Bits and Bricks: Tangible Interactive Matrix for Real-time Computation and 3D Projection Mapping
Company Massachusetts Institute of Technology
Introduction Date November 28, 2017
Project Website https://ira.mit.edu/tactile-matrix/
Why is this project worthy of an award?
The Tactile Matrix is a programmable, open source system for augmenting tangible environments with digital information. The system employs a unique, playful interface enabled by projection mapping, machine vision, and open hardware. The system performs real-time computation and dynamic projection mapping as a user interacts with a tabletop of physical data units. Illuminated, tangible-interactive matrices have immediate applications as collaborative computation tools for users who want to leverage matrix-based mathematical modeling techniques within a friendly and accessible environment. The system is designed as an open source kit of both off-the-shelf items, such as Lego, and components that are inexpensively fabricated with standard equipment such as laser cutters. The Tactile Matrix is designed to (a) make matrix-based mathematical methods more accessible and intuitive to users who otherwise do not have access to such tools or (b) provide an interactive narrative and story-telling device for experts who wish to present or explain matrix-based concepts to non-experts. We have applied the system to many case studies to make complex systems intuitive and approachable for a broad range of stakeholders. Each case study leverages some aspect of matrix computation and is unique to a respective field or industry. Finding Places: We deployed the system at a local university in Hamburg, Germany to facilitate a series of community engagement exercises aimed at allocating a recent flood of Syrian refugees into the municipality. Representatives from various districts participated in workshops in which they could receive feedback from the system by manipulating blocks that represent geospatial location of refugee allocations. Performance metrics such as density, land ownership, and strain on public infrastructure were used to assess the feasibility of various refugee allocations. Participants were free to alter allocations dynamically rather than be confined to a single proposal. The project, “Finding Places,” received Urbact’s award for Good Practices. Urban Planning: A rapid prototyping environment for land use planning and pedestrian walkability was developed jointly with the Development Authority of Riyadh, Saudi Arabia. The system incorporated spatial models of walkable access, daylighting, and energy. Tangible pieces represented building typologies with variable density and land use configurations. The tool was designed for planners to coordinate and reconcile competing agendas within the Authority that are a function of land use and density. Last Mile Logistics: Logistics experts from Walmart used the platform to present parametric models of delivery service areas in a real-time, changeable environment. Users manipulated tangible objects representing distribution centers and other spatial parameters to change a quantitative evaluation of the logistics network. The model is being developed for both internal deliberation and external presentation. Finding Places: https://ira.mit.edu/blog/finding-places Urban Planning: https://ira.mit.edu/blog/riyadh Last Mile Logistics: https://ira.mit.edu/blog/lego-logistics
What else would you like to share about your design? Why is it unique and innovative?
The Tactile Matrix extends prior work in tangible tabletop user interfaces for sensing and information display and contributes to the ecosystem of scalable, low-cost tabletop augmented projection tools. The system works by first detecting a matrix of uniquely tagged physical objects in real time as they are moved by a user. Next, it performs a real-time digital reconstruction of objects’ configuration including form, position, ID, and any metadata and runs a real-time analysis of the objects’ configuration. Finally it generates a real-time visualization of the analysis via the display screen(s) and projection maps visual content onto objects on the scene. Tangible Objects: The ability to process an extremely large number of separate physical objects in real time is facilitated by a novel feature of this device: a user can place the physical objects into a spatial region, but the placement of the physical objects in the spatial region is constrained by a gridded tabletop such that only certain positions are allowed. A demonstrative system digitally reconstructs and projects light onto 1,936 (44x44) separate physical objects in real time. Computer Vision: A user places the physical objects into indentations in the table. The fact that the physical objects on the table are limited to a set of specified positions in a physical grid allows an algorithm to quickly detect and infer the exact location and nature of all pieces. Digital Reconstruction and Projection Mapping: An algorithm merges the location, rotation, and ID data with a digital object repository that uses IDs to link data. The repository contains additional information about object form and any other metadata important to associate with the object. Algorithms perform matrix-based computation and further package a digital 3D model, its meta-data, and any analysis into integrated visualizations for export to display screens or projectors. The user may use the visualizations to influence their next interaction with the system, thus completing a real-time feedback loop. Tabletop Structure: For the purpose of scaling and deployment, a tabletop structure has been designed from standard, procurable materials and components such as acrylic and aluminum. A grid for constraining placement of objects upon the matrix is cut from acrylic. Dimensions accommodate a 22x22 grid of Lego objects, and the system may concatenate multiple modules. The Tactile Matrix was invented during a cold, Boston winter by Ira Winder, Joshua Fabian, and Grady Sain while working for Changing Places Group in MIT Media Lab. The creators are heavily inspired by the work of Tangible Media Group at MIT Media Lab. The system has inspired input, experimentation, and hacking by numerous collaborators at MIT and beyond. This work would not be possible without advice and input from Kent Larson, Christoph Reinhart, Cody Rose, Edgar Blanco, Matthias Winkenbach, Daniel Merchan, Brandon Martin-Anderson, Mike Winder, Hafencity University, Walmart, and many others. Many thanks to Processing Foundation for making and maintaining the tools that were largely used for prototype implementation, and to all of our collaborators for having the faith to adopt our system and methodology.
Who worked on the project?
Ira Winder, Research Scientist Joshua Fabian, Research Assistant Karthik Patanjali, Project Assistant Grady Sain, Project Consultant
View the project video: https://youtu.be/EnmngGkm8bY
Blackbaud Masterbrand
Company Blackbaud, Inc.
Introduction Date October 1, 2017
Project Website https://tideturners.blackbaud.com/
Why is this project worthy of an award?
In 2017, we employed font, color, illustration, and icon style to streamline the Blackbaud visual brand at every customer touch point, including traditional & digital marketing, web, and product UX. Blackbaud Sans, created in partnership with Monotype, embodies Blackbaud’s “geek-chic” brand personality and functions nicely in print, digital, and mobile applications. We created a font family that functions for the future—as our business expands to include a wide range of independent partner developers, our font will be readily available through our software developer kit. This is a monumental shift from the traditional seat-based font systems, saving the company hundreds of thousands of dollars in potential licensing fees. We also simplified our corporate color palette and designed a new brand icon, the little b, for social media and space-inhibited uses. In addition, Blackbaud’s inaugural icon illustration style and icon library offer a unique brand look across communication channels. These elements have been applied consistently to corporate logos, product logotypes, app icons, and digital marketing efforts, resulting in a modern, cohesive, and recognizable brand. So that our design innovation aligned with Blackbaud’s brand, we used: • Sheared ascending and descending terminals to echo the diagonal shapes used in our branding. This communicates forward/upward motion associated with our cutting edge brand. • Custom glyphs of our brand chevron (from our logo) • The sharp, or “kissing” k is a feature is also borrowed from the Blackbaud logo • Round punctuation for a friendlier appearance • Rounded, “huggable” letterforms to communicate the friendly and approachable aspect of our brand personality From a usability perspective, we used: • Low stroke contrast, tall x-height, and open apertures to help screen rendering performance • Condensed versions created specifically for mobile/ product UX
What else would you like to share about your design? Why is it unique and innovative?
Today, Blackbaud is the 24th largest cloud software company in the world (as reported by IDC, July 2017), a Fortune “Change the World” company and repeat Forbes “Most Innovative Growth Company.” As the company continued gaining momentum among other areas in the business, it was time for its branding to also be elevated. This design innovation genuinely reflects who Blackbaud is today, a cloud software company that is innovative, agile, creative, collaborative, responsive and successful. One Blackbaud value—“we invent possibilities”—includes disruptive innovation and ongoing practice evolution to create a more productive value chain. This project opened the doors for unprecedented cross-departmental collaboration with customer focus at the heart of the project. Just as the company leads uniquely at the intersection point of technology and social good, this design innovation was created specifically for Blackbaud’s personality: • Human - We ensured that our font was highly readable and accessible for all people. . • Humble - We know our customers have choice, and that being easy to do business with can start with how we show up visually. We want to ensure our visual identity makes us approachable. • Customer-Focused - We consider ourselves an extension of our customers’ teams, and our focus on customers is apparent across this project. Our visual identity keeps them at the center, both through ensuring it is easy and engaging for them to interact with us, and through the visual elements highlighting them and their mission. • Outcome-Driven – This wasn’t just about prettier colors or nicer lines. It was about creating a UX that developers around the world will be able to use as they extend the capabilities of Blackbaud products. • Dedicated - Every letter, every gradient, every last detail were studied relentlessly to make sure they would work for our customers. • Technology Experts - We love technology and are passionate about building solutions our customers love to use – including a world-class UX in our products. • Visionary - We’re forward-thinking and always dreaming of the next big thing for our customers. The clean and modern look of our visual identity now better reflects this.
Who worked on the project?
• Amy Spencer – Chief of Staff & Senior Director, Strategic Marketing Services, Blackbaud • Veronica Volborth – Creative Director, Blackbaud • Amy Lucia –Vice President of Corporate Marketing, Blackbaud • Nick Quagliara - Principal User Experience Designer, Blackbaud • Todd Roberts - Staff User Experience Designer, Blackbaud • Sam Stone – Senior Graphic Designer, Blackbaud • Terrance Weinzierl - Font Designer, Monotype • Lori Poer –Director of Brand Strategy, Blackbaud • Jenny Matheney – Director of Marketing, Blackbaud
View the project video:
BOOK by Farewell
Why is this project worthy of an award?
Every hour millions of packages are shipped around the world. UPS and FedEx alone move 11.6 billion packages every year. There are now more trucks on the roads than ever before. But efficiency in the gigantic business of logistics is decreasing fast. In Europe alone, an estimated 30% of trucks are driving around empty. Why? A fragmented sector in which transportation companies only care about their own flows. Think of it as everyone taking their own car to the party rather than carpooling with friends. But on a million-packages-per-hour scale. This lack of "carpooling" results in 35 billion empty kilometers every year in Europe. Not only is this devastating for the environment. The economic consequences are widespread – no one wants to pay for empty kilometers. In Sweden, more than 400 transportation companies filed for bankruptcy in 2016. How can a digital product solve this poor situation? BOOK plugs into existing transport booking services and identifies hidden twin flows. A twin flow is where transportation companies are running goods on the same route at the same time. BOOK consolidates the flows, appointing the assignment to the transportation company best suited. Adjusting pickup and delivery times automatically. Reducing emissions and improving efficiency. This new approach requires a bold graphic expression. Both to make the urgency of this issue clear. And also to break free of the greyness of logistics – an industry riddled with user-unfriendly experiences. Never before have logistics worked this well and looked so good.
What else would you like to share about your design? Why is it unique and innovative?
BOOK utilizes a graph database called Neo4J. The same technology used to map out all the connections in the Panama Papers. However, we didn’t use it to identify tax fraud. We look for consolidation possibilities. Our application of Neo4J gives unprecedented speed when searching for transportation patterns that could be harmonized. We think BOOK is a perfect example of how user-centric design and innovative technology can accelerate a whole industry. Benefitting everyone in the supply chain: fewer cars on the roads, a cheaper cost for goods owners and massive benefits for the environment.
Who worked on the project?
Daniel Hägglund, Tech Lead Jacob Gunnarsson, Design Technologist Lars Ericsson, Head of Tech Sofie Nilsson, Producer Edvard Scott, Design Director Herman Carlsson, Designer Lukas Nässil, Designer Johan Strömgren, User Experience Designer Magnus Bergmark, Strategist Michaela Bång, Intern
View the project video: https://youtu.be/03QtO86a9XE
Boringbox
Why is this project worthy of an award?
Georgia Pacific, one of America’s most established household brands, wanted to offer a direct to consumer shopping solution that completely challenged the established expectations of buying home essentials. People don’t enjoy shopping for toilet paper, cleaners, paper towels and other non-perishables. They expect to waste their time aimlessly wandering the labyrinth of big box aisles or disappointed that their nearby corner store has limited product selection and availability.The current online options aren't much better. A visit to amazon and other retailers offer endless availability but also frustration as consumers try to sift through thousands of subtle variations of similar products. Spark DSG developed Boringbox, a no-stop shopping experience that allows over extended parents and fixed gear biking millennials alike the ability to easily keep a steady supply of household essentials delivered to their door. Our brand acknowledges the basic nature of the product set but celebrates the time the consumer gets back to spend on all that life has to offer. It’s expressed through a vibrant color palette, playful custom illustrations, “roll buddy” (our personified toilet paper hero) and tongue-in-cheek copy.
What else would you like to share about your design? Why is it unique and innovative?
In addition to a brand that is clearly differentiated in a sea of copy cat competitors, Spark conceptualized a novel method of shopping for home essentials that aligns to consumers' existing shopping behaviors. Instead of shopping the experience through conventional product categories, we designed our shopping engine against how people actually create their shopping lists at home. The Boringbox user interface allows people to go room by room, selecting products that need a restock. Once their base list is set up, they just select a delivery frequency and never run out.
Who worked on the project?
Spark DSG Design Directors: Matt Flick, Teil Wise Designers: Amy Sacchetta, Lindsay Cutsler Illustrator: Ellie King Project Manager: Sarah O’Neill
View the project video:
Bowers & WIlkins PX POS
Company Native Design
Introduction Date January 1, 2018
Project Website
Why is this project worthy of an award?
The headphones POS landscape is completely overwhelming: messy, crowded and overly technical. With too much choice and overpowering visual noise, customers are unable to make informed decisions. The abundance of products, unsightly cables and irrelevant music reduces the buying experience to a lowest common denominator, making product and brand differentiation confusing and cluttered. Where both premium and low-end manufacturers maximize as many products as possible into their POS, Bowers & Wilkins instead offer a precisely curated product range, guiding the customer and avoiding the buyers’ paralysis caused by excess of choice. Bowers and Wilkins PX headphones are engineered for perfect wireless acoustics and have the user experience at their heart. Active Noise Cancelling removes unwanted noises wherever you are, from environments such as offices, traffic and airplanes, while still allowing you to hear people talking to you. The innovative new Auto Pause/Play function allows you to pause the music by lifting one headphone away from your ear, or by hanging them around your neck. All of these nuances and engineering achievements needed to be demonstrated to educate the customer base. The Bowers & Wilkins PX POS, entitled ‘Vortex’, is a calming and engaging experience, the complete opposite from competitors cluttered messaging. Inspired by the iconic art of music, with a design that is daring and unmistakable, the experience of the customer is central to everything - true to the vision of Bowers and Wilkins. Drawing you in with light and beauty, Vortex is an abstract experience symbolizing perfect, noiseless acoustics.
What else would you like to share about your design? Why is it unique and innovative?
A perfectly EQ’d, binaural narration guides the customer through a series of noise reduction environments and allows them to see for themselves the usefulness of Auto Pause/Play. A partnership with M83 curated and supplied the soundtrack to the experience, their film-score-like soundscape appealing to a wider audience than genre-specific music, allowing customers to experience and understand the exquisite quality of the headphones sound reproduction. To create a unique visual concept, B&W have moved away from standard ‘lifestyle’ and ‘in use’ photography, and instead have used abstract art to explain and amplify the experience of listening to the world’s finest headphones. Using programmatic animation to create ‘live’ motion exemplifies the reactive and adaptable features of the PX. The liquids used to demonstrate the varied usage environments illustrate perfectly the irritation of noise disturbance and the calmness that comes with a balanced sound stage. To avoid inauthentic ‘canned noise’, our concepts require real-life noise to be cancelled. This provides the customer with a moment of wonder as the busy store becomes quiet. This also allows us to authentically demonstrate AutoPlay/Pause functionality in a real world setting. For additional noises such as traffic and airplane cabin, we use speakers hidden in the POS units to direct ‘real’ noise at the customer, to again show the versatility of the ANC, and act as an attractor for other curious customers. Should more discreet noise be required in certain retail situations, ‘sound shower’ technology is used. The Bowers and Wilkins PX POS draws its audience in with light, beauty and calm in environments that are often anything but. Vortex is an abstract experience symbolizing perfect, noiseless acoustics.
Who worked on the project?
Native Design Staff London
View the project video: https://vimeo.com/269087783/a8541db326
