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The rise of movement-based design (MBD) is fueled by the integration of computer technology into the movement of the everyday. Departing from traditional interface design, MBD prioritizes natural interaction, SportsHCI, and health promotion through physical activity. This paradigm shift has led to innovations in experimental applications and interaction techniques, including exergames, expressivity in interactions and soma-design. Various guidelines and frameworks have been proposed for specific purposes, from sports to virtual reality. This workshop explores participants' experiences and perspectives on MBD, delving into MBD workshop design and reflect on MBD methods and the current move towards MBD methodologies., Part of ISBN 9798400706325QC 20240725

We present the design and evaluation of the Movits, a minimalist toolkit for embodied sketching design explorations. The toolkit includes technology probes featuring minimalist wearable digital units that support the hands-on exploration and design of movement-driven interactions using multisensory feedback. The Movits are self-contained and generate audiovisual or vibrotactile patterns in response to movement-based inputs. We present the theoretical and empirical grounding driving our design process. We discuss the fndings of using the Movits during four co-design workshops with design students, technologists, dancers and physiotherapists, where they resulted in being generative and adaptable to a range of embodied design approaches. We contend that the Movits can be favourable for those interested in a holistic design approach to wearables in general and specifcally for those targeting movement-based application domains., Part of ISBN 9798400705830QC 20240827

Movement-based design methods are increasingly adopted to help design rich embodied experiences. While there are well-known methods in the feld, there is no systematic overview to help designers choose among them, adapt them, or create their own. We collected 41 methods used by movement design researchers and employed a practice-based, bottom-up approach to analyze and characterize their properties. We found 17 categories and arranged them into five main groups: Design Resources, Activities, Delivery, Framing, and Context. In this paper, we describe these groups in general and then focus on Design Resources containing the categories of Movement, Space, and Objects. We ground the characterization with examples from empirical material provided by the design researchers and references to previous work. Additionally, we share recommendations and action points to bring these into practice. This work can help novice and seasoned design researchers who want to employ movement-based design methods in their practice., Mecamind

Walking meetings are a promising way to reduce unhealthy sedentary behavior at the office. Some aspects of walking meetings are however hard to assess using traditional research approaches that do not account well for the embodied experience of walking meetings. We conducted a series of 16 bodystorming sessions, featuring unusual walking meeting situations to engage participants (N=45) in a reflective experience. After each bodystorming, participants completed three tasks: a body map, an empathy map, and a rating of workload using the NASA-TLX scale. These embodied explorations provide insights on key themes related to walking meetings: material and tools, physical and mental demand, connection with the environment, social dynamics, and privacy. We discuss the role of technology and opportunities for technology-mediated walking meetings. We draw implications for the design of walking meeting technologies or services to account for embodied experiences, and the individual, social, and environmental factors at play.

Walking meetings are a promising way to reduce unhealthy sedentary behavior at the office. Some aspects of walking meetings are however hard to assess using traditional research approaches that do not account well for the embodied experience of walking meetings. We conducted a series of 16 bodystorming sessions, featuring unusual walking meeting situations to engage participants (N=45) in a reflective experience. After each bodystorming, participants completed three tasks: a body map, an empathy map, and a rating of workload using the NASA-TLX scale. These embodied explorations provide insights on key themes related to walking meetings: material and tools, physical and mental demand, connection with the environment, social dynamics, and privacy. We discuss the role of technology and opportunities for technology-mediated walking meetings. We draw implications for the design of walking meeting technologies or services to account for embodied experiences, and the individual, social, and environmental factors at play.

Movement-based design methods are increasingly adopted to help design rich embodied experiences. While there are well-known methods in the feld, there is no systematic overview to help designers choose among them, adapt them, or create their own. We collected 41 methods used by movement design researchers and employed a practice-based, bottom-up approach to analyze and characterize their properties. We found 17 categories and arranged them into five main groups: Design Resources, Activities, Delivery, Framing, and Context. In this paper, we describe these groups in general and then focus on Design Resources containing the categories of Movement, Space, and Objects. We ground the characterization with examples from empirical material provided by the design researchers and references to previous work. Additionally, we share recommendations and action points to bring these into practice. This work can help novice and seasoned design researchers who want to employ movement-based design methods in their practice., Mecamind

Movement-based design methods are increasingly adopted to help design rich embodied experiences. While there are well-known methods in the feld, there is no systematic overview to help designers choose among them, adapt them, or create their own. We collected 41 methods used by movement design researchers and employed a practice-based, bottom-up approach to analyze and characterize their properties. We found 17 categories and arranged them into five main groups: Design Resources, Activities, Delivery, Framing, and Context. In this paper, we describe these groups in general and then focus on Design Resources containing the categories of Movement, Space, and Objects. We ground the characterization with examples from empirical material provided by the design researchers and references to previous work. Additionally, we share recommendations and action points to bring these into practice. This work can help novice and seasoned design researchers who want to employ movement-based design methods in their practice., Mecamind

Movement-based design methods are increasingly adopted to help design rich embodied experiences. While there are well-known methods in the feld, there is no systematic overview to help designers choose among them, adapt them, or create their own. We collected 41 methods used by movement design researchers and employed a practice-based, bottom-up approach to analyze and characterize their properties. We found 17 categories and arranged them into five main groups: Design Resources, Activities, Delivery, Framing, and Context. In this paper, we describe these groups in general and then focus on Design Resources containing the categories of Movement, Space, and Objects. We ground the characterization with examples from empirical material provided by the design researchers and references to previous work. Additionally, we share recommendations and action points to bring these into practice. This work can help novice and seasoned design researchers who want to employ movement-based design methods in their practice., Mecamind

Movement-based design methods are increasingly adopted to help design rich embodied experiences. While there are well-known methods in the feld, there is no systematic overview to help designers choose among them, adapt them, or create their own. We collected 41 methods used by movement design researchers and employed a practice-based, bottom-up approach to analyze and characterize their properties. We found 17 categories and arranged them into five main groups: Design Resources, Activities, Delivery, Framing, and Context. In this paper, we describe these groups in general and then focus on Design Resources containing the categories of Movement, Space, and Objects. We ground the characterization with examples from empirical material provided by the design researchers and references to previous work. Additionally, we share recommendations and action points to bring these into practice. This work can help novice and seasoned design researchers who want to employ movement-based design methods in their practice., Mecamind

Modern office environments foster sitting, a major public health risk, with physical inactivity being the fourth cause of death worldwide. This provocative pictorial presents the design explorations and bodily experimentations culminating in The Office Jungle, a critical and speculative redesign of the office environment that encourages physical activity by embracing wildness. The Office Jungle is a design exemplar of a "wild"office space presented as a suspended geodesic structure. It is built to experienc e how our office environment and our behaviour at work affect each other. We advocate that bringing wildness into office spaces will create more durable office environments that foster movement. With this pictorial, we aim to spark discussion amongst designers to think in new ways and to consider new opportunities to design for workplaces that integrate physical activity with work. © 2021 Owner/Author.

Early user involvement in the design of intelligent virtual agents (IVAs) is fundamental for usability and otherwise good user experience. In this paper, we present a combination of methods used in the remote conceptual design of a virtual receptionist for a university department. The study builds on two workshops with potential users. The first was a bodystorming workshop in virtual reality (VR) with four researchers at the department, and the second was a desktop walkthrough workshop on an online whiteboard with five students at the department. Proposed solutions from the workshops were deconstructed using a morphological chart into a pentad of parameters: agent, act, scene, agency, and purpose. New design concepts were then composed by combining solutions. Sketching was used to further detail and present the generated concepts. Our analysis of the workshops indicates that the bodystorming workshop had an aesthetic perspective on embodied interaction while the desktop walkthrough workshop had a more instrumental perspective on usability. The combination of embodied but remote ideation methods with morphological chart structured by the pentad is novel to not only the IVA field, but also to interaction design in general. Finally, the conceptual design of a novel cross-platform IVA is proposed.

Early user involvement in the design of intelligent virtual agents (IVAs) is fundamental for usability and otherwise good user experience. In this paper, we present a combination of methods used in the remote conceptual design of a virtual receptionist for a university department. The study builds on two workshops with potential users. The first was a bodystorming workshop in virtual reality (VR) with four researchers at the department, and the second was a desktop walkthrough workshop on an online whiteboard with five students at the department. Proposed solutions from the workshops were deconstructed using a morphological chart into a pentad of parameters: agent, act, scene, agency, and purpose. New design concepts were then composed by combining solutions. Sketching was used to further detail and present the generated concepts. Our analysis of the workshops indicates that the bodystorming workshop had an aesthetic perspective on embodied interaction while the desktop walkthrough workshop had a more instrumental perspective on usability. The combination of embodied but remote ideation methods with morphological chart structured by the pentad is novel to not only the IVA field, but also to interaction design in general. Finally, the conceptual design of a novel cross-platform IVA is proposed.

Early user involvement in the design of intelligent virtual agents (IVAs) is fundamental for usability and otherwise good user experience. In this paper, we present a combination of methods used in the remote conceptual design of a virtual receptionist for a university department. The study builds on two workshops with potential users. The first was a bodystorming workshop in virtual reality (VR) with four researchers at the department, and the second was a desktop walkthrough workshop on an online whiteboard with five students at the department. Proposed solutions from the workshops were deconstructed using a morphological chart into a pentad of parameters: agent, act, scene, agency, and purpose. New design concepts were then composed by combining solutions. Sketching was used to further detail and present the generated concepts. Our analysis of the workshops indicates that the bodystorming workshop had an aesthetic perspective on embodied interaction while the desktop walkthrough workshop had a more instrumental perspective on usability. The combination of embodied but remote ideation methods with morphological chart structured by the pentad is novel to not only the IVA field, but also to interaction design in general. Finally, the conceptual design of a novel cross-platform IVA is proposed.

Early user involvement in the design of intelligent virtual agents (IVAs) is fundamental for usability and otherwise good user experience. In this paper, we present a combination of methods used in the remote conceptual design of a virtual receptionist for a university department. The study builds on two workshops with potential users. The first was a bodystorming workshop in virtual reality (VR) with four researchers at the department, and the second was a desktop walkthrough workshop on an online whiteboard with five students at the department. Proposed solutions from the workshops were deconstructed using a morphological chart into a pentad of parameters: agent, act, scene, agency, and purpose. New design concepts were then composed by combining solutions. Sketching was used to further detail and present the generated concepts. Our analysis of the workshops indicates that the bodystorming workshop had an aesthetic perspective on embodied interaction while the desktop walkthrough workshop had a more instrumental perspective on usability. The combination of embodied but remote ideation methods with morphological chart structured by the pentad is novel to not only the IVA field, but also to interaction design in general. Finally, the conceptual design of a novel cross-platform IVA is proposed.

Early user involvement in the design of intelligent virtual agents (IVAs) is fundamental for usability and otherwise good user experience. In this paper, we present a combination of methods used in the remote conceptual design of a virtual receptionist for a university department. The study builds on two workshops with potential users. The first was a bodystorming workshop in virtual reality (VR) with four researchers at the department, and the second was a desktop walkthrough workshop on an online whiteboard with five students at the department. Proposed solutions from the workshops were deconstructed using a morphological chart into a pentad of parameters: agent, act, scene, agency, and purpose. New design concepts were then composed by combining solutions. Sketching was used to further detail and present the generated concepts. Our analysis of the workshops indicates that the bodystorming workshop had an aesthetic perspective on embodied interaction while the desktop walkthrough workshop had a more instrumental perspective on usability. The combination of embodied but remote ideation methods with morphological chart structured by the pentad is novel to not only the IVA field, but also to interaction design in general. Finally, the conceptual design of a novel cross-platform IVA is proposed.

The development of Autonomous Drive is escalating, but designing for User Experience in autonomous vehicles remains a challenge since there are no such vehicles out on the commercial market today. Designers are struggling to gain customer insights since the target customers never tried such a product. On the other hand, the main user group of Autonomous Drive in the future will most likely be people born between 1980 and 2000, and they are demanding a personalized experience from the technology they are using. It is therefore assumed that personalization will play an important role in the User Experience of the autonomous vehicles of tomorrow. This project aims for gaining customer insights about personalization in Autonomous Drive context today, by using prototyping in Virtual Reality to simulate personalized user scenarios. The user scenarios are based on ideas which are generated by engaging people into bodystorming sessions. The Design Sprint framework was used for design, implementation and test each scenario which resulted in very rapid prototyping. The hardware used for the prototype was HTC Vive in combination with Leap Motion, implementations in Virtual Reality was done in Unity and the virtual models are made with Blender. The experience of the Virtual Reality prototype was given positive input from target users, further it was concluded that the approach of using bodystorming for idea generation and then prototyping in Virtual Reality for evaluating the ideas was successful. To summarize, prototyping in Virtual Reality can be a valuable tool for User Experience in Autonomous Drive Industry.

Although the use of technology to support physical training has been gaining traction in HCI, the design space of sensory augmentations to improve and support physical training remains narrow. To help open this design space in the domain of collocated instructed physical training, we first present Sensory Bodystorming, a hybrid ideation method influenced by material and embodied approaches to ideation. Sensory Bodystorming targets the generation of ideas that support, and are underpinned by, a rich and nuanced sensorial experience. Ideas are generated through physically engaging with evocative sensorial stimuli elicited by ideation probes featuring diverse material qualities. Secondly, we present ideas resulting from three Sensory Bodystorming sessions that extend prior sensory augmentation works in the domain. Lastly, we identify interesting research and design directions based on prior works and our own.

Documenting embodied ideation activities is challenging, as they often result in ephemeral design constructs and elusive design knowledge difficult to document and represent. Here, we explore documentation forms designers can use internally during the design process in the domain of movement-based interaction in collocated, social settings. Using previous work and our experience from embodied ideation workshops, we propose three documentation forms with complementing perspectives of embodied action from a first and a third person view. We discuss how they capture ephemeral embodied action and elusive design and experiential knowledge, in relation to two interdependent aspects of documentation forms: their performativity and the medium they use. The novelty of these forms lies in what is being captured: ephemeral design constructs that emerge as designers engage with the embodied ideation activity; how it is portrayed: in aggregation forms that highlight elusive design knowledge; and their purpose: to clarify and augment analytical results improving the designer-researchers’ understanding of key aspects of the embodied ideation process and its outcomes, useful to advance the design process and for research dissemination.

Documenting embodied ideation activities is challenging, as they often result in ephemeral design constructs and elusive design knowledge difficult to document and represent. Here, we explore documentation forms designers can use internally during the design process in the domain of movement-based interaction in collocated, social settings. Using previous work and our experience from embodied ideation workshops, we propose three documentation forms with complementing perspectives of embodied action from a first and a third person view. We discuss how they capture ephemeral embodied action and elusive design and experiential knowledge, in relation to two interdependent aspects of documentation forms: their performativity and the medium they use. The novelty of these forms lies in what is being captured: ephemeral design constructs that emerge as designers engage with the embodied ideation activity; how it is portrayed: in aggregation forms that highlight elusive design knowledge; and their purpose: to clarify and augment analytical results improving the designer-researchers’ understanding of key aspects of the embodied ideation process and its outcomes, useful to advance the design process and for research dissemination.

Documenting embodied ideation activities is challenging, as they often result in ephemeral design constructs and elusive design knowledge difficult to document and represent. Here, we explore documentation forms designers can use internally during the design process in the domain of movement-based interaction in collocated, social settings. Using previous work and our experience from embodied ideation workshops, we propose three documentation forms with complementing perspectives of embodied action from a first and a third person view. We discuss how they capture ephemeral embodied action and elusive design and experiential knowledge, in relation to two interdependent aspects of documentation forms: their performativity and the medium they use. The novelty of these forms lies in what is being captured: ephemeral design constructs that emerge as designers engage with the embodied ideation activity; how it is portrayed: in aggregation forms that highlight elusive design knowledge; and their purpose: to clarify and augment analytical results improving the designer-researchers’ understanding of key aspects of the embodied ideation process and its outcomes, useful to advance the design process and for research dissemination.

Documenting embodied ideation activities is challenging, as they often result in ephemeral design constructs and elusive design knowledge difficult to document and represent. Here, we explore documentation forms designers can use internally during the design process in the domain of movement-based interaction in collocated, social settings. Using previous work and our experience from embodied ideation workshops, we propose three documentation forms with complementing perspectives of embodied action from a first and a third person view. We discuss how they capture ephemeral embodied action and elusive design and experiential knowledge, in relation to two interdependent aspects of documentation forms: their performativity and the medium they use. The novelty of these forms lies in what is being captured: ephemeral design constructs that emerge as designers engage with the embodied ideation activity; how it is portrayed: in aggregation forms that highlight elusive design knowledge; and their purpose: to clarify and augment analytical results improving the designer-researchers’ understanding of key aspects of the embodied ideation process and its outcomes, useful to advance the design process and for research dissemination.

Documenting embodied ideation activities is challenging, as they often result in ephemeral design constructs and elusive design knowledge difficult to document and represent. Here, we explore documentation forms designers can use internally during the design process in the domain of movement-based interaction in collocated, social settings. Using previous work and our experience from embodied ideation workshops, we propose three documentation forms with complementing perspectives of embodied action from a first and a third person view. We discuss how they capture ephemeral embodied action and elusive design and experiential knowledge, in relation to two interdependent aspects of documentation forms: their performativity and the medium they use. The novelty of these forms lies in what is being captured: ephemeral design constructs that emerge as designers engage with the embodied ideation activity; how it is portrayed: in aggregation forms that highlight elusive design knowledge; and their purpose: to clarify and augment analytical results improving the designer-researchers’ understanding of key aspects of the embodied ideation process and its outcomes, useful to advance the design process and for research dissemination.

The goal of this research was to create an educational, outdoor Augmented Reality tour for preschool children using Minnesmark editor and mobile application. It started with an ethnographic pre-study which aimed understand the children’s abilities, characteristics and interests. It was followed by a bodystorming session which allowed the children to contribute to the design process together with the designer. Based on all the findings, a context scenario was created which showed the concept of a practicable tour. All the functional and data requirements were specified before creating the tour. The design was intended to be user-centred and to have positive effect on the children’s learning of sustainability and biodiversity. The tour was refined and created as a final product. 10 children participated in the tour which was executed in a forest behind the preschool and the preschool garden. The tour was evaluated which identified the design problems and their possible solutions.

The goal of this research was to create an educational, outdoor Augmented Reality tour for preschool children using Minnesmark editor and mobile application. It started with an ethnographic pre-study which aimed understand the children’s abilities, characteristics and interests. It was followed by a bodystorming session which allowed the children to contribute to the design process together with the designer. Based on all the findings, a context scenario was created which showed the concept of a practicable tour. All the functional and data requirements were specified before creating the tour. The design was intended to be user-centred and to have positive effect on the children’s learning of sustainability and biodiversity. The tour was refined and created as a final product. 10 children participated in the tour which was executed in a forest behind the preschool and the preschool garden. The tour was evaluated which identified the design problems and their possible solutions.

Designing bodily experiences is challenging. In this paper, we propose embodied sketching as a way of practicing design that involves understanding and designing for bodily experiences early in the design process. Embodied sketching encompasses ideation methods that are grounded in, and inspired by, the lived experience and includes the social and spatial settings as design resources in the sketching. Embodied sketching is also based on harnessing play and playfulness as the principal way to elicit creative physical engagement. We present three different ways to implement and use embodied sketching in the application domain of co-located social play. These include bodystorming of ideas, co-designing with users, and sensitizing designers. The latter helps to uncover and articulate significant, as well as novel embodied experiences, whilst the first two are useful for developing a better understanding of possible design resources.

Designing bodily experiences is challenging. In this paper, we propose embodied sketching as a way of practicing design that involves understanding and designing for bodily experiences early in the design process. Embodied sketching encompasses ideation methods that are grounded in, and inspired by, the lived experience and includes the social and spatial settings as design resources in the sketching. Embodied sketching is also based on harnessing play and playfulness as the principal way to elicit creative physical engagement. We present three different ways to implement and use embodied sketching in the application domain of co-located social play. These include bodystorming of ideas, co-designing with users, and sensitizing designers. The latter helps to uncover and articulate significant, as well as novel embodied experiences, whilst the first two are useful for developing a better understanding of possible design resources.

After a decade of movement-based interaction in human–computer interaction, designing for the moving body still remains a challenge. Research in this field requires methods to help access, articulate, and harness embodied experiences in ways that can inform the design process. To address this challenge, this article appropriates bodystorming, an embodied ideation method for movement-based interaction design. The proposed method allows for early consideration of the physical, collocated, and social aspects of a designed activity as illustrated with two explorative workshops in different application domains: interactive body games and interactive performances. Using a qualitative methods approach, we used video material from the workshops, feedback from participants, and our own experience as participants and facilitators to outline important characteristics of the bodystorming method in the domain of movement-based interaction. The proposed method is compared with previous ones and application implications are discussed.

Three-dimensional literature is a virtually non-existent or in any case very rare and emergent digital art form, defined by the author as a unit of text, which is not confined to the two-dimensional layout of print literature, but instead mediated across all three axes of a virtual space. In collaboration with two artists the author explores through a bodystorming workshop how writers and readers could create and experience three-dimensional literature in mixed reality, by using mobile devices that are equipped with motion sensors, which enable users to perform embodied interactions as an integral part of the literary experience.For documenting the workshop, the author used body-mounted action cameras in order to record the point-of-view of the participants. This choice turned out to generate promising knowledge on using point-of-view footage as an integral part of the methodological approach. The author has found that by engaging creatively with such footage, the designer gains a profound understanding and vivid memory of complex design activities.As the outcome the various design activities, the author developed a concept for an app called TEXTILE. It enables users to build three-dimensional texts by positioning words in a virtual bubble of space around the user and to share them, either on an online platform or at site-specific places. A key finding of this thesis is that the creation of three-dimensional literature on a platform such as TEXTILE is not just an act of writing – it is an act of sculpture and an act of social performance.

Three-dimensional literature is a virtually non-existent or in any case very rare and emergent digital art form, defined by the author as a unit of text, which is not confined to the two-dimensional layout of print literature, but instead mediated across all three axes of a virtual space. In collaboration with two artists the author explores through a bodystorming workshop how writers and readers could create and experience three-dimensional literature in mixed reality, by using mobile devices that are equipped with motion sensors, which enable users to perform embodied interactions as an integral part of the literary experience.For documenting the workshop, the author used body-mounted action cameras in order to record the point-of-view of the participants. This choice turned out to generate promising knowledge on using point-of-view footage as an integral part of the methodological approach. The author has found that by engaging creatively with such footage, the designer gains a profound understanding and vivid memory of complex design activities.As the outcome the various design activities, the author developed a concept for an app called TEXTILE. It enables users to build three-dimensional texts by positioning words in a virtual bubble of space around the user and to share them, either on an online platform or at site-specific places. A key finding of this thesis is that the creation of three-dimensional literature on a platform such as TEXTILE is not just an act of writing – it is an act of sculpture and an act of social performance.

This paper grounds in a research experience for engaging older people as co-designers of several wearable and in-house technologies. We start by describing a case study that is a pre-commercial procurement aimed at developing innovative services for the welfare of citizens, with a focus on older people. We present and discuss the qualitative data gathered on the occasion of a bodystorming with two groups of participants. The analysis led to the identification of the “aesthetic appropriateness”, the “social sensitivity”, and the “gender awareness” as three different dimensions that affected the acceptability of the technological devices. This approach created the conditions for instantiating the subversive power of participation. At the same time, such a subversion proved the authenticity of the participatory process. By drawing on this project, the purpose of the paper is to further our understanding of the conditions for Participatory Design.

How can service prototypes be created and evaluated? This paper describes how methods like bodystorming and experience prototyping can be used in combination with pluralistic walkthrough in an evaluation method we call ‘service walkthrough’. We put the method to test in the development of augmented tourism services at the author Astrid Lindgren's childhood home. After initial design work, a mock-up and roleplay of a treasure hunt in the garden of the childhood home was made. It was evaluated using the service walkthrough method. The most important lesson learned was that a service walkthrough can be used to evaluate service prototypes and that it reveals information about practical as well as experiential issues for users.

How can service prototypes be created and evaluated? This paper describes how methods like bodystorming and experience prototyping can be used in combination with pluralistic walkthrough in an evaluation method we call ‘service walkthrough’. We put the method to test in the development of augmented tourism services at the author Astrid Lindgren's childhood home. After initial design work, a mock-up and roleplay of a treasure hunt in the garden of the childhood home was made. It was evaluated using the service walkthrough method. The most important lesson learned was that a service walkthrough can be used to evaluate service prototypes and that it reveals information about practical as well as experiential issues for users.

How can service prototypes be created and evaluated? This paper describes how methods like bodystorming and experience prototyping can be used in combination with pluralistic walkthrough in an evaluation method we call ‘service walkthrough’. We put the method to test in the development of augmented tourism services at the author Astrid Lindgren's childhood home. After initial design work, a mock-up and roleplay of a treasure hunt in the garden of the childhood home was made. It was evaluated using the service walkthrough method. The most important lesson learned was that a service walkthrough can be used to evaluate service prototypes and that it reveals information about practical as well as experiential issues for users.

How can service prototypes be created and evaluated? This paper describes how methods like bodystorming and experience prototyping can be used in combination with pluralistic walkthrough in an evaluation method we call ‘service walkthrough’. We put the method to test in the development of augmented tourism services at the author Astrid Lindgren's childhood home. After initial design work, a mock-up and roleplay of a treasure hunt in the garden of the childhood home was made. It was evaluated using the service walkthrough method. The most important lesson learned was that a service walkthrough can be used to evaluate service prototypes and that it reveals information about practical as well as experiential issues for users.

How can service prototypes be created and evaluated? This paper describes how methods like bodystorming and experience prototyping can be used in combination with pluralistic walkthrough in an evaluation method we call ‘service walkthrough’. We put the method to test in the development of augmented tourism services at the author Astrid Lindgren's childhood home. After initial design work, a mock-up and roleplay of a treasure hunt in the garden of the childhood home was made. It was evaluated using the service walkthrough method. The most important lesson learned was that a service walkthrough can be used to evaluate service prototypes and that it reveals information about practical as well as experiential issues for users.

How can service prototypes be created and evaluated? This paper describes how methods like bodystorming and experience prototyping can be used in combination with pluralistic walkthrough in an evaluation method we call ‘service walkthrough’. We put the method to test in the development of augmented tourism services at the author Astrid Lindgren's childhood home. After initial design work, a mock-up and roleplay of a treasure hunt in the garden of the childhood home was made. It was evaluated using the service walkthrough method. The most important lesson learned was that a service walkthrough can be used to evaluate service prototypes and that it reveals information about practical as well as experiential issues for users.