This paper explores the problem of designing enclosures (or
physical cases) that are needed for prototyping electronic devices.
We present a novel interface that uses electronic components
as handles for designing the 3D shape of the enclosure.
We use the .NET Gadgeteer platform as a case study of
this problem, and implemented a proof-of-concept system for
designing enclosures for Gadgeteer components. We show
examples of enclosures designed and fabricated with our system.
7th International Conference on Tangible, Embedded and Embodied Interaction
participatory design etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster
participatory design etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster
Social Design in Practice: Transformation and Legislative Change with the Human Rights Campaign Studio
This article presents an innovative Social Design project that transformed participants and delivered legislative change at a state government level. Through this project, students engaged with community members, advocacy groups, and peers around the issue of homelessness. They produced a social change campaign that enriched the lives of disadvantaged homeless people. Students and staff who participated in this project found that the experience had a significant impact on how they engaged with social issues in academia. The Human Rights Campaign Studio (HRCS) was a unique project that used interdisciplinary collaboration in an intensive studio environment to simulate a communications consultancy. Students from diverse backgrounds and skill sets engaged with social change theory, providing a meaningful context to community engagement and participatory design processes. This project shows that it is possible to make a positive contribution to the community when social movement theory is integrated into studio-based learning. When students are placed in an interdisciplinary context, intense interactions happen that lead to personal growth and innovative solutions to social problems such as homelessness. The results of this project have implications for educational environments that wish to engage with bigger problems faced by society. This project serves as an educational model that could be replicated in order to facilitate real world social change lead by academic institutions. The model of the HRCS placed the community at the heart of the educational experience and delivered social design in practice.
8th International Conference on Design Principles and Practices
8th International Conference on Design Principles and Practices
LEARNING FROM OTHERS: ENHANCING A POSTGRADUATE PRODUCT DESIGN PROGRAMME THROUGH INTERDISCIPLINARY INDUSTRY COLLABORATION
If graduating design students are to fulfill the potential of the discipline, it is
essential that design education extends beyond the classroom to engage
with other disciplines. Design Thinking has emerged as a key mechanism to
engage design with business and other disciplines. Consequently, designers
are operating in more strategic roles in many organizations that recognise
the opportunities that are associated with integrating design as a core
organizational activity.
This paper describes how the Product Design programme at AUT University
has responded to the need to expose postgraduate students to a range of
professionals with expertise in different disciplines through the development
of an authentic learning ecosystem. It also describes the opportunity
identified to educate businesses and organisations about the principles,
processes and methods of Design Thinking, and maximising the learning
educational benefits of this situation, through these interdisciplinary
collaborations.
Three learning and teaching strategies have been proposed and implemented:
1. External interdisciplinary relationships through external projects;
2. Design Thinking Participatory Workshops for businesses/organisation; and
3. Industry mentoring.
This paper specifically outlines the background and the theoretical
perspectives behind these strategies. In particular, the paper explores how
the application of these strategies is not only providing unique authentic
Learning from others: Enhancing a Postgraduate Product Design programme
through interdisciplinary industry collaboration 2
learning opportunities for students, but is also assisting in the transformation
of a number of New Zealand organisations. We discuss the design and
development of each of the strategies, including the approaches used and
the role of the postgraduate students. The paper then presents the results of
some of these activiites and evaluates them from student and industry
perspectives.
DesignED Asia 2012 Conference
essential that design education extends beyond the classroom to engage
with other disciplines. Design Thinking has emerged as a key mechanism to
engage design with business and other disciplines. Consequently, designers
are operating in more strategic roles in many organizations that recognise
the opportunities that are associated with integrating design as a core
organizational activity.
This paper describes how the Product Design programme at AUT University
has responded to the need to expose postgraduate students to a range of
professionals with expertise in different disciplines through the development
of an authentic learning ecosystem. It also describes the opportunity
identified to educate businesses and organisations about the principles,
processes and methods of Design Thinking, and maximising the learning
educational benefits of this situation, through these interdisciplinary
collaborations.
Three learning and teaching strategies have been proposed and implemented:
1. External interdisciplinary relationships through external projects;
2. Design Thinking Participatory Workshops for businesses/organisation; and
3. Industry mentoring.
This paper specifically outlines the background and the theoretical
perspectives behind these strategies. In particular, the paper explores how
the application of these strategies is not only providing unique authentic
Learning from others: Enhancing a Postgraduate Product Design programme
through interdisciplinary industry collaboration 2
learning opportunities for students, but is also assisting in the transformation
of a number of New Zealand organisations. We discuss the design and
development of each of the strategies, including the approaches used and
the role of the postgraduate students. The paper then presents the results of
some of these activiites and evaluates them from student and industry
perspectives.
DesignED Asia 2012 Conference
DESIGN EDUCATION FOR CHILDREN IN A COMMUNITY OF PRACTICE - A CASE STUDY OF THE PARTICIPATORY DESIGN WORKSHOPS FOR SCHOOL RENOVATION
This is a case study of design education
for secondary school students through design workshops in the basic curriculum
at a school in Japan. There was a renovation plan for a 30-years-old school
building, and the education board of the town wished to make the new school
much nicer and childfriendly for learning environments. The board asked design
professionals to become involved and
organized some workshops for students. Eight
workshops were held during one and a half years. Workshops were
designed for Eighth graders who had no
design training, based on the basic skills of
design; sketching, collage, measurement own body scale and use
them. Gradually it was extended to further
skills and knowledge including
brainstorming, discussion, and presentation skills. At the end,
students designed three kinds of
multi-purposed units and the process of workshops was awarded the “Kids Design award 2012”, and
the “Good Design Award 2012”.
DesignED Asia 2012 Conference
DESIGN.LIVES: DESIGNING FOR THE POLITICS OF SELF-ACTUALISATION
In 2009, we, a team of a design researcher and a sociologist launched the
DESIGN.LIVES to conduct design labs for/with different organisations to
coach people how to design participation for social inclusion as well as
designing their own lives. Apart from reflection on teaching and learning
experiences for designers, our constant concern is how we guide active
design-partners to experience design processes as ways to participate in the
politics of choice/self-actualisation. In this paper, we use Giddens’ distinction
of ‘emancipatory/life politics’ to discuss the intentions, processes and results
of our labs. We examined a project that began under the influence of life
politics - providing training to spinal-cord injured patients, enabling them to
explore designing as a life skill - and how the organizer intended to use the
pilot project to influence mainstream design education. We reflected on how
social sciences inform design practices and the quality of participation
through design.
DesignED Asia 2012 Conference
DESIGN.LIVES to conduct design labs for/with different organisations to
coach people how to design participation for social inclusion as well as
designing their own lives. Apart from reflection on teaching and learning
experiences for designers, our constant concern is how we guide active
design-partners to experience design processes as ways to participate in the
politics of choice/self-actualisation. In this paper, we use Giddens’ distinction
of ‘emancipatory/life politics’ to discuss the intentions, processes and results
of our labs. We examined a project that began under the influence of life
politics - providing training to spinal-cord injured patients, enabling them to
explore designing as a life skill - and how the organizer intended to use the
pilot project to influence mainstream design education. We reflected on how
social sciences inform design practices and the quality of participation
through design.
DesignED Asia 2012 Conference
UTILIZING THE DESIGNER WITHIN: A HEALTHCARE CASE STUDY
This paper explores the utilization of
design skills and approaches by
non-designers within the context of rehabilitation in healthcare. The author
proposes that within us all is the set of skills, strategies and modes of thinking commonly
found in designers that, if recognised, understood and practiced, could
potentially be harnessed by nondesigners to assist them in everyday situations. Rather than this usurping the designers’
role, designers may have the potential
to help ‘unlock’ these capabilities in
others and help change the
patient-to-healthcare professional relationship. This idea is explored using a pilot study
involving spinal cord injuries patients
in rehabilitation.
Nordic Design Research Conference 2013
‘DESIGNERLY’ ANALYSIS OF PARTICIPATION STRUCTURES
With the inclusion of not only users but
stake- holders of many different kinds, design processes turn into complex
collaborative challenges. Thus, improving design practices requires research
into how people participate and
contribute in social interaction. But research methods for understanding such
activities tend to be highly analytical and
hence difficult for design researchers to engage with, if results are meant to be actionable.
Through a series of experiments we
develop tangible support for a ‘designerly’
interaction analysis of one important
aspect of collaborative design
activities: the participatory structures.
Nordic Design Research Conference 2013
CARDBOARD HOSPITAL – PROTOTYPING PATIENT-CENTRIC ENVIRONMENTS AND SERVICES
Cardboard hospital is a co-design method and prototyping environment for creating
patientcentric hospital spaces and services. The method development was situated within a building project of a hospital wing in which the aim was to find new ways for including patients in the design process. The method was developed through combining participatory design methodology with the professional capabilities of a set designer. Cardboard hospital provides an environment that supports participatory design processes and guides participants towards participation as an
artistic practice. The paper is situated in the theoretical framework of
pragmatic aesthetics and builds on the notion of an aesthetic experience.
The results encourage towards a wider utilization of set design capabilities
and aesthetics in co-design environments.
Nordic Design Research Conference 2013
About Us And Our Ideas: Young People (With Diabetes) Experiences Working With Designers
Young people can be engaged in the design process: as informants (Katterfeldt,
et.al., 2012); in making prototypes as a source of creative inspiration for designers
(Fitton, et.al., 2012); proposing design concepts in workshops (Glasemann
and Kanstrup, 2008); or designing via creative design activities (e.g. animated
scenarios) (Katterfeldt et.al., 2012, Iversen and Smith, 2012). Our study aimed to
evaluate the use of methods in co-design by post-project interviewing young
people (with diabetes type 1) designing innovative diabetes self-care service
proposals.
Ten young people (8 girls, 2 boys) mostly in their mid-teens (one 9-year old),
their families, a Diabetes Specialist Nurse and four design researchers participated
in eight creative workshops from July 2011 to May 2012. The 2-hour
workshops followed a process of sharing experiences and identifying relevant
issues, creative exploration of ‘blue-sky’ possibilities, convergence to practical
proposals and prototyping (Design Council, 2005). Popular cultural references
(e.g. Cool Wall, X Factor, Dragon’s Den, Wallace & Gromit) were used at different
stages of the design process to establish a design language (Sustar, et. al. 2013).
In interviews, the young people reported that the project enabled them to:
share their diabetes experiences with peers (for the first time, for some); to reflect
on their relationship with their condition; and to contribute ideas towards
final design proposals:
“It was good because it wasn’t [the designers’] opinion, we all had a choice and
they combined it [ideas] so everyone got involved.” (Young Person)
Designers have to use popular references with caution, as some might be boring
or misunderstood (e.g. Wallace & Gromit) by young people.
Through participation and ownership of outcomes these young people believed
they were representing other young people with diabetes more widely
and, consequently, influencing their own and others’ futures.
D4H2013
et.al., 2012); in making prototypes as a source of creative inspiration for designers
(Fitton, et.al., 2012); proposing design concepts in workshops (Glasemann
and Kanstrup, 2008); or designing via creative design activities (e.g. animated
scenarios) (Katterfeldt et.al., 2012, Iversen and Smith, 2012). Our study aimed to
evaluate the use of methods in co-design by post-project interviewing young
people (with diabetes type 1) designing innovative diabetes self-care service
proposals.
Ten young people (8 girls, 2 boys) mostly in their mid-teens (one 9-year old),
their families, a Diabetes Specialist Nurse and four design researchers participated
in eight creative workshops from July 2011 to May 2012. The 2-hour
workshops followed a process of sharing experiences and identifying relevant
issues, creative exploration of ‘blue-sky’ possibilities, convergence to practical
proposals and prototyping (Design Council, 2005). Popular cultural references
(e.g. Cool Wall, X Factor, Dragon’s Den, Wallace & Gromit) were used at different
stages of the design process to establish a design language (Sustar, et. al. 2013).
In interviews, the young people reported that the project enabled them to:
share their diabetes experiences with peers (for the first time, for some); to reflect
on their relationship with their condition; and to contribute ideas towards
final design proposals:
“It was good because it wasn’t [the designers’] opinion, we all had a choice and
they combined it [ideas] so everyone got involved.” (Young Person)
Designers have to use popular references with caution, as some might be boring
or misunderstood (e.g. Wallace & Gromit) by young people.
Through participation and ownership of outcomes these young people believed
they were representing other young people with diabetes more widely
and, consequently, influencing their own and others’ futures.
D4H2013
Developing lab equipment with healthcare researchers: a participatory design analysis
In this paper, we explore how participatory design (Margolin, 1997) can be applied
to scientific research in the field of healthcare and medicine.
Though user-centred practices are already employed to support patient-side
healthcare activities (Driver et al, 2011), not as much has been done to investigate
how different design methodologies can engage researchers, being
a crucial workforce for medicine (De Covreur et al, 2011). We compare case
studies taken from design history (Maldonado, 1993, Margolin, 1992, Papanek,
2005, Roozenburg et al, 1995) with an experiment of our own, concerning the
design of an Oscillating Perfusion Bioreactor, a bio-medical device now being
used as a research platform for tissue engineering and regeneration. Taking
autologous cells, the OPB performs 18 parallel cell culture threads, in a multiarray
of confined chambers.
Figure 1: OPB: early model, Milan 2011
Our design intervention started from the perfusion patent and an early prototype
of the machine (fig. 1), presenting issues in weight, scalability, kinematics
and affordance. How can designers intervene into research to evolve its
equipment? How can industrial design get involved as a structured discipline
into the development of science? What can designers improve in the performance
of the final product? How can design research support research in
science? Our research methodology concerns a step-by-step analysis of both
the evolving research environment and healthcare researchers, evaluating
their habits, expectancies, behavioural and cultural schemes (Papanek, 2005,
Whiteley, 1993), providing clues for engaging better design practices, both in
terms of final product qualities and time-effectiveness. The findings provide
an answer to these questions, with a detailed theoretical position concerning
the disciplinary code of industrial design (McDonough et al 2002) and practical
indications for taking better policies when dealing with users (Boztepe, 2007)
and applying design management to healthcare research.
D4H2013
to scientific research in the field of healthcare and medicine.
Though user-centred practices are already employed to support patient-side
healthcare activities (Driver et al, 2011), not as much has been done to investigate
how different design methodologies can engage researchers, being
a crucial workforce for medicine (De Covreur et al, 2011). We compare case
studies taken from design history (Maldonado, 1993, Margolin, 1992, Papanek,
2005, Roozenburg et al, 1995) with an experiment of our own, concerning the
design of an Oscillating Perfusion Bioreactor, a bio-medical device now being
used as a research platform for tissue engineering and regeneration. Taking
autologous cells, the OPB performs 18 parallel cell culture threads, in a multiarray
of confined chambers.
Figure 1: OPB: early model, Milan 2011
Our design intervention started from the perfusion patent and an early prototype
of the machine (fig. 1), presenting issues in weight, scalability, kinematics
and affordance. How can designers intervene into research to evolve its
equipment? How can industrial design get involved as a structured discipline
into the development of science? What can designers improve in the performance
of the final product? How can design research support research in
science? Our research methodology concerns a step-by-step analysis of both
the evolving research environment and healthcare researchers, evaluating
their habits, expectancies, behavioural and cultural schemes (Papanek, 2005,
Whiteley, 1993), providing clues for engaging better design practices, both in
terms of final product qualities and time-effectiveness. The findings provide
an answer to these questions, with a detailed theoretical position concerning
the disciplinary code of industrial design (McDonough et al 2002) and practical
indications for taking better policies when dealing with users (Boztepe, 2007)
and applying design management to healthcare research.
D4H2013
Open Design and Cystic Fibrosis: Enabling Participation in the Design Process
This paper describes the results of a project to collaboratively design a medication
dispenser using open design. This work explores the benefits of open design
(open-source design) in the conception (and development) of medical products.
Described here is the first attempt to tackle some of the issues facing the implementation
of open design in the field of medical product design where a recognised
move to ‘open’ working practices & innovation is needed (Barrett, 2010); as is
the imperative to more fully include users in the development process (Karlsson et
al., 2011; Martin & Barnett, 2012; Money et al., 2011; Owens et al., 2011; Shah, Robinson,
& AlShawi, 2009). There are moral and pragmatic reasons to include people
in the design process (Carroll & Rosson, 2007), especially true for medical products.
Presented are the results of online collaborative design work with a geographically
diffuse group of people with Cystic Fibrosis; the prototype, and the open design
implementation developed and used.
Figure 1: Medication dispenser; one of the open-source medical products developed
The project prototyped a wholly virtual meeting of people, empowering them to
conceive and develop their own products based on their own lived experience of
Cystic Fibrosis. The project involved the development of a community of people
with Cystic Fibrosis, supported through tools and online workshops with a designer,
within an Action Research methodology. It is expected that open design has a
positive contribution to make in the field of medical product design more widely,
despite the very real questions surrounding its implementation. This research
demonstrates the benefit open design can bring to (in particular) early stage
concept generation, as well as continual evaluation and the fostering of innovation
by leveraging the knowledge and action of lead users (Von Hippel, 1986). However,
also included is an analysis of the regulatory, implementation, and economic factors
that pose challenges.
D4H2013
dispenser using open design. This work explores the benefits of open design
(open-source design) in the conception (and development) of medical products.
Described here is the first attempt to tackle some of the issues facing the implementation
of open design in the field of medical product design where a recognised
move to ‘open’ working practices & innovation is needed (Barrett, 2010); as is
the imperative to more fully include users in the development process (Karlsson et
al., 2011; Martin & Barnett, 2012; Money et al., 2011; Owens et al., 2011; Shah, Robinson,
& AlShawi, 2009). There are moral and pragmatic reasons to include people
in the design process (Carroll & Rosson, 2007), especially true for medical products.
Presented are the results of online collaborative design work with a geographically
diffuse group of people with Cystic Fibrosis; the prototype, and the open design
implementation developed and used.
Figure 1: Medication dispenser; one of the open-source medical products developed
The project prototyped a wholly virtual meeting of people, empowering them to
conceive and develop their own products based on their own lived experience of
Cystic Fibrosis. The project involved the development of a community of people
with Cystic Fibrosis, supported through tools and online workshops with a designer,
within an Action Research methodology. It is expected that open design has a
positive contribution to make in the field of medical product design more widely,
despite the very real questions surrounding its implementation. This research
demonstrates the benefit open design can bring to (in particular) early stage
concept generation, as well as continual evaluation and the fostering of innovation
by leveraging the knowledge and action of lead users (Von Hippel, 1986). However,
also included is an analysis of the regulatory, implementation, and economic factors
that pose challenges.
D4H2013
Neighborhood Labs – Community building through knowledge transfer
Although one can observe an emerging trend towards concepts of sharing and
collaborative consumption, we argue that appropriate systems of knowledge sharing are
still underrepresented in local communities – especially within an inter-generational
context. We further argue that proper understanding of the needs and motivations of
stakeholders in a specific local setting is required in order to successfully implement design
interventions, especially those that lead to self-driven and sustainable learning activities
among different stakeholder groups. The presented ongoing research project Neighborhood
Labs introduces our methods for approaching a complex local social setting that is
characterized by inhabitants with diverging biographical backgrounds and lifestyles. It
also discusses our understanding of “living labs” which is supported by what we call an
“ambassador approach”.
DRS 2012 Bangkok
collaborative consumption, we argue that appropriate systems of knowledge sharing are
still underrepresented in local communities – especially within an inter-generational
context. We further argue that proper understanding of the needs and motivations of
stakeholders in a specific local setting is required in order to successfully implement design
interventions, especially those that lead to self-driven and sustainable learning activities
among different stakeholder groups. The presented ongoing research project Neighborhood
Labs introduces our methods for approaching a complex local social setting that is
characterized by inhabitants with diverging biographical backgrounds and lifestyles. It
also discusses our understanding of “living labs” which is supported by what we call an
“ambassador approach”.
DRS 2012 Bangkok
How can Feminism contribute to Design? A Framework for a feminist Design Research and Practice
In this paper, I present a framework for a feminist design research and practice. It aims to
guide design decisions from information, ideation to evaluation from a feminist point of
view. It tries to facilitate the selection of appropriate approaches and methods in each
phase with regard to feminist demands and requirements to support a feminist design on a
methodological, practical and evaluative level.
The framework integrates different gender theories whose perspectives correspond to main
phases and focuses that can be regarded as mandatory for human centered design. The
framework integrates the feminist standpoint theory, the theory of gender performativity
and the concept of ‘doing gender’ expanded by the actor network theory.
The feminist standpoint theory guides the designers’ attention to marginalized target
groups and experiences within the phase of information and ideation. Feminist
poststructuralist theories like the theory of performativity focus on the cultural construction
of gender in media and artifacts. Consequently, they have a natural link to the design
domain and can guide designers’ decisions during the phase of inspiration and ideation.
Design in this phase is challenged to invent new forms of gender representations and
experiences to contribute to a socially fair and plural society. If a design concept or artifact
meets feminist demands and requirements just becomes visible in interaction and use. The
concept of ‘doing gender’ in combination with actor network theory focus on sociomaterial
interactions and promise to provide benchmarks for a feministdesign evaluation.
The application and empirical benefit of the framework is illustrated by a brief case study.
The example shows how feminist perspectives can enhance the selection of methods, the
critical reflection of designers’ gender assumptions and the evaluation of design results
with regards to their failure or success in terms of changing gender roles and behavior to
meet social equality.
guide design decisions from information, ideation to evaluation from a feminist point of
view. It tries to facilitate the selection of appropriate approaches and methods in each
phase with regard to feminist demands and requirements to support a feminist design on a
methodological, practical and evaluative level.
The framework integrates different gender theories whose perspectives correspond to main
phases and focuses that can be regarded as mandatory for human centered design. The
framework integrates the feminist standpoint theory, the theory of gender performativity
and the concept of ‘doing gender’ expanded by the actor network theory.
The feminist standpoint theory guides the designers’ attention to marginalized target
groups and experiences within the phase of information and ideation. Feminist
poststructuralist theories like the theory of performativity focus on the cultural construction
of gender in media and artifacts. Consequently, they have a natural link to the design
domain and can guide designers’ decisions during the phase of inspiration and ideation.
Design in this phase is challenged to invent new forms of gender representations and
experiences to contribute to a socially fair and plural society. If a design concept or artifact
meets feminist demands and requirements just becomes visible in interaction and use. The
concept of ‘doing gender’ in combination with actor network theory focus on sociomaterial
interactions and promise to provide benchmarks for a feministdesign evaluation.
The application and empirical benefit of the framework is illustrated by a brief case study.
The example shows how feminist perspectives can enhance the selection of methods, the
critical reflection of designers’ gender assumptions and the evaluation of design results
with regards to their failure or success in terms of changing gender roles and behavior to
meet social equality.
Relational Aesthetics as a New Approach for Designing Spatial Aesthetic Expressions in Participatory Design
The physical environment greatly influences our well-being, learning and collaboration
with other people. Through visual, tactile and form-related means a space communicates
the identity, values, strategies, visions etc. of e.g. a company or educational institution and
suggests various types of behaviour and interaction. Research within the field of
architectural psychology recommends that users of knowledge and learning spaces be
involved in the interior design process so that they can identify with the spatial aesthetic
expressions. But how are decisions made on spatial communication in a given context?
What should these spatial aesthetic expressions be based on? The study of this issue
includes three processes based on Participatory Design workshops. The current paper
describes the aesthetic theories applied in the workshops – Aesthetics as Aisthesis and
Atmosphere – and demonstrates how the need for an alternative theory of aesthetics –
Relational Aesthetics – developed in the course of the workshops. Finally, the processes
have resulted in a proposal for a novel approach to involving users in decisions related to
issues of spatial, aesthetic expression in a given context.
DRS 2012 Bangkok
with other people. Through visual, tactile and form-related means a space communicates
the identity, values, strategies, visions etc. of e.g. a company or educational institution and
suggests various types of behaviour and interaction. Research within the field of
architectural psychology recommends that users of knowledge and learning spaces be
involved in the interior design process so that they can identify with the spatial aesthetic
expressions. But how are decisions made on spatial communication in a given context?
What should these spatial aesthetic expressions be based on? The study of this issue
includes three processes based on Participatory Design workshops. The current paper
describes the aesthetic theories applied in the workshops – Aesthetics as Aisthesis and
Atmosphere – and demonstrates how the need for an alternative theory of aesthetics –
Relational Aesthetics – developed in the course of the workshops. Finally, the processes
have resulted in a proposal for a novel approach to involving users in decisions related to
issues of spatial, aesthetic expression in a given context.
DRS 2012 Bangkok
Creative Drawings as Intuitive Probes for Evaluating Interface Preferences
Chang, Tsen-Yao
Achieving a balance between visual aesthetics and usability to enhance user experience has enjoyed an increasing popularity in Web design. This study combines creative drawings as intuitive probes to investigate users emotional reactions and needs. The basic purpose of these creative exercises is to inspire design researchers and practitioners into applying a strategy in practicable design research to probe real user experiences and create an enjoyable and effective user environment. Emotional engagement with design is vital in design research. Unfortunately, laboratory usability tests often involve complex technical and mechanical tools that discourage user participation, thus limiting the opportunity to receive feedback. The research exercise in this study includes a series of intuitive practices that engaged the participants as target users to sketch an imagined garden layout, a library landscape layout, and a personal home page. We hypothesized from their drawings that a connection exists among the users sketches, Web interface preferences, and a classification of personality types. Significant results were obtained: (1) Creative drawing is an effective tool in understanding the personality of a user; (2) Three graphic practices establish emotional connections with the users Web interface preferences and product design; and (3) User personality categorization reveals preferences in Web interface and product design. This study focused on the effect of visual aesthetics and user-friendly methods on usability assessments in response to the increasing emotional conciliation of human-computer interaction design. These findings are beneficial in keeping abreast with the developments in design creativity and the qualitative contributions of design inspiration.
ICICE 2012, International Conference on Information, Communication and Engineering
Achieving a balance between visual aesthetics and usability to enhance user experience has enjoyed an increasing popularity in Web design. This study combines creative drawings as intuitive probes to investigate users emotional reactions and needs. The basic purpose of these creative exercises is to inspire design researchers and practitioners into applying a strategy in practicable design research to probe real user experiences and create an enjoyable and effective user environment. Emotional engagement with design is vital in design research. Unfortunately, laboratory usability tests often involve complex technical and mechanical tools that discourage user participation, thus limiting the opportunity to receive feedback. The research exercise in this study includes a series of intuitive practices that engaged the participants as target users to sketch an imagined garden layout, a library landscape layout, and a personal home page. We hypothesized from their drawings that a connection exists among the users sketches, Web interface preferences, and a classification of personality types. Significant results were obtained: (1) Creative drawing is an effective tool in understanding the personality of a user; (2) Three graphic practices establish emotional connections with the users Web interface preferences and product design; and (3) User personality categorization reveals preferences in Web interface and product design. This study focused on the effect of visual aesthetics and user-friendly methods on usability assessments in response to the increasing emotional conciliation of human-computer interaction design. These findings are beneficial in keeping abreast with the developments in design creativity and the qualitative contributions of design inspiration.
ICICE 2012, International Conference on Information, Communication and Engineering
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