Concept — InShape

leitmotif

A specific 'user illusion' is applied so the user knows how to interact with the objects to influence the layout process on the screen, similar to how the original desktop metaphor facilitated navigation and task performance.

The initial "Gym" leitmotif proposed in the concept was not implemented exactly as suggested. The final form of the input devices is based on typical fitness equipment but does not resemble them exactly, aiming to be less associated with sport and more playful and suitable for the target group. Instead, various geometric shapes were designed, still resembling objects like a trampoline, a punching bag, or a Hulahup ring. The closest resemblance is the balance board. However, they now need a short call to action, such as 'jump' or 'hit'. The overall aim of encouraging movement and play is still given. In addition, the materiality and the three dimensional objects encourage tactile engagement. which now prompts short actions such as 'jump' or 'hit'. The overall goal of encouraging movement and play remains central. Additionally, the materiality and three-dimensional objects encourage tactile engagement.

Furthermore, the parallels between creative practice and fitness training persist. The daily struggle of a designer can be compared to the pressure to perform in fitness. Both involve form, technique, rhythm, and visualisation. Both require motivation, discipline, and dedication, especially when it comes to typographic adjustments or high fitness goals. Progress can be slow. Consistency is required. Old routines have to be broken and new habits and patterns created. Finally, the idea is to create a gym for graphic designers to stimulate a new work(out) routine.

   * ‘guim’ is pronounced like ‘gym’
       and is derived from GUI
      (graphical user interface)

      * The work is called InShape based on on Adobe InDesign.
         It refers to the idea of layout designing/shaping.
         Furthermore the objects created are geometrical shapes.

look & feel

The intention was to design the objects in an oversized format to create an absurd and humorous atmosphere. The size was meant to introduce an unfamiliar disruption, making the user feel small and self-aware.

In essence, the concept of absurdity is realized through the role users adopt when designing. A playful spatial installation has been developed, which slows down the design process and reduces it to a few basic functions. By transforming seamless digital processes into slower or more cumbersome physical controls, a state of defamiliarization is entered that disrupts the ingrained habits present in a designer’s creative practices (Hackers & Designers, n.d.-c).

The concept of using inflatable objects was intriguing because of the light manner. Yet its implementation proved to be challenging. Despite the research conducted in this area, it became evident that it would have been unaffordable to commission. Furthermore, integrating inflatable objects with the rrequired technology would have been a significant undertaking.

The concept of "oversize" was pursued in the most optimal aesthetic and functional manner. As part of a material experiment, a series of tests were conducted to determine the optimal combination of size, movement, and technology.

During this process, foam was selected as the material. Foam is distinguished by its versatility in terms of shape and haptics, including composite foam, dimpled foam, and pyramid foam. In particular, the softer types, such as memory foam, are distinguished by a very soft feel that encourages an intensive touch. Initially, a manageable assortment could be created via "Kleinanzeigen" or street finds in order to carry out preliminary experiments and develop an understanding of the material. It was almost impossible to obtain large pieces at a reasonable price that had the desired texture and were also aesthetically pleasing.

The sensors had to be integrated, which necessitated the addition of an outer layer to the foam. The choice of fabric was driven by the observation that foam hardens when painted with acrylic or wall paint, and that textile paint makes it sticky. Although the foam remains flexible with spray paint, it becomes brittle and the colour application remains blotchy.

A series of experiments were conducted using a range of fabrics and filling materials, including wadding and beanbag balls. Throughout these experiments, efforts were made to minimise the visibility of the technology, with the objective of creating an environment that was as analogue as possible. For each object an optimal material solution was found which underlines its supposed interaction.

Overall the materials are soft and light and have a colorful appearance, counterbalancing the clean, cold, and sleek surfaces of a screen or gym. The materiality creates a sense of playfulness and joy, making the interaction fun. It provides a visual and textural contrast to to the pressure of the creative process and fitness exercises. At best, it serves as a a sweet escape from everyday life. All in all, the design catalyses action and play, as design should, advocated by Tereza Ruller from the design studio The Rodina (Morley, 2016)

The object design drew inspiration from various sources, including the public art installations and soft sculptures of everyday objects by Swedish-born American sculptor Claes Oldenburg. Design studios such as The Rodina and Wade&Leta, known for their large, colorful material objects, also influenced the design approach. Additionally, the playful manipulation of everyday objects by Sarah Illenberger and the biomorphic sculptures and installations of Brazilian artist Ernesto Neto were influential. Various discoveries from internet sources further contributed to the creative process.

“Incorporating qualities of the physical world and
haptic interactions into technology is essential for
a more embodied future.” — Kolesárová, 2018

screen

Digital graphic design, especially desktop publishing, cannot be done without a screen and the layout process requires visual feedback. Thus, the nature of the juxtaposition and the proportions are rethought. Instead of slouching passively in front of a small screen, the installation requires movement in front of a room-sized LED wall to experience one’s body in relation to it. The screen is acting like a canvas in front of the user. The aspect of motion is implemented in the software through little animations when inserting images and rearranging the layout. Rhythm is achieved, for example, through the changing font size in response to the volume of the voice when inserting text.

space

The interactive installation is set up in a physical space and invites people to move actively using the whole body. Sitting is strictly avoided. Physical space is reclaimed to counter the digital work process in a traditional work environment. Tangible experiences, evoked by the modification and transformation of a familiar situation, remove us from a routine way of thinking. When designing a spatial installation, the physical (inter)action of the user is automatically required (Sommerer et al., p.134). The installation can be described as a walk-in control system. Instead of controlling only one input device (mouse/trackpad), several input devices are offered that require operation with the whole body. It harkens back to the days of the ENIAC girls, who operated computers in room-sized switch cascades with manual interactions of plugging, punching, and switching. Now, the computer recognises the inputs to control certain functions of the layout.