In this article, we argue that an approach informed by practice theory coupled with design fiction provides useful insights into the role of interaction design with respect to environmental sustainability. We argue that a practice-oriented approach can help interaction designers step away from models of individual behavior and studies of artifacts towards seeing sustainable behaviors as part of multidimensional and interrelated practices and practice elements. We analyze two previously conducted studies. The first study of everyday repair focuses on how people repair their broken objects. The second study of green-DIY examines how green enthusiasts facilitate their practices of making sustainable DIY (do-it-yourself) projects. We describe the practices of everyday repairers and green enthusiasts in terms of materials, competences, and meanings, and the interrelations among those elements, using the framework of Shove et al. [2012]. We argue that understanding the dynamics of practice and their unique configurations is a starting point to redefine the roles of sustainable interaction design (SID). We propose that designers design towards resources and tools in ways that reflect on the challenges of intelligibility of their design interventions in practices. In addition to considering SID in the light of practice theories, we reveal how design fictions are readily incorporated into green practices in ways that transform those practices and hold implications for transformations of design as well. We bring forward opportunities for designers to co-design with DIY enthusiasts, targeted as practitioners in their own right, designing toward or within a design fiction. As a result, we conclude with the possibility for sustainable interaction designers to become practice-oriented designers who design with transparent open strategies and accessible materials and competences.

In this paper, we describe memory-storming, a design technique that combines oral storytelling with sketching to externalize designers' personal experiences. The proposition behind developing this method is that designers' personal experiences are a potential design resource that can trigger new design insights and ideas. This paper provides a description of our use of this method, shows how it helped us in our design research, and presents lessons learned. We claim that memory-storming is a design technique that focuses on designers' personal experiences yet complements the user focus of user-centered design.

This paper presents the findings from an exploratory study that looks at how creativity plays a role in the repair and reuse of objects in the home. We are interested in a particular form of creativity that manifests in the everyday -- what John Dewey [8] describes as a constant doing and undergoing, as we actively adjust to everyday situations. The goal of this study is to show evidence of repair as not only an act of restoration, but also as an act of creativity that entails the repurposing and resourcing of objects. This study is part of a larger research initiative known as the Everyday Design, where it is believed that everyone is a designer and that design is an ongoing activity that includes the repair, modification, and appropriation of design objects and systems. Furthermore, this study serves as baseline research for future investigations in how to inform the design of technologies whose lifecycle can be extended for various contexts of use through repair.

This article discusses how families appropriate artifacts and surroundings that lead to the design of everyday household systems, such as combining a chalkboard, a door frame, and a hanging basket with paper and sticky notes to manage lists and messages. Such systems continually evolve through the catalytic pressures of individual actions and design-in-use. The article reports on a study of four families in which the concept of everyday design in the home was being researched. In-depth descriptions and discussions of the observations and patterns are presented. The design implications of this study are also discussed. The research contributions are an explanation of everyday design as a novel way to understand interactions and routines in the home, descriptions of the key actions and process in everyday design, and the need to reconstruct the user in the sense of an everyday designer.

We discuss our study that looks at family members as everyday designers. We explain the design actions of family members to be creative, as evidenced by the resourceful appropriation of artifacts and surroundings, the ongoing adaptation of systems and routines through design-in-use that allows emergent properties to arise and addresses individual needs, and how implicit understanding and explicit tests occur for judging quality. We present a preliminary analysis of design implications in the area of interaction design in the home. Our findings are based on a five-month ethnographic study of three families.