Architec Tradure

Category: design

  • 25JanInteraction design from product design

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    In Sept. 2006, I referred to the work of Tom Djajadiningrat. Tom Djajadiningrat is both industrial designer and researcher. He works on interaction design and considers product design methods.



    Figure extracted from the paper on Rich Interaction: issues.

    I selected two other papers of his that look at interaction design from a product design point of view.

  • Frens, J.W., Djajadiningrat, J.P., & Overbeeke, C.J. (2004). Rich Interaction: issues. EUSAI2004, pp.271-278.

    Abstrat The topic of this paper is rich interaction. Rich interaction borrows from tangible interaction and the concept of affordances. This is achieved through integral design of form, interaction and function of products. It is applied to interactive consumer products. A digital camera with a rich user interface (RUI) was designed and compared in a user study to a digital camera with a more conventional user interface. Several issues concerning rich interfaces are discussed.

    Link

  • Wensveen, S.A.G., Overbeeke, C.J., Djajadiningrat, J.P., & Kyffin, S.H.M. (2004). Freedom of fun, freedom of interaction. Interactions Magazine, september + october, pp.59-61.

    Introduction The modernist tradition still drives our society and our scientific endeavors. Modernity stood for technology push, progress through industry, linearity, money, the abstract, and the logical. But it has resulted in a feeling of uneasiness, even coldness. That is why, we think, there is now such a drive to get human and societal values back in the equation: Think of human-centered engineering, the experience economy, funology, and the like. In this article we give an exam- ple of the direction interaction-design research might take. We describe an approach that exploits all human skills, including perceptual-motor and emotional skills. We then reflect on the question of why industry has been slow to adopt this approach.

    Link


  • 26JanDesigning Pleasurable Products and Interfaces

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    A conference that seems to bridge product design methods and HCI. The next one happens in Finland, Helsinki.

    Designing Pleasurable Products and Interfaces 2007, August 22 – 25, University of Art and Design Helsinki, Finland.

    Description UE+/User Experience Plus

    “User Experience” has become a key word in design over the last decade. It articulated disappointment with usability research in the 1990s, bringing to the fore designers traditional skill, an ability to create products and interfaces that are a joy to use and, at best, exciting. In many ways, the concept has been successful. It has become a cornerstone in many leading design programs all over the world. It has generated theoretical discussion. It has rejuvenated philosophical debate in design research. It has found a home not just in research, but also in design education.

    However, as all concepts, this notion has been gathering dust over the years. Designers and researchers in many parts of the world have been going beyond user experience. While taking the lesson from what has been learned, they prefer to use more specific concepts, including concepts such like affective interaction, rich interaction, and co-experience.

    Designing Pleasurable Products and Interfaces 2007 will welcome contributions that explore these developments. It encourages:

    Conceptual contributions backed up with designs and empirical research.

    New innovative research that builds on user experience, but add t it.

    Methodological papers and designs that extend user experience research.

    Theoretical reflections.

    List of sessions

    Session I: My Fingertip’s Just 1 Bit of Me! Enriching Product Interaction through Skilled Actions

    Session II: Luxury in User Experience: Designing and Consuming New Luxury

    Session III: The Aesthetics of Interaction

    Session IV: Imagined Qualities of Products as Constituents of Experience

    Session V: Things that Come Between Us: Social Interaction as Design Material


  • 26JanDesigning Pleasurable Products and Interfaces

    If you’re new here, you may want to subscribe to my RSS feed to receive the latest Architectradure’s articles in your reader or via email. Thanks for visiting!

    A conference that seems to bridge product design methods and HCI. The next one happens in Finland, Helsinki.
    Designing Pleasurable Products and Interfaces 2007, August 22 – 25, University of Art and Design Helsinki, Finland.

    Description UE+/User Experience Plus

    “User Experience” has become a key word in design over the last decade. It articulated disappointment with usability research in the 1990s, bringing to the fore designers traditional skill, an ability to create products and interfaces that are a joy to use and, at best, exciting. In many ways, the concept has been successful. It has become a cornerstone in many leading design programs all over the world. It has generated theoretical discussion. It has rejuvenated philosophical debate in design research. It has found a home not just in research, but also in design education.
    However, as all concepts, this notion has been gathering dust over the years. Designers and researchers in many parts of the world have been going beyond user experience. While taking the lesson from what has been learned, they prefer to use more specific concepts, including concepts such like affective interaction, rich interaction, and co-experience.
    Designing Pleasurable Products and Interfaces 2007 will welcome contributions that explore these developments. It encourages:
    Conceptual contributions backed up with designs and empirical research.
    New innovative research that builds on user experience, but add t it.
    Methodological papers and designs that extend user experience research.
    Theoretical reflections.

    List of sessions
    Session I: My Fingertip’s Just 1 Bit of Me! Enriching Product Interaction through Skilled Actions
    Session II: Luxury in User Experience: Designing and Consuming New Luxury
    Session III: The Aesthetics of Interaction
    Session IV: Imagined Qualities of Products as Constituents of Experience
    Session V: Things that Come Between Us: Social Interaction as Design Material

  • 26JanEmotional relationship with products

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    McDonagh D, Bruseberg A, Haslam C. (2002) Visual product evaluation: exploring users’ emotional relationships with products. In Appl Ergon. 2002 May;33(3):231-40.

    Abstract This paper discusses an industrial designer’s approach to eliciting user perceptions and emotional responses to products through visual evaluation and stimuli. Whilst the authors accept that product functionality is crucial for product success, the appearance, use of materials, shape and form provide the most immediate product data for the user. Less tangible issues such as emotional bonding of users with products, cultural perceptions and social value systems, provide valuable insights for the product developer to help expand knowledge and understanding of the users’ need beyond the functional. This paper presents product personality profiling as a new technique for design researchers/designers, and discusses it alongside other emerging approaches such as mood boards and visual product evaluation. The authors have used these techniques during focus group sessions with users to elicit individuals’ needs and aspirations towards products. Such a user-centred approach is fundamental to applied ergonomics. Experiences, benefits, and limitations of these techniques are outlined as well as the opportunities for further development.

    Paper


  • 26JanEmotional relationship with products

    If you’re new here, you may want to subscribe to my RSS feed to receive the latest Architectradure’s articles in your reader or via email. Thanks for visiting!

    McDonagh D, Bruseberg A, Haslam C. (2002) Visual product evaluation: exploring users’ emotional relationships with products. In Appl Ergon. 2002 May;33(3):231-40.

    Abstract This paper discusses an industrial designer’s approach to eliciting user perceptions and emotional responses to products through visual evaluation and stimuli. Whilst the authors accept that product functionality is crucial for product success, the appearance, use of materials, shape and form provide the most immediate product data for the user. Less tangible issues such as emotional bonding of users with products, cultural perceptions and social value systems, provide valuable insights for the product developer to help expand knowledge and understanding of the users’ need beyond the functional. This paper presents product personality profiling as a new technique for design researchers/designers, and discusses it alongside other emerging approaches such as mood boards and visual product evaluation. The authors have used these techniques during focus group sessions with users to elicit individuals’ needs and aspirations towards products. Such a user-centred approach is fundamental to applied ergonomics. Experiences, benefits, and limitations of these techniques are outlined as well as the opportunities for further development.

    Paper


  • 17FebPixel-graphic style in a physical display

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    Snoil is a physical display made by Martin frey that takes advantage of our experience playing with Tetris-like game, in this case the reference is to the classic arcade Snake game. Now it is slightly more complex than that because the fluid is attracted by magnets to create fluid bumps.
    Images and animations can be produced in a pixel-graphic style as well as plain pixel-typography.

    SnOil has pixel-like graphic features and is physically implemented using electronic components such as electro magnets, controllers, multiplexers, tilt sensors and so forth. Tiles of electro magnets make the system highly scalable. Each magnet has its x and y position. It works like the snake game in the video demo, but this type of interface can definitly go beyond its reference frame.

    In the area of materialized pixels, Daniel Rozin creates a series of awesome mechanical mirrors.


    Wooden Mirror in Wired Magazine

    830 square pieces of wood, 830 servo motors, control electronics, video camera, computer, wood frame.
    Size – W 67” x H 80” x D 10” (170cm , 203cm, 25cm). Built in 1999, this is the first mechanical mirror I built. This piece explores the line between digital and physical, using a warm and natural material such as wood to portray the abstract notion of digital pixels. 1999

    Video of the interactive wooden mirror


    Shiny Balls Mirror

    921 hexagonal black-anodized aluminum tube extrusion, 921 chrome-plated plastic balls, 819 motors, control electronics, video camera, computer. Size – W 56″ x H 50″ x D 20″ (142cm, 127cm, 50cm)
    The third addition to the mechanical mirror group, Shiny Balls Mirror displays a crisp and clean facade of aluminum and chrome utilizing the jewel-like reflections on its balls to form the reflection of the viewer twice: Once on each ball and once on the entire piece. 2003

    Video of the interactive shiny balls mirror


    Shiny Balls Mirror – detail

    Found on core77.

  • 23FebMarisa Jahn

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    Artist Marisa Jahn gave a talk at the MIT Media Lab, in the Tangible Media Group.

    Her work explores ways to engage people in gaining knowledge, from literacy, to environmental literacy. She designed tools and methods to invite people in a comparative analysis of information and self-reflective process. She collaborates frequently with Steve Shada and Natalie Jeremijenko.

    Interested in how human interact and communicate with each others, she designed wearable musical instruments.

    video

    For her master thesis in the visual studies department at MIT, she designed a game called Set. Elements of the set can be regrouped, labeled and organized and shared within the players.

    video

    Project most easily understood through direct engagement, boxSET is a game played as an intervention into any existing collection of objects (archives, record albums, a heap of junk—anything). Involving multiple players, some of whom may not have any prior relationship with the objects to be sorted, the game asks players to develop categories that describes a grouping of objects. However, the creation of order occurs simultaneous with disorder: a player may choose to remove an object from another player’s collection in order to place it in his/her grouping. This rapid taxonomic metabolism encourages players to narrate out loud (or ’show-and-tell’) their categories with the anticipation that it may soon disappear. Further, through taxonomically engaging with different kinds of objects, players become aware of what kinds of objects (data) are better for certain kinds of analyses (formal, textual, psychoanalytic, etc.). As the game evolves, players become aware of the difference in interpretation, the subjectivity of order, and the contingent production of knowledge.



    She created throw-n-Sow a new way for people to think about and engage with their environment. Frisbees deposite seeds while in the air…

    Throw-n-Sow is a flying disc toy similar to a Frisbee that uses the centripetal force generated in the act of throwing to distribute seeds into the environment. Manufactured as a toy made from environmentally-friendly, biodegradable plastics, Throw-n-Sow consists of a main body and a separate container that slides and locks under the disc. This container contains adjustable holes of different diameter to accommodate variant seed sizes. In other words, Throw-n-Sow is a literally empty container into which individuals and communities emplace selected seeds.

    Throw-n-Sow is interactive eco-art project that engages diverse communities in each step of the project (manufacturing, seed-selection, site-selection, plant stewardship, art education), Throw-n-Sow raises questions about the expanded field of drawing, indigenous ecologies vs. selective human cultivation, landscape evolution and succession, ethnobotany, agronomy, etc. Throw-n-Sow ultimately aims to valorize distributive intelligence and interdisciplinary learning.

    Throw-n-Sow is the kind of art that literally passes between two or more individuals. Leaving behind a trail of seeds as it sails through the air, Throw-n-Sow essentially imprints moments of play into the landscape. Individuals carrying the Throw-n-Sow disc from one place to another develop an affective relationship to the toy and to the sites in which it is deployed.


  • 24FebInteraction Design and Children

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    Jabberstamp? It is for adults to understand that a work of art is not a hat, but a boa digesting an elephant! – Yasmine Abbas

    I teamed with Hayes Raffle to work on his Jabberstamp invention.

    This is the first time I work on a project on which I am not the inventor. This collaboration is refreshing through the distance allowed by not being the actual initiator. It brings critical insights on the interaction design. Hayes asked me to join him, because of my background in toy design for children, especially the design of toys for emergent literacy. Out of the technology available, I tried to understand what could children do with the simple mechanism of associating sounds to drawings. Hayes and I end up testing the system, improving elements of the design and discussing its contribution. A pilot evaluation with children confirmed our hypothesis about the type of narrative children explore with such technological system.

    We submitted a video for Siggraph’07, educator program and Jabberstamp was elected for being demoed and exhibited during the conference, the 5-9 of August 2007, San Diego, California.

    A full paper Hayes and I wrote together on Jabberstamp got accepted to the Interaction Design and Children conference. The focus of the conference is on children’s role in the design and evaluation of interactive technologies. So we hope to see you in June 6-8, 2007, Aalborg in Denmark!

    Abstract We introduce Jabberstamp, the first tool that allows children to synthesize their drawings and voices. To use Jabberstamp, children create drawings, collages or paintings on normal paper. They press a special rubber stamp onto the page to record sounds into their drawings. When children touch the marks of the stamp with a small trumpet, they can hear the sounds playback, retelling the stories they have created. We describe our design process and analyze the mechanism between the act of drawing and the one of telling, defining interdependencies between the two activities. In a series of studies, children ages 4-8 use Jabberstamp to convey meaning in their drawings. The system allows collaboration among peers at different developmental levels. Jabberstamp compositions reveal children’s narrative styles and their planning strategies. In guided activities, children develop stories by situating sound recording in their drawing, which suggests future opportunities for hybrid voice–visual tools to support children’s emergent literacy.

    Jabberstamp is a MIT Media Lab project developed in the Tangible Media Group with Dr Hiroshi Ishii.

    News (update)
    July 23 07 Digital inspiration by Amit Agarwal.
    July 23 07 Article in Discovery Channel by Tracy Staedter.
    June 29 07 Article in Digital experience by Jonas Petersen.

    Previous post on Jabberstamp.


    IDC logo

  • 26FebKyoto City University of Arts

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    Serendipity books made by Asako Matsumoto is an attractive concept interface to enjoy books.

    Found on Blankism blog, the blog also links to the annual exhibition 2006 web site for Kyoto City University of Arts, in which a selection of gradute school prizes are presented.

    Letter by Domae Hitomi


  • 26FebKyoto City University of Arts

    If you’re new here, you may want to subscribe to my RSS feed to receive the latest Architectradure’s articles in your reader or via email. Thanks for visiting!

    Serendipity books made by Asako Matsumoto is an attractive concept interface to enjoy books.

    Found on Blankism blog, the blog also links to the annual exhibition 2006 web site for Kyoto City University of Arts, in which a selection of gradute school prizes are presented.

    Letter by Domae Hitomi