CAVI

Drawing from our PD projects, this paper shows how designers enact their appreciative judgment of values by engaging in a dynamic and dialogical process of cultivating the emergence of values, developing them, and supporting their grounding. The widespread of Participatory Design (PD), have meant that different approaches and conceptualization exist in this field today. We argue that one fruitful approach is to rekindle a concern for values in PD-to return to one of the original tenets of PD. This requires focusing upon values as the engine that drives our activities in PD.

The widespread use of participatory design (PD) has meant that different approaches and conceptualisations exist in this field today. In this article, it is argued that one fruitful approach is to rekindle a concern for values in design, focusing upon values as the engine that drives activities in PD. Drawing from the authors‘ own PD projects, this article shows how this can be accomplished: through designers enacting their appreciative judgement of values by engaging in a dynamic and dialogical process of cultivating the emergence of values, developing them and supporting their grounding.

In this paper we present an example of how to work with the challenges inherent in media façade design processes. We base the paper on our experiences from the creation of a series of design proposals for a media façade on the Odenplan subway station in Stockholm, Sweden. We approach the question of how to design for media façades by discussing how we have structured our design process to address specific sets of challenges outlined in previous literature in the field of media architecture. In our view, such research is valuable in that it helps establish common ground for researchers and practitioners in a developing field by building a repertoire of approaches, as well as highlight important issues that need to be addressed in this emergent field.

n this workshop paper we outline how we intend to study DIY digital art creation among hobbyists. We investigate how a group of hobbyists, the “demosceners” collaborate by different design materials to create digital art. We focus on how they sustain their community as makers well as develop and collaborate, through the use of these design materials, and in that process utilize their different skill-sets to create small audiovisual presentations, called “demos”.

This paper contributes an exploration of ownership as a dynamic process in community-oriented projects. We use case study accounts of two design projects to consider participation in contexts where social structure is relevant to design outcomes. In studying these dynamics, we consider four aspects: what motivates ownership; how ownership transitions; structures to support ownership; and facilitating efficacy among participants. Specifically, we study the contribution of a Danish research team to the production of a media façade for a Swedish municipality and how British researchers engaged community groups in making internet radio podcasts to share insight. We examine the complexity of the social process involved and trace patterns of change, before concluding with pragmatic and ethical reasons for technology design to pay attention to ownership issues.

In this paper we start from the position that sources of inspiration play an important role in the design process albeit in a frequently intangible way. We present the Inspiration Card Workshop as a collaborative method for combining findings from domain studies, represented in Domain Cards, with sources of inspiration from applications of technology, represented in Technology Cards, to create new concepts for design. We report our findings from three projects in which we have used the method and argue that the use of Inspiration Cards can successfully frame and guide workshops with disparate participants and bring various sources of inspiration into the design process. We furthermore compare the method to four related methods in the design process, namely Future Workshops, Metaphorical Design, Interaction Relabelling and Lateral Thinking.

Experience Design is an emergent field of study, and various approaches to the field abound. In this paper, we take a pragmatic approach to identifying key aspects of an experience design process, by reporting on a project involving the design of experience-oriented applications of interactive technologies for knowledge dissemination and marketing, in cooperation with public institutions and businesses. We argue that collaborative formulation of core design intentions and values is a valuable instrument in guiding experience design processes, and present three cases from this project, two of which resulted in interactive installations. The case installations range from walk-up-and-use consoles, to immersive, responsive, environments based on bodily interaction. We compare the installations, and discuss the interrelations between the resulting interfaces and the intentions for creating the installations, the core values established to guide the design process and the intended use contexts. We argue that the installations present a broad spectrum of experience design installations that can assist designers in understanding the relations between core values, intentions, use context and interface in the design of experience-oriented interactive installations.

Current work in the field of usability tends to focus on snapshots of use as the basis for evaluating designs. However, giving due consideration to the fact that everyday use of technology involves a process of evolution, we set out to investigate how the design of the technology may be used to support this. Based on a long-term empirical study of television use in the homes of two families, we illustrate how use continuously develops in a complex interplay between the users' expectationsas they are formed and triggered by the design-and the needs and context of use per se. We analyze the empirical data from the perspective of activity theory. This framework serves to highlight how use develops, and it supports our analysis and discussion about how design, the users' backgrounds, previous experience, and needs, and the specific context of use supports or hinders the development of use. Moreover, we discuss how the characteristics of the home settings, in which the televisions studied were situated, represent a challenge to usability work. The concluding discussion leads to a set of hypotheses relevant to designers and researchers who wish to tackle some of the aspects of usability of particular importance to development in the use of home technology.

Computer support for design as cooperative work is the subject of our discussion in the context of our research program on Computer Support in Cooperative Design and Communication. We outline our theoretical perspective on design as cooperative work, and we exemplify our approach with reflections from a project on computer support for envisionment in design -the APLEX and its use. We see envisionment facilities as support for both experiments with and communication about the future use situation. As a background we sketch the historical roots of our program -the Scandinavian collective resource approach to design and use of computer artifacts, and make some critical reflections on the rationality of computer support for cooperative work.

Based on the planning and conduction of a longitudinal field study of the use of television sets in the homes of two families, we discuss how approaches like field studies which are otherwise well established when designing for work practices, becomes questionable when transferred to a home setting where the issue of privacy is prevalent. The fairly sporadic operation of a TV set poses additional methodological challenges. Furthermore, we point out how our general concern of designing for development in use becomes even more relevant with the introduction of interactive technology in the home sphere. Key elements of the approach applied include: hands-on in context, incident diaries, scenarios, iterative and explorative investigation, and role playing.

This paper introduces the idea of craftsmanship as a way of understanding the shaping and re-shaping of code as a material crafting practice. We build our analysis on a qualitative study of a coder engaged in creative and expressive programming on an old hardware platform. The contribution of the paper is a set of conceptual categories: craft engagement, craftsmanship rhythm and craftsmanship expressivity, that conceptualizes coding as crafting.

We investigate how the interaction with tangible interactive tabletops can be seen as a material exploration of form and sound. As the theoretical foundation for our analysis we build on John Dewey’s pragmatism as well as recent efforts to appropriate pragmatism for interaction design research.  As the research platform for this investigation we developed an interactive tabletop, the Radar Table, which allows users to create soundscapes by manipulating tangible objects. The Radar Table was deployed ‘in the wild’ at a major Danish music festival, and based on video recordings we examine people’s dynamic exploration of sound through the interactive tabletop. The main contribution of the paper is the development of the theoretical foundation for understanding tangible tabletops as material interfaces that can be shaped and experimented with.  We build on three of the basic concepts of pragmatism: situation, inquiry, and technology, which we develop further for the study of the dynamics of material interactions with tangible tabletops as part of a research strategy of appropriating pragmatism for use in interaction design and HCI research.

The field of interaction design encompasses a variety of methods for fostering innovation and creativity. In this paper, we present a selection of such methods that scaffold ideation and concept development in the early phases of design. As a conceptual frame for discussing these methods, we introduce four aspects that are particularly salient in the field of interaction design: tradition and transcendence, convergence and divergence, degree of structure, and sources of inspiration. We then outline how the methods relate to each of ...

Using media façades as a subcategory of urban computing, this paper contributes to the understanding of spatial interaction, sense-making, and social mediation as part of identifying key characteristics of interaction with media façades. Our research addresses in particular the open-ended but framed nature of interaction, which in conjunction with varying interpretations enables individual sense-making. Moreover, we contribute to the understanding of flexible social interaction by addressing urban interaction in relation to distributed attention, shared focus, dialogue and collective action. Finally we address challenges for interaction designers encountered in a complex spatial setting calling for a need to take into account multiple viewing and action positions. Our researchthrough-design approach has included a real-life design intervention in terms of the design, implementation, and reflective evaluation of a 180 m 2 (1937 square feet) interactive media façade in operation 24/7 for more than 50 days.