The master's thesis deals with the shift from visual to multisensory perception. In this context, it works with the concept of comfort, which it applies to both physical and mental aspects of the experience of visitors to art institutions. Creating a sense of comfort is important not only at the end of the process - that is, evoking that feeling in visitors - but also in the creative process. The work uses the environment of wellness (spa) resorts and is based on the growing popularity of relaxation facilities. It uses various clichés that are associated with this environment. Galleries and spa resorts are a leisure activity. Both environments offer care, although each in a different way. In the wellness resorts, others take care of our body. In a museum or gallery, they care more about the mental side, but we still feel that we have to make some effort so that we can be cared for in this way. The diploma thesis is a real, created space, the basic layout and equipment of which are inspired by the sauna. All objects in the space, but also its other "layers" acting on the senses of visitors serve to make people feel comfortable even in an environment that is in a sense inhospitable. Sauna benches invite you to sit down, stored bathrobes offer the feeling of luxury and instantly available care that we know from wellness resorts. The space is filled with the scent released from the diffuser. The last component of the space is the "meditation" audio, which accompanies visitors both in the real space in which it is located and in the abstract space of the scent.

Os profissionais em design de exposição, em sua responsabilidade enquanto projetistas devem pensar sobre como desenvolver sistemas e/ou recursos para fruição artística que atendam a pessoas com deficiência visual, incluindo a forma como uma pessoa totalmente habilitada utiliza este objeto/ambiente. Assim, apresenta-­‐se a pesquisa intitulada Design para experiência multissensorial em museus: fruição de objetos culturais por pessoas com deficiência visual. Seu objetivo é propor os requisitos para o projeto e desenvolvimento de recursos multimodais táteis e sonoros para fruição de objetos culturais pelo usuário com deficiência visual em museus, segundo uma abordagem integrada com base no design para a experiência. Para tanto busca-­‐se referências em áreas como o Design para Experiência e Design Emocional, Museologia, Fabricação Digital, Comunicação Acessível, Semiótica Social e Multimodalidade, entre outros. O embasamento metodológico ampara-­‐se nas abordagens de pesquisa qualitativa e pesquisa aplicada para coleta e análise de dados referente a aferição da experiência do usuário. Assim, são empregadas as técnicas de observação direta, entrevistas e Engenharia Kansei para caracterizar e compreender as experiências dos sujeitos da pesquisa, bem como para compreender os processos de desenvolvimento e os materiais para produção de recursos para acessibilidade em museus e sua consequente avaliação. A verificação do trabalho ocorreu no Museu de Porto Alegre – Joaquim Felizardo. Os requisitos de projeto para promoção da experiência multissensorial por pessoas com deficiência visual validaram a hipótese elencada em resposta ao problema de pesquisa. Além dos requisitos de projeto, chegou-­‐se a novos instrumentos para o auxílio no projeto de recursos de acessibilidade, tal como: metodologia proposta para o desenvolvimento de recursos multimodais táteis e sonoros segundo uma abordagem integrada; diretrizes para o desenvolvimento de recursos táteis e sonoros para pessoas com deficiência visual em museus; instrumento para o relacionamento de elementos táteis e sonoros segundo uma abordagem integrada; e, instrumento para avaliação da experiência pelo usuário por meio de escalas de diferencial semântico. / Professionals in exhibition design, in their responsibility as designers should think about how to develop systems and/or resources for artistic fruition that meets the visually impaired, including how a fully qualified person uses this object/environment. Thus, presents this research entitled Design for multisensory experience in museums: fruition of cultural objects by visually impaired people. This aims to propose the requirements for the design and development of tactile and audible multimodal resources for the fruition of cultural objects by the users with visual impairment in museums, in an integrated approach based on the design for the experience. Therefore look for references in areas as the Design for Experience and Emotional Design, Museology, Digital Manufacturing, Affordable Communication, Social Semiotics and Multimodality, among others. The methodological basis employs the qualitative research approaches and applied research for data collection and analysis concerning user experience’s. Thus, use of the techniques of direct observation, interviews and Kansei Engineering to characterize and understand the experiences of research subjects, as well as understand the development of processes and materials for the production of resources for accessibility in museums and their consequent evaluation. The work of verification took place at the Museum of Porto Alegre -­‐ Joaquim Felizardo. The project requirements elected for the promotion of multisensory experience for the visually impaired validated the hypothesis in response to the research problem. In addition to the project requirements, came to new tools to aid in the project of accessibility resources, such as: proposed methodology for the development of tactile and audible multimodal resources through an integrated approach; guidelines for the development of tactile and sound resources for visually impaired people in museums; instrument for the relationship of tactile and sound elements through an integrated approach; and, tool for evaluation of the experience by the user by semantic differential scales.

This interior design project involves investigation into the philosophies of the Slow Food Movement and how they may inspire and inform the design of a social space that fosters a connection between local people, food and place. This socio-cultural connection is implemented through the design of a concentrated, local food centre within the urban environment of Winnipeg, Manitoba. Investigation into interior design strategies which foster social interaction, taste education and sensory engagement contribute to the design of a space where the local food culture of southern Manitoba can be experienced in its authenticity. By combining the public spaces of food which contribute to the contemporary streetscape, with those that exist within the interior environment, this local food centre design aims to promote local identity and facilitate multisensory social engagement that sustains relationships, community, and the environment over time.

This interior design project involves investigation into the philosophies of the Slow Food Movement and how they may inspire and inform the design of a social space that fosters a connection between local people, food and place. This socio-cultural connection is implemented through the design of a concentrated, local food centre within the urban environment of Winnipeg, Manitoba. Investigation into interior design strategies which foster social interaction, taste education and sensory engagement contribute to the design of a space where the local food culture of southern Manitoba can be experienced in its authenticity. By combining the public spaces of food which contribute to the contemporary streetscape, with those that exist within the interior environment, this local food centre design aims to promote local identity and facilitate multisensory social engagement that sustains relationships, community, and the environment over time.

Os profissionais em design de exposição, em sua responsabilidade enquanto projetistas devem pensar sobre como desenvolver sistemas e/ou recursos para fruição artística que atendam a pessoas com deficiência visual, incluindo a forma como uma pessoa totalmente habilitada utiliza este objeto/ambiente. Assim, apresenta-­‐se a pesquisa intitulada Design para experiência multissensorial em museus: fruição de objetos culturais por pessoas com deficiência visual. Seu objetivo é propor os requisitos para o projeto e desenvolvimento de recursos multimodais táteis e sonoros para fruição de objetos culturais pelo usuário com deficiência visual em museus, segundo uma abordagem integrada com base no design para a experiência. Para tanto busca-­‐se referências em áreas como o Design para Experiência e Design Emocional, Museologia, Fabricação Digital, Comunicação Acessível, Semiótica Social e Multimodalidade, entre outros. O embasamento metodológico ampara-­‐se nas abordagens de pesquisa qualitativa e pesquisa aplicada para coleta e análise de dados referente a aferição da experiência do usuário. Assim, são empregadas as técnicas de observação direta, entrevistas e Engenharia Kansei para caracterizar e compreender as experiências dos sujeitos da pesquisa, bem como para compreender os processos de desenvolvimento e os materiais para produção de recursos para acessibilidade em museus e sua consequente avaliação. A verificação do trabalho ocorreu no Museu de Porto Alegre – Joaquim Felizardo. Os requisitos de projeto para promoção da experiência multissensorial por pessoas com deficiência visual validaram a hipótese elencada em resposta ao problema de pesquisa. Além dos requisitos de projeto, chegou-­‐se a novos instrumentos para o auxílio no projeto de recursos de acessibilidade, tal como: metodologia proposta para o desenvolvimento de recursos multimodais táteis e sonoros segundo uma abordagem integrada; diretrizes para o desenvolvimento de recursos táteis e sonoros para pessoas com deficiência visual em museus; instrumento para o relacionamento de elementos táteis e sonoros segundo uma abordagem integrada; e, instrumento para avaliação da experiência pelo usuário por meio de escalas de diferencial semântico. / Professionals in exhibition design, in their responsibility as designers should think about how to develop systems and/or resources for artistic fruition that meets the visually impaired, including how a fully qualified person uses this object/environment. Thus, presents this research entitled Design for multisensory experience in museums: fruition of cultural objects by visually impaired people. This aims to propose the requirements for the design and development of tactile and audible multimodal resources for the fruition of cultural objects by the users with visual impairment in museums, in an integrated approach based on the design for the experience. Therefore look for references in areas as the Design for Experience and Emotional Design, Museology, Digital Manufacturing, Affordable Communication, Social Semiotics and Multimodality, among others. The methodological basis employs the qualitative research approaches and applied research for data collection and analysis concerning user experience’s. Thus, use of the techniques of direct observation, interviews and Kansei Engineering to characterize and understand the experiences of research subjects, as well as understand the development of processes and materials for the production of resources for accessibility in museums and their consequent evaluation. The work of verification took place at the Museum of Porto Alegre -­‐ Joaquim Felizardo. The project requirements elected for the promotion of multisensory experience for the visually impaired validated the hypothesis in response to the research problem. In addition to the project requirements, came to new tools to aid in the project of accessibility resources, such as: proposed methodology for the development of tactile and audible multimodal resources through an integrated approach; guidelines for the development of tactile and sound resources for visually impaired people in museums; instrument for the relationship of tactile and sound elements through an integrated approach; and, tool for evaluation of the experience by the user by semantic differential scales.

Os profissionais em design de exposição, em sua responsabilidade enquanto projetistas devem pensar sobre como desenvolver sistemas e/ou recursos para fruição artística que atendam a pessoas com deficiência visual, incluindo a forma como uma pessoa totalmente habilitada utiliza este objeto/ambiente. Assim, apresenta-­‐se a pesquisa intitulada Design para experiência multissensorial em museus: fruição de objetos culturais por pessoas com deficiência visual. Seu objetivo é propor os requisitos para o projeto e desenvolvimento de recursos multimodais táteis e sonoros para fruição de objetos culturais pelo usuário com deficiência visual em museus, segundo uma abordagem integrada com base no design para a experiência. Para tanto busca-­‐se referências em áreas como o Design para Experiência e Design Emocional, Museologia, Fabricação Digital, Comunicação Acessível, Semiótica Social e Multimodalidade, entre outros. O embasamento metodológico ampara-­‐se nas abordagens de pesquisa qualitativa e pesquisa aplicada para coleta e análise de dados referente a aferição da experiência do usuário. Assim, são empregadas as técnicas de observação direta, entrevistas e Engenharia Kansei para caracterizar e compreender as experiências dos sujeitos da pesquisa, bem como para compreender os processos de desenvolvimento e os materiais para produção de recursos para acessibilidade em museus e sua consequente avaliação. A verificação do trabalho ocorreu no Museu de Porto Alegre – Joaquim Felizardo. Os requisitos de projeto para promoção da experiência multissensorial por pessoas com deficiência visual validaram a hipótese elencada em resposta ao problema de pesquisa. Além dos requisitos de projeto, chegou-­‐se a novos instrumentos para o auxílio no projeto de recursos de acessibilidade, tal como: metodologia proposta para o desenvolvimento de recursos multimodais táteis e sonoros segundo uma abordagem integrada; diretrizes para o desenvolvimento de recursos táteis e sonoros para pessoas com deficiência visual em museus; instrumento para o relacionamento de elementos táteis e sonoros segundo uma abordagem integrada; e, instrumento para avaliação da experiência pelo usuário por meio de escalas de diferencial semântico. / Professionals in exhibition design, in their responsibility as designers should think about how to develop systems and/or resources for artistic fruition that meets the visually impaired, including how a fully qualified person uses this object/environment. Thus, presents this research entitled Design for multisensory experience in museums: fruition of cultural objects by visually impaired people. This aims to propose the requirements for the design and development of tactile and audible multimodal resources for the fruition of cultural objects by the users with visual impairment in museums, in an integrated approach based on the design for the experience. Therefore look for references in areas as the Design for Experience and Emotional Design, Museology, Digital Manufacturing, Affordable Communication, Social Semiotics and Multimodality, among others. The methodological basis employs the qualitative research approaches and applied research for data collection and analysis concerning user experience’s. Thus, use of the techniques of direct observation, interviews and Kansei Engineering to characterize and understand the experiences of research subjects, as well as understand the development of processes and materials for the production of resources for accessibility in museums and their consequent evaluation. The work of verification took place at the Museum of Porto Alegre -­‐ Joaquim Felizardo. The project requirements elected for the promotion of multisensory experience for the visually impaired validated the hypothesis in response to the research problem. In addition to the project requirements, came to new tools to aid in the project of accessibility resources, such as: proposed methodology for the development of tactile and audible multimodal resources through an integrated approach; guidelines for the development of tactile and sound resources for visually impaired people in museums; instrument for the relationship of tactile and sound elements through an integrated approach; and, tool for evaluation of the experience by the user by semantic differential scales.

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It seems that online retail is erasing the presence of physical stores, referred to as the retail apocalypse. Consumers’ desire to experience brands is increasing whilst sensory experiences in the online retail environment are limited. It is increasingly important for brands to be attainable through physical interaction for consumers to stay loyal, a fundament for the experience economy. Therefore, the pop up phenomenon could be considered an approach to blur the line between physical and online stores. The aim of this research is to create an understanding of how the pop up phenomenon is experienced by phygital companies in Sweden, exploring their use of multisensory marketing through pop ups and the effect it has on the brand. A qualitative and exploratory approach with semi-structured and asynchronous interviews including nine managers from the pop up industry was conducted. The data collected was analysed through a thematic approach and compared to existing literature. From the findings, two pop up purposes were identified: (1) pop ups with a long-term marketing purpose to enhance the brand, and (2) pop ups with a short-term selling purpose. Further, the empirical findings of this study suggest that the usage of multisensory experiences was recurrently found to be done unintentionally by the firms, indicating a lack of knowledge of its impact on customer behaviour in the long-term. From combining literature and findings a model was created explaining how firms can use the pop up phenomenon to successfully enhance the company’s brand. This research provides insights of managers’ personal experiences of the phenomenon and explores how pop ups can be a useful tool for a company's brand.

The interest in designing interactive systems is going beyond their functionality and more towards their aesthetics. Often, research fails to address how qualities of the interaction as a medium can actually create pleasurable experiences. However, it points out the importance of understanding temporal aspects of interactions to understand their aesthetics. The aim for this thesis is to address this by the creation and evaluation of an interactive artwork working as a platform to explore relations between Interaction attributes and Pleasures, as well as how temporal aspects in interactions can affect these Pleasures. This to help interaction designers think more clearly around and make better design choices regarding interactions within interactive systems. The results of this showed that there can be many such relations, but also that they are complex. Additionally, it is discussed that Pleasures might also partly be experienced before or after the interaction with the artwork.

Elevated heart rate is considered to be an indicator of stress. Thus, noticing one’s own heartbeat can have a negative connotation. Yet, the heartbeat is simply a physiological function, neither positive nor negative in itself, that is experienced in diverse contexts, such as medical, athletic, or intimate. This study uses first-person  research through design and soma design to increase awareness of the heartbeat from both an individual and social angle and examines the potential benefits of using external sensory stimuli to convey biofeedback information. It also opens up the design space around the heartbeat and sensory stimuli and reflects upon comfort and relaxation, biofeedback and digital mindfulness, the Sensiks sensory reality pod as a tool and space, and the heartbeat as a spectrum and a way of getting to know people. The study results in four deliverables: a design critique of the Sensiks sensory reality pod, a design fiction publication, a design proposal, and an experience prototype. The study proposes the design for the Gallery of Heartbeats – a sensory experience aimed at externalising and sharing the heartbeat of self and others. The Gallery of Heartbeats supports individual reflections, providing the user with real-time numerical, graphical, and auditory biofeedback on their heart rate. It also encourages social communication of this commonly unnoticed physiological feature, allowing users to record and store their heartbeat to an archive and experience the pre-recorded heartbeats of others in a multisensory way. The evaluation of the Gallery of Heartbeats prototype shows that the design succeeds in making people more aware of their cardiovascular activity, triggers their curiosity, and increases empathy. However, the Gallery of Heartbeats also makes the users want to control or change their heart rate which goes against the mindfulness principles of presence-in and presence-with the design was inspired by. Sensory stimuli, especially sound and visuals, are assessed as beneficial for creating feelings of immersion, whereas different representations of the biofeedback information have different effects and use cases. / En förhöjd hjärtfrekvens anses vara en indikator på stress. Därför kan en hög puls tolkas som något negativt. Likväl har hjärtats pulserande enbart en fysiologisk funktion, som i sig varken har en positiv eller negativ betydelse, och som kan erfaras under olika omständigheter, såsom i medicinska sammanhang, vid fysisk träning eller under intima stunder.  Denna studie är en forskning-genom-design ur ett förstapersonsperspektiv samt soma-design för att öka medvetenheten om sina hjärtslag, både från en individuell och en social vinkel, samt en undersökning av de potentiella fördelar som kan finnas med att använda ett yttre stimuli för att ge biofeedback. Den öppnar också upp designrymden kring hjärtslag och sensorisk stimuli, reflekterar kring välbefinnande och avslappning, biofeedback och digital mindfulness, Sensiks sensoriska kapsel som ett verktyg och en plats, samt hjärtfrekvens som ett spektrum och ett sätt att lära känna människor. Resultatet av studien framställs i fyra olika delar: en designkritik av Sensiks sensoriska kapsel, en fiktiv design publikation, ett designförslag, och en prototyp av upplevelser. Detta examensarbete utmynnar i ett förslag på en design kallad “Gallery of Heartbeats” - en sensorisk upplevelse avsedd att ge en yttre form och för att dela hjärtslagen med sig själv och andra. “Gallery of Heartbeats” skapar utrymme för individuell reflektion, och ger användaren i realtid en numerisk, grafisk och ljudmässig biofeedback på sin hjärtfrekvens. Den uppmuntrar också till samtal av detta vanligtvis omärkbara fysiologiska fenomen, den möjliggör användaren att spela in och spara sina hjärtslag i ett arkiv, och användaren ges möjlighet att uppleva förinspelade hjärtslag av andra personer på ett multisensoriskt sätt. Utvärdering av prototypen för “Gallery of Heartbeats” visar att designen lyckas få människor mer medvetna om sin kardiovaskulära aktivitet, väcker deras nyfikenhet och ökar empatin. Dock gör även “Gallery of Heartbeats” att användaren vill kontrollera eller ändra sin hjärtfrekvens, vilket går emot de principerna inom mindfulness av att vara ‘presence-in’ och ‘presence-with’. Sensorisk stimuli, särskilt ljud och bild, ses som främjande av att skapa känslan av att vara absorberad, medan andra signaler från biofeedback har en annan påverkan och andra användningsområden.