Materials Experience: Fundamentals of Materials and Design
Abstract
http://www.amazon.co.uk/Materials-Experience-Fundamentals-Design/dp/0080993591
So much has been achieved and discussed in the materials and design domain in the last decade; some of which has found its place in design practice and design education, whilst some has yet to come to the fore and remains at a level of noteworthy points to be considered for the future of our societies and material possessions. This book presents a panorama of completed works and on-going discussions that are shaping, or are predicted to shape, our materiality, the selection of materials for products, and our understanding and appreciation of product materials. Presently we are witnessing the birth of a new body of knowledge termed ‘materials experience’, which systematically explores not only how people react to the varied physical material properties of things, but also to the diverse expertise that designers must possess if they are to positively influence people’s material reactions.
Materials Experience: Fundamentals of Materials and Design is a compilation of essential new reading for anyone whose work crosses the wide field of materials and design.
Supplementary resource (1)
Data
December 2013
... Since ancient times, humans have been regulating their emotional and physical health through their environments: through walks in nature, heliotherapy or hydrotherapy (Gianfaldoni et al. 2017;Aldahan et al. 2016). Despite the discourse on design and emotions (Desmet & Hekkert 2007; Karana et al. 2014), experience of space (Zumthor 2010;Pallasma 1996Pallasma , 2011Bachelard 1957Bachelard /2014, and healthcare architecture (Ulrich et al. 2008;Simonsen et al. 2022), research on how designed environments impact our mood and our health is limited (Dannenberg & Burpee 2018;Evans 2003). I have developed Affective Matter as a research area to investigate how material environments can enhance our health and wellbeing through the design of human-material interactions (Papadopoulou et al. 2019;Papadopoulou 2022). ...
... The social sciences took a material turn during the past decades, focusing on making, material culture, and embodied processes of meaning (Ingold 2013;Dolphijn & Van der Tuin 2012). Materiality has also been at the forefront of the design discourse: Researchers have been developing frameworks for evaluating materials, including their performative, experiential, affective, and sensorial properties (Karana et al. 2014;Pedgley et al. 2021;Desmet & Hekkert 2007, with Desmet & Hekkert (2007) particularly contributing to design and emotions. Materiality has also manifested in the design and computation discourse as an expansion of visual frameworks to incorporate material qualities, and making methods (Knight & Stiny 2015). ...
Our emotions do not always surface into our awareness, making it difficult to manage them and communicate them to others. Even when emotions do not reach our awareness, they still express themselves as physiological changes, often unperceived by ourselves and others. To aid in emotion self-regulation and increase the bandwidth of emotion communication, I designed a programmable affective sleeve that translates physiological aspects of emotions into material haptic action. The affective sleeve has been developed as a case study for Affective Matter. Affective Matter suggests a method for human-material interaction that enhances health and wellbeing.
I first discuss the three foundations of Affective Matter underlying the design of the affective sleeve: Embodiment, Entrainment, and Material Intelligence. I then proceed to the methods and results of an exploratory study I developed and conducted that tests the psychophysiological impact of the sleeve on 36 participants. The study results suggest that the pace of the affective sleeve’s haptic action can be programmed to regulate the wearer’s breathing pace to either have a calming or a stimulating impact on the wearer. The results also show varied affective responses to distinct haptic stimuli. Discussion of the results suggests future research directions and therapeutic applications for the benefit of individuals with mental health and neurodevelopmental disorders.
... Simultaneous consideration of both technical and industrial design aspects when selecting materials is important but represents a significant challenge (Karana et al., 2013). As such, research interest has started to shift from technical to usercentered to explore the meaning of materials, material experience, material seniority and material-driven design (Ashby and Johnson, 2014;Fallman, 2008;Karana and Hekkert, 2008;Karana et al., 2009Karana et al., , 2010Karana et al., , 2018Lefteri, 2014;Pedgley et al., 2015;Rognoli, 2015;van Kesteren et al., 2007). ...
... However, these employ products made of contemporary materials and focus on specific manufacturing processes or user interactions meaning that the results or experiences are not applicable to CIMs. Furthermore, as a new research field, material-driven design (MDR) uses materials as a driver of a creative "finding" process by evoking and consolidating ideas and takes materials as creative opportunities for idea generation (Karana et al., 2013;Yin et al., 2017). Basing on MDR, this study develops a framework of CIMs to motivate and guide designers in creative product development. ...
Industrial designers have a need to acquire knowledge related to physical materials and undertake activities such as materials selection and materials-driven creative design. Chinese indigenous materials (CIMs) and relevant crafts are identified as a significant but currently untapped resource for designers. Existing research lacks systematic organization and classification for this rich resource making it difficult to develop an online materials database for creative design. To enable industrial designers to develop an understanding of CIMs, obtain design inspiration and stimulate creative design activity, this paper reports on the development of a framework for a taxonomy of CIMs. Through literature review and analysis of existing design tools, the purpose, ending conditions, basic methods and framework of a taxonomy were identified. Taking Xuan Paper as an example, a case study was undertaken to establish methods and processes. When combined with expert interviews and user questionnaires, the usefulness, efficiency and acceptability of the research framework were evaluated, optimized and validated. The findings indicate that a CIM taxonomy can support designers to systematically acquire materials and processing information, facilitate materials-driven creative design, material comparison/selection and provide a framework for the construction of CIM-related databases.
... In this scenario, Materials Design (MD), which today is a recognised branch within the design discipline (Pedgley, Rognoli and Karana, 2021), started to develop strategies and methods to address environmental issues arising from traditional practices related to materials and product development (Karana, Pedgley and Rognoli, 2014). This field and approach was born to create projects with more awareness of materials for design and evolved to consider the holistic study of materials, including user experience, technologies and, lately, sustainability aspects (Pedgley, Rognoli and Karana, 2021). ...
... In recent years the foundations that contributed to establishing knowledge in this area have been laid (Karana, Pedgley and Rognoli, 2014), and the MD has been extended in relation to user experience, sustainability and potential new intervention technologies. In 2020, research at the European level has been engaged in this area by funding the MaDe project (2020). ...
Materials Design is a recognized emerging and growing area in design practice and research that converges different fields and approaches to addressing a holistic perspective of materials in and for design. Therefore, it incorporates knowledge from various disciplines, like engineering and science. Direct interdisciplinary collaboration between engineers, scientists, artists and designers can benefit projects whose purpose is to bring innovation regarding materials and design. We assume this interdisciplinarity is a crucial practice for developing the emerging field of Materials Design with a sustainable and circular perspective. This article conveys the findings of an empirical collection of case studies on emerging materials and product design. The results demonstrate the sustainability and circularity orientations they present and different disciplinary cooperation to generate innovative outcomes. The authors examined ten European enterprises that present products driven by emerging materials from alternative sources to support the statement. The paper identifies and reflects on the importance and value of collaboration. It aims to disseminate knowledge about the field of Materials Design and intends to highlight that interdisciplinary collaboration in this area can be favourable for achieving a sustainable paradigm and more responsible production and consumption patterns.
... The list of the selected indicators for manufacturing material comparative analysis was collected from different studies retrievable in the pertinent literature [45][46][47][48][49][50][51][52][53][54][55], and it is reported in Table 2. Tables 1 and 2 were collected from the literature and analyzed after proper calculations. To compare the data shown, it is necessary to create dimensionless variables, expressed in terms of percentages. ...
... Of course, this assumption is negligible in terms of productivity, efficiency and carbon dioxide emissions. Table 2) related to manufacturing materials [45][46][47][48][49][50][51][52][53][54][55]. 10 11 12 13 14 15 16 17 18 Materials aluminum alloy 310 69, In this case study, for a meaningful comparison, we assumed a defined destination use for the material (i.e., we hypothesized that the designer needed to select a material with high ductility, high rigidity, high density and high conductivity for a specific structure or design object). Imaging to select a material with the highest ultimate tensile strength, the best one would be polyurethane. ...
The concept of sustainability is nowadays employed to compare manufacturing processes or to define the correct path for material selection. Sometimes, this concept is only partially defined, including just low costs, profit maximization and/or CO2 emission reduction. Actually, a process or material can be defined as sustainable only if an objective function related to the economic, environmental and social impacts is simultaneously maximized. To this aim, it is necessary to define appropriate and specific sustainability indicators (i.e., values related to the economic, social and environmental aspects of a process or material under analysis). These indicators come about from simple calculations, and they are defined in terms of percentages and represented and compared using radar diagrams. Then, a process or specific material is identified by an objective function (i.e., the area included by the polygon that links the scores reported on the diagram). The scope of this representation of data is to individuate the major weaknesses of the process/material, proposing methods of optimization and trying to maximize the objective function in the retrieved diagram. This work aims to propose a general and simple method to calculate sustainability indicators on the basis of specific definitions related to a given process/material. To highlight the potential of this calculation and comparison instrument, two case studies are proposed: the first aims at comparing processes for the production of energy, while the second aims at driving the choice of manufacturing material. The selected indicators and adopted algorithm allowed for the identification of hydroelectric and eolic as the most sustainable processes for energy production; for materials, the results strictly depended on the assumptions made regarding favorable mechanical properties.
... Together, both subjective/objective aspects of material sensorial properties affect how users interact with the respective product, and in the whole situational context, construct an individual material experience , Karana et al. 2013. ...
... A recent response to the matter has been material experience. Material experience is defined in the homonym book as 'the experience that people have with and through the materials of a product' (Karana et al. 2013). This exploration analyses how the user perceives the proposed outcome according to the experiential qualities i.e. what people sense, feel, think, and do in their experiences with and through materials . ...
Within the subject of product design, a time-dependant branch of knowledge dominated by both functional and hedonic means, materials are the connecting medium for products and users.
Current waves pose that materials are the channel to convey information, providing a defined experience in the receiver when formulated properly through their technical and sensorial properties.
The introduction of new disrupting categories such as dynamic materials, able to engage in sensorial dialogue by responding to an energetic stimulus, has opened the need to impart new methods that guide the comprehension of their functioning, fabrication, impact, and selection in the field.
Responding to the context, this thesis centers the attention on one particular kind present in our everyday surroundings that stands out due to exponential growth and the variety of applications it allows, Luminescent materials. Under the scope of guiding and supporting further incorporation of these material systems, the main objective of this study is to develop a framework for an open educational resources (OER) tool under interaction means of luminescent materials as a source of inspiration and information for fellow students and early practitioners.
The thesis structure comprehends the literature review of product design methodologies, smart and luminescent materials, and materials selection methods, followed by 16 case studies of luminescent projects.
Furthermore, it introduces the feedback of 30 questioned targeted users to understand the market’s needs regarding the topic, as well as an analysis of four well-established material databases used in the field.
The outcome organizes a set of properties and parameters for the characterization of Luminescent materials responding as a decision-making method that promotes experienced-led knowledge for their selection under the name of Flux of light.
... This aligns with methodologies in material-led design research, where constraints are not seen as limitations but as active contributors to innovation. 32 In this case, the material limitations fostered creative responses that transcended mere functional concerns, guiding the designer toward an intentional exploration of visual and symbolic meaning. ...
This study explores methods for laminating and myco-welding pure mycelium leather sheets, providing a comprehensive approach to fabricating large-scale mycelium-based textiles. Techniques such as multi-layer lamination with pure mycelium pellicles and combinations of natural and synthetic fibers are investigated to enhance material strength. The method overcomes associated contamination risks of mycelium leather growth and demonstrates a three-week growing period using various types of waste, indicating a significant decrease in the production time compared to animal-derived leather. These methods aim to solve challenges in the open-source decentralized large-scale production of continuous mycelium leather sheets by creating biological patchworks via grafting of smaller units. The study demonstrates ways to join pure mycelium leather units to generate extensive nonwoven mycelium textiles suitable for the construction industry. The work addresses issues related to continuous sheet production on a large scale and the repair of damaged landscapes via the bioremediation potentials of these emerging textile alternatives. The paper also showcases the creation of three-dimensional leather upholstery and the use of this product for interior architecture applications and proposes a counter approach to widely accepted planned obsolescence strategies. The fabrication potential of the work is demonstrated through a prototype titled "Second Skin" which acts as a sustainable alternative to traditional interior textiles that meet specific material property behaviors and offer aesthetic flexibility, the chair being the first of a series of interior studies. The study highlights the scalability of mycelium leather production and the potential for these materials to reimagine interior aesthetics and design applications.
... The term "characteristics", on the other hand, is associated with the language of Design and represents the social world of materiality (representative of everything that is experience-based and measured qualitatively). This view is discussed by several authors, mainly because under ideal circumstances of realization of the MS process, both properties and the characteristics of the materials could occur together (Karana et al., 2014).The MS process combines criteria meeting technical, production, and economic functional requirements, with sensory and intangible properties, as well as ecological and usability ones. ...
... Most recently, considering the emotional aspect of user experiences with products, scholars started to investigate the "materials experience" (Karana et al, 2014). This approach embraces hedonic needs to materials selection. ...
... A living aesthetic is an aesthetic of change, following the life stages of the organism and its responsiveness to the environment; this translates into imperfection and non-homogeneity of the final piece. The imperfect and transitory nature of Biodesign brings novelty on a material, aesthetical, sensorial and ethical level, leading to new material experiences (Karana et al., 2013;Pedgley et al., 2021). This polarity highlights how aesthetic values within Biodesign could capture the vitality of organisms and even contribute to the narrative of the very object/material (Pollini & Angelini, 2021). ...
The rediscovered potential of ‘growing’ instead of ‘making’ drives the emergence of new materialities. This is leading to innovative developments in biotechnologies and Biodesign, both of which are intricately connected and seen as transformative elements in the discourse on sustainability. Biofabricated materials are starting to be evaluated using established sustainability metrics such as life cycle assessment, highlighting their essential role in the circular economy and shedding light on some overlooked process-dependent environmental burdens. At the same time, some biodesigned materials and artefacts are characterised by their ability to transcend the conventional concept of sustainability, embracing the principles of Regenerative Design thanks to the restorative and regenerative potential of living and bioreceptive materials. The study explores the main Biodesign variables, presenting a taxonomy created to comprehensively understand the phenomenon. The resulting findings highlighted the dual nature of Biodesign, which promotes both inner and outer sustainability. These findings gave rise to a conceptual framework defined as ‘Healing Materialities’, developed by the authors to highlight the main Biodesign variables discussed while addressing a broad spectrum of ecological potentials, from conventional to regenerative sustainability. The article discusses the concept of ‘Healing Materialities’, emphasising the role of Biodesign in supporting a profound ecological turn and advocating the adoption of regenerative materials and processes capable of harmonising the long-term needs of both human and non-human entities.
... In recent times, experience design has aimed to encompass all these elements. In 2013, Karana [25] introduced the term materials experience and two years later proposed the materials driven design method to implement the concept of materials experience [26]. In a similar vein to the present project, other scholars have put forth ideas to enhance data management and interpretation of material properties; for instance, Piselli et al. [22] analyze the relative frequencies of participants using a logical digital approach to evaluate material perception, whereas Ribul et al. [27] present their method for the circular design of materials in the laboratory, known as material-driven textile design. ...
Material selection in additive manufacturing (AM) is typically driven by the need to meet specific functional characteristics, often resulting in objects with limited user experiential interpretation. With the advent of new materials and recycling techniques in AM, it is crucial to understand the sensory and emotional responses these materials can evoke. While the literature extensively covers the mechanical properties of 3D printed objects, a notable gap exists in studies focusing on user interaction and perception. This research addresses this gap by applying the material driven design (MDD) methodology to a case study that explores a new mixture of waste material from a polymer bed powder fusion process. To ensure a reliable and systematic approach, we integrated statistical tools such as Goodness of Fit, Pairwise comparison, ANOVA, and interval graphs into the MDD. We conducted a comprehensive study involving 42 participants, using a vocabulary of 65 descriptors from the Ma2E4 toolkit for experiential characterization. The study's findings resulted in a proposed process that made it possible to categorize and rank products into eight distinct families, identifying 36 potential objects. One of these objects was selected and, following a design process, fabricated using binder jetting technology. This research emphasizes the importance of incorporating user experience in AM and highlights the potential of sustainable waste utilization to advance the field. By focusing on functional and experiential aspects, we can develop 3D-printed items that enhance performance and engage users more effectively.
... The research project continued with a hands-on approach with the matter, consisting of design experiments with the residues, by manipulations or technological transfers, so that a system of organisation and cataloguing of both the residues and the concepts that were developed could be set up, based on the definition of expressive-sensorial attributes. The integration of production residues within design processes was mediated by their expressive-sensorial qualification: an interpretative filter drawn from the studies inherent to the recent research topics of the so-called "design skins" [17] and the materials experience [18,19], referring to the issues of the multi-sensoriality, the design of new materials or the innovative use of existing materials, showing how materials can be interpreted not only from a technical-performance point of view, but also by considering their expressive-sensorial attributes [20] in the relationship between the user and the artefact. ...
The contribution refers to the research topic of materials experience by framing a methodology related to the way materials are catalogued and interpreted in design.
The study specifically concerns the design for the sustainable management of production residues in the tanning supply chain and is aimed at their semantic valorisation as material resources.
Starting from the interpretation of by-products as the material legacy of a know-how, the valorisation takes place through the application of a specific method based on the definition of expressive-sensorial parameters. The project prefigures the prototype of a cataloguing system in the shape of a multi-level map.
As a matrix of design possibilities belonging to a territorial culture, the tool intercepts values such as identity and recognisability of a know-how processes, whose by-products become evidence of it and represent the “material” of the project that acquires physical form in the tangible surface of the artefacts.
... In 1967, Materials is the first formal publication for designers that symbolizes the method of materials selection in artifact design activities (Materials, 1967). After that, A number of books on material selection methods have been developed from engineering-based methods (Patton, 1968;Cornish, 1987;Ashby, 1992;Lindbeck, 1995;Budinski, 1996;Chatterjee, Athawale and Chakraborty, 2010;Wongsriruksa et al., 2012), to sensory criteria-based methods (Ashby and Johnson, 2002), as well as the construction of Material Experiences for users (Karana, Pedgley andRognoli, 2013, 2021). In the 1990s, Computer-aided Design (CAD) and additive manufacturing further devalued handcrafting and accelerated the dematerialisation of the design process. ...
... Transforming these materials into objects, however, requires a change of mindset and design process [16]. Karana et al. [39] introduce Material Driven Design (MDD), a framework that places materials as the motor of the design process and empowers designers to easily "design experiences with and for a material" [40,58]. ...
... One method of articulating the aesthetic experiences of materials is the materials experience framework proposed by Giaccardi and Karana [17]. The framework acknowledges the experience people have with and through materials [71]. Furthermore, it considers the properties of materials, a person's prior experiences and expectations with materials and the social and cultural values attached to materials [37]. ...
Musical haptic wearables (MHWs) that convey information through vibrotactile feedback holds the potential to support the music learning of a blind or low vision (BLV) music learner. Yet, it is unclear how these technologies can give functional support to a BLV person. We also investigated material preferences in such technologies to understand the role of non-functional aesthetic experiences in shaping their music learning. We conducted 5 co-design workshops with 10 BLV participants. Participants explored eleven materials common in a music learning environment and engaged in bodystorming with a prototype that communicated six vibrotactile patterns. Through thematic analysis, we found that MHWs with vibrotactile alerts and variations in vibration are suited to communicate instructional information, aid music reading and support technical guidance and practice. We categorized the participants' material experiences into sensorial, interpretive, and affective levels. Based on our findings, we discuss considerations when designing vibrotactile interactions to support music learning for BLV people and highlight material experiences that should be emphasized to make the music learning experience wholesome for BLV music learners.
... In 1967, Materials is the first formal publication for designers that symbolizes the method of materials selection in artifact design activities (Materials, 1967). After that, A number of books on material selection methods have been developed from engineering-based methods (Patton, 1968;Cornish, 1987;Ashby, 1992;Lindbeck, 1995;Budinski, 1996;Chatterjee, Athawale and Chakraborty, 2010;Wongsriruksa et al., 2012), to sensory criteria-based methods (Ashby and Johnson, 2002), as well as the construction of Material Experiences for users (Karana, Pedgley andRognoli, 2013, 2021). In the 1990s, Computer-aided Design (CAD) and additive manufacturing further devalued handcrafting and accelerated the dematerialisation of the design process. ...
... The aesthetic-sensorial evaluation of materials has a long tradition in the design discipline [22][23][24]: at least four different analysis levels have already been studied and framed within the notion of Materials Experience. Since materiality contributes to the definition of product experience [25], the concept of materials experience, introduced by Elvin Karana [26] and then further investigated, developed and extended [27,28], is defined as the experiences that people have with, and through, the materials embedded in a product. It describes a holistic view of materials for design, emphasising the role of materials as simultaneously technical and experiential. ...
Biofabricated and grown materials are an emergent trend in the design discipline. The push towards the re-search of innovative and sustainable material solutions has recently increased since there is a real necessity to find solutions compatible with sustainable production paradigms. In the presented work, bacterial cellulose (BC) from kombucha tea fermentation has been chosen for investigation. The biofabrication of this peculiar material enables the realisation of several textural and aesthetical features, giving the designer important freedom. However, to properly look for possible applications in products design, some precise characterisations must be observed and discussed. In this contribution, the authors analysed the sensorial and aesthetical dimensions of six different BC samples to highlight and assess the peculiar element of this promising material.
... Nature directly implements variations, not because they are useful or useless, but using them as raw material that will be shaped afterwards by natural selection based on the individual's survival success . The methods used to deliver them are the Material Driven Design (MDD) method and the Material Tinkering approach (Parisi and Rognoli, 2017 Experience (Karana et al., 2014;Pedgley et al., 2021), the designer will develop materials further and identify meaningful applications. ...
This chapter shows, in a documentary way, the role of nopal in the social and cultural development of the municipality of Sonsón, Antioquia, highlighting its history and its impact on hundreds of families of this region. The nopal has historically been cultivated in Sonsón to harvest one of its flagship products, the fig; an exotic fruit cultivated primarily for export, and much less for local consumption. However, it is known that all parts of the plant are usable, including the waste associated with its pruning. In Colombia, the complete exploration of the entire plant has been timidly explored, so new potential uses beyond harvesting the fruit are unknown.
This document exposes the potential of nopal waste in the development of craft, art, and product design pieces using eco-design strategies based on circular economy trends. Hence, a look to an integral use of the plant allows the tradition of the so-called “fig trees” to endure over time, avoiding the threats associated with new agricultural products that promise the farmers “greater benefits” for the livelihood of their families and the development of the region.
This look, in addition, will contribute to responding to some of the Sustainable Development Goals - SDGs through interdisciplinary work between academy, public and private sectors, and citizen interest, promoting the encounter of scientific and artistic communities around the nopal, through the development of a museum exhibition in Medellin’s Botanical Garden, which allows to exalt the nopal as an alternative for the sustainability of families in the municipality of Sonsón.
... It is focused on the notion of Materials Experience, namely the experience that users have through the materials of artefacts in their sensorial, emotional, meaning, and performative components. By understanding the complex experience of a distinct material and designing for enhancing Materials Experience (Karana et al., 2014;Pedgley et al., 2021), the designer will develop materials further and identify meaningful applications. All the case studies described below result from integrating these approaches into the experimentation and design process of bio-based and bio-fabricated materials. ...
The critical environmental conditions of the planet compel humankind to
rapidly devise solutions able to minimize the impact of human actions on
Earth. Environmental issues are urgent, so researchers and practitioners
in the design field are committed to formalising new visions and pathways,
willing to meet the SDGs of the 2030 agenda.
While formulating less affecting processes of making/manufacturing,
a conscious practice of design recognises materials and their
38
management as a critical point for sustainable production. The material,
formerly considered a step of the design process, now becomes the
focus of the project; unfortunately, there is a lack of dedicated studies
and initiatives to implement material awareness in design education. To
envision an effective ecological transition, material design turns into an
inescapable step when designing for sustainability. It’s fundamental for
design schools to invest in material education by establishing dedicated
courses that boost this realm of knowledge, the material understanding,
and to improve the making skills of new generations of designers.
This chapter focuses on the results of the DIY-Material approach
used in the last few years at the Design School of Politecnico di Milano.
The developed approach allows to teach students transversally how
to design materials starting from a source, going through ingredients,
compositions, recipes, and processes, creating material demonstrators,
and defining the identity of the new material and its narratives. Here, a
series of bio-based, bio fabricated material examples will be illustrated
to describe the development of material pathways pointing towards an
ecological transition through a DIY-Materials approach.
... Nature directly implements variations, not because they are useful or useless, but using them as raw material that will be shaped afterwards by natural selection based on the individual's survival success . The methods used to deliver them are the Material Driven Design (MDD) method and the Material Tinkering approach (Parisi and Rognoli, 2017 Experience (Karana et al., 2014;Pedgley et al., 2021), the designer will develop materials further and identify meaningful applications. ...
This work presents the pedagogical approach and the outcomes of a course aimed at teaching sustainability through the lenses of materials. The last decade has been crucial to finally reach a mature state of awareness of how the material side of our productions and its poor management is at the base of many environmental problems. Such awareness pushed the emergence of new materials, motivated by the search for more sustainable alternatives and a re-evaluation of biological processes capable of creating materials and artifacts through bio-based and bio-fabrication techniques. The clear environmental crises also pushed the design field to pay more attention to materials; but to date, for designers, understanding the sustainability of materials and their real impact on life cycle products is still not trivial; new biotechnologies are opening up the possibility for designers to experiment with organic sources and living materials. The academic course described in this study focuses on a didactic method based on a practice-based approach; the students are guided to learn the key aspects that can define a material in
a sustainable context, improving their material development knowledge and lab working skills. A learning-by-doing path is developed in three workshops tackling material sustainability with increasing difficulty and understanding. The learning journey starts with an analysis of local wastes for the development of new DIY circular materials. The second step introduces the living variable of bio-fabricated materials, amplifying the complexity of the project and adapting to nature’s time scale. The last step requires a higher understanding of the synergistic mechanisms
between biotic and abiotic agents in an ecosystem by exploring bioreceptive materials. These three material approaches have been selected for the design methodologies and sustainability principles they have in common. Using classroom observations and a survey, the authors examined student experiences and perceptions of the proposed syllabus in order to understand its efficacy in terms of the last student’s material and sustainability awareness. This educational path has proved to deeply connect the students with materials’ life cycles and local and natural resources, gaining a deeper understanding of regional environmental issues potentially having a material design solution.
... Materiality in the design phase refers to the dialogue with the materials (Schön, 1983). Through the archaeological study, it is necessary to focus on the functional and technical properties of the material and the explorative side of the material (Karana et al., 2014). In particular, material study regarding the idea of the archaeology of an interior also encompasses a "personal, experiential, cultural, emotional, environmental, and social aspect" (Bang et al., 2015). ...
This paper discusses the possibility of adopting the study of archaeology as known in cultural theory to redesign the obsolete interior architecture element. The archaeological discipline might offer a possibility to understand the interior element thoroughly through emphasizing the specific material characteristics and their correlation to the different periodical lifetimes of the context. The idea of the archaeology of an interior introduces well-recorded analysis and material experimentation in the physical translation of interior elements. The design process is mainly conducted by emphasizing the notion of "after use" and imagining the object's future to tackle the issue of the obsolete interior. This study becomes an essential basis for understanding the role of an interior architect in responding to the subject of the decayed interior from the other point of view by taking a personal stand for "use" and "after use" beyond the conventional idea of functional space. In the case study, this paper examined the idea of repurposing obsolete stairs as an archetype element through the physical and poetic approach of the object by taking one of the projects in Master interior architecture studio in Rotterdam. This practice aims to augment the material and generate the essential foundation for a design practice that could sensitively respond to the personal stand on the spatial design process.
... Por otro lado, las empresas quieren comunicar opciones ecológicas para no perder clientes y consumidores, que como ya se ha dicho, exigen cada vez más soluciones sostenibles. En este escenario, la creatividad es esencial para generar nuevas visiones eficientes, y es así como emergen materiales que proponen una alternativa sostenible a los materiales tradicionales, diversos a los conocidos (vidrio, metal, papel, madera y plástico), proponiendo nuevas experiencias en los usuarios, nuevas estéticas, sensaciones, sentimientos o comportamientos (Karana et al., 2013;Alarcón Castro, 2021;Karana et al., 2021). Ellos, nacen con la idea de generar menor o nulo daño ambiental, proponiendo sistemas de producción circular, o de degradación biológica a fin de ciclo de vida. ...
This manuscript comes from an investigation where it is intended to build a
current state of the art about the use of alternative materials to traditional ones by different
companies or design brands that seek to incorporate sustainable solutions starting with
the material, proposing different production models and using atypical raw materials. At
this historical moment, the creation and application of new materials that contribute to
the ecological transition are necessary and are being increasingly required by the goods
manufacturing industry. The present study aims to expand knowledge under this approach.
... Since ancient times it has been considered a durable and strong material and used for a broad range of applications. In the current era, alarming global warming and the sustainability of industrial products raise demand for renewable fossil-based raw materials for every type of industry (Ashby 2013;Karana et al. 2013). Despite its bio-based origin and renewability, the conventional development of leather-based material is facing serious concerns owing to the emission of greenhouse gases of cattle breeding. ...
The utilization of biological systems has been receiving considerable attention in the past couple of decades in the development of bio-based functional materials. This has been largely inspired by the use of green, biodegradable, and environmentally sustainable materials for the development of new functional biomaterials. The utilization of renewable resources for the production of materials introduces fast-growing and biodegradable fungal mycelium-derived materials for various applications. Mycelium secretes enzymes and decomposes the substrate to take nutrients for growth and make an interwoven three-dimensional network. The elastic, porous, stiff, and dense mycelia are rich in antioxidants, antiviral, and anti-inflammatory compounds. The properties of mycelium-derived materials are greatly dependent upon the feeding substrate, fungus type, and processing conditions. Both pure mycelial materials and their composites secure an important position in the race of utilization of renewable resources for material synthesis. This chapter summarizes the utilization of mycelium-based materials for numerous applications like cosmetics, medicine, textile, construction, packaging, and the food industry. It also describes the potential of mycelial-derived materials as an alternative to the traditional insulators, packaging materials, and bovine leather. It further explains the importance of mycelium-based functional foods, cosmetics, and medicines.
... Design has always employed materials to create innovation and experiment with new expressive and formal languages, so as to determine the experience of end users ( Karana et al., 2014 ;Pedgley et al., 2021 ). In the different approaches derived from ecodesign, great attention has always been given to the selection and application of materials in the project: from the first 3Rs (reduce, reuse, recycle) of Green Design, to the concepts of cradle to cradle and design for durability, which can now be considered the main design guidelines for the circular economy (Den Hollander, 2017 ). ...
Material selection plays an essential role in environmental product performances; however, choice and comparison between different materials' environmental features are not trivial for designers. Academic and grey literature reviews were used to provide an overview of the main types of software, using a life cycle approach, supporting material selection decisions since the early design stages, highlighting pros and cons of the different tools from a designer's perspective. Three main typologies of software emerged from the study, defined by different usability and completeness degrees. Obstacles and opportunities were noted on four main aspects which influence the choice of the most sustainable material: on the educational level, on the analysis level, on the material selection level, and on a system level. Tools for in depth LCA can be used for material selection; although difficult for designers to use, these software are essential to create a more critical awareness for the application of both conventional and new materials. Simplified LCA Tools with limited impact categories, and simplified tools explicitly dedicated to material selection from a life cycle thinking perspective, better respond to the usability needs of designers, who must, however, consider the limits of precision of these tools, combining their use with a life cycle design approach and applying ecodesign strategies. To date, little effort has been made to integrate such tools properly in the design practice; therefore, multidisciplinarity between LCA experts and designers is strongly recommended, especially to avoid misleading aspects in assessing the growing number of materials that tend to be considered a key for sustainable innovation.
... The use of organic waste in production has played and continues to play an important role in enabling designers to overcome previous limits of feasibility [15]. The necessary transition towards a restorative and regenerative production model based on sustainable practices and lower environmental impacts is matched by the systemic production model. ...
In view of the urgent need to implement the transition from the “take-make-use-lose” industrial system to a circular and regenerative one, this study focuses on improving the sustainability of the wine industry, in particular the importance assumed by the management of residues and by-products of the wine production system from a circular economy and environmental protection perspective, from the planting of vines, to the production of grapes, up to the process of transformation and recovery of waste. There are management methods and limitations on alternative uses regarding by-products and residues deriving from winemaking, that are conditioned by precise regulations.
... As a final example, the choice of salt in the work of Jiyoon Hyun (Creativity Oggetti, n.d.; Hyun, n.d.) in contrast, aims to elevate the status of salt in our current society and here the crystals' fragile nature has been bypassed by protecting them with a layer of varnish. The associated material experience (Karana et al., 2014) is a key factor for the choice of salt and sugar by the respective designers. The material experience of the materials used for the experiments in this paper will not be further explored, instead the paper will investigate the methodology of growing crystals for the development of creative designs incorporating grown crystals as pre-cursers to justify the further incorporation and adaptation of more enhanced growing processes as used for the growing of gemstone quality crystals. ...
Grown crystals are used for a range of novel innovations supporting a wide array of industries. Within the jewellery industry however, grown crystals are only used in a limited capacity and mainly as a surrogate for mined gemstones. This paper investigates the methodology of Crystal Growing Design, through conducting experiments testing four hypotheses developed around the practice. Through utilising a DIY approach the author investigates the opportunities and challenges presented by incorporating the methodology into her jewellery design practice. Sugar, alum and salt are experimented with to provide a theoretical experimentation of the methodology to justify the further incorporation and adaptation of more enhanced growing processes as used for the growing of gemstone quality crystals.
... Within the framework of the material experience (Karana et al., 2014), DIY-Materials have been described as carriers of unprecedented and promising material experiences for the future panorama of materials for design. We also investigated their aesthetic potential (Ayala & and their propensity to become bearers of social innovation . ...
In recent years, many initiatives based on DIY practices have flourished around the world.
When designers faced this growing trend related to self-production and focused
on the material dimension, a new class of materials was born, known as do-it-yourself materials, DIY-Materials (Rognoli et al. 2015).The development of DIY-Materials by the
designer arises from a personal propensity of the individual towards experimentation, and it grows, changes and improves through experience and the reiteration of a process that evolves through trials and errors (Rognoli et al., 2017). In the self-produced material development where the development ends before the start of the industrial production of the same, in the self-produced materials the specifications are finalized as late as possible, allowing for further refinement and reiteration of experimentation.
From the analysis of the many case studies and considering the various experiences made at an international level, we can state that it is undoubtedly possible to outline general guidelines that describe the main phases for the development of a DIY material.
The purpose of this chapter is precisely to identify the primary and fundamental steps necessary for a designer to develop a material draft that is configured as a DIY-Material.
Furthermore, we also want to contribute to the definition of the figure of the materials designer, as a new model that is emerging in the professional context.Material designer is a professional able to manage the complex role of materials in the design process, focusing on the right material qualities or properties or even design them, incorporating today also a CE design approach. Facing new materials developments, the material designer is called to face the challenge of tackling the material project as a whole, starting from the selection of the sources and developing a comprehensive strategy in which material drafts are created, designed and improved. Most of the time, the designer’s motivation to undertake a path of material experimentation is attributable
to the sensitivity and desire for alternative and more sustainable solutions, with the aim of replacing those used today by industry in an inappropriate way for human health and the environment. The exploration of alternative solutions leads the designers to evaluate new sources, often considering waste or the abundance of natural materials as the starting point of the material development process. This approach stimulates designers to acquire a global and systemic approach to the project, which can also help to reach the tracks
of the circular economy and achieve its goals.
... O Design, resultado de um processo que envolve aquele que cria, desenha, projeta, materializa um conceito, um objeto, um serviço ou um sistema, pode ser considerado como um articulador essencial para o binômio estabelecido entre o homem e a tecnologia, e suas várias inter-relações e/ou interações (MAIA; DIAS, 2012). O design de produto está intrinsecamente ligado à seleção de materiais (FERRANTE;WALTER, 2010;KARANA et al., 2014;ASHBY;JOHNSON, 2002;MALEQUE;SALIT, 2013), os quais constituem elementos de grande importância para o desenvolvimento da sociedade, aspecto salientado por Ashby (2011), que elenca os períodos clássicos da evolução da humanidade, cujos nomes foram determinados de acordo com o material mais utilizado em cada época: Idade da Pedra, Idade do Cobre, Idade do Ferro, assim por diante (ASHBY, 2011). ...
Em diversas áreas da ciência contemporânea a busca por soluções sustentáveis se tornou uma constante, um requisito para o desenvolvimento de materiais, projetos, tecnologia e processos produtivos. Neste contexto, a joalheria contemporânea surge do pensamento sobre joias sedimentado na criatividade e originalidade, traduzido em peças criadas a partir da utilização ou não de materiais preciosos, de uma nova leitura para o significado da joia. Desta forma, este capítulo abordará o resultado obtido com um projeto de conclusão de curso, o qual teve como objetivo produzir algumas peças de joalheria com o emprego de materiais alternativos e sustentáveis, como chapas de aglomerado de resíduos de bambu, resina de mamona e cobre. Para tanto foram produzidas chapas de aglomerado com espessura, densidade e composição específicas para esse fim. Uma vez obtidas as chapas, confeccionou-se os protótipos das joias, que em alguns casos receberam aplicação de cobre (folha de cobre ou peças volumétricas). As peças receberam acabamento final em resina poliéster cristal. A estrutura metodológica adotada para a concepção do projeto se baseou no Guia de Orientação para Desenvolvimento de Projetos (GODP), como recurso de organização das etapas do processo projetual. A partir das informações obtidas, o presente trabalho pretende contribuir com novas pesquisas no segmento de Joalheria Contemporânea e Design de Produto e com o aprimoramento de matéria-prima, acabamentos, processo criativo e da inserção da experimentação no processo produtivo de produtos.
... Proponer materiales para la manufactura de un objeto diseñado, es parte las competencias de la disciplina, por ello los criterios de selección de materiales sustentables están dentro de los conocimientos acerca de la ecología industrial. SegúnKarana (2014), existe una tendencia hacia soluciones biobasadas en diseño, estimulado por la visión de un mundo limpio y ecológicamente amigable, donde la producción debiese estar basada en materias primas renovables y los productos debiesen ser reciclables y biodegradables. Existen diversos enfoquespara desarrollar un material biobasado, que puede ir, por ejemplo, desde la ingeniería en materiales o el Diseño industrial, hasta el trabajo independiente de pequeños emprendedores. ...
This paper provides a vision regarding the design of materials as a theme of industrial design, generated from the influence of the Italian referent based on the design philosophy of Carmelo Di Bartolo. Its objective is to demonstrate the contributions of ba-sic design linked to bionics, applied to the construction of a projective methodological ap-proach of the observant industrial design of the materials that make up the artifices. Basic design is the method based on the observation of nature, from which designers extrapo-late bionic principles towards the conception of the artificial world. The relevance is the ability to integrate contributions to the field of energy savings, material and an intrinsic commitment to the environment. Not because of having extensive economic, productive and technological resources, the creative process must be unlimited and excessive. Ap-proaches are presented that are expressed in the integrative project process called Material Driven Design, which incorporates the concept of perceived quality to integrate function-al and emotional aspects of materials. The conclusions are related to the considerations that the three aspects (Basic design, bionics, and Material Driven Design) contribute to the design process.
... Following Ezio Manzini's seminal book "Material of Invention" (Manzini, 1986) where for the first time the human interactive and experiential qualities of materials were emphasized, many researches and theories for guiding students to explore and measure the experimental characteristics of materials emerged (e.g. van Kesteren, 2008;Ashby & Johnson, 2009;Karana, 2009;Pedgley, 2009;Rognoli, 2010;Zuo, 2010;Karana, Pedgley & Rognoli, 2014). In design education, students are encouraged to experience materials samples with their senses, to objectivize the samples intellectually and to realize them synthetically. ...
... Proponer materiales para la manufactura de un objeto diseñado, es parte las competencias de la disciplina, por ello los criterios de selección de materiales sustentables están dentro de los conocimientos acerca de la ecología industrial. SegúnKarana (2014), existe una tendencia hacia soluciones biobasadas en diseño, estimulado por la visión de un mundo limpio y ecológicamente amigable, donde la producción debiese estar basada en materias primas renovables y los productos debiesen ser reciclables y biodegradables. Existen diversos enfoquespara desarrollar un material biobasado, que puede ir, por ejemplo, desde la ingeniería en materiales o el Diseño industrial, hasta el trabajo independiente de pequeños emprendedores. ...
Este artículo aporta una visión respecto del diseño de materiales como temática del diseño industrial, generado desde la influencia proveniente del referente italiano basado en la filosofía proyectual de Carmelo Di Bartolo. Su objetivo es evidenciar las contribuciones del basic design vinculado a la biónica, aplicado a la construcción de un planteamiento metodológico proyectual del diseño industrial observante de los materiales que configuran los artificios. El basic design es el método basado en la observación de la naturaleza, a partir del cual los diseñadores extrapolan principios biónicos hacia la concepción del mundo artificial. La relevancia es la capacidad de integrar aportes al ámbito del ahorro energético, del material y un compromiso intrínseco con el medioambiente. No por contar con amplios recursos económicos, productivos y tecnológicos, el proceso creativo ha de ser ilimitado y excesivo. Se plantean aproximaciones que quedan expresadas en el proceso proyectual integrador denominado Material Driven Design, que incorpora el concepto de calidad percibida para integrar aspectos funcionales y emocionales de los materiales. Las conclusiones están referidas a las consideraciones que los tres aspectos (Basic design, biónica y Material Driven Design) aportan al proceso proyectual.
Background Living organisms such as algae, bacteria, and fungi are used to construct novel materials that offer possibilities for innovation. The article aims to explore mycelial growth and analyze the necessary conditions for its development and durability showing its visual potential as a material to be included in a design project. We have explored the aesthetic and metabolic opportunities offered by some species of filamentous fungi for the integration of this kingdom in the design and production of new materials. Methods Taking processes commonly implemented in biology and adopting them into design processes, we grow filamentous fungi and isolate them into pieces designed to display and ensure their natural development. The process was made through biological science methodology, preparing a PDA culture medium, optimal for the specific growth of these living organisms. The inoculation and incubation of some species of filamentous fungi, mainly of the species Fusarium Proliferatum, was carried out to generate a mother culture, exposing them to stress variables such as changes in temperature, incidence of sunlight, humidity, amount of oxygen received, among others. to generate differences in their morphology and pigmentation. Subsequently, the colonies obtained were transferred to each of the designed and prepared artifacts through spores transferred with a mycological loop. These artifacts were sealed to encapsulate the fungus and wait for the colonization of the piece. Results Perpetuity is evident after nine years of cultivation; the colonies remain in the container preserving their morphological character and the pigmentation presented from the beginning of incubation with a slight variation in the saturation of the colors. Conclusions Depending on the species of fungi used and the stimuli applied by the designer, a wide variety of textures, shapes, and colors can be propitiated, generating new product languages and artifacts where their aesthetic qualities are maintained over time.
The complex nature of materiality describes the modern era and raises several questions, especially regarding sustainability. With the significant expansion of science and industry, the variety of materials available for designers is unlimited, and they are no longer forced to use materials that are provided directly by nature. Therefore, artificial materials are becoming more popular, offering new possibilities from a creative and innovative perspective. This introduces a new, challenging context for the jewelry design practice that should provide a positive and more sustainable approach. The paper aims to define future scenarios for sustainable materials for jewelry merging science and design. Cutting-edge movements are experimentally operating at the intersections of varied fields, occasionally deviating from conventional methods. Primarily, this article is intended to provide an overview of the current advancements in sustainable materials, emphasizing the strengths and potential benefits they could offer. Then, the paper investigates four scenarios as results of the intersection between science and design, highlighting the impact on the jewelry field. Four scenarios will analyze the materials currently employed in different fields and their possible application in future innovative tracks: designing sensibly; reshaping waste; modeling nature; making in lab. Lastly, this paper shows how crucial it is for designers and companies to take a proactive role and become agents to extend access to sustainable solutions.
En todo proceso de diseño de producto, el diseñador debe tener en cuenta tanto los materiales como las tecnologías con los que debe trabajar. Actualmente, materiales y tecnologías se están convirtiendo en uno de los elementos principales para fomentar la innovación y agregar valor a los productos finales. Entre los múltiples materiales los nanomateriales presentan un especial interés. La nanotecnología está llamada a desempeñar un papel clave en todo el mundo en el siglo XXI, ya que se trata de una tecnología intersectorial, cada vez más relevante para ámbitos económicos como la química, la tecnología médica, la automoción o la industria alimentaria. ¿Pero, si el diseñador desconoce cómo se puede trabajar con él y quiere saber el alcance de este nuevo material? ¿Cómo transferir estos conocimientos, relacionados con los nanomateriales, de la teoría a la práctica? La industria demanda expertos (diseñadores) que puedan salvar la distancia entre el conocimiento teórico y las aplicaciones prácticas de los nanomateriales: productos, servicios y experiencias. Este artículo recoge un método de trasmisión del conocimiento, en el que se pueden diferenciar dos tareas principales: 1) un componente educativo primario, en el que se divulgan, de una forma didáctica óptima, los conocimientos sobre los nuevos materiales y sus propiedades, y 2) un segundo componente más practico en el que la información se convierte en ideas prácticas, y en aplicaciones específicas aplicadas a un reto propuesto en colaboración con el grupo Antolín.
Background: Living organisms such as algae, bacteria, and fungi are used to construct novel materials that offer possibilities for innovation. The article aims to explore mycelial growth and analyze the necessary conditions for its development and durability showing its visual potential as a material to be included in a design project. We have explored the aesthetic and metabolic opportunities of the Fungi Kingdom for the design and production of new materials.
Methods: Taking the processes that are commonly implemented in biology and by adopting them into design processes, we grow filamentous fungi and isolate them in pieces designed to show and guarantee their natural development, exposing themselves to stress variables such as temperature, humidity, and substrate, among others.
Results: Perpetuity is evident after nine years of cultivation; the colonies remain in the container preserving their morphological character and the pigmentation presented from the beginning of incubation with a slight variation in the saturation of the colors.
Conclusions: Depending on the species of fungi used and the stimuli applied by the designer, a wide variety of textures, shapes, and colors can be propitiated, generating new product languages and artifacts where their aesthetic qualities are maintained over time.
In the last years, the medicinal plant Perilla frutescens (L.) Britton has gained scientific interest because leaf extracts, due to the presence of rosmarinic acid and other polyphenols, have shown anti-allergic and skin protective potential in pre-clinical studies. Nevertheless, the lack of standardized extracts has limited clinical applications to date. In this work, for the first time, a standardized phytocomplex of P. frutescens, enriched in rosmarinic acid and total polyphenols, was produced through innovative in vitro cell culture biotechnology and tested. The activity of perilla was evaluated in an in vitro inflammatory model of human keratinocytes (HaCaT) by monitoring tight junctions, filaggrin, and loricrin protein levels, the release of pro-inflammatory cytokines and JNK MAPK signaling. In a practical health care application, the perilla biotechnological phytocom-plex was tested in a multilayer model of vaginal mucosa, and then, in a preliminary clinical observation to explore its capacity to preserve vaginal mucosal integrity in women in peri-menopause. In keratinocytes cells, perilla phytocomplex demonstrated to exert a marked activity in epidermis barrier maintenance and anti-inflammatory effects, preserving tight junction expression and down-regulating cytokines release through targeting JNK activation. Furthermore, perilla showed positive effects in retaining vaginal mucosal integrity in the reconstructed vaginal mucosa model and in vivo tests. Overall, our data suggest that the biotechnological P. frutescens phytocomplex could represent an innovative ingredient for dermatological applications.
This thesis investigates the effects of biophilic design elements on people's perception and behavior of space, with a focus on interiors. In this context, by revealing the relationship between human-nature-space, the foundations of the concept of biophilia are explained, the biophilic design theory is defined in details, and the design elements are used to reveal the relationship with perception and behavior in both physical and virtual space dimensions. The aim of the thesis is to analyze how the relationship between human and nature is reflected in the interiors within the scope of biophilic design strategy, and how people's perception and behavior systems are affected by biophilic design elements. In order to achieve the aim of the thesis, answers to the following questions are sought; -"How has the nature-human-space relationship developed throughout the historical process and how has it been reflected in today's environment within the framework of biophilic design?" -"What are the sensory effects of biophilic design elements and how are they strategically applied in interiors?" -"How do biophilic design elements affect perception and behavior in the dimensions of sensory and virtual space experience?" The conceptual framework of the thesis, which shaped in this direction, consisted of four main parts and the thesis shaped under the headings "The Concept of Biophilia", "Biophilic Design Theory", "The Relationship of Biophilic Elements in Indoor Spaces with Sensory Perception and Behavior", "Virtual Biophilia Experience Field Study: Arkas Art Center "Nature, Gardens, Fantasies" Exhibition". In the first three chapters of the thesis, the information obtained from the literature is presented with a purpose-oriented structure. In the field study section, which is the fourth and last part, the focus has been narrowed, in the literature, in line with the absence of a study on the experience of biophilia specific to the virtual exhibition space, and the effect of biophilic elements on behavior and perception in the virtual exhibition experience has been focused. In the field study, a survey was conducted on the virtual experience of Arkas Art Center's "Nature, Gardens, Fantasies"exhibition, which was determined to strongly contain biophilic elements. The COVID-19 Pandemic conditions, on the other hand, have led the biophilic space experience to be carried out in the virtual environment. In line with the aim of the thesis, the analysis of the effect of biophilic design elements on perception and behavior in interior spaces is presented by discussing the data obtained from the survey answers of the 110 participants. The findings obtained from the study revealed how biophilic design elements affect people in a physical and multi-sensory environment, and also provided an understanding of how these elements have effects on the perception and behavior of the experiencers in the virtual environment with the field study. In addition, revealing the effect of the virtual biophilic experience on perception and behavior in the focus of the exhibition space with the field study has created a reference for the evaluation of virtual exhibition spaces through a biophilic perspective.
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Bu tez çalışması, biyofilik tasarım elemanlarının, iç mekânlar özelinde, insanların mekân algısına ve davranışlarına etkisini araştırmaktadır. Bu bağlamda, insan-doğa-mekân arasındaki ilişki ortaya konarak, biyofili kavramının temelleri açıklanmış, biyofilik tasarım teorisi detayları ile tanımlanmış ve tasarım elemanları hem fiziksel hem de sanal mekân boyutunda algı ve davranış ile ilişkiyi ortaya çıkarmak üzere kullanılmıştır. Tez çalışmasının amacı, insan ve doğa arasındaki ilişkinin biyofilik tasarım stratejisi kapsamında iç mekânlara nasıl yansıdığını, insanların algı ve davranış sistemlerinin biyofilik tasarım elemanlarından nasıl etkilendiğini analiz etmektir. Tezin hedefine ulaşmak için; -"Doğa-insan-mekân üçlemesinin tarihi süreç boyunca ilişkisi ve biyofilik tasarım çerçevesinde günümüz çevresine yansıması nasıl olmuştur?" -"Biyofilik tasarım elemanları iç mekânlarda stratejik olarak nasıl uygulanır ve duyusal etkileri nelerdir?" -"Biyofilik tasarım elemanlarının duyusal ve sanal mekân deneyimi boyutlarında algı ve davranış üzerinde etkisi nasıldır?" sorularına cevap aranmıştır. Bu doğrultuda şekillenen tezin kavramsal çerçevesi ise dört ana bölümden oluşmuştur ve "Biyofili Kavramı", "Biyofilik Tasarım Teorisi", "İç Mekânlardaki Biyofilik Unsurların, Duyusal Algı ve Davranış İle İlişkisi", "Sanal Biyofili Deneyimi Alan Çalışması: Arkas Sanat Merkezi "Doğa, Bahçeler, Düşler" Sergisi" başlıkları altında tez şekillenmiştir. Tezin ilk üç bölümünde literatürden edinilen bilgiler, amaca yönelik bir kurgu ile sunulmuştur. Dördüncü ve son bölüm olan alan çalışması bölümünde ise, literatürde sanal sergi mekânı özelinde biyofili deneyimine yönelik bir çalışmaya rastlanmaması doğrultusunda odak daraltılarak, biyofilik unsurların sanal sergi mekânı deneyiminde davranış ve algıya etkisine mercek tutulmuştur. Tezde biyofili özelinde işlenen doğanın entegrasyonu, yürütülen alan çalışması ile, hem doğanın sanatsal temsili boyutunda, hem de sanal mekâna yansıması boyutlarında ele alınmıştır. Alan çalışması özelinde, biyofilik unsurları güçlü bir şekilde barındırdığı tespit edilen Arkas Sanat Merkezi, "Doğa, Bahçeler, Düşler" sergisinin sanal deneyimine yönelik bir anket uygulaması gerçekleştirilmiştir. COVID-19 Pandemi koşulları ise biyofilik mekân deneyiminin sanal ortamda yürütülmesine yön vermiştir. Tezin hedefi doğrultusunda iç mekânlarda biyofilik tasarım elemanlarının algı ve davranışa etkisinin analizi, 110 kişilik katılımcı grubunun anket cevaplarından elde edilen veriler doğrultusunda tartışılarak sunulmuştur. Çalışmadan elde edilen bulgular, biyofilik tasarım unsurlarının, fiziksel ve çok duyulu bir ortamda nasıl etki ettiğini ve alan çalışması ile sanal ortamda bu unsurların deneyimcilerin algı ve davranışları üzerinde nasıl etkilere sahip olduğunun anlaşılmasını sağlamıştır. Bununla birlikte alan çalışması ile sanal biyofili deneyimin, sergi mekânı odağında algı ve davranışa etkisinin ortaya çıkarılması, sanal sergi mekânlarının biyofilik açıdan değerlendirilmesi için bir referans oluşturmuştur.
Over the last twelve months, the effects of the COVID 19 pandemic have changed both the approach and praxis of design. However, some unforeseen outcomes have come to light when the pandemic is enforced into the variety of design domains as both challenges. In this context, MATto, Politecnico di Torino’s material library, proposed within Terra Madre - Salone del Gusto 2020, online support to companies and designers interested in the new material and technological challenges of food packaging: solutions, today, are linked to disciplines from chemistry to technological culture, from semiotics to perception, to design. MATto investigated these issues, with attention to sustainability, aesthetics, and inclusion, developing a new accessible learning model for an extended audience. The challenge of digitalising a deeply analogic issue such as the materials experience was faced, unveiling new promising opportunities.KeywordsVirtual materials experienceMaterial libraryMATtoDigital vs. analogicMATto for Terra MadrePandemic resilience
With crystal growing techniques having been around for many years, bespoke man-made gems now drive innovations in a range of industries. This has however not translated into the jewellery industry, where innovations with man-made gems have remained limited, and most are still produced to replicate mined gems. This paper documents my PhD study which is investigating the design implications, possibilities and limits of utilising man-made gems in the development of jewellery designs. As part of the research, and whilst conducting experiments and developing planned collaborations, the changing role of the designer is explored in relation to the amount of control and input the designer has had in the material development stage. Furthermore, the appreciation of these man-made gems and the context in which they are appraised is explored as part of the contextual review.KeywordsMan-made gemsJewelleryAuthenticityGrowing design
Analysing the intersection between plastics, environmentally-conscious design, and consumption through a focussed study of plastic chairs, this dissertation casts new light on best practice for sustainable furniture design. Plastic chairs are ubiquitous but remain objects of constant innovation and experimentation by designers. With reference to historical and contemporary developments, I examine the shifting cultural attitudes to plastics. Product designers and furniture manufacturers are responding to mounting environmental concerns by experimenting with renewable carbon plastics (recycled plastic and bioplastics). My interviews with international contemporary designers and representatives from industry are critically evaluated, alongside case studies of recent plastic chairs made using renewable carbon plastics. Findings from that research led me to develop a quantitative eco-audit tool to enable a comparison of these designs and demonstrate that the best outcomes for sustainable design incorporate existing materials (recycled plastics) and traditional moulding technologies. This tool is presented in this dissertation as both a structural part of the research methodology, and as an output for the instrumentalisation of the study’s findings. Much research has been undertaken on sustainable design and there have been many calls for design-led societal change. But few studies have focused on how such change actually manifests, or identified the areas of research required to bring about transformation. In other words, what does it really take to shift design and manufacturing practices, at scale, across complex supply chains? The multi-level perspective (MLP) transition framework is used to identify strategies to scale-up the use of renewable carbon plastics in design. Providing a methodology for designers to embrace a more sustainable approach to the design of plastic products, this dissertation is also a call to arms for urgent action to mitigate the most devastating impacts of the environmental emergency.
The physical world (our bodies and materiality) enables increasingly complex interactions between humans and systems. While the material-turn in Human-Computer Interaction (HCI) allows dynamic materials to exhibit temporal (change-in-time) behaviours, current
research concentrates on the expressive properties of the artefact and overlooks the nuanced human-system interplay. A conceptual design language is now needed for designers to work with these distinctive reciprocal qualities. Tension-and-release is a universal principle established in art forms such as theatre, dance, and music, which derive from our immediate, multisensory understanding of the world. In this paper, we aim to extract and apply this principle to the design of interactive systems through the lens of aesthetic experience. We demonstrate our design theory through practical case studies involving the design of interactive material experience and examine how tension-and-release interactions are perceived and observed on three levels: Physical, Perceptual-Motor, and Psychological. These observations further identify three concepts within tension-and-release that can guide designers towards implementing this principle into their practice: timing mechanisms, catharsis, and conflict & resolution.
This work starts from the context of an environmental crisis that frames a growing trend of a search for alternatives of a sustainable nature as a proposal solution from the transdisciplinary approach of design. The objective of this work consists of planning an ecodevelopment strategy to create biocomposite materials using water hyacinth (eicchornia crassipes) as raw material. The approach will be part of a collective research programme for future doctoral studies whose further objective is the sustainable integral community development of San Gregorio Atlapulco in Xochimilco, Mexico City. Theoretically, an approach is made from complex thinking and the sustainability paradigm, resulting in a vision of design as an integral sustainable activity, from the perspective of the formulation of new materials, appealing to movements like Material Activism, Ecodesign and Material Designers, in conjunction with a circular economy. Exploratory experimentation for bio bases and sustainable treatments for the water hyacinth fibre was carried out to establish the optimal formulations for the elaboration of biocomposites. From this, seven biocomposites with different properties were obtained that can be used with various low-impact processes for manufacturing sustainable design objects. By doing so, this stage ended with a prospective scenario that was proposed for further work with the community as the beginning of a social entrepreneurship initiative.
Sustainable production transition requires new paradigms and strategies, as well as alternative materials. Recently, an increasing number of innovative materials were developed. Such novelties greatly affected the design practice, widening the materic possibilities for designed products. However, traditional material classification does not apply well for these new materials trend. In this paper, the authors cooperated with design students to identify an iterative tracing activity of the new material trends for design, finalised to embed in the same work new tendencies that may rise in future.
The 21st century has implied technological advances and improvements in the quality of life. It is useful that the ecological design is exposed from the educational institutions, so that a deterioration does not take place in the environment. The ecological footprint is a factor that analyzes the environmental impact generated by the demand and the use made of the resources available in the ecosystems. In recent decades, these indicators of pollution and excessive use of non-degradable raw materials have risen considerably, so it is necessary to think about ecological design to maintain the balance for future generations. In Arts Education, practices with an initial approach of analysis can be offered through cartographies, timelines, infographics or drawings that imply a study before the creation of the prototype and the product. After this study, it must be related to some of the fields of ecological design whether product design, packaging design, sustainable architecture, among others. It is also necessary to be aware of the natural materials to be used, as it is essential to maintain life cycles in harmony with nature. Finally, works will be exposed on packaging through ecological design with a vision for the educational field at the university stage.
Resumen
El contexto de crisis ambiental enmarca una tendencia creciente de búsqueda de alternativas de carácter sustentable como una propuesta-solución desde el enfoque transdisciplinario del diseño. El objetivo del presente trabajo consiste en la planeación de una estrategia de ecodesarrollo de biocomposites, utilizando lirio acuático (eicchornia crassipes) como materia prima. El planteamiento estará inscrito dentro de un programa de investigación colectiva cuyo objetivo ulterior es el desarrollo comunitario integral sustentable de San Gregorio Atlapulco, Ciudad de México. Teóricamente se realiza un abordaje desde el pensamiento complejo y el paradigma de la sustentabilidad, que deriva en una visión del diseño como actividad integral-sustentable, desde la perspectiva del desarrollo de nuevos materiales, apelando a movimientos como el activismo material y el ecodiseño. Se llevó a cabo una experimentación de tipo exploratorio sobre biobases y tratamientos sustentables para la fibra de lirio acuático con el fin de establecer las formulaciones óptimas para la elaboración de biocomposites. A partir de ello se obtuvieron siete biocomposites con diferentes propiedades, los cuales se pueden emplear con diversos procesos para la producción de objetos de diseño sustentables. Con ello se realizó el planteamiento de un escenario prospectivo para trabajar estos procesos en comunidad de manera sustentable.
Palabras clave: biocomposites, ecomateriales, sustentabilidad, lirio acuático, estrategia, ecodesarrollo.
Abstract
The context of environmental crisis frames a growing trend of search for alternatives of a sustainable nature as a proposal-solution from the transdisciplinary approach of design. The objective of this work consists in planning an eco-development strategy for biocomposite materials using water hyacinth (eicchornia crassipes) as raw material. The approach will be part of a collective research program whose further objective is the integral sustainable community development of San Gregorio Atlapulco. Theoretically, an approach is made from complex thinking and the sustainability paradigm, resulting in a vision of design as an integral-sustainable activity, from the perspective of the formulation of new materials, appealing to movements like material activism and the ecodesign. An exploratory experimentation for biobases and sustainable treatments for the water hyacinth fiber was carried out to establish the optimal formulations for the elaboration of biocomposites. From this, seven biocomposites with different properties were obtained, which can be used with various processes for manufacturing sustainable design objects. With this, a prospective scenario was proposed to work these processes in the community in a sustainable way.
Keywords: biocomposites, ecomaterials, sustainability, water hyacinth, strategy, eco-development.
Our relationship with materials, and the materials themselves, are constantly changing. Designers and manufacturers typically focus on the pristine object that entices the purchaser, with little consideration of how materials will change over days, years, or centuries of use, and how in turn this will influence the product’s life: from careful use to abuse and from reuse to disposal. Attitudes to material aging are highly variable, subjective, and shaped by myriad factors, which include both individual and societal influences. In this chapter a tentative framework for understanding the influence of material change on people’s experience of the material world which surrounds us is presented. The framework includes the consideration of the condition of the object, how its condition will change with use, and how this will influence people’s response to that object. Throughout the chapter diverse forms of material change that show the importance of time, context, and esthetics in influencing how material change is experienced are illustrated as case study examples. The chapter culminates with considerations on how material change may direct, inform, and create user experiences through shifting attitudes and behavior as an overt design strategy.
The practices that shape the do-it-yourself (DIY) approach have always considered different sectors of knowledge and experience. The DIY movement is expanding beyond artifacts to include the materials from which products are made; namely, DIY-Materials. Designers from all over the world are engaged in various experimental journeys in the field of materials development, and they consider these experiments as the starting point of their design process, which will lead to the creation of new artifacts. The possibility to self-produce their own materials provides designers with a unique tool to combine unusual languages and innovative design solutions with authentic and meaningful materials experiences. As this phenomenon of self-production of materials has spread widely in recent years and is starting to be considered as an essential phase of the design process, it is necessary to investigate and understand it accurately. This chapter aims to provide an updated and comprehensive definition of the DIY-Materials phenomenon, as one of the emerging experiences in the field of design.
http://ojs.francoangeli.it/_omp/index.php/oa/catalog/book/641
This present book covers a series of outstanding reputation researchers’ contributions on the topic of ICS Materials: a new class of emerging materials with properties and qualities concerning interactivity, connectivity and intelligence. In the general framework of ICS Materials’ domain, each chapter deals with a specific aspect following the characteristic perspective of each researcher. As result, methods, tools, guidelines emerged that are relevant and applicable to several contexts such as product, interaction design, materials science and many more.
Reintroducing Materials for Sustainable Design provides instrumental theory and practical guidance to bring materials back into a central role in the design process and education.
To create designs that are sustainable and respond to current environmental, economic and cultural concerns, practitioners and educators require a clear framework for materials use in design and product manufacturing. While much has been written about sustainable design over the last two decades, outlining systems of sustainability and product criteria, to design for material circularity requires a detailed understanding of the physical matter that constitutes products. Designers must not just know of materials but know how to manipulate them and work with them creatively. This book responds to the gap by offering a way to acquire the material knowledge necessary to design physical objects for sustainability. It reinforces the key role and responsibility of designers and encourages designers to take back control over the ideation and manufacturing process. Finally, it discusses the educational practice involved and the potential implications for design education following implementation, addressing didactics, facilities and expertise.
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