The prototyping process for e-textile circuits presents unique challenges, as traditional electronic prototyping tools are often rigid and incompatible with the flexible nature of fabric. In this paper, we document the iterative design of FabricBoards, a set of fabric-based breadboards designed for e-textile LED circuits. FabricBoards reimagine the solderless breadboard in a textile-based form, using tools and materials native to textile crafting, inviting and accessible to historically underrepresented makers. We experimented with various textile crafts including machine-sewing, felting, knitting, crocheting, digital embroidery, and weaving a breadboard. Our user study with 18 participants consisted of group workshops for ideation and individual interviews. A thematic analysis revealed four themes on the user experience of FabricBoards in terms of familiarity, materiality, and layout; the inherent incompatibility of electronic components with textiles; and the curiosity and engagement that FabricBoards evoke. Finally, we reflect with generalizable insights on computational making when reimagining e-textile breadboards.

This work brings cultural depth to Hybrid Craft research by exploring Tatreez (Palestinian Arab embroidery) as a medium for Indigenous interaction design. We conducted four participatory workshops with 23 Palestinian, Arab, and Muslim individuals, incorporating traditional hand-stitching, digital embroidery, and reflective interviews. We investigate how digital design and machine embroidery can support handmaking and enable interactive Tatreez with e-textiles that connect to digital archives for storytelling and remembrance. We present a sampler book with embroidered braille, conductive threads, and seamless touch-sensing, bridging cultural heritage and accessible interaction. Our qualitative analysis highlights design opportunities (including co-crafting with machines and multisensory interaction) and design considerations for HCI such as respecting collectivist participation modes, decolonizing Hybrid Craft, and making politics in diasporic and marginalized communities. This work expands Hybrid Craft in HCI beyond neutral and Western norms, foregrounding cultural pride while offering practical insights for conducting user studies with underrepresented groups.

Hybrid crafts blend traditional materials with embedded interactivity, yet everyday use of such artefacts remains underexplored. This paper contributes the study of lived experience with high-fidelity hybrid craft artefacts (made with interactive stained glass), following an initial study with 11 practitioners. We conducted three co-design sessions with nine end-users to create bespoke crafted artefacts deployed across three households for three weeks each, supported by user diaries and interviews. Our findings reveal how participants developed habitual patterns (placement, timing, relocation), emotional attachments, and disengagement needs, perceiving the artefacts as warm, expressive, and socially meaningful, distinguishing hybrid crafts from screen-based or smart devices. We offer design recommendations for leveraging artistic and pictorial qualities, supporting routine-based interaction and emotional connection, and designing for placement flexibility and spatial legibility. This work marks a shift from practitioner-only explorations of hybrid crafts toward user-centred in-the-wild understanding of how these artefacts function as lived-with technologies.

This pictorial presents a design research exploration of domestic sewing machines as hybrid craft tools for creating e-textile circuits. Through iterative making and experimentation, we examine how conductive materials and electronic components can be integrated into fabric using sewing machines. We contribute 11 techniques for securely terminating connections (T1-T4), insulating wires (I1-I4), and design possibilities for sewing LEDs and electronic components (A1-A3). We also introduce four types of machine-sewn sensors (S1-S4) for interactivity and present four high-fidelity prototypes of machine-sewn circuits. To further explore the creative potential of these techniques, we engaged in a case study with a craft practitioner that uncovers design insights and limitations. Reflecting on these explorations, we highlight the role of sewing machines in democratizing e-textile design and advancing their use as accessible tools for hybrid fabrication.

Sergers, also known as overlookers, are common textile machines often found alongside sewing machines in homes and makerspaces. Despite this ubiquity, their application is underexplored in e-textile research. In this pictorial, we demonstrate the potential of sergers in seamlessly integrating interaction in garments and everyday home objects. After identifying the properties of various stitches and their utility for e-textiles, we demonstrate seven prototypes that implement our technique. Moreover, we present an innovative use for sergers to 'interlace' colorful conductive yarns that we call 'sperged threads'. Using a research through design approach, we explore potential applications in several hybrid crafts, including e-textile sensors, garment making, weaving, sewing, and embroidery. Through this work, we aim to inspire researchers, and empower the maker community, to explore e-textile serging, or 'e-serging'.

We explore how smart, portable, tangible, and borrowable museum displays can be used to expand museum outreach, and provide tools for measuring user engagement. Our prototype, MobileMuseum, is a portable museum display on wheels, housing digitally-fabricated replicas of artifacts from a national science and technology museum. To track interactions without cameras, we embedded photo and magnetic door sensors and RFID tags and antenna. Our deployment study was carried out for 2 months and included 4 different locations (2 recreational and 2 educational). Data collected from 6 sensors, 261 hours of field observations, 17 filled questionnaires, and 14 interviews helped us understand interaction patterns. Qualitative and quantitative findings revealed that self-monitored interactions encouraged deeper open-ended exploration. Social sharing increased among people in groups while lower foot traffic increased engagement duration. We present generalizable opportunities for self-monitored Interfaces that lends themselves to social circulation, ‘honeybee-effect’, ‘order effect’, and ‘leftovers’ from users.

The ‘material turn’ in Human Computer Interaction (HCI) is increasingly drawing attention to the computational affordances of materials and how we can craft with them. In this paper, we explore opportunities for combining the maker cultures of hand spinning with e-textile crafting. In our first study, we interviewed 32 hand spinners on their practices to better understand their motivations for spinning their own yarns and the techniques they use to do so. In our second study, we conducted workshops with 6 spinners at a local spinning guild, where participants worked with the conductive fibers and spun e-textile yarns. After the workshops, we conducted follow-up interviews with each participant to understand the opportunities and tensions of hand spinning e-textile yarns. Our findings show how spinners can blend local materials with conductive ones to develop their own custom interactive textiles, and the mismatch between how these fibers are sold and what information spinners require to inform their design decisions. Through these results, we hope to empower makers and inspire the design community to develop tools to support these DIY practices.

Devices for digital fabrication are becoming increasingly smaller and more portable, enabling digital fabrication research to move into new environments. In this exploratory research-through-design project, we aimed to physicalize data on-the-go using a portable digital fabrication device, and gathered community annotations and traces of the journey the machine went on with "stitch markers". We describe the development of The Life of a Small Town, a portable knitting machine that was adapted to knit rows of stitches in response to sensor data. The machine travelled throughout a small town and "popped up" at local art events to sense and physicalize social gatherings held by an arts organization over the period of one year. Individuals participating in events could also decorate their own "stitch markers" to annotate and pin to the data. In this paper we discuss the insights from an analysis of the stitch markers and traces of the year-long journey.

Innovations in digital fabrication technologies are increasingly enabling artists and designers to create data physicalizations in real time. In this paper, we discuss how we adapted a circular knitting machine to physicalize visitors at a local art gallery during the pandemic recovery year. To evaluate this year-long installation, we conducted design critiques with 15 individuals including those who worked in the building and lived alongside it for a year, as well as subject matter experts. We then iteratively worked with 11 of those individuals to gain insights for re-deploying the visualization for interpretation. Overall, this paper contributes long-term reflections and recommendations for using digital fabrication for real-time data physicalizations.

Biofeedback sensors that measure body signals, such as heart rate, are often used for bodily awareness and behavioural change. In contrast, for this project, we wanted to use body sensor data as an artistic resource to craft wearable textile portraits as mementos of a moment in time. During the pandemic, we conducted a user study to design knitted biodata portraits. We met up individually with 20 participants to measure their heart rate, and translated that data into digitally-designed aesthetic patterns for machine knitting. Using a hacked knitting machine, we fabricated these patterns to create 20 personalized wearable shrugs to enable individuals to “wear their heart on their sleeve”. Two years later, when it was safe to do so, we conducted 2 studio workshops with participants, followed by 10 individual interviews. Our qualitative study insights reveal how individuals felt about seeing their own biodata, and the biodata of others, as aesthetic machine-knitted wearables with perceived precious value and attachment.

This work explores e-textiles in the design space of Human-Vehicle Interaction (HVI) and compares distraction levels between e-textile and screen-based interactions during driving tasks. We developed three prototypes (in the steering wheel, headrest cover, and seat-belt pad) to support tactile interactions (tap, press, and swipe) with car interior elements for non-driving applications (such as media control). Our designs used digital embroidery to achieve aesthetic design qualities and wireless connection. In a deployment study with 16 participants, we collected quantitative and qualitative data through video recording, field observations, and user interviews. The study repeated all scenarios using screen-based interaction for comparison. Our findings present insights into fabric-based sensors including fewer collisions and a 302.7% decrease in eye distraction. These findings suggest new design opportunities, such as retrofitting existing vehicles, designing ideation toolkits for diverse users, devising an e-textile Fitts’ Law for reachability, and expanding vehicle interaction research within the HCI community.

HCI researchers are continually exploring new ways of engaging the public in participatory design and bringing creative making research activities to new audiences. In this paper, we interviewed individuals who independently began public and DIY installations for sharing miniature art among their neighbours. During the COVID-19 pandemic, participatory miniature art exchanges, commonly known as Free Little Art Galleries (FLAGs), organically spread in response to lockdowns and institutional constraints. In this qualitative study, we interviewed 20 FLAG ‘curators’ to understand the implications involved in setting up and maintaining these long-term deployments. From the analysis of these interviews, we provide 5 practical recommendations on supporting these types of deployments, and discuss how HCI researchers can expand upon these DIY participatory practices to bring creative ideation activities on the future of technology to broader audiences.

“Libraries of Things” are tangible collections of borrowable objects. There are many benefits to Libraries of Things such as making objects and skill-building accessible, reducing waste through the sharing of items, and saving costs associated with purchasing rarely-used items. We introduce the first HCI study of Library of Things by interviewing 23 librarians who run a variety of collections such as handheld tools, gear, and musical instruments – within public institutions and more grass-roots efforts in the private sector. In our findings, we discuss the challenges these collections experience in changing behavioural patterns from buying to borrowing, helping individuals ‘try new things’, iterating to find sharable items, training staff, and manual intervention throughout the borrowing cycle. We present 5 opportunities for HCI research to support interactive skill-sharing, self-borrowing, maintenance recognition and cataloguing ‘things’, organizing non-uniform inventories, and creating public-awareness. Further in-the-wild studies should also consider the tensions between the values of these organizations and low-cost convenient usage.

Stained-glass is a craft with a wealth of opportunities that blends seamlessly into our everyday environments. Despite sharing similar tools and materials with other types of hybrid crafting, authentic stained glass is underexplored in HCI. We introduce stained-glass to TUI researchers, explain the fabrication process thoroughly (using the traditional methods of both copper foil and lead came), and explore its potential as a conductive substrate for interactivity. We contribute fabrication techniques to support various circuit connection traces, light diffusion methods, interactivities, and aesthetic qualities. We also introduce three potential applications as proof of method validity in different contexts. We follow this with a discussion on experiential outcomes and the importance of creative practices in the development of interactive artefacts.

Pandemic lockdowns created new barriers for HCI researchers, but also provided new opportunities for deeper engagement and reflection in our home environments. Five participants were introduced with a design brief on self-isolation and engaged 12 of their friends and family in the design process of in-the-isolated-wild deployments. By analysing the design process, we found that –while ‘making from home’– our participants noticed the subtlety of the interactions and materials, the processes of remembrance embedded in craft, the use of imperfection and metaphor in homeware, and how ambient presence can provide emotional support. We then conducted a follow-up study on the benefits and limitations of using a crafting approach while ‘making from home’ and discuss the tensions that novices experience while designing TUIs in such an environment. Our results expand the literature by highlighting the benefits, limitations, and trade-offs of user-led design, DIY user empowerment, and harnessing the power of craft.

Within the emerging field of e-textiles, goldwork embroidery (also known as metalwork) which uses metal threads and materials is an underexplored area, despite being a centuries-old practice in traditional crafts of different cultures. In this paper, we explore the material culture of textile goldwork to better understand how e-textile researchers can leverage their material properties, palette, and practices. First, we provide a historical background of English goldwork to give HCI researchers context on this craft field including technological and cultural influences. Then, we interview 13 contemporary goldwork practitioners on their creative practice to better understand the tools, techniques, and skills they employ. Our study findings show how goldwork practitioners deal with the unique constraints of metal threads and materials, and how these materials need to be handled differently than regular non-metal threads and fibers. This paper contributes an analysis of goldwork practices for HCI audiences with suggestions on how we can leverage these practices for the future of e-textile hybrid crafts.

Participatory design with wearable users entails engaging people in the design process from the early ideation phases. However, user-generated wearable concepts are often limited by the narrow design space of commercially available wearables. This paper presents an ideation scaffolding method we developed for eliciting wearable concepts, called Wearable Crazy Eights, where participants used an ideation deck and sketched up to 8 concepts in 8 minutes. Herein, we discuss the artifacts produced from our ideation method in a study with 46 participants comparing 3 groups. By comparing the 3 groups we were able to parse the effects of each activity on the resulting ideas. Our contribution is a replicable and customizable ideation method for encouraging outside-the-box thinking in wearable studies.

Tangible toolkits enable individuals to explore concepts through combining components together and taking them apart. The strength and limitation of many e-textile toolkits is that threads hold them in place, and once put together they need destructive methods to take them apart. In this paper, we propose Punch-Sketching e-textiles, a drawing technique that uses a punch needle to iteratively prototype soft circuits. The benefits of this approach is sustainability and reusability where users can easily pull out circuits without damaging the materials or creating waste, while also testing out concepts using the actual threads that will be used in the final prototype. To validate our technique, we ran three studies comparing sewing and punching e-textiles through: 1) Understanding the process with two fiber artists; 2) Exploring the potential with four beginner users; and 3) Utilizing our methods further with 10 occupational therapists. Insights from these three studies include when and how to use each method, toolkit recommendations, considerations for iterative physical prototyping, sustainability, and accessibility.

We introduce Soft Speakers, a systematic approach for designing custom fabric actuators that can be used as audio speakers and vibro-haptic actuators. Digitally-embroidered with e-textiles, we implement Soft Speakers as tactile, malleable and aesthetic designs to be part of wearables, soft furnishing and fabric objects. We present a rapid technique for the DIY fabrication of audio feedback into soft interfaces. We also discuss and evaluate 7 factors for their parametric design in additive and constructive methods. To demonstrate the feasibility of our approach and the breadth of new designs that it enables, we developed 5 prototypes: 3 wearables, a piece of furniture and a soft toy. Studying Soft Speakers with maker-users expanded the design space, empowering users and supporting inclusive design. Our study includes insights on user experience of real-world interactive applications for remote communication, e-learning, entertainment, navigation and gaming, enabled by Soft Speakers’ customizable and scalable form factor.

Home decor defines how people experience and share spaces, with the decorative elements forming the ‘interface’ to the home. Despite the opportunities of embedding technology within these elements, research to date has not explored this fully. This paper brings home decor to interaction design utilizing decorative elements as a vehicle to incorporate tangible interaction in domestic spaces. In an IKEA-like format, we designed a product catalogue of our own prototypes that illustrate the possibilities of the nearest future. These design illustrations should offer inspiration to those who wish to work with interactive materials (e.g. appearance-changing and soft-sensing), particularly in the context of interactive spaces. Through making, situating, and speculating, we show how designing interactive decor can be a promising area in Research-though-Design.

People living with vision impairment can be vulnerable to attackers when entering passwords on their smartphones, as their technology is more 'observable'. While researchers have proposed tangible interactions such as bend input as an alternative authentication method, limited work have evaluated this method with people with vision impairment. This paper extends previous work by presenting our user study of bend passwords with 16 participants who live with varying levels of vision impairment or blindness. Each participant created their own passwords using both PIN codes and BendyPass, a combination of bend gestures performed on a flexible device. We explored whether BendyPass does indeed offer greater opportunity over PINs and evaluated the usability of both. Our findings show bend passwords have learnability and memorability potential as a tactile authentication method for people with vision impairment, and could be faster to enter than PINs. However, BendyPass still has limitations relating to security and usability.

The creation of e-textile swatches is a common practice for documenting material experiments, sharing techniques with other practitioners, and for concept ideation. The Creative Interactions Lab has developed a system that turns e-textile swatches into easily connectable "bits" so that swatches can move between being an ideation tool into a prototyping tool(kit). The benefit of this approach is that experimental swatches and ideas for their use can be easily tested in context. In this studio, participants will be invited to bring their own swatches and/or prototypes, will learn how to create modular e-textile swatch-bits, and then we will spend the afternoon making prototypes and will engage in hands-on activities with the modular swatches. The goal of the studio will be to share e-textile prototyping techniques, and to discuss the potential for modular swatches to be incorporated into e-textile prototyping processes.

Smart garment and wearable e-textile prototypes are difficult to co-design because of the variety of expertise needed (garment design, sewing skills, hardware prototyping, and software programming). To help with this, we developed a toolkit for prototyping wearable e-textiles, named Wearable Bits, which enables co-design with non-expert users without demanding sewing, hardware or software skills. We developed a low-fidelity and medium-fidelity experience prototype of the toolkit and ran a series of workshops where non-expert users designed their own e-textile wearables using Wearable Bits. In this paper, we discuss the ideas they developed, their construction techniques, the roles individuals took on while building, and suggestions for future toolkits.

The world is promoting inclusion and diversity more than ever before. Many people have dual-identities that they alternate between and may often blend. In our design research we explore everyday objects and the role of technology to accommodate people's needs and personalities. Can furniture change its shape to reflect our dual-identities? Can our interior spaces reveal their hidden aesthetics when interacting with us? We designed a set of matching interactive furniture to unfold these narratives. Our Peace Table and Peace Painting change colour with proximity to reflect the dual identity of Western-Muslims. This pictorial describes our design concept and process with the aim of encouraging the HCI community to design for experiential artwork. Such interactivity can enrich and add new dimensions to the quality of living experience by merging technology into home decor in calm, ubiquitous and non-intrusive ways.

Traditional crafting methods such as stitching, embroidering, dyeing and machine sewing can be enhanced to create novel techniques for embedding shape-changing and colour-changing actuation into soft fabrics. In this paper, we show how embedding Shape-Memory Alloy (SMA) wire, copper wire and thermochromic thread into needles and bobbins, we were able to successfully machine sew interactive morphological capabilities into textiles. We describe the results of extensive design experiments, which detail how differing actuations can be achieved through a matrix of parameters that directly influence a fabric's deformational behaviours. To demonstrate the usefulness of our 10 techniques, we then introduce and discuss an interactive artefact we produced, using a subset of these techniques. We contribute such new techniques for creating soft-interfaces, imbued with actuation through tactile and self-morphing capabilities without motors or LEDs. We draw insights from this on the potential of the proposed techniques for crafting interactive artefacts.

One-handed mobile use, which is predominantly thumb-driven, presents interaction challenges like screen occlusion, reachability of far and inside corners, and an increased chance of dropping the device. We adopt a Research through Design approach around single-hand mobile interaction by exploring a variety of back-of-device tangibles (including a touchpad, scroller, magnetic button, push button, slider, stretchable spiral and a ring joystick). The latter 'joy'-stick was inspired from the recent popular but passive ring phone 'holders', which we combined into ?JoyHolder' - a joystick-based interactive phone holder for tangible back-of-device input interactions. We demonstrate our low-fidelity and medium-fidelity prototypes (using crafting and digital fabrication methods) and our interactive JoyHolder to encourage discussion on tangible back-of-device interactions. Preliminary insights from a pilot-study we ran reflects the hesitation for adopting some of these tangibles, the potential of others and the importance of physical feedback while using back-of-device input modalities.

Actuating, dynamic materials offer substantial potential to enhance interior designs but there are currently few examples of how they might be utilized or impact user experiences. As part of a design-led exploration, we have prototyped (Wizard-of-Oz) an actuating, dining table runner (ActuEater1), and then developed a fully-interactive fabric version that both changes shape and colour (ActuEater2). Four in-situ deployments of 'ActuEaters' in different dinner settings and subsequent 'design crits' showed insights into how people perceive, interpret and interact with such slow-technology in interesting (and often unexpected) ways. The results of our 'ActuEating' studies provide evidence for how an actuating artefact can be simultaneously a resource for social engagement and an interactive decorative. In response, we explore design opportunities for situating novel interactive materials in everyday settings, taking the leap into a new generation of interactive spaces, and critically considering new aesthetic possibilities.

The application of Organic User Interface (OUI) technologies will revolutionize interior design, through the development of interactive and actuated surfaces, furnishings and decorative artefacts. However, to adequately explore these new design landscapes we must support multidisciplinary collaboration between Architects, Interior Designers and Technologists. Herein, we present the results of two workshops, with a total of 45 participants from the disciplines of Architecture and Interior Design, supported by a group of HCI researchers. Our objective was to study how design disciplines can productively engage with smart materials as a design resource using an evolving set of techniques to prototype new interactive interior spaces. Our paper reports on our experiences across the two workshops and contributes an understanding of techniques for supporting multidisciplinary collaboration when designing interactive interior spaces.

Organic User Interfaces (OUIs) are flexible, actuated interfaces characterized by being aesthetically pleasing, intuitively manipulated and ubiquitously embedded in our daily life. In this paper, we critically survey the state-of-the-art for OUIs in interactive architecture research at two levels: 1) Architecture and Landscape; and 2) Interior Design. We postulate that OUIs have specific qualities that offer great potential for building interactive interiors and entire architectures that have the potential to -finally- transform the vision of smart homes and ubiquitous computing environments (calm computing) into reality. We formulate a manifesto for OUI Architecture in both exterior and interior design, arguing that OUIs should be at the core of a new interdisciplinary field driving research and practice in architecture. Based on this research agenda we propose concerted efforts to be made to begin addressing the challenges and opportunities of OUIs. This agenda offers us the strongest means through which to deliver a future of interactive architecture.