Temperature has strong potential to mediate emotion in a range of contexts; augmenting sensory experience and/or supporting emotion regulation. Hence, there is growing interest in leveraging thermal cues for affective technologies. At present, however, the design space for thermal technologies for emotion regulation remains underexplored and largely undefined. We construct a design space for thermal affective emotion regulation technologies, clarifying the rich, expressive nature of thermal cues as a design material. We develop this through a Research through Design (RtD) approach, grounded in an 18-month autoethnographic inquiry based on the first author’s emotion regulation practice. We contribute a structured design space for thermal affective interaction, linking experience and design implementation with designerly know-how. By discussing the creation of this design space we provide insights into the generative process of developing intermediate-level knowledge from autoethnographic study and design practice.

The last two decades have witnessed a growing significance of soundscape design as a core topic in Interaction Design. Sound-O-Matic is an innovative tool that facilitates the design of real-time three-dimensional soundscapes. Diverging from conventional track-based audio tools, Sound-O-Matic is constructed atop Unity, a robust 3D game engine, thereby empowering designers to intricately address the temporal and spatial dynamics inherent in soundscape design. This study showcases three enduring and one transitory soundscape instances, seamlessly integrated into diverse settings: 1) a greenhouse, 2) a bunker, 3) a playground, and 4) a passenger train. These case studies illustrate how Sound-O-Matic adeptly manages a spectrum of design considerations encompassing the spatial configuration of speakers, the temporal dynamics inherent in the soundscape, interaction, and user experience. The discussion compares the four cases, highlights the diversity of the designs, and concludes with a brief discussion of potential further development of the tool.

Digital tools that support creative activities are ubiquitous in the design industry, yet practitioners appear to prefer pen and paper for design ideation. To better understand this exception, we conducted a comparative study between analog and digital tools and their impact on the divergent and convergent thinking patterns of groups of designers. We analysed how 24 participants solved comparable design ideation tasks in two conditions using linkographic protocol analysis – a notation method that focuses on identifying and linking small steps in the design process called moves. Our findings suggest that digital ideation tools yield more convergent thinking compared to analog tools, with no discernible impact on general productivity or divergent thinking.

Building on the concept “prototypes that filter the design space,” we establish how other kinds of design artifacts and activities (e.g., sketching, tests, concept posters, metaphors, design tools) are equally critical in filtering the design space. We also suggest a parallel term, “informing the design space,” to define how design artifacts and activities expand the design space. We focus on a 16-month, full-scale media architecture design project and zero in on seven of its component events, and use design-space schemas to shed light on the dynamics of the design space with respect to informing and filtering the design space. Our concluding contribution is to propose design-space thinking as a sub-discipline of design research. We argue that this research perspective serves to address the creative aspects of the design process, the generative potential of design-space thinking, and the tools that support design-space thinking and research.

Hackathon formats have been praised for their potential for promoting innovative thinking and making in a short time-frame. For this reason, hackathons have also been embraced by many researchers who use hackathons as part of their research in various ways. Through an extensive review of 381 publications published during a 10 year time span, we document the multiple ways in which hackathons are embraced and used by researchers The paper contributes to a better understanding of hackathons as part of research by providing a broad overview as a resource for researchers. We identify three main motivations for using hackathons as part of research: 1) Structuring learning, 2) structuring processes, and 3) enabling participation. For each of the motivations, we identify research with hackathons, and research on hackathons as two main categories. Drawing on several examples from the review we discuss benefits and challenges of using hackathons as part of research.

A core challenge in tabletop research is to support transitions between individual activities and team work. Shape-changing tabletops open up new opportunities for addressing this challenge. However, interaction design for shape-changing furniture is in its early stages - so far, research has mainly focused on triggering shape-changes, and less on the actual interface transitions. We present KirigamiTable - a novel actuated shape-changing tabletop for supporting transitions in collaborative work. Our work builds on the concept of Proxemic Transitions, considering the dynamic interplay between social interactions, interactive technologies and furniture. With KirigamiTable, we demonstrate the potential of interactions for proxemic transitions that combine transformation of shape and digital contents. We highlight challenges for shape-changing tabletops: initiating shape and content transformations, cooperative control, and anticipating shape-change. To address these challenges, we propose a set of novel interaction techniques, including shape-first and content-first interaction, cooperative gestures, and physical and digital preview of shape-changes.

Leveraging knowledge generated in design activities for subsequent design and research purposes is an important yet challenging task due to the complex and messy nature of design work. In this paper, we discuss opportunities and challenges for documentation in design processes to support the transformation of design knowledge across different levels of abstraction. We argue for an activity-centred approach to underscore the construction of intermediate forms of knowledge, where immediate responses to design activities inform mediated representations of design work. The relation between immediate and mediated knowledge is explored through a case study of Co-notate, a research prototype enabling automatic synthesis of audio/video recordings and textual annotations simultaneously captured during design activities. We argue that real-time annotated design documentation limits the risk of recorded activities being misinterpreted, or simply disregarded, and we identify and discuss potentials for employing real-time technology to inform retrospective analysis.

This paper contributes an analytical framework to improve understanding of the composition of recognized creativity methods used in design. Based on an extensive literature review, our framework synthesizes key concepts from design and particularly creativity research, and is further supported by significant experience with creativity methods in design. We propose that nine concepts are relevant for analyzing creativity methods in design: process structure, materials, tools, combination, metaphor, analogy, framing, divergence, and convergence. To test their relevance as components of an analytical framework, we use these key concepts to analyze three recognized creativity methods that we have often used ourselves: Inspiration Card Workshops, Fictional Inquiry, and Extreme Characters. Our analytical framework expands current categorizations of methods and offers new insight into how creativity methods are composed, how and why they work, and how they potentially may be tweaked or refined for enhanced deployment in design.

Machine learning (ML) is now a fairly established technology, and user experience (UX) designers appear regularly to integrate ML services in new apps, devices, and systems. Interestingly, this technology has not experienced a wealth of design innovation that other technologies have, and this might be because it is a new and difficult design material. To better understand why we have witnessed little design innovation, we conducted a survey of current UX practitioners with regards to how new ML services are envisioned and developed in UX practice. Our survey probed on how ML may or may not have been a part of their UX design education, on how they work to create new things with developers, and on the challenges they have faced working with this material. We use the findings from this survey and our review of related literature to present a series of challenges for UX and interaction design research and education. Finally, we discuss areas where new research and new curriculum might help our community unlock the power of design thinking to re-imagine what ML might be and might do.

Documentation of Research through Design (RtD) processes is essential for capturing and translating design knowledge into broader academic knowledge. Moreover, it can support both design and research objectives internally in RtD projects, as well as external concerns such as project management, knowledge dissemination, and education. In spite of this, RtD documentation has received little sustained attention in prior work. Building on what prior work there is as well as an in-depth analysis of two markedly different cases, we present a framework for planning and evaluating RtD documentation. The framework addresses three core concerns: the medium of documentation, the performativity of documentation, and providing equal support for both research and design.

We introduce the participation gestalt framework for analysing participation in public interactive installations. Building on the concept of interaction gestalt, we define the participation gestalt as the unified perception and experience of participatory qualities as they unfold through interaction with the installation in a socio-cultural setting. The framework consists of five continua, mapping out the qualities of participation in relation to the degree of expressivity, exposure, investment, sociality and persistence that people experience when engaging in the interaction. Individually, the five qualities provide a vocabulary for analyzing an interactive installation. Combined, the five qualities constitute a participation gestalt framework by which HCI researchers can qualify how a certain forms of participation emerge around public installations. We exemplify the framework by analyzing four public installations in different socio-cultural contexts and examining their participation gestalt.

Media Architecture is reaching a level of maturity at which we can identify tools and approaches for addressing the main challenges for HCI practitioners working in this field. While previous influential contributions within Media Architecture have identified challenges for designers and offered case studies of specific approaches, here, we (1) provide guidance on how to tackle the domain-specific challenges of Media Architecture design -- pertaining to the interface, integration, content, context, process, prototyping, and evaluation -- on the basis of the development of numerous installations over the course of seven years, and thorough studies of related work, and (2) present five categories of tools and approaches -- software tools, projection, 3D models, hardware prototyping, and evaluation tools -- developed to address these challenges in practice, exemplified through six concrete examples from real-life cases.

We propose combining shape-changing interfaces and spatial augmented reality for extending the space of appearances and interactions of actuated interfaces. While shape-changing interfaces can dynamically alter the physical appearance of objects, the integration of spatial augmented reality additionally allows for dynamically changing objects' optical appearance with high detail. This way, devices can render currently challenging features such as high frequency texture or fast motion. We frame this combination in the context of computer graphics with analogies to established techniques for increasing the realism of 3D objects such as bump mapping. This extensible framework helps us identify challenges of the two techniques and benefits of their combination. We utilize our prototype shape-changing device enriched with spatial augmented reality through projection mapping to demonstrate the concept. We present a novel mechanical distance-fields algorithm for real-time fitting of mechanically constrained shape-changing devices to arbitrary 3D graphics. Furthermore, we present a technique for increasing effective screen real estate for spatial augmented reality through view-dependent shape change.

Creative processes involve a repertoire of digital devices ranging from mobile phones over tablets and desktop computers to electronic whiteboards and wall-sized displays. While some integration across multiple devices is supported more sophisticated kinds of integration that connect devices and amplify their potential are limited. Many creative practices also rely on physical materials and tools. This will workshop investigate how the combination of physical and digital artifacts can support creative work practices. In this context, we propose to examine: Individual and social creative activities; Creativity methods; Emergence and transformation of design ideas; Generative design materials; Design constraints.

We investigate the diversity of participatory design research practice, based on a review of ten years of participatory design research published as full research papers at the Participatory Design Conferences (PDC) 2002–2012, and relate this body of research to five fundamental aspects of PD from classic participatory design literature. We identify five main categories of research contributions: Participatory Design in new domains, Participatory Design methods, Participatory Design and new technology, Theoretical contributions to Participatory Design, and Basic concepts in Participatory Design. Moreover, we identify how participation is defined, and how participation is conducted in experimental design cases, with a particular focus on interpretation, planning, and decision-making in the design process.

Tangible 3D tabletops are a novel type of interface, which combines tangible tabletop interaction with 3D projection in such a way that the tangible objects can be augmented with visual content corresponding to their physical shapes, positions and orientations on the tabletop. We present a specific tangible 3D tabletop installation, Projected Play, which was developed for and deployed at LEGO World, a four-day event at which visitors immerse themselves in the world of LEGO. The use of Projected Play was documented through observations, interviews and video recordings. We propose an analytical approach to understanding the perception and use of this type of installation building upon existing research into interaction in public spaces. We apply this approach to analyse how people interacted with and experienced the installation. The focal points of the analytical approach include social, cultural and physical aspects of experience, interaction patterns and forms of engagement. Moreover, we critically discuss the potentials and limitations of both the analytical approach and the installation.

This paper suggests a framework for understanding and manoeuvring design spaces based on insights from research into creativity constraints. We define the design space as a conceptual space, which in addition to being co-constituted, explored and developed by the designer encompasses the creativity constraints governing the design process. While design spaces can be highly complex, our constraint-based understanding enables us to argue for the benefits of a systematic approach to mapping and manipulating aspects of the design space. We discuss how designers by means of a simple representation, a design space schema, can identify the properties of the prospective product that s/he can form. Through a case study, we show how design space schemas can support designers in various ways, including gaining an overview of the design process, documenting it, reflecting on it, and developing design concepts. Finally, we discuss the potentials and limitations of this approach.

This paper examines how the dynamics between design and research interests shape and influence the development of design concepts in collaborative design projects. We introduce the concepts of boundary zones and emergent boundary objects in order to account for how different project stakeholders align their interests and move towards shared project goals. Though the study is of a specific case, namely the collaboration between interaction design researchers and architects to develop interactive com-ponents in a new metro station, we show how the concepts of boundary zones and emergent boundary objects can support the articulation and analysis of the way that design concepts emerge and are shaped through ongoing negotiations and reifications.

This paper introduces the idea of craftsmanship as a way of understanding the shaping and re-shaping of code as a material crafting practice. We build our analysis on a qualitative study of a coder engaged in creative and expressive programming on an old hardware platform. The contribution of the paper is a set of conceptual categories: craft engagement, craftsmanship rhythm and craftsmanship expressivity, that conceptualizes coding as crafting.

In this paper, we investigate Research through Design at a micro-level, by addressing the dynamic interplay of research and design as they unfold throughout a design process. As our principal case, we consider the design of a three-dimensional projection installation, a process that unfolded over a one-year period. We analyse material collected from 18 key events during the process, in order to identify the ongoing dynamics. Based on the analysis, we establish how the interplay evolves in a complex structure, where the design and research interests continuously couple, interweave, and decouple. Last, the paper discusses what facilitates the three different kinds of dynamics.

Interaction design researchers doing research through design face not only the wicked problems in the practice of doing interaction design, but also the wicked problems that exist in the practice of doing research. In this paper we discuss the use of a tool developed for the specific purpose of documenting design projects and prompting reflection about design events as part of doing research through design. Based on cases lasting from nine to thirteen months we address specific benefits and challenges that we have encountered while employing the tool. Challenges concern roles and responsibilities, lack of routines, determining what to document, and finding the right level of detail. Benefits include support of shared reflection and discussion in on-going projects, the development, refining, and reflection upon research questions, scaffolding longitudinal and cross-project studies. Moreover, the benefits derived from entering design materials and other kinds of artefacts into a tool may not be achieved until must later, for instance when writing research publications.

In this workshop, we wish to explore how design processes extending longer periods of time, weeks to several months, can be captured and documented, how this data can be analyzed, and what types of research insights such work can yield. Such topics include, but are not limited to, how ideas emerge, how design concepts are manifested in different forms, how interaction between different participants and stakeholders unfold, etc.

3D projection on physical objects is a particular kind of Augmented Reality that augments a physical object by projecting digital content directly onto it, rather than by using a mediating device, such as a mobile phone or a head-mounted display. In this paper, we present five cases in which we have developed installations that employ 3D projection on physical objects. The installations have been developed in collaboration with external partners and have been put into use in real-life settings such as museums, exhibitions and interaction design laboratories. On the basis of these cases, we present and discuss three central design insights concerning new potentials for well-known 3D effects, dynamics between digital world and physical world, and relations between object, content and context.

Media façades comprise a category of urban computing concerned with the integration of displays into the built environment, including buildings and street furniture. This paper identifies and discusses eight challenges faced when designing urban media façades. The challenges concern a broad range of issues: interfaces, physical integration, robustness, content, stakeholders, situation, social relations, and emerging use. The challenges reflect the fact that the urban setting as a domain for interaction design is characterized by a number of circumstances and socio-cultural practices that differ from those of other domains. In order to exemplify the challenges and discuss how they may be addressed, we draw on our experiences from five experimental design cases, ranging from a 180 m2 interactive building façade to displays integrated into bus shelters.

In this article we explore how to enrich the experience of toys that usually spend a boring time in their boxes in the toy store by digitally bringing them out of the box. For this purpose we have developed an interactive table based on the 3D game engine Virtools, together with the reacTIVision software and have studied and evaluated the use of the table in a full-scale, realworld situation in the toy department of a major Danish retailer. Our detailed analysis highlights the wide range of interaction forms and interaction modes facilitated by the table, moving from initial exploration to playful and engaging experiences, both on individual and social levels. We sum up our findings and their relevance for future design and show how the interplay of physical design, interaction, and content has been instrumental in giving children and adults a richer and extended experience of the toy -- even though it remains in the box.

The two-dimensional model presented in this article is a contribution to the discussion of the ways in which IT-based marketing experiences in a physical setting may be designed and understood. In the presentation of the model, the focus has been on central issues regarding the design of the IT-based experience's physical design, interaction, and content, with regard to ensuring the achievement of the desired behavioural, cognitive, and affective effects, and, in the final analysis, the desired overarching marketing effect. The paper draws on three installations from a research project, which include two commercial partners: a major department store, and a large international chewing gum research and manufacturing company, whose primary marketing channels are international sweets conventions. Additional inspiration for the model's strategies have been drawn from the field of digital art installation.

In this paper we start from the position that sources of inspiration play an important role in the design process albeit in a frequently intangible way. We present the Inspiration Card Workshop as a collaborative method for combining findings from domain studies, represented in Domain Cards, with sources of inspiration from applications of technology, represented in Technology Cards, to create new concepts for design. We report our findings from three projects in which we have used the method and argue that the use of Inspiration Cards can successfully frame and guide workshops with disparate participants and bring various sources of inspiration into the design process. We furthermore compare the method to four related methods in the design process, namely Future Workshops, Metaphorical Design, Interaction Relabelling and Lateral Thinking.

Computing power is an integrated part of our physical environment, and since our physical environment is three-dimensional, the virtual studio technology, with its unique potential for visualizing digital 3D objects and environments along with physical objects, offers an obvious path to pursue in order to envision future usage scenarios in the domain of pervasive computing. We label the work method virtual video prototyping, which grew out of a number of information systems design techniques along with approaches to visualization in the field of architecture and set design. We present a collection of virtual video prototyping cases and use them as the platform for a discussion, which pinpoint advantages and disadvantages of working with virtual video prototyping as a tool for communication, experimentation and reflection in the design process. Based on more than ten cases we have made the observations that virtual video prototypes 1) are a powerful medium of communication in development teams and for communication with industry partners and potential investors, 2) support both testing and generating ideas 3) are particular suited for addressing spatial issues and new ways of interacting. In addition practical use of virtual video prototypes has indicated the need to take into account some critical issues including a) production resources, b) hand-on experience, and c) the seductive power of virtual video prototypes.

Current work in the field of usability tends to focus on snapshots of use as the basis for evaluating designs. However, giving due consideration to the fact that everyday use of technology involves a process of evolution, we set out to investigate how the design of the technology may be used to support this. Based on a long-term empirical study of television use in the homes of two families, we illustrate how use continuously develops in a complex interplay between the users' expectations---as they are formed and triggered by the design---and the needs and context of useper se. We analyze the empirical data from the perspective of activity theory. This framework serves to highlight how use develops, and it supports our analysis and discussion about how design, the users' backgrounds, previous experience, and needs, and the specific context of use supports or hinders the development of use. Moreover, we discuss how the characteristics of the home settings, in which the televisions studied were situated, represent a challenge to usability work. The concluding discussion leads to a set of hypotheses relevant to designers and researchers who wish to tackle some of the aspects of usability of particular importance to development in the use of home technology.

We present exciting applications of the Huber concept in circuit modeling and optimization. By combining the desirable properties of the l/sub 1/ and l/sub 2/ norms, the Huber function is robust against gross errors and smooth w.r.t. small variations in the data. We extend the Huber concept by introducing a one-sided Huber function tailored to design optimization with upper and lower specifications. We demonstrate the advantages of Huber optimization in the presence of faults, large and small measurement errors, bad starting points and statistical uncertainties. Circuit applications include parameter identification, design optimization, statistical modeling, analog fault location and yield optimization.>

Article Free Access Share on Participatory design in Britain and North America: responses to the “Scandinavian Challenge” Authors: Michael J. Muller Bellcore, 444 Hoes Lane, Piscataway NJ Bellcore, 444 Hoes Lane, Piscataway NJView Profile , Jeanette L. Blomberg Xerox PARC Xerox PARCView Profile , Kathleen A. Carter Rank Xerox Ltd. Rank Xerox Ltd.View Profile , Elizabeth A. Dykstra Pacific Bell Pacific BellView Profile , Kim Halskov Madsen City University of NY City University of NYView Profile , Joan Greenbaum City University of NY City University of NYView Profile Authors Info & Claims CHI '91: Proceedings of the SIGCHI Conference on Human Factors in Computing SystemsApril 1991 Pages 389–392https://doi.org/10.1145/108844.108962Published:01 March 1991Publication History 21citation1,340DownloadsMetricsTotal Citations21Total Downloads1,340Last 12 Months28Last 6 weeks7 Get Citation AlertsNew Citation Alert added!This alert has been successfully added and will be sent to:You will be notified whenever a record that you have chosen has been cited.To manage your alert preferences, click on the button below.Manage my AlertsNew Citation Alert!Please log in to your account Save to BinderSave to BinderCreate a New BinderNameCancelCreateExport CitationPublisher SiteeReaderPDF

Computer support for design as cooperative work is the subject of our discussion in the context of our research program on Computer Support in Cooperative Design and Communication. We outline our theoretical perspective on design as cooperative work, and we exemplify our approach with reflections from a project on computer support for envisionment in design — the APLEX and its use. We see envisionment facilities as support for both experiments with and communication about the future use situation. As a background we sketch the historical roots of our program — the Scandinavian collective resource approach to design and use of computer artifacts, and make some critical reflections on the rationality of computer support for cooperative work.