This article presents an account of the Interaction Research Studio’s distinctive approach to incorporating data into design, unpacking a vital but previously unexamined facet of our two-decade-long research programme. We demonstrate how data have served as a pragmatic tool in creating and engaging contextually aware computational products that provide alternatives to dominant task-oriented and consumerist narratives by promoting interpretation, imagination, spirituality and socio-cultural reflection. Leveraging an annotated portfolio approach, we revisit our diverse portfolio of designs, starting from individual reflections before surfacing overarching themes. This article foregrounds our strategies for utilising data, the associated labour and the challenges that have arisen throughout our design process. This emergent and empirical account may complement more theoretical treatments of designing with data and provide valuable insights for researchers, designers and practitioners navigating the complexities of data-integrated design in the contemporary technological landscape.

In this paper, I argue that scale is an important quality of research products [32] and reflect upon the lessons learnt from designing and producing research products at scales ranging from one-offs to those reproduced in thousands. I describe details from a body of research completed by our studio over twenty years by examining four research projects that were designed, developed, and manufactured at four distinct levels of scale. I draw out details from these projects that have not previously been reported and discuss the methodological implications of growth not just for design and production, but also for strategies for engaging with participants. In addition, I discuss particular features of research products produced at the four levels of scale and describe the benefits and trade-offs of producing research products at different scales.

Practice-based design research is often emergent. Methods, tactics, goals and even topics can unfold and change as researchers adapt and learn in the course of their projects. This adaptability is one of the strengths of design as an approach to research, but it seems to contradict assumptions about research as a systematic, inquiry-led investigation. This leads to a tension in practicing and reporting research that we unpack here, before making a series of suggestions for practice-based researchers and reviewers about how to better navigate emergence when pursuing, reporting and evaluating practice-based design research.

Yo–Yo Machines are playful communication devices designed to help people feel socially connected while physically separated. We designed them to reach as many people as possible, both to make a positive impact during the COVID-19 pandemic and to assess a self-build approach to circulating research products and the appeal of peripheral and expressive communication devices. A portfolio of four distinct designs, based on over 30 years of research, were made available for people to make by following simple online instructions (yoyomachines.io). Each involves connecting a pair of identical devices over the internet to allow simple communication at a distance. This paper describes our motivation for the project, previous work in the area, the design of the devices, supporting website and publicity, and how users have made and used Yo-Yo Machines. Finally, we reflect on what we learned about peripheral and expressive communication devices and implications for the self-build approach.

My Naturewatch Camera is an inexpensive wildlife camera that we designed for people to make themselves as a way of promoting engagement with nature and digital making. We aligned its development to the interests of the BBC's Natural History Unit as part of an orchestrated engagement strategy also involving our project website and outreach to social media. Since June 2018, when the BBC featured the camera on one of their Springwatch 2018 broadcasts, over 1000 My Naturewatch Cameras have been constructed using instructions and software from our project website and commercially available components, without direct contact with our studio. In this paper, we describe the project and outcomes with a focus on its success in promoting engagement with nature, engagement with digital making, and the effectiveness of this strategy for sharing research products outside traditional commercial channels.

TaskCams are simple digital cameras intended to serve as a tool for Cultural Probe studies and made available by the Interaction Research Studio via open-source distribution. In conjunction with an associated website, instructions and videos, they represent a novel strategy for disseminating and facilitating a research methodology. At the same time, they provide a myriad of options for customisation and modification, allowing researchers to adopt and adapt them to their needs. In the first part of this paper, the design team describes the rationale and design of the TaskCams and the tactics developed to make them publicly available. In the second part, the story is taken up by designers from the Everyday Design Studio, who assembled their own TaskCams and customised them extensively for a Cultural Probe study they ran for an ongoing project. Rather than discussing the results of their study, we focus on how their experiences reveal some of the issues both in producing and using open-source products such as these. These suggest the potential of TaskCams to support design-led user studies more generally.

In this paper we describe the Datacatcher, a location-aware, tangible and embodied mobile device that displays a continuous stream of statements about its location that are drawn from a large number of data sources and which speak to sociopolitical issues. We describe how the design and our underlying research interests emerged and changed over the course of three distinct phases of development: the device's conceptual design, its refinement to a final design, and the final detailing leading a batch production of 130 of the devices. We discuss the Datacatcher as resonant with many current issues in HCI, including augmented reality, environmental issues, political systems and using data as a design material.

This pictorial exposes aspects of the decision-making process during the form design of a research prototype called the Datacatcher: a mobile electronic device that receives a continuous stream of location-based sociopolitical messages. Manifesting a physical device generated a myriad of demands on top of our research agenda that included issues with both technology and manufacturing. This pictorial will demonstrate how research through design has to tackle issues beyond core research questions in creating research devices, and suggest that because such seemingly irrelevant concerns are crucial for how research questions are embodied, those concerns themselves become integral to the research.

This paper reports the results of a field trial of 130 bespoke devices as well as our methodological approach to the undertaking. Datacatchers are custom-built, location-aware devices that stream messages about the area they are in. Derived from a large number of 'big data' sources, the messages simultaneously draw attention to the socio-political topology of the lived environment and to the nature of big data itself. We used a service design consultancy to deploy the devices, and two teams of documentary filmmakers to capture participants' experiences. Here we discuss the development of this approach and how people responded to the Datacatchers as products, as revealing sociopolitical issues, and as purveyors of big data that might be open to question.

The Energy Babble is a kind of automated talk-radio that is obsessed with energy and the environment. We developed it with, and deployed it to, a number of existing "energy communities" in the UK. The system gathers content from a variety of online sources, including Twitter? feeds from the communities, from governmental departments, and from the National Grid, and chats about it continually using a number of synthesised voices interspersed with a variety of jingles and sound effects. Designed to playfully reflect and comment on the existing state of discourse and reports of practice in the UK, the Babble can be considered both as a product and as a research tool, in which role it worked to highlight issues, understandings, practices and difficulties in the communities with whom we worked.

In this project, we investigated how a ludic approach might open new possibilities for environmental HCI by designing three related devices that encourage environmental awareness while eschewing utilitarian or persuasive agendas. In addition, we extended our methodological approach by batch-producing multiple copies of each device and deploying them to 20 households for several months, gathering a range of accounts about how people engaged and used them. The devices, collectively called the 'Indoor Weather Stations', reveal the home's microclimate by highlighting small gusts of wind, the colour of ambient light, and temperature differentials within the home. We found that participants initially tended to relate to the devices in line with two 'orienting narratives' of environmental tools or ludic designs, finding the devices disappointing from either perspective. Most of our participants showed lingering affection for the devices, however, for a variety of reasons. We discuss the implications of this 'sporadic interaction', and the more general lessons from the project, both for environmental HCI and ludic design.

In this paper we propose that design and HCI research address domestic energy management as a matter of timeliness, and organised on a community scale. We argue that instead of focusing on the financial benefits of energy saving, technologies can be used to connect users in systems that promote better understandings of the impact of their behaviours. We review current policy and practice and outline design proposals for systems that bring people together to work as a team to reduce the strain on national energy generating infrastructure. We argue that by exposing some of the complexity of power generation people can make more informed energy consuming choices.

The Photostroller is a device designed for use by residents of a care home for older people. It shows a continuous slideshow of photographs retrieved from the Flickr™ image website using a set of six predefined categories modified by a tuneable degree of 'semantic drift'. In this paper, we describe the design process that led to the Photostroller, and summarise observations made during a deployment in the care home that has lasted over two months at the time of writing. We suggest that the Photostroller balances constraint with openness, and control with drift, to provide an effective resource for the ludic engagement of a diverse group of older people with each other and the world outside their home.

The "older old" (people over eighty) are a largely invisible group for those not directly involved in their lives; this project explores the ways that technology might strengthen links between different generations. This paper describes findings from a two-year study of a residential care home and develops the notion of cross-generational engagement through ludic systems which encourage curiosity and playfulness. It outlines innovative ways of engaging the older old through "digital curios" such as Bloom, the Tenori On and Google Earth. The use of these curios was supplemented with portraiture by three local artists, nine school children and the field researcher. The paper describes four technological interventions: "video window", "projected portraiture", "blank canvas", and "soundscape radio". These interventions attempt to reposition "off the shelf technologies to provide a space for cross-generational engagement The notion of inter-passivity (the obverse of interaction) is explored in relation to each intervention.

In this paper we describe the Prayer Companion, a device we developed as a resource for the spiritual activity of a group of cloistered nuns. The device displays a stream of information sourced from RSS news feeds and social networking sites to suggest possible topics for prayers. The nuns have engaged with the device enthusiastically over the first ten months of an ongoing deployment, and, notwithstanding some initial irritation with the balance of content, report that it plays a significant and continuing role in their prayer life. We discuss how we balanced specificity in the design with a degree of openness for interpretation to create a resource that the nuns could both understand and appropriate, describe the importance of materiality to the device's successful adoption, consider its implications as a design for older people, and reflect on the example it provides of how computation may serve spirituality.

In this paper, we describe the failure of a novel sensor-based system intended to evoke user interpretation and appropriation in domestic settings. We contrast participants' interactions in this case study with those observed during more successful deployments to identify 'symptoms of failure' under four themes: engagement, reference, accommodation, and surprise and insight. These themes provide a set of sensitivities or orientations that may complement traditional task-based approaches to evaluation as well as the more open-ended ones we describe here. Our system showed symptoms of failure under each of these themes. We examine the reasons for this at three levels: problems particular to the specific design hypothesis; problems relevant for input-output mapping more generally; and problems in the design process we used. We conclude by noting that, although interpretive systems such as the one we describe here may succeed in a myriad of different ways, it is reassuring to know that they can also fail, and fail incontrovertibly, yet instructively.

Threshold devices present information gathered from the home's surroundings to give new views on the domestic situation. We built two prototypes of different threshold devices and studied them in field trials with participant households. The Local Barometer displays online text and images related to the home's locality depending on the local wind conditions to give an impression of the sociocultural surroundings. The Plane Tracker tracks aircraft passing overhead and imagines their flights onscreen to resource an understanding of the home's global links. Our studies indicated that the experiences they provided were compelling, that participants could and did interpret the devices in various ways, that their form designs were appropriate for domestic environments, that using ready-made information contributed to the richness of the experiences, and that situating the information they provided with respect to the home and its locality was important for the ways people engaged with them.

This article describes field trials of 3 electronic furniture prototypes designed to encourage ludic engagement in the home. The Drift Table shows slowly scrolling aerial photography controlled by the weight of the objects on its surface. The History Tablecloth creates slowly growing “halos” around things left on it. The Key Table measures the force with which people put things on it and tilts a picture frame to indicate their mood. The pieces were loaned to different households for periods of 1 to 3 months. Because they were designed for user appropriation, a hypothesis-testing paradigm is inappropriate for evaluating their success. The focus instead was on gathering rich, multilayered accounts of people's experience through ethnographic observations and documentary videos. The results helped assess the particular designs, draw lessons for ludic design more generally, and reflect on field methods for evaluating open-ended designs.

The History Tablecloth is a flexible substrate screen-printed with electroluminescent material forming a grid of lace-like elements. When objects are left on the table, cells beneath them light to form a halo that grows over a period of hours, highlighting the flow of objects in the home. The Tablecloth explores an approach to design that emphasises engaging, open-ended situations over defined utilitarian purposes. Long-term deployment of the History Tablecloth in a volunteer household revealed complex ways that people experienced and interacted with the Tablecloth. Beyond evoking reflection on the flow of objects over a particular table, the Tablecloth served as a ground for interpretative reflection about technology, an asset for social interaction, and an aesthetic object. Even behaviours we saw as system errors were interpreted by the users as interactively rich. Their experience highlights the subtlety of domestic ubiquitous computing, illustrating alternatives to traditional views of technology's domestic role.

Movements of interfaces can be analyzed in terms of whether they are expected, sensed, and desired. Expected movements are those that users naturally perform; sensed are those that can be measured by a computer; and desired movements are those that are required by a given application. We show how a systematic comparison of expected, sensed, and desired movements, especially with regard to how they do not precisely overlap, can reveal potential problems with an interface and also inspire new features. We describe how this approach has been applied to the design of three interfaces: pointing flashlights at walls and posters in order to play sounds; the Augurscope II, a mobile augmented reality interface for outdoors; and the Drift Table, an item of furniture that uses load sensing to control the display of aerial photographs. We propose that this approach can help to build a bridge between the analytic and inspirational approaches to design and can help designers meet the challenges raised by a diversification of sensing technologies and interface forms, increased mobility, and an emerging focus on technologies for everyday life.