OPEN-ENDED INTERACTION IN COOPERATIVE PROTOTYPING: A Video-Based Analysis

Cooperative Prototyping can be characterized as the use and development of prototypes as catalysts during discussions between designers and potential users - the overall intention being one of mutual learning. On the one hand, the designers learn more about the work practices of the users in ways that are tied concretely to some current version of the prototype. On the other hand, the users learn more about the potential for change in their work practice, whether computer-based or otherwise. This paper presents the results of a field study of the cooperative prototyping process. The study is based on a fine-grained video-based analysis of a single prototyping session, and focuses on the effects of an open-ended style of interaction between users and designers around a prototype. An analysis of focus shifts, initiative and storytelling during the session is brought to bear on the question of whether and how cooperative prototyping can be successful with users who are reluctant to \u27play in the future.\u27 The paper also discusses issues in applying video analysis to system design

Making Exhibitions, Brokering Meaning: Designing new connections across communities of practice

New media museum exhibits often see designers representing the research of expert content providers. Despite perceptions that such exhibits provide museum visitors with a greater depth and range of experience, differences in knowledge and practice between designers and content providers can see content development become an unruly, competitive process in which audience experience, digital mediation, visualisation techniques and meaning become contested territory. Drawing on Etienne Wenger’s theory of “communities of practice”, this paper argues that designers’ advocacy for audiences and distance from exhibition content well positions them to broker interdisciplinary goal setting so that exhibitions observe the representational objectives of content providers and meet the needs and preferences of museum visitors. A wide range of design literature already discusses the pragmatic benefits and ethical importance of user-centered design, while the literature on co-design suggests that designed outcomes are more successful if the design process considers the interests of all stakeholders. These discussions can be compelling, but the inherent challenges in engaging others’ perspectives and knowledge in the design process are less acknowledged, Wenger’s ideas on the social dynamics of group enterprise offering designers valuable insights into the actuality of negotiating designed outcomes with non-designer stakeholders. The paper has two main aspects. The first outlines the theory of communities of practice, focusing on the brokering of knowledge and practice between disciplines. This discussion frames an analysis of the design process for two museum exhibitions. Representing an original application of Wenger’s ideas, the discussion recognises the unique role of the designed artifact in brokering information visualization processes, transcending the actions and intentions of individual stakeholders. While accepting there are successful examples of interdisciplinary exchange in various areas of design, the interpretation of examples via Wenger contributes useful principles to the theorisation of co-design with non-designer stakeholders. Keywords: Information visualization; New media museum exhibits; Multidisciplinary projects; Communities of Practice; Brokering; User-centered design; Co-Design; Etienne Wenger</p

Sketch-Based Interfaces to Support Collaborative Conceptual Design Learning

In order to gain a better understanding of online collaborative conceptual design processes this paper investigates how student designers make use of Lyceum, a shared virtual synchronous environment when engaged in conceptual design. The software enables users to talk to each other and share sketches when they are remotely located. The paper describes a novel methodology for observing and analysing collaborative design processes by adapting the concepts of grounded theory. Rather than concentrating on narrow aspects of the final artefacts, emerging 'themes' are generated that provide a broader picture of collaborative design process and context descriptions. Findings on the themes of 'grounding – mutual understanding' and 'support creativity' complement findings from other research, while important themes associated with 'near-synchrony' have not been emphasised in other research. From the study, a series of design recommendations are made for the development of tools to support online computer-supported collaborative work in design using a shared virtual environment

Mutual knowledge evolution in team design

This paper presents an investigation into the phenomenon of mutual knowledge evolution in team working using protocol data. The focus is on whether mutual knowledge evolution in agents exists, and if so, what triggers this phenomenon. Section 2 presents the nature of team design. Team design is a collective problem solving and knowledge co-constructed process (Bonner, 1959; Nguifo et al, 1999). When members in a design team work together, they can therefore produce a result that individuals may not readily produce, which is called team synergy (Prasad, 1995). Section 3 presents the hypothesis that designers can mutually evolve their design idea and learn from each other. An example of mutual knowledge evolution process is posited. In section 4, the analysis of mutual knowledge evolution using protocol data is carried out. Through the analysis, the phenomenon of mutual knowledge evolution has been observed and the reasons that trigger the phenomenon have been discussed. The conclusion is made in section 5 and future research has been identified. Collective learning in team design has been presented by Wu and Duffy (Wu and Duffy, 2002). In this paper the focus is specifically on investigating mutual knowledge evolution, i.e., a design phenomenon in which the agents mutually evolve their design knowledge and co-construct the design solution

The societal embedding of sustainable Product-Service Systems: Looking for synergies between strategic design and transition studies

Copyright @ 2014 Greenleaf Publishing.Eco-efficient Product-Service System (PSS) innovations represent a promising approach to sustainability, but their implementation and diffusion is hindered by several cultural, corporate and regulative barriers. Hence, an important challenge is not only to conceive sustainable PSS concepts, but also to understand how to manage, support and orient the introduction and diffusion of these concepts. Building upon recent advances in the innovation studies field (in particular the contributions from transition studies) this chapter puts forward a conceptual framework for the introduction and scaling-up of eco-efficient PSSs. A key role is given to the implementation of socio-technical experiments: protected spaces where radical innovations can be tested, become more mature, and potentially challenge and change dominant socio-technical practices, habits and institutions. Starting from these considerations this chapter investigates the potential contribution that a strategic design approach can make to stimulating and supporting the societal embedding of eco-efficient PSS innovations. A new strategic design role thus emerges, a role in which the ideation and development of sustainable PSS concepts is coupled with the designing of appropriate transition paths to gradually incubate, introduce and diffuse these concepts. Starting from these considerations the chapter outlines and discusses the new design approach and capabilities required by strategic designers

Participatory design and participatory development: a comparative review

This paper examines literature in the twin domains of participatory interactive systems design and participatory approaches to international development. As interactive systems are increasingly promoted as a possible means of achieving international development goals, designers generally agree that participatory design approaches should be applied. However, review of the literature reveals that these two different traditions have more complex relationships, and questions must be asked about: the aims of participation, the forms of participation that are being advocated, and the skills and strategies required of practitioners. The findings suggest that successful integration of participatory interactive systems design into development will require careful reflection on the nature of development and the approaches adopted.</p

The role of boundary objects in the co-evolution of design and use: the KMP project experimentation

Nowadays, it is widely recognized that an ICT tool cannot be built without knowing who will use it and what they will do with. In this perspective, Human-Computer Interaction community (Carroll, 1990; Jarke, Tung Bui and Carroll, 1998; Young and Barnard, 1987; Young and al., 1989) developed a scenario-based approach contrasting with the traditional information system design. The scenario describes an existing or envisioned system from the perspective of one or more users and includes a narration of their goals, plans and reactions (Rosson and Carroll, 2002). As a result, design is founded on the use of scenarios as a central representation for the analysis and design of use. The scenario-based design appears to be a first step in the integration of users in the design of ICT tool. However, we would like to underline in this paper a more active role of users in the design process. According to Orlikowski (2000) while a technology can be seen to have been constructed with particular materials and inscribed with developers' assumptions and knowledge about the world at a point in time, it is only when this technology is used in recurrent social practices that it can be said to structure user's action. The use of technology in recurrent social practices must be considered because how technological properties will for the moment be used or appropriate is not inherent or predetermined. Finally, this approach leads us to dissociate the designers' world from the users' world. In this perspective, the design project is the result of the co-evolution and the convergence of both worlds: on the one hand, the world of design and a first integration of users by scenarios; on the other hand, the world of users where innovation is the art of interesting an increasing number of allies who will make the world of design stronger and stronger. The objective of this paper is to understand the mechanisms of interaction between the world of design and that of users i.e. between loops of co-design and loops of uses. Indeed, according to Akrich, Callon and Latour (1988) we adopt a whirlwind model of innovation. In this perspective, “innovation continuously transforms itself according to the trials to which it is submitted i.e. of the “interessements” tried out » (Akrich and al., 2002: 7). We will demonstrate that the key success of an innovation depends on the co-evolution and convergence of design and use around boundary objects developed during this process (see Figure 1). More specifically, we will show the role of boundary objects on the integration and on the involvement of users in the design process. In order to do so, we carried out an empirical research – the Knowledge Management Platform project - located in the scientific park of Sophia Antipolis (Alpes-Maritimes, France), focusing on the Telecom Valley® (TV) association which gathers the main actors of the Sophia Antipolis Telecom cluster. Indeed, the KMP project aims to build a semantic web service of competencies in order to enhance exchange and combination dynamics of knowledge within the Telecom cluster thanks to an interactive mapping of competencies. This paper will comprise three parts: Based on the researches of Akrich, Callon and Latour (1988), Hatchuel and Mollet (1986), Orlikowski (2000), Romme and Endenburg (2006) we will identify and analyse in a first part the process of design. The combination of these approaches leads us to distinguish the design' world from the users' world. In this perspective, the success of an innovation may be explained by the co-evolution and the convergence of these two worlds. In this process, we suggest that boundary objects play a key role in the convergence of these two worlds. We will present in a second part the empirical study of the KMP project within the TV network. The KMP project involved researchers from socio-economic sciences (GREDEG Laboratory, UNSA-CNRS, Rodige and Latapses teams), cognitive sciences and artificial intelligence (INRIA, Acacia team), telecommunications (GET) and users (TV) for a total force of 187 men per month for a two-year period (2003-2005). At this present time this project is being set up in a pre-industrialization phase, supported by TV and the PACA region. Here, we will analyse the specific process of design experimented by KMP. Finally, the third part discusses the role of boundary objects in the KMP experimentation. In this part, we will show the evolution of boundary objects during the loops of design. More specifically, the focus will be on the emergence of compromises between designers and users, their materialisation in boundary objects and finally their evolution during the design' process.boundary objects, IS development, actor network theory

Emotion-centred design : a human factors approach in affective web design : a thesis for fulfilment of a Master of Philosophy degree, College of Design, Fine Arts and Music

This thesis hypothesised that a major factor in the failure of many e-Commerce ventures was the lack of emotion imparted into the design, with trust barriers still being to the fore, and a lack of affective human factors like fun, pleasure and joy in the user experience. The human brain often acts emotionally before rationally and this affects initial reactions to experiences and the propensity to purchase online. A key to understanding human-computer communication is that form should follow emotion (as well as function). A wide range of design concepts and theories are analysed for linkages to human emotion due to the exploratory nature of this thesis. Aspects of New Media design such as video, sound, images, colour and virtual reality are covered along with previous research into affective human factors; transferability of emotional elements from other products; and the importance of trust and prevention of negative emotions. Case examples are provided throughout via screenshots and commentary, including a special section on the way that the Nike site has met many emotional design criteria. Research into the opinions of designers and users is undertaken via questionnaires to verify literary findings and measure views on emotional appeal within Websites. It was found that there are misunderstandings of human-computer communication - with designers not meeting user expectations in some areas, even though many designers agree that emotional design is important. In particular, there needs to be a better understanding of how to integrate fun, social contact, colour, trust and sound into designs. Emotion is core to human function, and evolution has seen the emotional parts of the brain grow long before rational areas arose. Given the importance of emotion it is only natural that an emphasis should be placed on it in design philosophies. Whilst some designers are realising the importance of this in consumer products this concept needs to be further emphasised in the world of e-Commerce. Designers surveyed in this thesis were nearly all following a form follows function or a subjective/intuitive design philosophy. However, it was found that there was a good level of support (70%) for emotional design. A gap was established from this fact because only 45% believe they are currently using a high level of emotional design in practice. Chi-square tests showed that there were a number of significant relationships between the level of education and other questionnaire variables such as the importance of colour and recontextualising from car and game design. Establishing trust helps to overcome the core human emotion of fear. Branding, seals of approval and high quality navigation are amongst the elements that can assist in bridging human-computer distrust. Predispositions and previous experiences can also affect initial trust values. Questionnaire results found that designers still believe that lack of trust is a major psychological barrier to purchasing online. Major trust dimensions from previous empirical research were all deemed important. It was also found that users and designers rated trust near the top of emotional themes to concentrate on in Web design. Negative emotions (anger and frustration) can also arise if the design is not inherently usable. Usability was the top-rating design theme amongst designers. There has to be a good balance between the rational and emotional sides. Further negative emotions can be evoked if the site is slow or if there are delays. Speed of loading was amongst the top emotional design elements for both users and designers. It is a difficult line for designers to tread - on one hand using speed to prevent negative emotions, but on the other hand balancing the need for other design elements that generate positive emotions through fun and pleasure characteristics (that might slow things down). Designers involved in this study were very much in agreement with the importance of choosing colours to match the emotions they wanted to evoke in visitors (based on understandings of colour-emotion stereotypes and 'temperatures'). Colour can achieve harmonious interactions or cause rejection by the human brain depending on its application. The survey of users revealed that almost half of the respondents counted colour in their top 5 emotional themes, whereas designers did not think, it was as important as other emotive dimensions. Different cultures may respond differently to metaphorical images, colours, and dimensions such as power-distance and masculinity. Nearly all designers believed that empathising with target users (a part of emotional intelligence) was very important, as was involving users in the design process (usercentred design). Only 50% of users felt that designers were respecting their demographies and culture, so there is still a large number of people who feel they could be more satisfied in this sense. It is proposed that more user testing be carried out in conjunction with frameworks that rate cultural dimensions based on target audiences. The use of video and streaming media was portrayed to be a proposition requiring careful consideration and application by previous non-empirical references. Streaming video can connect with people on an emotional level, bringing in a degree of surprise and variation, and fully highlight the appealing characteristics of the product(s) trying to be sold online. Other New Media technologies such as virtual reality (VR) and 3D have been around for quite awhile (in computer games and scientific applications) but are yet to achieve widespread usage in Website e-Commerce. Some literature is against the use of VR and 3D on the Web but several companies have been receiving accolades in this area because of the ability to bridge an emotional gap between brands and consumers. Questionnaire results showed that most design respondents did not think streaming media, 3D and VR were important in order to gain emotional connections. However, higher bandwidth speeds that will facilitate more use of streaming media and 3D are deemed favourable by designers in terms of increasing emotional appeal. The need for social contact, familiarity and recognition of expressions and gestures led to the proposition of using virtual shop assistants and agents. Contact in the form of live text chat can also fulfil some social needs and plays a big part in portraying trustworthiness since a real person is being interacted with. Designers surveyed in this study were reasonably evenly distributed amongst those in favour, unsure and in disagreement with the use of agents. Surprisingly, given that users would not have had much exposure to virtual agents and characters online, they actually deemed them amongst the highest rating emotional design elements - creating a gap between user expectations and designer actions. Resources revealed that sound can account for a large part of an overall experience. Sound creates mood and atmosphere, and is present in the physical retail environment. Although literature stresses the importance of sound to Web design, designers in this study were of quite the opposite view. Sound was not deemed to be an important experience (near the bottom of ranked emotional dimensions). Users, however, rated sound amongst the middle group of emotional elements. More use of sound is an opportunity for the future. Two broad product ranges - automobiles and computer games - were investigated to see what made them such emotion-centred items. Cars and games evoke feelings of pleasure, fun, flow and fantasy because of their design. Designers favoured interactivity, colour use and fun as gaming elements best applied to Web design. More than half of designer respondents believed that the design of cars and games can be recontextualised into Web design, and most users were definitely in favour of seeing emotional elements they like about cars and games placed into Websites. Dimensions and potential mechanisms for measuring or assessing the emotional intelligence of Websites are proposed, and these include the use of semantic maps to position and compare Websites based on their performance against dimensions such as fun, warmth, trustworthiness, use of colour and the ability to engage users on a social level. The capability of building emotion into a Website is then balanced with the need for high-quality navigation, functionality and usability - as poor efforts in these 'rational' areas can lead to negative emotions and distrust. The design also has to keep in line with the demands of the company wanting the Website built. This study was exploratory - with the aim of bringing out into the open some aspects of New Media e-Commerce design that could he better utilised in order to match the emotions and feelings of customers - potentially leading to higher degrees of sales success. This thesis is therefore hoped to be a catalyst for further study in this area.<

Metamorphosis: Transforming Non-designers into Designers

In this paper we make the case that there is today a growing number of educational settings experiencing challenges when it comes to transforming non-designers into designers, and in particular, interaction designers. We see this development as a consequence of an increased awareness and recognition of what broadly could be labeled as a design perspective. We examine the transformational process, the metamorphosis, by which non-designer students become interaction designers. We identify and describe the barriers that make it difficult for the students to move through this transformational process. We also propose some pedagogical approaches that can reduce the barriers and improve the possibility for the transformation to occur. The approach that we have developed and describe consists of three parts. Based on a fundamental understanding of the nature of design, we have developed (i) a tentative transformational model of how non-designers become interaction designers; (ii) a special kind of conceptual framework used to support students in the transformational process; and (iii) design assignments based on real-world design problems. We end the paper with two conclusions. First we argue that there is a challenge in transforming non-designers into designers, but that it is possible if the educational effort is based on an understanding of design and on the transformational process with its barriers. Finally we argue that the experience of trying to turn non-designers into interaction designers is in itself a valuable research approach. Dealing with non-designer students reveals deep insights about the nature of the design process and makes it possible to better formulate what constitutes a designerly approach. Keywords Design, Design education, Pedagogy, HCI</p

How the design of socio-technical experiments can enable radical changes for sustainability

Sustainability requires radical innovations, but their introduction and diffusion usually encounter the opposition of existing socio-technical regimes. An important challenge is, therefore, to understand how to catalyse and support the process of transitioning towards these innovations. Building upon insights from transition studies (in particular the concepts of Strategic Niche Management and Transition Management), and through an action research project (aimed at designing, introducing and diffusing a sustainable mobility system in the suburban areas of Cape Town), the paper investigates the role of design in triggering and orienting societal transformations. A key role is given to the implementation of socio-technical experiments. A new socio-technical system design role emerges: a role in which the ideation and development of sustainable innovation concepts is coupled with the designing of appropriate transition paths to gradually incubate, introduce and diffuse these concepts