Whole Foods 365 Shopping Enhanced by Augmented Reality (SEAR)
Company Fjord, Design and Innovation for Accenture Interactive
Introduction Date March 10, 2018
Project Website
Why is this project worthy of an award?
Imagine walking into a grocery store, pulling out your phone and, through augmented reality technology, you can see hidden information about products you want and need at a glance. That’s the promise of SEAR, Shopping Enhanced by Augmented Reality. Together with Whole Foods, we created this AR-fueled shopping experience to help customers see beyond the shelf and the product information available in-store to make informed decisions. Using SEAR is as simple as downloading an app. As customers cruise the aisles of their local Whole Foods, smartphone in hand, product information tailored to their specific needs will instantly emerge, giving them the food facts they crave — from nutrition facts to allergy information and recipe ideas — in a cool, interactive and easily digestible format. Whether your goal is to go all organic, eat local or say goodbye to gluten for good, SEAR helps you navigate the grocery store more effectively and reimagines the supermarket experience. Beyond Whole Foods, SEAR has the potential to facilitate exciting, helpful and transparent experiences in all kinds of retail environments. We see huge implications and use cases in fashion, automotive and beyond. Not only does AR make for an impressive experience, but it offers brands new ways to tell their stories — particularly around sustainability, fair trade, social responsibility, etc. — and provides customers with access to more information and greater transparency into the product. This empowers them to make the best decisions based on their preferences, and to better navigate the world around them.
What else would you like to share about your design? Why is it unique and innovative?
SEAR is designed to push past the novelty of augmented reality and show how it can be a useful and practical everyday tool for shoppers. It’s about balancing convenience and discovery to provide serendipitous moments and handy information during the grocery shopping experience. Whether a working parent or college student, we want everyone to feel like SEAR is a simple and compelling application. It’s also a new way for stores and vendors to engage with its users.
Who worked on the project?
Heather Hildebrand, Account Lead Greg Carley, Group Design and Innovation Director Eric Ray, Delivery Lead Hawkeye Thompson, Design Director Donald Dahle III, Lead Developer Z. Henry-Frazer, Project Manager Michelle Adams, Project Coordinator Erica Ochoa, Visual Designer Tony Matejek, Visual Designer Michael Sparks, QA Trevor Phillips, iOS Developer Briana Gray, iOS Developer Hunter Woodlee, Director XR John Miller, Project Manager Molly Gardner, Production Designer Manuel Gonzalez, Visual Designer Charles Price, 3D Designer Robert St. Aubin, 3D Designer
View the project video: https://vimeo.com/258720827
Windows Mixed Reality
Company Microsoft
Introduction Date June 1, 2016
Project Website https://www.microsoft.com/en-us/windows/windows-mixed-reality
Why is this project worthy of an award?
We live in a multi-dimensional world, and yet while we’ve made incredible advances as an industry in the way in which we interact with computers, we are regularly constrained by the need to conform to the ways computers recognize our commands through mouse clicks or by touching a screen. However, 3D and mixed reality can better communicate ideas and expression. It can accelerate comprehension because holograms are much more representative of the world in which we live, experience and learn. Bringing computing into the 3D world that humans have always existed is the natural next step in making computing more personal and enabling more human interactions with technology. Windows Mixed Reality is the next step in this evolution. Grounded in Windows 10, Windows Mixed Reality is the most complete mixed reality platform across virtually any device type – from VR to AR and everything in between – creating the foundation for the next generation of innovative mixed reality devices, and ultimately the future of computing. Windows Mixed Reality was borne from the need to develop an operating system to support Microsoft HoloLens, the world’s first self-contained holographic computing device, which relies upon the ability to merge the physical and digital worlds. This requires a sophisticated operating system that can comprehend and respond to its surrounding environment, resulting in an operating system feat. The creation presented multiple risks including but not focused on the software alone, whether the market was ready for this technology, if there was developer appetite to build for Windows Mixed Reality, how versatile the platform could be, if partners would see the platform as valuable enough to invest in as well. The team persisted with the vision that Windows Mixed Reality would serve as the holographic operating system across all of Microsoft’s mixed reality experiences. Their vision and ultimately the outcome revolved around pioneering the first platform to span holographic devices. Windows Mixed Reality is already changing the world around us, pushing creation, improving communication, expanding collaboration, increasing productivity and inspiring innovation in a new dimension not previously possible. With the creation of Windows Mixed Reality, Microsoft is pioneering an entirely new category of technology and building a foundation for an industry still in its infancy yet poised for massive growth. It is a stepping stone not only for Microsoft toward a world that better caters to human instincts, but partners, developers and commercial businesses as well. As we witness others enter the market, Microsoft has set the benchmark high with Windows Mixed Reality.
What else would you like to share about your design? Why is it unique and innovative?
The Windows Mixed Reality platform is one of its kind in spanning Microsoft HoloLens and Windows Mixed Reality immersive partner headsets from ASUS, Acer, Dell, HP, Lenovo and Samsung, all running Windows and at a wide range of price points and form factors. No other company has created a platform like Windows Mixed Reality that supports shared experiences in mixed reality across a range of devices from a host of device makers through a singular shell, consistent UI, and standardized input. This platform was designed to deliver an experience customers would love, bringing together the best of Windows to provide a familiar and accessible user experience, but also anticipating and pushing the boundaries of the future of computing. The OS includes a holographic shell, holographic APIs, perception APIs, middleware, and Xbox Live services. Given its roots in Windows, Windows Mixed Reality supports holographic apps from Microsoft and our partners, built on the Universal Windows Platform and available in the Microsoft Store, further empowering others to tap into and benefit from the power of Windows Mixed Reality. With Windows Mixed Reality, Microsoft is opening the realm of possibility to customers and developers alike and fostering a platform and ecosystem that competitors have not been able to replicate.
Who worked on the project?
The Mixed Reality Team at Microsoft
View the project video: https://binged.it/2FB7tyr
Workplace + Public Realm
Company WRNS Studio (1 of 3 projects submitted for consideration for Design Company of the Year; Sonoma Academy Janet Durgin Guild & Commons, Intuit Marine Way Building, and Workplace + Public Realm)
Introduction Date March 1, 2017
Project Website https://www.workplaceandpublicrealm.com/
Why is this project worthy of an award?
The Architectural Design Program at Stanford University, the School of Architecture at Northeastern University College of Arts, Media and Design, and architecture firm WRNS Studio have published a book, Workplace + Public Realm, suggesting that the built environment is poised for a transformational shift as work and public life merge. The book reflects the findings of a yearlong research studio led by the three entities during the 2015/2016 academic year. The class used different sites in Boston, San Francisco, and Silicon Valley to investigate the impacts of changes in work and workplace upon the public realm and vice versa. The nature of work has always shaped the built environment, which has evolved significantly from agriculture-based townships to industrial cities connecting vast infrastructural networks to clerical cities of hierarchy and order. With the Information Age in full swing and automation positioned to further skew the workforce toward creative and strategic thinking, the market demand for innovation is reaching a tipping point. Knowledge work compels what WRNS Studio calls the “public mesh,” or the blurring of workplace and the public realm, with intriguing and complex implications for the built environment. The students’ research points to two key benefits — flexibility and work/life integration — sought by today’s knowledge workers who expect meaningful interaction as well as autonomy over the processes of work. While flexibility and work/life integration have been well covered in journalism, the students’ research compels a deeper inquiry into the commonly held assumptions of both. For instance, workplace flexibility is not just a matter of making buildings adaptable for future uses; it’s also about supporting worker wellbeing by allowing for flexibility in when, where, and how work happens by situating work in close proximity to infrastructural networks like transit or other amenities like fitness. Likewise, the work/life dynamic shifts from balance to blur, as it can often be difficult to know in any given moment if someone is working or “doing life.” As most knowledge work can now be done anywhere, the workplace must evolve for relevance by offering experiences, tools, and spaces one could not find outside the office. From an evolved understanding of the concepts of flexibility and work/life integration arises the need for a new kind of platform to better support them — the public mesh. The public mesh is an ecosystem, or network, of publicly accessed places, mutually defined by public and private entities, which happens at different scales and through different territories of public and private ownership. The public mesh is nascent — its more obvious nodes becoming evident in spaces, networks and infrastructures shared by workers and the public. In this ‘becoming’ lies great opportunity to shape new spaces of engagement and access. The public mesh is still far from being worked out, as explored in chapters on security, jurisdictional dynamics, and territoriality and boundaries. The book is intended to catalyze further research on how both cities and suburbs might evolve in more human-centered, responsible ways.
What else would you like to share about your design? Why is it unique and innovative?
One of the most profound changes in workplace design has been fueled by the cultural desires of today’s workforce. People want to be someplace: they seek specificity and connectedness. The hermetically-sealed office, in suburb or city, has become a non-starter. In response, workplace engages the public realm, serving the human need to connect with community and place. For all of our challenges as a society, the right kind of public spaces—New York’s Washington Square and San Francisco’s Dolores Park, for instance—play deft host to civil society in all of its diversity. These public spaces offer the specificity and connectedness people seek in both work and life, which may account for the fact that plazas, parks and cafes are often full of people working. The public realm is poised for a substantial merge with workplace, a Public Mesh. A shared lobby or terrace, a cafe or gallery, an adjacent park or transit hub are some, but not all, of its elements: the Public Mesh is an ecosystem of publicly-accessed places, mutually defined by private and public entities, that happens at different scales and through different territories of public and private ownership. It draws from the precepts of good urban design to imagine a spatial and experiential blurring of the workplace and the public realm to the benefit of both public and private interests. The Public Mesh responds to three key expectations: desirable indoor and outdoor spaces; participation in society and the feeling of being in public; access to different experiences and the ability to get around. The Public Mesh anticipates that workplace design has the potential to both fuel and benefit from a reinvigoration of the public realm. Essential to the Public Mesh will be the identification of key public programs, events, rituals, memories and desires, with social and cultural agendas embedded. Program opportunities include a retail strategy that connects with key aspects of a city’s identity, open spaces such as courtyards or terraces, public meeting rooms, or pedestrian-biased circulation that enlivens and blurs the distinction between private and public realms. Spatially diverse and scaled for the human experience, this kind of public/private programming has the potential to meet current workplace needs while catalyzing future growth. While public/private partnerships of this nature bring great opportunity, many complex factors influence the Public Mesh. The development process must balance market forces with public policy and land use to ensure that both public and private interests are served. As workplace and the public realm merge, territories and boundaries that were once evident and fixed are renegotiated, sparking a productive tension between ambiguity and clarity. Security too must be renegotiated in the Public Mesh to fully realize the public realm’s value in spurring innovation and fostering community. These influences will shape the Public Mesh in many ways. The endeavor benefitted from the sponsorship and expertise of primary backer Jones Lang LaSalle, as well as Kilroy Realty, Knoll, Intuit, Equity Office, and CoreNet Global—Northern California Chapter.
Who worked on the project?
◦ Publication Produced by WRNS Studio; Bryan Shiles, Editor, Northeastern University Visiting Professor, Stanford University Lecturer; Kristian Kloeckl, Editor, Northeastern University Associate Professor; John Barton, Director of Architectural Design Program, Stanford University; Hattie Stroud, Editor, Stanford University Teaching Fellow; Molly Thomas, Editor; Daniel Johnson, Editor, Stanford University Teaching Fellow; Gabriella Medina, Graphic Designer; Amanda Lee, Northeastern University Teaching Assistant; Allison Arieff, Stanford University Visiting Lecturer; Tracy Wymer, Stanford University Visiting Lecturer; Jordan Kanarek, Stanford University Visiting Lecturer; Briana Anderson, Northeastern University Student; Ray Bores, Northeastern University Student; Rachel Conley, Northeastern University Student; Nicole Chin, Northeastern University Student; Ally Crooke, Northeastern University Student; Natalia Escobar, Northeastern University Student; Andreina Feijoo-Gomez, Northeastern University Student; Marcus Hongmanivanh, Northeastern University Student; Ekaterina Kudrya, Northeastern University Student; Oana Pavunev, Northeastern University Student; Kelsey Rogers, Northeastern University Student; Ariel Stokes, Northeastern University Student; Adriana Tzigantcheva, Northeastern University Student; Sarah Abalos, Stanford University Student; Curtis Fong, Stanford University Student; Adrian Harrison, Stanford University Student; Sally Lape, Stanford University Student; Dakota Mascarenas, Stanford University Student; James Rimbakusumo, Stanford University Student; Andrew Sonta, Stanford University Student; Lissette Valenzuela, Stanford University Student; Spenser Apramian, Stanford University Student; Moom Janyaprasert, Stanford University Student; Dani Lucas, Stanford University Student; Mary Carole Overholt, Stanford University Student; Wiley Webb, Stanford University Student; The endeavor benefitted from the sponsorship and expertise of primary backer Jones Lang LaSalle, as well as Kilroy Realty, Knoll, Intuit, Equity Office, and CoreNet Global — Northern California Chapter.
View the project video:
Wyndham Vacation Ownership Kingstown Resort Virtual Model
Company Isobar
Introduction Date January 24, 2018
Project Website
Why is this project worthy of an award?
Isobar partnered with Wyndham Vacation Ownership’s architecture and design teams to create a fully immersive virtual model of a two bedroom suite. The VR model gives architects, executives and sales staff a roomscale resort suite to experience and explore before a single nail is hammered. Using architectural blueprints, and interior design PDFs virtual model is developed using Maya 3D design software and with the Unity Engine software to produce a photorealistic 3D experience. The responsive experience is developed in a fraction of the time needed to build a physical model which is the traditional method for signing off on new construction plans. This project takes design innovation to the next level. Not only does the project itself elevate the category of design by leveraging emerging technologies to transform a longstanding, traditional process, but it also is game-changing for the design industry. This project gives designers an opportunity to completely reimagine the way they model out hotels, retail stores, and events. The ability to create realistic roomscale experiences will provide more room for innovation, creativity and ingenuity. While designers may not have the budget to bring their wildest ideas to life in a physical model, the virtual world is a different story. Interior design updates and layout changes can be addressed in hours enabling agility during the design process. In the case of this particular project, decision-makers are able to make more comprehensive, complete selections because they are able to flip back and forth through designs, making near real-time comparisons. The virtual model can also be used in the sales process to support property tours and sales years before a development is ready for onsite tours. From a cost perspective, the benefits are astounding. While creating virtual experiences is not free, it is certainly more cost effective than assembling real life models. In addition, you completely eliminate the cost of travel - it is no longer necessary to have people travel across the country to give opinions on life-size models. These can now be viewed in the comfort of their local offices. And, of course, there is the cost of making changes. With virtual experiences, we can revise design specifications based on feedback with a much lower cost than making revisions to design after orders are already placed for furniture and soft goods are placed. The two-fold implications of this innovation with regard to design make it an exceptional candidate for this particular award.
What else would you like to share about your design? Why is it unique and innovative?
Archviz using virtual reality is a completely new way of doing things. It opens up the possibility of gaining a physical sense of spatial awareness. Unlike how one might experience a 3D room or building on a flat screen, VR offers you the ability to literally reach out and touch the tables, chairs, counters and the wall in front of you with your VR controllers. Let’s say the user is 6’3” and they want to know if they are going to hit their head on the low beams of a lofted ceiling; that’s now possible. Another example would be reaching a hand from a counter space to an island in a kitchen, or sitting on the bed and reaching for the bedside table. This capability allows them to get a feeling for how far away things are how spacious room is. VR makes it possible for you to feel like you are “there” in the actual room, which gives you a much better sense of the architecture, the interior design and layout. The app that we built for Wyndham is designed specifically to facilitate visualization using 3D dimensionality and spatial awareness. It's completely new in the sense that designers can now explore the environment that they themselves were involved in designing. They can confirm if their “intent” was realized. Or, if perhaps they made a mistake or if something could be improved. Prior to virtual reality, and this specific app, these types of experiences would be impossible to recreate. This is what makes the Wyndham architectural visualization app unique and powerful.
Who worked on the project?
Justin Novak, 3D Designer Stu Buchbinder, Unity Architect Ken Waagner, Project Manager Molly Parisi, Engagement Director Tonya Baktrizes, Vice President
View the project video: https://vimeo.com/268787208/10a0de685f
YEVO x HUMANIUM
Company YEVO Labs
Introduction Date January 9, 2018
Project Website https://www.yevolabs.com/blogs/stories/yevo-x-humanium-meta-crafted-from-illegal-firearms
Why is this project worthy of an award?
YEVO Labs, a Stockholm-based innovation lab, partners with Humanium Metal by IM, Swedish Development Partner, which sources the world’s most valuable metal from illegal firearms to release the world’s first product crafted from illegal firearms. The flagship headphone YEVO 1 is the first product to incorporate the metal into a product. By introducing Humanium Metal - a commodity for peace - into the YEVO 1, the brand will help to create new sources of funding for victims and projects aiming to rebuild conflict-torn societies affected by illegal weapon violence. Part of the proceeds will be donated to IM’s work in five regions and twelve countries worldwide, as well as local partner organizations. “Creating YEVO x Humanium Metal, a product that elicits change in such a positive way is the greatest reward,” said Andreas Vural, founder of YEVO Labs and Happy Plugs. “This collaboration is bigger than headphones. It’s part of a global movement that removes illegal firearms from the streets and recycles them into a material that helps move us towards a more peaceful future, all while giving back to those affected by violent crime.” “For us, it´s of great meaning to be able to work with brands who want to invest in and contribute to a brighter future,” says Josefina Rovan, Head of Marketing & Communication at IM. “By using Humanium Metal in products, together we can bring awareness and sustainable values to consumers, and at the same time, generate financial support and empower the people living in countries affected by gun-violence. Therefore, we are proud to announce our collaboration with YEVO.” YEVO will incorporate a Humanium Metal build in its charging case which houses the earbuds. By doing so, YEVO is contributing to job opportunities and local income generation, long-term positive effects on economic realities and prosperity for affected societies. A Humanium Metal-based product, such as YEVO x Humanium Metal earbuds, will not only deliver financial support to affected communities, it also holds a strong ethical message surrounding a cause the brand feels strongly about. Humanium Metal is an initiative by IM, Swedish Development Partner, that works with countries that face gun violence and its detriment to the development of society. To fight the spread of illegal weapons, as well as find new ways to deliver financial support for victims, IM discovered a new way to address the problem. The organization began to seek the support of the most influential lobbying group there is – consumers. IM has spent more than two years establishing a supply chain for Humanium Metal that meets industry standards, as well as developing close ties with governments and local NGOs in countries affected by armed violence.
What else would you like to share about your design? Why is it unique and innovative?
YEVO x Humanium Metal headphones made from melted-down illegal weapons mark new collaboration for YEVO Labs as part of a global initiative for peace. This is the first product created by removing illegal firearms from the streets and recycling them into a material that helps move us towards a more peaceful future, all while giving back to those affected by violent crime.
Who worked on the project?
Andreas Vural, Founder of YEVO Labs & Daniel Jönér, Head of Design, YEVO Labs
View the project video: https://vimeo.com/260406552/bda923af82
