense of the design through gestures and comments.
Ludic design can be considered to be an aspect of speculative design where its´ artifacts use scripts that should be liberated from cultural interpretation and personal and ethical meanings.
The aim of designed object is to promote reflection engagement through experience afforded by the designed artifact
The reflexive state will remain on worldview, its representations and among each other. It embraces to work towards alternatives instead of expected, traditional accepted norms and paradigms.
Ludic design is defined by Sengers (Sengers et al., 2005) as belonging to design exploration. The goal is not only to create original systems but also to introduce a reflective practice. “In the context of HCI, ludic design explores the limits of artefect and how ludic design can propose reflective practise, explore the values and material aesthetics with adability and plasticity of the design.
Ludic design as design exploration does not only create original systems but introduce a reflective practise through its playful and curiosity-driven engagements.
Adversarial, Agonistic Design and Design Activism: