Experiential Role of Artefacts in Cooperative Design

The role of material artefacts in supporting distributed and co-located work practices has been well acknowledged within the HCI and CSCW research. In this paper, we show that in addition to their ecological, coordinative and organizational support, artefacts also play an ‘experiential’ role. In this case, artefacts not only improve efficiency or have a purely functional role (e.g. allowing people to complete tasks quickly), but the presence and manifestations of these artefacts bring quality and richness to people’s performance and help in making better sense of their everyday lives. In a domain like industrial design, such artefacts play an important role for supporting creativity and innovation. Based on our prolonged ethnographic fieldwork on understanding cooperative design practices of industrial design students and researchers, we describe several experiential practices that are supported by mundane artefacts like sketches, drawings, physical models and explorative prototypes – used and developed in designers’ everyday work. Our main intention to carry out this kind of research is to develop technologies to support designers’ everyday practices. We believe that with the emergence of ubiquitous computing, there is a growing need to focus on personal, emotional and social side of people’s everyday experiences. By focusing on the experiential practices of designers, we can provide a holistic view in the design of new interactive technologies

Transfer Scenarios: Grounding Innovation with Marginal Practices

Transfer scenarios is a method developed to support the design of innovative interactive technology. Such a method should help the designer to come up with inventive ideas, and at the same time provide grounding in real human needs. In transfer scenarios, we use marginal practices to encourage a changed mindset throughout the design process. A marginal practice consists of individuals who share an activity that they find meaningful. We regard these individuals not as end-users, but as valuable input in the design process. We applied this method when designing novel applications for autonomous embodied agents, e.g. robots. Owners of unusual pets, such as snakes and spiders, were interviewed - not with the intention to design robot pets, but to determine underlying needs and interests of their practice. The results were then used to design a set of applications for more general users, including a dynamic living-room wall and a set of communicating hobby robots

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

Design synthesis and shape generation

If we are to capitalise on the potential that a design approach might bring to innovation in business and society, we need to build a better understanding of the evolving skill-sets that designers will need and the contexts within which design might operate. This demands more discourse between those involved in cutting edge practice, the researchers who help to uncover principles, codify knowledge and create theories and the educators who are nurturing future design talent. This book promotes such a discourse by reporting on the work of twenty research teams who explored different facets of future design activity as part of Phase 2 of the UK's research council supported Designing for the 21st Century Research Initiative. Each of these contributions describes the origins of the project, the research team and their project aims, the research methods used and the new knowledge and understanding generated. Editor and Initiative Director, Professor Tom Inns, provides an introductory chapter that suggests ways the reader might navigate these viewpoints. This chapter concludes with an overview of the key lessons that might be learnt from this collection of design research activity

Exploring DIY practices of complex home technologies

We are surrounded by increasingly complex networks of smart objects, yet our understanding and attachment to them is rather limited. One way to support stronger end users’ engagement with such complex technologies is by involving them in the design process and with the advent of Arduino prototyping platform, even in their making. While DIY practice offers the potential for stronger user engagement with physical artifacts, we know little about end users’ DIY practice of making complex electronic technologies and their potential to ensure engagement with such devices. In this paper, we report on interviews with 18 participants from two green communities who built and used an open source DIY energy monitor, with the aim to explore the end users DIY practices of making such complex electronic devices. Findings indicate four key qualities of DIY monitors: transparent modularity, open-endedness, heirloom and disruptiveness, and how they contribute to more meaningful engagement with the DIY monitors, elevating them from the status of unremarkable objects to that of things. We conclude with three implications for design for supporting end user development of complex electronic DIY: designing transparent open hardware technologies, standardizing communication protocols for the current and future DIY of IoT; and deliberately calling for personal investment and labor in the assembling of DIY kits

Designing for Aesthetic Experiences from the Body and Felt-Sense

Third Wave Human Computer Interaction (HCI) has opened the door for research agendas placing the lived body in the centre of discussion. However, aspects such as the articulation of aesthetic experiences, as well as the transference of somatic values into the design practice require more systematic methods to analyse, articulate and frame those values into practical design solutions. Recognising this gap, this thesis investigates the use of bodily self-awareness and subjective experience as a material for accessing discoveries, by integrating theoretical and practical principles from Eugene Gendlin’s psychosomatic technique Focusing into the fields of design and HCI. Particularly important is Gendlin’s notion of felt sense, which can be defined as a state; a complex bodily sense of implicit knowing, consisting of an implicit source of sensations, feelings, memories, thoughts and other manifestations difficult to label through straightforward definitions. These manifestations are carefully articulated and documented by those who experience the felt-sense, becoming the material capture of aesthetic experiences used for research and practice. The research questions are developed around how aesthetic qualities emerging from the interaction with the felt-sense, objects and technology assist in the meaning-generation process, and how these outcomes can be utilised in design practice. In terms of methodology, this thesis is inspired by phenomenological research, and follows the conventions of design-oriented research towards the generation of knowledge for design. Four studies were run, dealing with the exploration of novel design methods, and the use of sensory stimuli on the body during the practice of Focusing. As a result, this thesis contributes with a set of Focusing-oriented design methods dealing with different stages of the design process, ranging from inspiration, data collection, ideation, evaluation and prototyping

Diffract me! – using a skills-based approach in design practice

The potential of skills in design is intriguing; as skills open up new perceptions of the world they allow meaning to arise as we engage with the world. Several skills-based techniques that leverage this potential have been developed, and integrated into the Designing in Skills framework. The framework builds on personal engagement of designers in their practice, and promotes them to take a first-person perspective, enabling designs to be enriched with meaning. In this paper, we present the most recent workshop based on this approach, which specifically focuses on employing the Designing in Skills framework as a starting point and catalyst for design practice. We briefly introduce the Designing in Skills framework and present the DiffractMe! project in which we built on this approach to explore its potential for design practice. We conclude with reflections on the process and result by the involved designers. These reflections offer insights into the value of this approach for enriching interactive design with experiential qualities

Distance learning of foreign languages

doi: 10.1017/S0261444806003727This article provides a critical overview of the field of distance language learning, challenging the way in which the field is often narrowly conceptualised as the development of technology-mediated language learning opportunities. Early sections focus on issues of concept and definition and both theoretical and pedagogical perspectives on the field. Emphasis is placed on evident shifts from a concern with structural and organisational issues to a focus on transactional issues associated with teaching/learning opportunities within emerging paradigms for distance language learning. The next section reviews choices and challenges in incorporating technology into distance language learning environments, foregrounding decisions about technology made in particular sociocultural contexts, the contribution of ‘low-end’ technologies and research directions in developing new learning spaces and in using online technologies. The investigation of learner contributions to distance language learning is an important avenue of enquiry in the field, given the preoccupation with technology and virtual learning environments, and this is the subject of section six. The two final sections identify future research directions and provide a series of conclusions about research and practice in distance language learning as technology-mediated interactions increasingly come to influence the way we think about the processes of language learning and teaching