Mulch Monsters

A Speculative Product and Service by Ray Pai [C]

Mulch Monsters are automated composting machines that subvert the common perception of composting in homes. Food waste sent to landfills break down into methane, a greenhouse gas that depletes the ozone layer. An approach to reducing food waste is to encourage composting, which breaks food waste down into mulch. Mulch can be used in community gardens or for your own houseplants. That’s why Mulch Monster is framed as an opportunity to be health conscious and prosocial towards the community.

Mulch Monsters subvert the common misconception that composting smells bad, takes up too much space, and is labor intensive. Insted, it’s compact, automated, and educates users on how to reduce odors. In addition, it encourages behavior change by providing encouraging data through a supplementary app, which shows the quality of the mulch. Lastly, Mulch Monster is designed with the consideration of unintended consequences. With the concern that Mulch Monster makes throwing away food waste TOO fun, the supplementary app encourages users to produce quality mulch instead of large quanitites of mulch.

Surfaces

Langston Wells (C) and Emily Spooner (P) / interactive photography display, packaging and CAD Modeling

Tactics: framing, behavior change, subversion, visual persuasion

As many of our experiences with media like images, text, and videos become increasingly digitized, we are headed towards a future where auditory and visual experiences outnumber experiences derived from physical artifacts. Our work highlights the affordances of tangible artifacts in a world where individuals become more and more inundated with non-tactile, digital experiences.

This project presents a hopeful future by translating 2D digital images into a dynamic 3D relief that users can interact through desktop and wall mounted models, heightening digital experiences like photos and video viewing while aiding accessibility for visually impaired users.

Design —

When designing this product, we were considering accessibility from all angles, from ergonomics of the surface to the user experience to our packaging design. We wanted to frame our product within a commercial, everyday setting to represent a hopeful future in which the general public understands the value of tangible products and experiences, instead of marketing only towards the visually impaired.

The ergonomics of the surface focus on creating a comfortable range of motion for the user’s hand by scaling buttons and sliders within easy reach for smooth interactions. This scaling helps user’s build a mental model of their hand position for ease of navigation and use. Each material was carefully considered to create unique hand feels for the user to aid memory, such as a soft, small-cell foam hand rest and brushed aluminum buttons, each with distinct textures and temperatures.

The product is designed for two use cases: one as a desktop companion for browsing photos and the other as a dynamic, wall mounted display that would be generated based on the user’s selected photo. This secondary option gives the user as well as their friends, families, or guests the ability to experience the photos in the same way but at a larger scale, which can promote conversations and new experiences. By situating it within this context, we hope to enable behavior change through socializing the interactivity of this artifact, working towards a future of greater accessibility and integration of tangible artifacts into everyday technology.

User Experience —

Our user experience would be derived primarily from audio prompts on the user’s computer that would help them through setup and use. The first interaction with surfaces though would be through a braille embossed instruction sheet that directs users through the initial setup and onboarding of their surface.

Another aspect of the user experience ties into the portability of the surface’s design as the hinged stand on the back enables user’s to place it in an upwards or downwards position, allowing it to fit into luggage, backpacks, or briefcases when traveling.

Packaging —

Our packaging focused on making information visible and easily understandable for visually impaired users by focusing on high contrast graphics, embossed braille directions as well as text instructions for caregivers, family, or friends who may be assisting in setup, and uncomplicated opening mechanisms with clear, tactile visual cues like finger holes and security straps for extra protection. Our final packaging would not only have the braille embossed, but also icons and diagrams at varying levels of depth so users could understand the directions from self-initiated, tactile interactions.

Below are detail shots of the instructions and packaging.

Sledu

By: Janet Peng (P) & CeCe Liu (P) / furniture, CAD modelling + 3D renders

Tactics: subversion, framing

Our furniture company, Sledu, designs products that help individuals coexist with their pets. This product line will begin to radically revitalize the way we approach furniture, turning it from human-centered to animal-centered. Based on the furniture of today, this style will help humans understand their new place in the household alongside their pets or “spirit animals”. As pets transition from being more passive members of the household to becoming a family’s spirit animal who guides the household’s lifestyle and decisions, this furniture collection will persuade users to adopt this upcoming paradigm shift.

Dining table (eat)
Lounging couch (play)
Bed (sleep)