Concept A
Applying the “searching” body movements, for example, rummage, rotate, lift, push, and pull, the feedback of the object has been designed: lifting books to users when users start searching. It is easier way for users to make a general browse and take target books. The sketches and short descriptions are shown. The figure shows the interaction between human and products.
User’s objectives
Physical feedbacks of products interaction
context
Figure 29 interactions demonstration
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Interaction Between Users and Objects
take a general look
Context
Searching under a Ambiguous situation
Figure 30 interactions demonstration for concept A
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Required Movements
In concept A, the required movements are rummage, rotate, pull, and push. The four movements comprise a general concept of searching. Collaborating with the context, these movements have been applied into the bookshelf design.
Rummage
a thorough search made by turning things over in a disorderly way
Rotate
to turn around its own center or axis
Pull
to draw out from objects
Push
to cause to move or move away from something
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The form of box is decided to use in order to show a stackable image. Collaborating with the movements we assigned before, the design details were developed.
Figure 31 concept sketches: develop ideas
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This sketch talks about how to make books be lifted? Some solutions are tested, for example, repulsiveness of magnets. It‟s very difficult to achieve because of the heavy weight of books.
Figure 32 concept sketches: considering how to lift books
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This sketch provides an idea: using cloth to lift books.
Figure 33 concept sketches: final parts
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Concept B
Applying the powerful, directional and stretchable body movements, we designed the feedback of the object: act like a cockpit, embrace the user who walks in this space.
After a applying powerful manipulation body movements, users can see all the information on it and begin to browsing what they want for. The sketches and short descriptions are shown, and we simplified the form in the final design, in order to decrease the noise of a over complicated form. Collaborating with the movements we assigned before, the design details were decided.
User’s objectives
Physical feedbacks of products
context
Figure 34 interactions demonstration
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Interaction Between Users and Objects
start engine
set something
pull push
product feedback for start engine
ready to take off
embrace
flip revolve
draw rotate
check details
stretch
Context
Browsing equipments in a fantastic cockpit
Figure 35 interactions demonstration for concept B
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At the beginning, the forms are complicated.
Figure 36 concept sketches: considering how to achieve science-fiction style
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General structures are discussed: one main base and two shelves. How the two shelves move is also very important.
Figure 37 concept sketches: more detailed
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Forms are simplified in this sketch. A too complicated form may interferes the machinery and blurs visual effects.
Figure 38 concept sketches: develop the shape
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Discussion and Making Working Prototype
After ascertaining the details, we discussed with the master craftsman to confirm and communicate our ideas. It is very important to make a clear understanding between designers and craftsman. In fact, we met many problems, for example, overweight parts led to replace the bigger hinge and effect the original form. Additionally, because of the ready-made hardware size, we must change the design to fit the
hardware. In this period, we almost stayed in the factory, in order to communicate and revise our design.
Figure 39 days in the factory
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Collaborating rummage, rotate, push and pull, open and close movements to interpret the interaction between people and books. Every single movement has phased purpose and meaning, and represents different searches at different levels:
extensive browse or deep-going seeking as well. As people open the covers, products also react to the movement of searching and lift the books to make it easier for people to seek and take.
CONCEPT 01
倉庫番
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Scenario
Alex (27) is a counter in a bank. He orders magazines every year, for example, Times, Guitar Player, and Model Art. In the Sunday morning, Alex wanted to look for the 7th, and 8th Model Art magazines last year for references. Because of his habits, he
already put all the overdue magazines in the storeroom, therefore, he walked into the storeroom and searched for the magazines. He saw lots of boxes, containers and books. In this situation, he didn’t know where to start searching. He just repeated the process of rummaging books, pulling and pushing away boxes, and opening and closing containers to looking for the desired magazines. After a period, he finally found the magazines in the corner of the storeroom.
Figure 40 theme of concept A
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Demonstration in Exhibition
Figure 41 demonstration in the exhibition
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The Key Physical Feedback: Opening and Lifting
When users open the top, the cloth will lift books in the box. Lifting books to users makes a easier way to browsing, flipping, and searching books. In general case, we can achieve more information by watching covers of books. By lifting books, we can create some spaces between crowded books because of slanting of books.
Figure 42 the key manipulation: open and lift
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Are you also fascinated with the scenes and machinery showed in science-fiction books, films, and animations? In the context of science-fiction themes, the bookshelf is presented by stretchable, directional, and powerful movements collaborating with the design concept of wrapping space of cockpits. On the bookshelf are the Top 20 bestsellers of this month. The goal is to let readers in the bookstore to browse and acquire information by meaningful manipulations: the pilot-like movement, and to enhance user experiences of browsing information by the connection between manipulations and previous reading contents.
CONCEPT 02
アムロ、行きまーす
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Scenario
Tom (20) is a university student fascinated by science fictional movies and animations.
He hopes that someday he can ride a space vehicle wondering in the space. He often searches relevant information on the internet, then shares them in his blog. Tom also likes to go to bookstore to read science fictional books. Additionally, he loves the futuristic character design and scenery design, for example, robots and vehicles. In Sunday afternoon, Tom wanted to by a new released and recommended concept art books, therefore, he went to the bookstore and looked for books.
Figure 43 theme of concept B
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Required Movements
In concept B, the required movements are stretch, pull, push, and draw. Additionally, the directions of the four movements are the key point in this design. Powerful and central-moving movements are needed to representing the fancy context.
Stretch
to draw out to a greater length or width
Pull
to draw out from objects
Push
to cause to move or move away from something
Draw
to pull or haul along
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Explanation of the Title: アムロ、行きまーす
We must explain why we use the title: アムロ、行まーす. It is a classic character‟s line in the famous robot animation. This Japanese sentence means: I am ready to take off, and it not only fits our science-fiction topic, but also recalls our memory to the animation scenes we‟ve watched before.
Figure 44 pilot in animation
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Key Manipulation: Stretch and Pull to Create a Special Space
Holding the handle and pulling, the two “wings” will move forward and embrace the user. The product movements can create a special space for the user. There are black cases arranged in order, just like a kind of machinery instruments and control panels around the user.
Figure 45 the key manipulation: pull, push and stretch
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Key Physical Feedback: Moving Forward and Embracing
The product‟s feedback is meaningful to users and the product itself. The two “wings”
of this bookshelf move forward, and “embrace the user. These movements not only create a surrounding space effect to users, but also reveal a message: I am ready.
Users can check each book container for information.
Figure 46 the key feedback: move forward and embrace
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CHAPTER 4
EXHIBITION
Figure 47 the exhibition post: city and sky
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SWITCH
How can all downcast faces turn into smiles?
How can those depressing people turn into delights?
I see traffic looks like floating clouds, drifting slowly.
I see smog winds like the light mist in the morning.
How do you think?
Why not observe the world upside down?
Nothing accustomed; nothing taken as a matter of course.
Figure 48 the exhibition post: grass and sky
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