Tactile, spatial interfaces for computer-aided design: superimposing physical media and computation

Computer-aided design (CAD) systems have become invaluable in three-dimensional creative design fields such as architecture and landscape architecture. However, these digital tools have not replaced the use of physical tools and materials as envisioned by the early developers of CAD. Instead, most designers have added digital media to their suite of physical media, gaining the benefits of both realms and using each where it is most advantageous. Given current CAD systems and how they are being used, two significant problems are apparent. First, the side-by-side physical/digital work environment has resulted in the need to frequently digitize and print in order to switch between physical and digital representations. This process is often time-consuming, costly, and frustrating. Second and more fundamental, the standard graphical user interface (GUI), although appropriate to some tasks, is restrictive as the only interface to CAD, because it lacks tactile and spatial qualities. Interacting with physical media such as paper, cardboard, and clay is a multisensory, spatial experience. Interacting in a GUI may be visual, but our other senses and spatial abilities remain underutilized. Recent interface design research includes embedding or augmenting physical artifacts with computation as one remedy to the limitations of the GUI. This dissertation investigates whether superimposing physical and digital media to create new interfaces for CAD has merit. Findings are presented from experiments performed with Illuminating Clay, a prototype interface that superimposes modeling clay and topographic analysis. The objective was to discover whether these new kinds of interfaces could successfully combine the cognitive, motor, and emotional advantages of physical media with the capabilities of computation. Findings indicate that Illuminating Clay can indeed supplement a designer's eyeball analysis with more-accurate feedback while retaining the tactile and spatial advantages of working with a physical material. Salient issues pertaining to the design of tangible, and augmented-reality user interfaces were raised by these experiments: what the appropriate scale limitations should be, what the appropriate type of feedback is from computation, and whether real-time feedback is necessary. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)

[1]  Steven R. Holtzman,et al.  Digital Mosaics: The Aesthetics of Cyberspace , 1997 .

[2]  Karl Gerstner The forms of color : the interaction of visual elements , 1986 .

[3]  Joseph A. Paradiso,et al.  Design and implementation of expressive footwear , 2000, IBM Syst. J..

[4]  David Hillel Gelernter Machine Beauty: Elegance And The Heart Of Technology , 1998 .

[5]  Halime Demirkan,et al.  An insight on designers’ sketching activities in traditional versus digital media , 2003 .

[6]  Martin G. Helander,et al.  The invisible computer: Why good products can fail, the personal computer is so complex, and information appliances are the solution , 1999 .

[7]  野間 春生,et al.  Symposium on Haptic Interfaces for Virtual Environment and Teleoperator Systems 参加報告 , 1997 .

[8]  Witold Rybczynski,et al.  One good turn - a natural history of the screwdriver and the screw , 2000 .

[9]  George W. Fitzmaurice,et al.  The Rockin'Mouse: integral 3D manipulation on a plane , 1997, CHI.

[10]  J. Moran,et al.  Sensation and perception , 1980 .

[11]  Abigail Sellen,et al.  Two-handed input in a compound task , 1994, CHI 1994.

[12]  Benjamin Tarquinn Fielding-Piper The illuminated design environment : a 3-D tangible interface for landscape analysis , 2002 .

[13]  Thomas A. Dutton,et al.  The Design Studio: An Exploration of its Traditions and Potential , 1989 .

[14]  J. Fraden,et al.  Handbook of Modern Sensors: Physics, Designs, and Applications, 2nd ed. , 1998 .

[15]  Mitchel Resnick,et al.  Digital manipulatives: new toys to think with , 1998, CHI.

[16]  Kenneth C. Smith,et al.  A multi-touch three dimensional touch-sensitive tablet , 1985, CHI '85.

[17]  William J. Mitchell,et al.  Digital Design Media: A Handbook for Architects and Design Professionals , 1991 .

[18]  Nicholas Negroponte,et al.  Reflections on computer aids to design and architecture , 1975 .

[19]  W. Buxton,et al.  A study in two-handed input , 1986, CHI '86.

[20]  R. E. Robinson,et al.  The art of seeing : an interpretation of the aesthetic encounter , 1993 .

[21]  George W. Fitzmaurice,et al.  Exploring interactive curve and surface manipulation using a bend and twist sensitive input strip , 1999, SI3D.

[22]  William Buxton,et al.  Interaction techniques for 3D modeling on large displays , 2001, I3D '01.

[23]  Seymour Papert,et al.  Mindstorms: Children, Computers, and Powerful Ideas , 1981 .

[24]  Hiroshi Ishii,et al.  Tangible bits: towards seamless interfaces between people, bits and atoms , 1997, CHI.

[25]  Thomas Massie A Tangible Goal for 3D Modeling , 1998, IEEE Computer Graphics and Applications.

[26]  William Buxton,et al.  The design of a GUI paradigm based on tablets, two-hands, and transparency , 1997, CHI.

[27]  R. Howe,et al.  Dynamic lumped element response of the human fingerpad. , 1999, Journal of biomechanical engineering.

[28]  William J. Mitchell,et al.  The Logic of Architecture: Design, Computation, and Cognition , 1992 .

[29]  Hiroshi Ishii,et al.  Triangles: tangible interface for manipulation and exploration of digital information topography , 1998, CHI.

[30]  Margaret A. Orth Sculptured computational objects with smart and active computing materials , 2001 .

[31]  Gerhard Fischer,et al.  Enhancing communication, facilitating shared understanding, and creating better artifacts by integrating physical and computational media for design , 1997, DIS '97.

[32]  William Buxton,et al.  Issues and techniques in touch-sensitive tablet input , 1985, SIGGRAPH '85.

[33]  Hiroshi Ishii,et al.  Sensetable: a wireless object tracking platform for tangible user interfaces , 2001, CHI.

[34]  William Buxton,et al.  Creating principal 3D curves with digital tape drawing , 2002, CHI.

[35]  Henri Focillon,et al.  The life of forms in art , 1942 .

[36]  Wendy E. Mackay,et al.  Computer-Augmented Environments: Back to the Real World - Introduction to the Special Issue. , 1993 .

[37]  James H. Aylor,et al.  Computer for the 21st Century , 1999, Computer.

[38]  William Buxton,et al.  There's more to interaction than meets the eye: some issues in manual input , 1987 .

[39]  N. Goodman,et al.  Languages of art : an approach to a theory of symbols , 1979 .

[40]  Greg Welch,et al.  Shader Lamps: Animating Real Objects With Image-Based Illumination , 2001, Rendering Techniques.

[41]  Paul Kabbash,et al.  Human performance using computer input devices in the preferred and non-preferred hands , 1993, INTERCHI.

[42]  Hiroshi Ishii,et al.  Illuminating clay: a 3-D tangible interface for landscape analysis , 2002, CHI.

[43]  Hiroshi Ishii,et al.  Augmented urban planning workbench: overlaying drawings, physical models and digital simulation , 2002, Proceedings. International Symposium on Mixed and Augmented Reality.

[44]  Margot Brereton,et al.  An observational study of how objects support engineering design thinking and communication: implications for the design of tangible media , 2000, CHI.

[45]  J. Murray Hamlet on the Holodeck , 1997 .

[46]  Philip H. Mirvis Flow: The Psychology of Optimal Experience , 1991 .