Industry 4.0: Is It the Time for Interaction Design Craftsmanship?

PETRELLI, Daniela <http://orcid.org/0000-0003-4103-3565>

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PETRELLI, Daniela (2017). Industry 4.0: Is It the Time for Interaction Design Craftsmanship? In: Design for Next: Proceedings of the 12th European Academy of Design Conference. The Design Journal: An International Journal for All Aspects of Design (20). Taylor and Francis, 2735-2745.

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DesignforNext

12thEADConferenceSapienzaUniversityofRome

12-14April2017

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Industry4.0:IsItTimeforInteractionDesignCraftsmanship?

DanielaPetrelli

Art&DesignResearchCentreSheffieldHallamUniversityd.petrelli@shu.ac.uk

Abstract:ThetechnologicalinnovationofIndustry4.0opensupnewpossibilitiesforbespokeanduniquedesigns all rooted in the same technology and supportedbythe same services. Taken together, Cyber-Physical Systems,CloudComputing andInternetofThingsofferaneutralplatformforthecreationofhybriddigitalphysicalobjects. The economy of scale is reached by sharing the same technology acrossdifferentprojectsandpotentiallyverydifferentdomains.Thisvisionisillustratedbytheworkdone in themeSchproject and its platform for theproductionof novelinteractiveexperiences inmuseums.Six installationsdesignedbyrecombiningthesameelectroniccomponentsandthesameservicesareusedasacasestudy.Theyshow how the meSch platform is aligned with Industry4.0 principles of enablingdynamic composition, supporting distributed production, and monitoring use forservice improvement. As a platform it supports single-piece production andempowersdesignerstocreatebespokesolutionswiththesametechnologicalcore.

Keywords: Interaction Design, Internet of Things, Cloud Computing,Museums,Personalisation

1.IntroductionFundedinGermanytotakeadvantageofcuttingedgedigitaltechnologyformanufacturing,“Industrie4.0”(akaSmartFactories/Manufacturing)hassparkedworldwidediscussiononwhatitwillbring(LöfflerandTschiesner,2013)(Wahlster,2013)(Lasi,etal,2014)(Zhou,etal,2015).ThecombinationofCyber-PhysicalSystems,CloudComputingandInternetofThingsisexpectedtobeagamechangerintheproduction,distribution,useanddisposalofgoods.Althoughaprecisedefinitionisstilltobeagreedupon,principlesareemerging:productsandmachinerieshaveembeddedknowledgeandcanrearrangethemselveswithout(orwithminimal)humanintervention;widespreadstandardsenablehighlymodularproductiontobedistributed,possiblyacrossdifferentfactories/service-providers;interconnectionofgoodsandservicesallowtocollectdataandtotrackproductslifecycleandtheiruse(Hermann,etal,2016).Theimpactisexpectedtobehugeonindustrialproductionasitfostersstandardisation:thepossibilityforthesamemachineriesandservicestobeautomaticallyreconfiguredtobeusedfortheproductionofdifferentgoodsisseenasameanstoimplementmasscustomisationondemand,i.e.theproductionofsmallbatches,withthe

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samereliabilityandqualityofmassproduction.Inascenario(fromWahlster,2014),asinglecustomerusesanonline“smartshop”tocreateandordertheirownfavouritecombinationofbreakfastcereals,fruitsandnuts.Theorderisthenautomaticallyimplementedbytheconveyorbeltthataddsonlythechoseningredientsbeforethefinalproductispackedandshippedtothecustomer.Bymonitoringthewholecustomer-baseandtheirpurchasinghabits,itispossibleforthecompanytocollectlargedatasetsthatarethenanalysedtooptimisethesupplychainofingredientsorthepackaging(i.e.creatingmultiplepackagesizestomatchdifferentsizesoforders).Theimpactonthedesignofproductsandservicesisclear:astheproductitselftransformstheprocess,thesplitbetweendesignandproductioniscalledintoquestionasitfragmentsanddecentralisesittoenabledynamicreconfiguration(LöfflerandTschiesner,2013).Thisindustrialrevolutionopensupnewpossibilitiesforbespokedesignthatcanexploitthe“productionofbatchesofone”tofocusonthevaluesandexperiencesoftheindividualasopposedtooptimisingtheproductionprocess.Inotherwordsthistechnology-driveninnovationenablesastrongapplicationpull(Lasi,etal,2014).Seeninthisperspective,Industry4.0holdsmuchpotentialforinteractiondesigntoexploresingle-piecedesigns,allrootedinthesametechnologyandsupportedbythesameservices.Takentogether,Cyber-PhysicalSystems,CloudComputingandInternetofThingsoffertodesignapowerfulbutneutralplatform.Microprocessors,communication,sensorsandactuators(thebuildingblocksofCyber-PhysicalSystems),canbecomposedtocreatereactivespacesandsmartobjectsthatseamlesslyintegratewiththeirsurroundings:theinteractionisnomorewithwhatisobviouslyadigitaldevice,butwithobjectsthatlookeverydaywhilstaugmentedwithconcealeddigitaltechnology.TheInternetofThingsthenconnectsthesesmartobjectswiththeironlineshadowsallowingtrackingofwhathappenstoeachofthemintherealworld,forexamplebycontinuouslysensingtheenvironmentorinteractingwithpeople.ThisdatacollectedthroughCloudComputingisaggregatedandusedinwhateverway,i.e.tochangethebehaviouroftheobjectthemselvesortooffernewservices.Takentogether,thethreekeycomponentsofIndustry4.0formaninfrastructureabletosupportanewformofcraftsmanshipcentredoninteractiondesign:eachdesignisunique,butsharesthesameinfrastructurewiththeotherswhileofferingtheuser/consumeraverydifferentexperience.Theeconomyofscaleisthenreachedthroughsharingthesametechnologyacrossdifferentprojectsandpotentiallyverydifferentdomains.UsingascasestudytheresearchandoutcomeofmeSch,aEuropeanprojectfortheeasyproductionanddeploymentoftangibleinteractivesforheritageandmuseums,Iwillfirstdiscusstheinfrastructureusedtoco-designandco-createanumberofbespokeinstallationsfromthesamehardwarekit.Eachbespokeco-designengagedcurators,productdesignersandcomputerscientistswhiletheco-creationandimplementationwasdistributed.Thevisitor’sinteractionwasloggedtoextendtheexperiencebeyondthevisitandtocollectBigDataonuse.IwillthendiscussthepotentialofthemeSchplatformbeyonditscurrentapplicationandconcludereflectingonthetransformationalimpactsuchasharedinfrastructureacrossdomainscouldhaveoninteractiondesign.

2.DesigningTangibleInteractionsinMuseumsTheever-expandingrangeofelementarycomputationalelementsandthepliabilityofdigitalcontentallowsustoradicallyrethinkinteractivesinmuseumsawayfrommobiletechnology(phonesortablets)towardbespokedesignthatbringsthatspecificplace,objectorstorytolifeinimmersiveexperienceswheretechnologycomplementsheritage(Petrellietal.2013)(asopposedtocompetingwithitforthevisitors’attentionasshownin(vomLehnandHeath,2003)(Hornecker,2008)(Szymanski,etal,2007)).Pervasivecomputing(thetechnologythatunderpinstheInternetofThings)thenbecomesanadditionalmaterialintheexhibitiondesigners’toolbox:itoffersnewwaysofengagingvisitorswithdigitalcontentthroughtangibleinteraction.ThissectionbrieflyreportsafewinteractivescreatedbythemeSchteamtoillustratehowthesamecomputationalelementshavebeenreusedtocreatedifferentexperiences.

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2.1ThemeSchPlatformThemeSchplatformiscomposedofthreelayers(Figure1):asetofonlineservicesofferedtomuseumsandheritageprofessionals;acloudcomputingconnectorthatsynchronisestheeditingdoneattheservicelevelwiththeInternetofThings(IoTinthefollowing)thatcomposesthephysicalinstallationusedbyvisitors(thelowerlayer).Theservicelayersupportsasetofdifferentactivities:meSch.ioenablesmuseumsandheritageprofessionalstocreatetheirowninteractiontemplatesanddeploythemontotheirspecificIoT.Atemplatemapspre-preparedcontent(i.e.multimediafiles)withthespecificcontextinwhichitwillbedelivered,i.e.whenaspecificcombinationoffactorsoccurssuchasthevisitorisataspecificpointofinterestandusesacertainobjectthenagivenvideoisplayed(asdescribedinthenextsection).meSchsharesupportsacommunityofprofessionalstoexchange(orsell)templatestobereused,repurposedandmodifiedtoworkinaspecificmuseum.meSchVizusesthesamesetoflogdatacollectedintheexhibitiontooffertwodifferentservices:tothemuseumsitoffersaninteractivevisualisationoftheoveralllogs(i.e.allvisitors)andenablestheanalysisofvisitors’behaviourwithrespecttothemuseum’sownexpectations,tothevisitorsitoffersapersonalisedwebsitebasedontheindividualpatternofvisitcombinedwithextracontentprovidedbythemuseumand,possibly,otheronlinecontentrepositories.ThemiddlelayeristheCloudComputingcomponentthatincludes:thestorageofthetemplatesforeachuser,thecommunicationcomponentforthedeploymentofthetemplatesontotheirrespectiveIoTinstantiationandthecollectionandstorageofthelogsfromtheexhibitions.

Figure1.TheoverallarchitectureofthemeSchplatform:(fromtoptobottom,bylayer)theonlineservicesofferedtothemuseumprofessionalsincludeaselectionoftemplatestoreuse(meSchshare),aneditortocompose/changethetemplates(meSch.io),avisualisationserviceforthecollectedvisitinglogs(meSchViz).TheonlineservicesareinthecloudthatalsocommunicateswiththeInternetofThingslayerlocatedinthemuseum.

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Thelowerlayeristhespecificinstallationinthemuseum/heritagesite.ItisrepresentedinFigure1byarangeofdifferentdevicescreatedbymeSchtoimplementtheIoT;thedevicesareallnetwork-enabledandorchestratedbytheHub,aRaspberryPIunitthatalsomanagesthecommunicationwiththeCloud.Thedevicesarecombinedindifferentwaysdependingontheinstallation.EachdevicehasacorrespondinginformationshadowintheCloud.DevicesthatarecurrentlyimplementedincludeNFCtechnology(Rings),thermalPrinter,multipleSensors,anAugmentedRealityset(Viewer),andnodesforthedeliveryofmultimediacontent(Media).TheroleoftheIoTlayeristoexecutetheinteractionwiththevisitorsaswellastocollectvisitors’datatobepassed,viatheCloud,totheVizService.ThemeSchplatformwasdesignedarounditspotentialusersandoffersasimplebutpowerfuluserinterfacethatenablesprofessionalsto:definetheirownspecificIoTsetting(i.e.whichcombinationofdeviceswillbedeployedontheexhibitionfloor),defineasetofconditions(thecontextinwhichaspecificcontentwillbedelivered),uploadmultimediacontentusingthemeSch.ioservice;tunetheinteractionbehaviour,anddeploythewholepackagetotheIoTsettingforimmediatetesting.Thiscloseandquickcyclefromconceptiontotestfostersdesignthinkinginmuseumsthatcanexperimentwithpossibleimplementationsbeforedecisionsaretaken;thisprocessisveryrarelydone(Smithsonian,2002).ThiswasdemonstratedinanumberofeventsorganisedbythemeSchprojectwherecuratorscreatedbespokeinteractiveinstallationsoveraweekendstartingfromhistoricalobjectsselectedbythehostingorganization.

2.2FromNFCTechnologytoInteractiveInstallationsToillustratehowthemeSchinfrastructuresupportsbespokedesignsoutofthesametechnology,Iusesixdifferentinteractivevisitors’experiencescreatedbyrecombiningthesamesetofdigitaldevices.Thepurposeistoshowtheaddedvaluethat‘designingforthespecific’offerstoachieveahighervisitorengagement.Whilethesixinteractiveshavebeenallimplementedandtested,threeofthemwereputondisplayinpublicexhibitionsinthreedifferentmuseumsandwereusedbyover20.000visitors;theotherthreewereforexperimentalexplorations.ThecoretechnologyforallthesixinstallationsisNearFieldCommunication(NFC)bywhichadevicecanexchangealimitedamountofinformationwithanactivetagwhenplacedataveryshortdistance(lessthan4-5cm.).Mostofthetimethedatagoesfromthetagtothedevice(read-onlyNFC),althoughsomemodelscanstoreaminimumsetofinformationinthetagitself(read-writeNFC;themodelsweusedstored1K).NFCisthetechnologybehindcontactlesspaymentwithcredit/debitcardsanditisthereforewelltestedandrobustthussuitableforlarge-scaleuseinmuseumexhibitions.Allinstallationsusedthesamecombinationofdevices:oneormoreRingtoread/writeNFCandoneormoreNFCtags;eachRingcommunicateswiththeHubthatcontrolsthedeployedIoT;theHubalsocontrolsoneormoreMedianodethatwilldeliverthecontentfilewhenaspecificconditionistrue.ThreeinstallationsalsousedthePrintertocreateapersonalisedsouvenirbasedontheinteractionlogrecordedbytheNFCtagortheRingdependingonthesetting.NarrativesintheTrenchesofWWIwasanexploratoryprototypedesignedtotesttheconceptaplacetellingthemanystoriesofthepeoplewholivedthere(Petrellietal.2016,Marshalletal.2016).ItiscomposedofasetofBluetooth-enabledloudspeakersencasedinwoodenlanternspositionedatpointsofinterestinthetrenchesandfortifiedcampofWWIontheItalianAlps;thelanternsarepairedwithaninteractivebeltthathoststheNFCreaderandasetof4cards(NFCtagged),eachonerepresentingadifferenttheme.Theinteractionistriggeredbypresence:whenthevisitorwearingthebeltenterstherangeofaloudspeaker,aloudsoundisplayedandattractsthevisitor;whenthevisitorisabout5mawaytheloudspeakerplaysthestoryonthetheme(thecard)currentlyinthebelt.Thevisitorcanthenchangethecardandlistentoadifferentstoryormoveawayandcontinuethevisit.(Figure2)

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Figure2.TheinteractivebeltdesignedtobeusedwhiletrekkingintheItalianAlpsvisitingthetrenchesofWWI.(toprow)ThebeltandthethematiccardsarewornbythevisitorwhiletheBluetooth-augmentedloudspeakermarksthepointofinterest.Visitorsingroupnegotiatewhattolistentonext.(bottomrow)EachofthesevenplacesismarkedbyalanternthatconcealsaMedianodethatplaysthesound/stories;thefourcardsareNFCtagged;thebelthostsboththeRingtoreadthetagsandtheHubtocommunicatewiththeMedianodes.

ThiswasasingleinteractiveinstallationinalargerexhibitiononGreekMovement.Itaimedtorecreatethemovementofthepaintingsinthecupwhenliquidispouredinit.Asetofkylikes(cupswithashallowbowlandatallstem)weredisplayedinacase;infrontofthecasewasa3Dprintedreplicaofakylixnexttoasetofroundslotstofitthebaseofthekylix.HiddeninthekylixbasewasanNFCtagwhiletheslothadaRingeach:whenthekylixreplicawasplacedonaslottheanimationinspiredbythekylixforthatslotwasprojectedbytheMedianodepositionedabovetheinteractivestation.Apanelinvitedvisitorstotrytheinteractiveexperienceofplacingthekylixintheslots,lookattheanimationandimaginetheamazementoftheancientGreekwhenthefishinthebowlwouldlookliketheywereswimming.(Figure3)

Figure3.ThekylikesinstallationattheGreekMovementexhibition.(toprow)Infrontofthedisplaycasea3Dprintedreplicainvitesviewerstoplacethereplicaintheslot;thiswillprojectananimationofthemovingdecorationinsidethekylixreplica.(bottomrow)TheinstallationusesasingleNFCtagplacedatthebaseofthekylixreplica,threeRingsbelowtheslotsandthreeMedianodesplacedaboveeachringtoprojectonthereplicawhenitisplacedonthatspecificring.TheHubthencoordinatestheactivation(NFConaRing)andplay(projectionofaspecificfileviaaspecificMedianode).

FestivalofBritainPinkKnickerswasasingleinteractiveinstallationconceived,designed,andimplementedovera2-daycreativeworkshopwithcurators.Connectedtoadisplayofwomen’s

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underwear,itinvitedvisitorstoexploretheroleofwomenfromthe20stothe80saslivedbyindividualwomenandasperceivedbythesociety.Initsaesthetic,theinstallationevokesavanitydeskwithfourdrawers,eachwithcut-outpaperdolldressesinspiredbyadecadethatconcealNFCtags:apairofunderwearandadress.Alaser-cutwomansilhouetteonthedesk(placedaboveaRing)invitesthevisitortodressthemannequinwiththepaperclothes:theunderweartriggerspersonalstorieswhilethedressrepresentssocietalchanges.Videosaredisplayedonthescreenhiddenbehindthemirrorframe.(Figure4)

Figure4.(top)Fourdrawersonthevanitydeskholddifferentdecades(20s,40s,60s,80s)andcontainpersonalstories(underwear)andsocialchanges(dresses)that,whenplacedonthemannequinplaydifferentvideos(the80sinthepictures).(bottom)Eachcut-outhasaNFCtag,aRingisunderthemannequinandaMedianodeconnectstothescreen.

VoicesfromthePastinFortPozzacchiocomplementsapermanentcollectionofWWIartillerywiththehumansideofthewar,theemotional,personalstoriesofwitnesseswhohadtheirlivesaffectedbythepresenceofthefort.Besidesthesoldiersandthecommanders,otherstoriesarethoseoftheengineerwhodesignerthefort,thearmychaplain,andthevillagersbefore,duringandafterthewar.Fourthematicstationsarepositionedalongthevisitingroute,eachslot(aRing)mapsapersonalstory.Attheentrancethevisitorreceivesa‘pebble’thatconcealsanNFCtagandthat,whenplacedonaslot,activatesmultimediacontent.Whenleaving,thevisitorreturnsthepebble,itsNFCisreadbyanotherRingthatprintsapersonalisedpostcardwithtextautomaticallygeneratedonthebasesofthepersonalvisitingpath.(Figure5)

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Figure5.VoicesfromthePastinFortPozzacchioisapermanentinstallation.(top)Attheentrancethevisitorreceivesapebbleusedtoactivatecontentatdifferentstationalongthevisit;whenleavingthevisitorreturnsthepebbletothedeskandreceivesapersonalisedpostcardwithasummaryoftheirvisit.ThepebblehasanNFCread-write;eachstationhasasetofRings,oneforeachpersonalstory,aHubthatcontrolstheRingandaMedianodetoprojectthecontent.AttheexitanotherHubcontrolstheprintingofthepersonalisedpostcard.ThemanyHubsareneededhereasthereisnoWI-FIsignalduetotheharshenvironment:abombshelterdugintothemountain.

TheHagueandtheAtlanticWallwasatemporaryexhibitionontheeffecttheconstructionoftheNazicostaldefencesystemhadonthecityofTheHague(Marshalletal.2016)(Petrellietal.2016).Thesameeventsweretoldbycontrastingvoices:theGermansoldier,theDutchcivilian,andtheOfficerwhohadtodothebiddingoftheoccupiersagainstthepopulation.SmartreplicasofhistoricalobjectsrepresentedavoiceandconcealedanNFC.TendisplaycaseshadaninteractiveRingonwhichvisitorsplacedareplica,thenwatchedavideoprojectedonthecaseandlistenedtothestoryviaaearpiece.Afinalstationprintedapersonalisedpostcardthatgaveaccess,viaauniquecode,toapersonalisedwebsitewherethevisitorscouldcontributepersonalmemoriesandexplorethoseleftbyothers.(Figure6)

Figure6.TheAtlanticWall:(top)(left)originalobjectsandthereplicasrepresentingthreedifferentperspectivesonthesamehistoricalevents;(centre)theinteractionatthecase;(right)theprintingofthepostcardandtheonlineinteraction.(bottom)ThereplicasconcealNFCtags;teninteractivecaseshostaRing,aHubandaMediauniteach;theprintingstationhasaRingtoreadthereplicas,aMediatodisplayinstructions,andaprinterforthepersonalisedpostcard.

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MyRomanPantheonis,atthetimeofwriting,inproductionandexpectedtobeinstalledatamuseumofRomanarchaeologyalongHadrian’sWallinJanuary20171.ItoffersvisitorsanamusingwaytoengagewithadisplayofRomanaltarsthroughtheperformanceofaritualthatresemblescustomsatRomantimesandprovidesinformationaboutthegodsandreligion.ItconsistsofatemplewherethevisitorisgreetedbyJuno,queenoftheRomangods,andisgiventhreegiftsoflightinavotivelamp.Thevisitorthenentersthemuseumandoffersthegiftstothreegods/goddessesofhis/herchoice;howevertherearethirteenaltarssohe/shehastochoosethethreetowhomtheyofferthelightsto.Onleaving,theofferinglamp,nowempty,isreturnedtoJunowhorewardstheworshipperwithapersonaloracleofthevisitor’sfutureatHadrian’sWallbasedonthegodsthathavebeenhonouredwiththelights.HerethevisitorcarriestheRingwhilethegods/goddessesaremarkedwithNFCtags.(Figure7)

Figure7.MyRomanPantheonisaninstallationforasmallRomanmuseum.(top)Atthetemple,Junochargesthevisitor’slampwiththreelights,inthemuseumthevisitorlooksforthestandsclosetothealtarsofthegodsandoffersalightbyswipingthelampontheboard,whentheemptylampisreturnedtoJuno,theoracleisprinted.(bottom)EachaltarinthemuseumismarkedwithanNFCtagwhilethevisitorcarriestheRing;thetempleconcealstheMedianodethatcontrolstheanimationofJuno;theHubcontrolstheprintingoftheoracle(postcard).

Thesixexamplesaboveshowhowthesamesimpletechnologycanbeembeddedinmanydifferentdesigncreatingdifferentexperiences.Eachexamplewastheoutcomeofaco-designandco-creationprocess(Petrellietal.2016b)nevercentredonthetechnologyavailable.IndeedotherverydifferentinteractionshavebeencreatedaspartofthemeSchprojectusingdifferentcombinationsofIoTthroughthesamecloudandonlineserviceinfrastructureasintheseexamples(e.g.AugmentedReality(vanderVaartandDamala2014),proximitysensors(Wolfetal.2015)).

3.AnInfrastructureforDigitalCraftsmanshipTheextendedsetofexamplesaboveshowshowthesametechnologycanberecombinedtocreateverydifferentexperienceswhendesignedaroundaspecificmuseum/heritagesites.ThisflexibilityismadepossiblebythemeSchinfrastructurethatimplementsaversionofIndustry4.0(Hermannetal.,2016):itenablestherearrangementofcomponentswithminimaleffort;usesstandardformodularanddistributedproduction;andcollectsusedataviagoodsandservices.ThroughmeSchthedifferentcomponentscommunicatewithoneanothertoenablethebespokerearrangementofthetechnologywithminimaleffort.Theonlineservicesimplementthemodularanddistributed

1Shouldthepaperbeaccepted,photosfromtheinstalledversionwillbeused.

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productionthatallowsadispersedteam(i.e.,indifferentEUcountries)tocollaborate:themuseumcreatesthecontentwiththemeSch.ioanduploadsitontheCloud,thenthedesignersdeploythecontentintheIoTunderdevelopmentfortesting.FinallybyembeddingNFCintoobjectshandledbyvisitorsitispossibletotracktheirbehaviourforfurtheranalysisofforofferingnewpersonalisedservices.Theanalyticsofthevisitors’dataisparticularlyrelevantinaperspectiveofIndustry4.0:fedbacktothemuseum,logdataempowersthemuseumtobetterunderstandtheeffectivenessoftheexhibitionandvisitors’engagementanddynamicallyadapttoemergingneeds.WithmeSch,thedesignerstakethetechnologyforgrantedandfocusonthespecificexperience:thecontrastingvoicesonthesameevents,anemotionaljourneywithwitnessesofwar,orthehumourofbecomingaRomanandseekingthegods’backing.ThevisionofIndustry4.0istoenableextremecustomisationandtheproductionof“batchesofone”.Itisexploitedherewhendesigningforthespecific.Keytothisvisionisthesimplicityofusethatfostersskillstoeffectivelyusethesystemtodevelopintotacitknowledge;thedesignersthenengageatadeeperlevelwiththespecificproblemanddesiresofthemuseum.Thisinturncreatesnewknowledgethatcanbesharedwiththecommunityatlarge(viathemeSchShareservice)revivingthedynamicsofthecraftsmanshipworkshopinthedigitalagewhereexpertiseandskillsareacknowledgedandtheperfectlycrafteduniquepieceembodiesvaluesofqualityandmeaning(Sennett,2008).

4.ConclusionsDigitalisshapeless;aselectricity,itneedsaphysicalembodimenttobeperceived(Kuniavsky,2010)andtheembodimentcanbeanything,i.e.ashape-changingwallthatreactstopeople’spresenceandbehaviour(Yu,etal,2016).Digitaltechnologyandinformationisapliablematerialwithuniquepropertiessuchasenablingbehavioursorkeepingastatememoryandchangingit.Processing/deliveringdigitalinformationisnolongerthepurposeofanobject,butoneofitsmanyqualities(Kuniavsky,2010).Thisisashiftofparadigmforinteractiondesign:insteadofdesigningaformaroundasetoffunctionalities,itisnowpossibletostartfromaconceptandconsiderhowitcanbetechnicallyimplementedonlyatalaterstage.AsnewtechnologyisinventedandintegratedwiththeemerginginfrastructureofIndustry4.0,designersawareofthepossibilitiesofferedbyCyber-PhysicalSystems,CloudComputingandIoTcanexplorenewcreativespaceswheredigitalandphysicalarecombinedseamlessly.Asdigitalisneutral,thedesignexplorationcanexpandinmanydifferentdirectionsthatusethesametechnologicalinfrastructure,i.enewformsofpublishingthatcombinedigitalcontentandmaterialbooks;newwaystobrowsedigitalphotocollectionsusingpersonalbespokedevices.ThevisionisofaspectsofIndustry4.0tobecomeubiquitousandavailabletodesignersforthecreationofuniquepiecesthatfitpersonalvalues,butthatarepoweredbythesamecomponents.

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AbouttheAuthors:

ProfDanielaPetrelliinterestisthedesignofhybridobjectsandexperiencesthatcombinethedigitalandthematerial.Shehaspublishedoverahundredpeer-reviewedpapers,andhasreceivedelevenprizesandrecognitionsfrombothacademiaandindustry.ShecoordinatedmeSch.

Acknowledgements:themeSchprojectreceivesfundsfromtheEUunderthegrantagreement600851.ThemeSchprojectpartnersinclude:SheffieldHallamUniversity(coordinator,UK),UniversityofStrathclyde(UK),UniversityofLimerick(IR),FondazioneBrunoKessler(IT),eCTRL(IT),MuseoStoricoItalianodellaGuerra(IT),WAAGSociety(NL),DEN(NL),MUSEON(NL),UniversityofAmsterdam(NL),UniversityCarlos3Madrid(ES),UniversityofStuttgart(DE).TheauthorgratefullyacknowledgestheeffortofeachmemberofthemeSchteaminideas,design,andimplementations.