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Based on the knowledge generation model for visual analytics including uncertainty propagation and human trust building (Sacha et al. 2016), the cognitive theory of multimedia learning (Mayer, 2014), the multimedia principle (Butcher, 2014), and previous studies on the effects of different uncertainty visualization styles, an integrated theoretical approach is proposed to examine the influence of different degrees of information uncertainty and different uncertainty visualization styles on processing pictures of two archeological reconstructions with accompanying audio explanations presented in a multimedia learning environment. A 4 × 3 design with condition (without uncertainty visualization vs. stop light colors vs. geometric contrast vs. both uncertainty visualizations) as the between-subjects factor and uncertainty value (uncertain vs. medium vs. certain) as the within-subject factor was used. The results showed that appearance of certain content, its uncertainty values, and their verbal scientific justifications were remembered better than uncertain ones. Furthermore, stop light colors enhanced the memory of uncertainty values compared to no uncertainty visualization and were better understood, discriminated, and transferred than geometric contrast. Geometric contrast decreased the memory of the appearance of uncertain architectural elements compared to no uncertainty visualization and was better than stop light colors regarding the memory of the appearance of certain architectural elements. The study integrates and extends existing theories by showing that certain contents are processed with higher priority than uncertain contents and that the multimedia effect is also valid for metainformation such as the uncertainties of contents. Finally, recommendations for designing learning material including uncertainty visualizations are given.

In our current research project we are integrating graphic design and industrial design in an architectural design approach for an implementation in the urban space. It is an interdisciplinary cooperation project from nine chairs of mechanical engineering, one of physics and the external research institute, Fraunhofer Institute for Ceramic Technologies and Systems (IKTS), in Leipzig. The aim is not to let the energy converter appear as a technical device, as this may meet with rejection from those parts of the population who are sceptical towards technical devices in general. Instead, the device should appear in the form of diverse enrichments of private, semi-public and public space, both indoors and outdoors. The enrichment should determine the primary apparition of the energy converter and draw attention to the benefit in space. For this purpose, methods and artistic practices of industrial design and graphic design are used. Industrial design creates objects that can be produced industrially in large series and, in combination with architecture, allow user-oriented scenarios. Through their design, the architectural interventions appear as information boards, public transport stops, lights, bookshelves, benches, climbing towers, moss walls or hanging gardens, while their technical function as energy converters remains in the background as a secondary feature. The development is accompanied by a graphic design that anticipates the corporate design. It is not so much the product variants as the different architectural spaces that emerge as a vision. The virtual photographs, which anticipate the later architectural spaces as a vision, show a complete integration of science and applied art, as creating novel architectural spaces.

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