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This paper introduces and reflects on a master elective course for Interaction Design students titled Researching the Future Everyday. Aiming to equip students with the skills to critically adapt their own practices to the changing societal roles of design, the course guides students through a critical design approach with three key elements: a Science and Technology Studies paper that provides an alternative paradigm for assumed relations between design and societal issues, a Critical Design approach that makes the paradigm relatable for designers, and the use of Research Products to stimulate generalization of design implications beyond the exemplar. By analyzing ten student projects, we identify two patterns of using critical design to extend and enrich alternative paradigms. One uses oppositional designs to develop alternative design approaches. The other uses accelerational designs to extend alternative problem spaces. These patterns and their variations reveal avenues to further support students in developing critical practices.

2020 marks the beginning of a new era as the pandemic catapulted us into new digital and virtual ways of everyday life. As the world changes, we reimagine empowering, equitable, accessible, diverse, and inclusive digital futures, through a series of projects and workshops with a diverse set of participants - children in schools and Child Computer Interaction researchers. We conducted one long-term project with two schools in Finland and two one-day workshops with an international set of participants. Through an analysis of participants’ experiences and outcomes in the project and workshops, we build a case for diversity and inclusion through design fiction in the context of children’s education. In addition, through an analysis of the process we as researchers took for developing the project and workshops, we showcase the support of diversity and inclusion in design fiction. publishedVersion

Critique sessions are an essential educational activity at the center of many design disciplines, especially those involving the creation of physical mockups. Conventional approaches often require the students and the instructor to be in the same space to jointly view and discuss physical artifacts. However, in remote learning contexts, available tools (such as videoconferencing) are insufficient due to ineffective, inefficient spatial referencing. This paper presents ARCritique, a mobile Augmented Reality application that allows users to 1) scan physical artifacts, generate corresponding 3D models, and share them with distant instructors; 2) view the model simultaneously in a synchronized virtual environment with remote collaborators; and 3) point to and draw on the model synchronously to aid communication. We evaluated ARCritique with seven Industrial Design students and three faculty to use the app in a remote critique setting. The results suggest that direct support for spatial communication improves collaborative experiences. Published version

Immersive Virtual Environments (IVEs), particularly Mixed-Reality (MR) technologies, continue to have an increasing impact on design processes and design education. This study focuses on MR’s potentials in Basic Design (BD) education and its influence on novice designers’ design thinking abilities. In this study, through a newly developed MR-based design framework, DesignMR, a comparative analysis between design processes in MR and the physical environment is presented. A hybrid evaluation methodology is used in the context of three-dimensional (3D) BD tasks through two sets of protocol studies: Linkography and exit interviews. Linkography is a method to analyze the design process based on detecting design moves and their links with each other. In this study, linkographic analyses point to an increase in critical moves and link index values in MR as compared to the physical environment for all participants. This indicates that MR can trigger improved creativity, design productivity, and design exploration by idea generation. Exit interviews highlighted the positive impact of DesignMR on the motivation, work efficiency, and 3D perception of the participants. Further research will be pursued for improved hand gestures to increase the effectiveness of object interaction.

The word 3D is defined as three dimensional models that display a picture or item in a form that appears to be physically present with a designated structure. Three-dimensional (3D), can also describe any object that occurs on a three-axis Cartesian coordinate system, a Cartesian system is basically a fancy way of describing the X and Y axes which are horizontal and vertical axis, but the inclusive of the third axis Z which is make it to be 3D of which the Z axis represent the depth.3D interaction is a form of human-machine interaction where users are able to move and perform interaction in 3D space. Both human and machine process information where the physical position of elements in 3D space. The main features of these 3D applications are immersion, interactivity, and involvement. Immersion holds the user’s attention. Interactivity is related to how responsive the application is to user actions and Involvement has to do with engaging the user’s interest in the underlying activity.3D interaction techniques are selection and manipulation, navigation, system control and symbolic inputs. Its application is in the area of Exploring Complex Data, Visualizations with the Cubic Mouse, Multimodal Interfaces in VEs Multimodal interaction, and VEs for Design Education Architectural design. KEYWORDS:interaction,cartesian,information,application,interface,virtual,physical,technique,immersion,involvement,design,navigation and data.

3D design and modeling is an important part of design education. Self-directed learning (SDL) has been considered in order to effectively learn and teach 3D design and modeling. Exploring the relat...

Background/Context Studio-based courses—the primary approach in design education— have been viewed as effective environments for learning. This study uses an ecological approach to explore how the studio environment creates opportunities for social interaction through immersive studies of studio learning. Purpose/Objective/Research Question/Focus of Study We engaged in an ethnographic case study of a beginning architecture design course aimed at exploring the ways the learning environment of the studio affords social interaction, and how these interactions shape students’ understandings and behaviors as they learn. Particular attention was paid to the physical, structural, and instructional affordances that contribute to learning in the studio environment. Setting Over the course of one semester, we observed nine students and their instructor in Architecture Design 1 (AD 1), a first-year architecture studio at a large, public research institution. Population/Participants/Subjects The student participants ranged in age from 18 to 25, four of the participants identified as students of color, two identified as international students, three identified as female, and six, male. The instructor, who identifies as female, had taught AD 1 at the university for eight years prior to the study and holds a master's degree in architecture. Research Design We engaged in an ethnographic case study using an ecological approach, focused on the relationship between humans and their environment. We view learning and knowledge as individually constructed by the learner in a socially situated, public context; as such, a case study design using ethnographic methods of data collection was employed. Data Collection and Analysis Our data sources included observations of daily studio activities, participant interviews, researcher reflections on studio visits, and course artifacts such as the course syllabus and assignment handouts. We analyzed data using a two-cycle method of coding and analysis focusing on identifying patterns or themes in the data. Findings/Results We found several physical, structural, and instructional affordances that contribute to learning. The physical affordances of the studio environment of AD 1 included the open layout, public/private workspaces, and co-working in proximity to others. The structural affordances were long blocks of unscheduled work time, the project brief, and the sequencing of the projects, tasks, and deadlines. The instructional affordances included formal and informal critique, “mini-lectures,” and demonstrations. Conclusions/Recommendations Although focused within a design discipline, our findings have broader applicability to collegiate academic environments that support student learning. Recommendations include creating fluidity in the classroom space, centralizing feedback, demonstrating emerging understandings visually, and constraining constructivist learning environments.

Inclusion of tangible user interfaces can facilitate learning through contextual experience, interaction with the provided information, and epistemic actions, resulting in effecting learning in design education. The goal of this study is to investigate how tangible user interface (TUI) affects design learning through the cognitive load. Extended reality-based TUI and traditional desktop-based GUI were utilized to deliver the same information to two groups of students. The NASA TLX tool was used to measure students' perceived cognitive load after receiving information through the two modalities. Contemporary design pedagogy, the potential use of XR, design cognition, today's design learners experience-oriented lifestyle were combined to provide a theoretical framework to understand how information delivery modalities affect design learning. The results reveal that the use of XR-based TUIs decreases cognitive load resulting in enhanced experience and effective learning in design studios.

Biological examples have been used to increase innovation in design activities and design education. And biologically inspired design has been studied in mechanical engineering using biological functions and principles as source domains. However, there were few studies regarding shape-based biological design in industrial design; furthermore, the openness of the source and target domains was vague. This study tries to explore shape-based biological design with closed source domain and closed target domain. In addition, this study aims to figure out students’ difficulties and defects in bionics design to promote design education. Third-year undergraduate students, graduate students, and experts whose backgrounds are industrial design were invited to be participants in the study. Participants of each expertise level were divided into two groups and were given whole and segmented pictures of white sharks individually to design electric cars. Outcome-based validation was chosen to measure the effect of analogy. Multivariate ANOVA was used to evaluate the effect of expertise level and source domain completeness on the results. The findings showed that presenting designers with segmented pictures can increase the number of biological elements and details in the solution. However, there appeared to be no significant difference between the novelty of the work, whether the group received complete or segmented images. Novice designers were more innovative and preferred to use more biological elements during ideation than the experts, while the latter tended to use fewer elements of biology and generated solutions with a higher level of abstraction. For design education, the findings will give teachers advice on how to train and inspire their students in bionics design. For the design industry, segmented biological images can increase the elements used and the details in the sketches. In addition, the evaluation metrics for shape-based BID established in this study can help designers and manufacturers in terms of production.

Various aspects of the design process often lead to stress. This study used pre- and post-task surveys to gather information regarding the designer's cognitive experience, physiological response, and perceived sources of stress during concept generation, concept selection, and prototyping. Results confirmed that design is highly cognitive, and that mental stress is present. Variability in the results also suggests that a physiological stress component might be present. Additionally, perceived sources of stress were examined, and recommendations were offered for instructors of design courses.

This paper proposes an engineering-oriented framework that casts the problem of learning as an automatic control problem, and that can ultimately be used to design education activities that autonomously adapt to individual students’ abilities, prerequisites, learning goals and other restrictions. The framework leverages on quantitative descriptions of knowledge flows within university programs in terms of Knowledge Components Matrices (KCMs) and Knowledge Flow Graphs (KFGs), that serve as the basis for developing the aforementioned automated approach to personalized education. Essentially, the manuscript proposes to: 1) combine these descriptions with results from exams and assessments to statistically estimate the learning status of a student; 2) combine these descriptions with data-driven approaches to derive models of how knowledge ladders logically and in time; 3) use these two ingredients to automatically design suitable and personalized study activities for a student, given his/her current knowledge status and desired learning outcome. We describe all steps (modelling of the knowledge flows, estimating the current learning status, and derivation of suitable learning activities to close the loop) with formal and control-oriented notation. The paper serves thus the purpose of showing how methods from the field of system theory and control engineering are naturally useful for the implementation of quantitative-based personalized education.

This paper provides a pedagogic context for the authors’ concept of ‘Speculative Pasts,’ framed within an auto-ethnographic account of their co-taught course ‘How the Computer Became Personal.’ Ble...

Medical Device Design process carries a high responsibility when defining the characteristics of the object for its correct interaction with users. This study presents a proposal for the improvement of the medical device design processes, in order to increase user acceptance, considering two key factors: the hierarchy of users and the relationship with the patient's health status. The goal of the study seeks to address this research gap and raise design factors with practical suggestions for the design of new medical devices. The results obtained will help medical device designers in the development stage to make more informed decisions about the functions and features required in the final product; As well, in the design process didactics, demonstrating the importance of the correct execution of the process, and how the factors considered can generate an impact on the final product. An experiment was carried out with Forty design engineering students, who designed birthing beds, with two design processes, the traditional product design process, and the new design process based on hierarchies (proposed in this study). The results showed that there is a significant increase in user acceptance with the new birthing bed that was developed with the hierarchical based design process.

Multiscale design is the widely practiced use of space and scale to visually explore and articulate relationships. Free-form web curation (FFWC) is an approach to supporting multiscale design, involving creative strategies of collecting content, assembling it to juxtapose and organize, sketching, writing, shifting perspective to navigate, and exhibiting to share and collaborate. Our long term goal is to support design students with automatic, on demand feedback. We introduce a spatial clustering technique for recognizing multiscale design characteristics---scales and clusters---in FFWC documents. We perform quantitative evaluation to establish baseline performance. We contribute to human-centered AI by advancing fundamental human aspirations, through automatic recognizers of creative design, e.g., for representing and communicating abstract ideas. We develop implications, (1) for supporting people using content recognition in creative contexts, such as design education; (2) for overcoming design fixation with human-centered AI; and (3) for recognizing multiscale design characteristics.

Imagine buying flowers for a loved one. After selecting a bouquet, at checkout you discover that the site sneaked a paid greeting card into your shopping cart. This is an example of a dark pattern, an interface designed to manipulate a user into behavior that goes against their best interests. The notion of dark patterns has fostered a growing critical discussion about which interfaces go too far in exploiting the user. The first aim of this workshop at CHI 2021 is to bring together a transdisciplinary group of design practitioners and researchers to discuss dark patterns across domains. The second aim is to identify actions to address dark patterns from within the design community, which might include e.g., setting industry norms, articulating values during the design process, or incorporating dark patterns into design education curricula. The third aim is to look beyond the design community and consider what changes designers might advocate for via interactions with e.g., consumers, media, and policymakers.

Feedback is an important aspect of design education, and crowdsourcing has emerged as a convenient way to obtain feedback at scale. In this paper, we investigate how crowdsourced design feedback compares to peer design feedback within a design-oriented HCI class and across two metrics: perceived quality and perceived fairness. We also examine the perceived monetary value of crowdsourced feedback, which provides an interesting contrast to the typical requester-centric view of the value of labor on crowdsourcing platforms. Our results reveal that the students (N=106) perceived the crowdsourced design feedback as inferior to peer design feedback in multiple ways. However, they also identified various positive aspects of the online crowds that peers cannot provide. We discuss the meaning of the findings and provide suggestions for teachers in HCI and other researchers interested in crowd feedback systems on using crowds as a potential complement to peers., 14 pages. CHI Conference on Human Factors in Computing Systems (CHI '21), May 8-13, 2021

The purpose of this study is to promote the experiential learning (EL) method in the pedagogics of art and design in higher education. This article is based on a case study consisting of two pedagogical projects in interior design courses, the probing project and the multisensory space project, carried out between 2014 and 2016 with trainee teachers. Using the data from these projects I analyse using the qualitative content analysis method how and with what implications EL supports learning of art and design in higher education. The results show that EL was found to be inspiring and self-expressive, and was an unusual and motivating way to learn interior design. In a teacher education context EL gave students ideas about collaborative and EL-based methods of learning that could be applied to their own future teaching projects.

Teaching “calm technology” and “smart materials” as prospective trends in product design is the motivation of the educational workshop presented in this paper. Materials can trigger creative thinking. Indeed, concepts can be generated ideas that come from the encounter with a material showing the material's unexpressed potential. However, a smart material is a complex hybrid object. It is a highly technical matter that requires years of R&D to be developed and matured. It is also a highly social matter, that blurs the traditional boundary between matter and function in a product, creates an experience, and enhances sensations. The workshop presented in this paper is an opportunity for the students to analyze the complexity of user experience related to ambient devices using smart materials. In order to provide a guideline to perform this analysis, an approach based on heuristic evaluation is proposed to the students.

Traditionally, data has been presented in textual format and the interaction with the user confined to the keyboard or touch screen to input data and the screen to deliver information. However, with the advent of a data-driven society, an opportunity for more natural and efficient ways of presenting data and interacting with it has emerged.Although the area of Human-Computer Interaction has existed for a long time, its focus has always been on the interaction with an artefact (the computer). Today instead, we face the challenge of interacting with an intangible object: data. As a result, a key requirement emerges: How do we make legible the enormous amounts of data produced per day to ordinary people?Designers, able to devise natural and smooth interaction experiences, should play a relevant role in this new scenario. However, they might lack the basic technical knowledge required to understand the possibilities of these new systems.In this paper we present a brief how-to manual for an undergraduate course on data materialisation: the process of transforming an intangible object (data) in an artefact that can be interacted with in a physical way.

Today, by taking advantage of game theories and models, gamification techniques are used in order to obtain various gains in areas other than games. This field, which cannot be associated to game, mainly deals with the behavioral components of gaming. Games have been a research subject of design in terms of their physical and virtual environments. With the incorporation of gamification techniques into design processes, the gamification also started to transform the design action besides this physical and fictional similarity. By virtue of gamification, the designer who is a factor in the creation process in game design can be a part of the game dynamics by using the basics of the game. In this process, at which point the designer will take an active role in the gamified design process and how s/he will adapt to these mechanical and dynamic components are the issues to be questioned. To this end, how and with which title the designer will be involved in this process should be questioned in order to apply gamification techniques to design processes. Furthermore, the levels of interest in the game and the game processes will occupy an important place in the development of applications. In this context, the aim of the study is to reveal relationally the mental connection of the designer with the game elements for the gamification application on the design to be designed with the gamification hierarchy asserted by Werbach and Hunter. In order to achieve this goal, literature review regarding the gamification and design areas was performed. In addition, 15 people who have received design education and are professionally interested in design were interviewed. The target population of the study is individuals who have received design education and the sample group was determined as participants who are professionally interested in design. In this process, open-ended questions based on gamification elements were asked to participants. The questions were asked by structured interview technique and the data were evaluated by the content analysis method based on the participants’ discourses. At the end of the research process, suggestions were given on the use of game elements for gamification applications, which can be applied, to designers.

This study aims to present a curriculum with threefold experimental modules in the field of digital modeling and discuss the reflection of the module on students’ learning and making processes. The paper proposes an experimental approach to address introduction of CAD/CAM tools in design education, enhanced by constructivist theories of teaching. The submodules we call tool- (user, breaker, designer) allows students to make digital modeling by experiencing a variety of tools. We introduce the outcomes of the course and interrelations between submodules and students’ engagement in students’ learning process. Initial findings suggest that the students’ personalization of the design tools in the tool-breaker phase and associating them with their own experiences contribute positively to the development of a unique perspective in the design process.

Designers create sketches, diagrams, and other visual media to both externalize a specific design concept as well as to explore design spaces. The largely visual and spatial nature of these diagrams used to support design activities poses several challenges for blind and visually impaired (BVI) designers to participate along sighted peers. This challenge includes the creation of tools to support the teaching of tactile graphics and their collaborative use in the context of design education. In efforts to address several of these challenges, we present PantoGuide, a low-cost system that provides audio and haptic guidance, via skin-stretch feedback to the dorsum of a user’s hand while the user explores a tactile graphic overlaid on a touchscreen. This system allows programming of haptic guidance patterns and cues for tactile graphics that can be experienced by students learning remotely or that can be reviewed by a student independently.

Desired affordances and appropriate product semantics are important when considering products that are easy to use and easy to understand. Despite affordances and product semantics being taught in some design educations, many designers in industry do not explicitly consider affordances nor product semantics during the design process. This is partly due to the lack of a framework that supports the considerations for affordances and product semantics during the design process. As a consequence, many designers rely on their own intuition, and this can be problematic. To avoid the potential negative effects of relying on intuition, we designed a framework to support the designer in explicitly considering affordances and applying product semantics during product design. This framework was used by undergraduate students in product design engineering during a 12-week product design assignment. In this paper we present the framework, examples of how it was used and how it was evaluated by the students. We finally discuss the findings within the context of design for meaning and project-based learning.

In the Plan for New-generation Artificial Intelligence Development promulgated by the state in recent years, the introduction of artificial intelligence and immersive teaching into smart education has been put forward, aiming to construct the online education model with an XR integration and to build interactive learning environment through the energizing of 5G. This project discusses about how to design education products integrating virtual and real factors so as to effectively improve the situationality and experience of children in the learning of music theory, mobilize children to learn through visual sense, kinesthesis, hearing and other senses with the help of AR recognition technology, thus presenting abstract concepts and theories to the children in a more intuitive way, thus improving their learning efficiency. Finally, the researchers designed and developed a set of game products for music learning combining software and hardware, and a usability test of the prototype was conducted so as to carry out the iterated design. The design in this project addresses the problems of boredom and passive learning seen in children learning music theory in the traditional way, combines obscure knowledge of music theory with interactive games, thus promoting children learners’ understanding of music theory. The way of immersive learning with an integration of virtual and real factors, interactive means and perception methods have improved the learning efficiency and creativity of the learners, optimized the design and realization process of the interaction and feedback mechanism, and brought about game-changing changes to educational ideas and teaching approaches.

While Virtual Reality (VR) is now widely used as a final design presentation tool, little research focuses on the role of VR during design development processes in design education. However, properly positioned and pedagogically researched VR holds great potential for helping students make better design decisions to support end-users with diverse needs. This research seeks to connect the value of VR as not only a presentation medium but also as a “perspective taking” tool to help students develop better design solutions. Undergraduate Interior Design students (n=15) were recruited to experience their already completed studio projects of a retail store design as a VR character in a virtual wheelchair. Each participant was asked to assess the effectiveness of their design solution for wheelchair users before and after the intervention. The interactions students had during their VR sessions were recorded and content analyzed for emerging themes. Although the sample size was small to achieve statistical power, qualitative findings revealed numerous perceptual shifts as students identified problems for wheelchair users in their design solutions.

The current technologies have created a shift from Computer Aided Design to Computational Design in architecture. Computational design allows inquiries into what can be implicit knowledge in traditional design thinking, enables the definition of the mechanisms of design process and formulations of design knowledge and representation, and defines generative and evaluative knowledge. The purpose of this study is to discuss how Cellular Automata can be utilized in design studios to develop computational design thinking, through the examination of Frazer’s and Herr's studio works. After finding matching concepts and comparisons of Cellular Automata methods used in two design studios, the concept of ‘computation’ in Cellular Automaton studies and contributions of using this generative method in design studio will be discussed. In other words, this study will examine the content of Computational Design Thinking through Cellular Automata applications and their contributions to design education. As a result, since Cellular Automata methods are exploratory processes. They enhance seeing, reaching the whole from the parts, noticing the relationships and patterns between the parts and re-inventing them during and after the generative process. For these reasons, Cellular Automata have an important role in the development of computational design thinking in design studios with different concepts and setups.

Sketching in perspective is a valuable skill for art, and for professional disciplines like industrial design, architecture, and engineering. However, it tends to be a difficult skill to grasp for novices. We have developed an algorithm that can classify rectilinear perspective strokes, as well as classify which of those strokes are accurate on a stroke-by-stroke basis. We also developed an intelligent user interface which can provide real-time accuracy feedback on a user's free-hand digital perspective sketch. To evaluate the system, we conducted a between-subjects user study with 40 novice participants which involved sketching city street corners in 2-point perspective. We discovered that the participants who received real-time intelligent feedback improved their perspective accuracy significantly (p

This chapter deals with the developing genre of Augmented Reality (AR) design from architecture to fine arts. Although a great deal of literature exists in this area within the architectural field, this chapter will seek to delve into more holistic approaches to the use of AR in art and design. This will engage the HCI-based issues of handheld device compared to headset (HoloLens, Magic Leap) technologies in terms of Lichty’s theory of immersive gesture. Differences between these platforms, as well as AR’s distinctions from other immersive media offer insights into the development of pedagogical models in the creative disciplines. Of particular interest is the use of AR in Design Education, allowing future possibilities for hybrid models of creative expression, like augmented overlays on physical models/artworks, to the use of AR as a tool in material work. This chapter aims to look at the current literature, draw inferences through analyzing case studies how educational models are being constructed through the theory of gesture and consider models for the use of these technologies in improving the creative disciplines.

Spatial awareness and the ability to analyze spatial objects, manipulate them and assess the effect thereof, is a key competence for industrial designers. Skills are gradually built up throughout most educational design programs, starting with exercises on technical drawings and reconstruction or classification of spatial objects from isometric projections and CAD practice. The accuracy in which spatial assignments are conducted and the amount of effort required to fulfill them, highly depend on individual insight, interests and persistence. Thus each individual has its own struggles and learning curve to master the structure of spatial objects in aesthetic and functional design. Virtual reality (VR) is a promising tool to expose subjects to objects with complex spatial structure, and even manipulate and design spatial characteristics of such objects. The advantage of displaying spatial objects in VR, compared to representations by projecting them on a screen or paper, could be that subjects could more accurately assess spatial properties of and object and its full geometrical and/or mechanical complexity, when exposed to that object in VR. Immersive experience of spatial objects, could not only result in faster acquiring spatial insights, but also potentially with less effort. We propose that acquiring spatial insight in VR could leverage individual differences in skills and talents and that under this proposition VR can be used as a promising tool in design education. A first step in underpinning this hypothesis, is acquisition of cognitive workload that can be used and compared both in VR and in a classical teaching context. We use electroencephalography (EEG) to assess brain activity through wearable plug and play headset (Wearable Sensing-DSI 7). This equipment is combined with VR (Oculus). We use QStates classification software to compare brain waves when conducting spatial assessments on paper and in VR. This gives us a measure of cognitive workload, as a ratio of a resulting from subject records with a presumed 'high' workload. A total number of eight records of subjects were suited for comparison. No significant difference was found between EEG signals (paried t-test, p = 0.57). However the assessment of cognitive workload was successfully validated through a questionnaire. The method could be used to set up reliable constructs for learning techniques for spatial insights.

Design sketching is an important skill for designers, engineers, and creative professionals, as it allows them to express their ideas and concepts in a visual medium. Being a critical and versatile skill for many different disciplines, courses on design sketching are often taught in universities. Courses today predominately rely on pen and paper; however, this traditional pedagogy is limited by the availability of human instructors, who can provide personalized feedback. Using a stylus-based intelligent tutoring system called SketchTivity , we aim to eventually mimic the feedback given by an instructor and assess student-drawn sketches to give students insight into areas for improvement. To provide effective feedback to users, it is important to identify what aspects of their sketches they should work on to improve their sketching ability. After consulting with several domain experts in sketching, we came up with several classes of features that could potentially differentiate expert and novice sketches. Because improvement on one metric, such as speed, may result in a decrease in another metric, such as accuracy, the creation of a single score may not mean much to the user. We attempted to create a single internal score that represents overall drawing skill so that the system can track improvement over time and found that this score correlates highly with expert rankings. We gathered over 2,000 sketches from 20 novices and four experts for analysis. We identified key metrics for quality assessment that were shown to significantly correlate with the quality of expert sketches and provide insight into providing intelligent user feedback in the future.

In existing studies about analogical reasoning during idea generation in design, there is lack in quantitative and objective evidences showing the relationship between expertise and the analogy distance. To advance such a state, in this study 43 participants (beginning and advanced students) took part in a design task and their eye movements such as fixation time and saccades were compared. Besides, quantitative analysis of sketches and retrospective interviews were conducted to further explore the relationship between the analogy distance, the fixation level and expertise. The results showed that: (1) compared to advanced students who equally distributed their attention among the three analogy domains, beginning students fixed significantly more on distant domain, although they both used more near and medium analogies in their solutions; (2) beginning students markedly outperformed advanced students in both between-domain and within-domain saccades; (3) beginning students create more ideas and get into high-level design fixation, contrary to advanced students who create a small number of alternative ideas and perform a low level of design fixation. The results clearly offer more accurate and objective evidences showing significant relationships between the cognitive activities of analogical reasoning and expertise and analogy distance, which will bring greater clarity in using analogy in design and teaching analogical reasoning in design education.

Due to copyright restrictions, the access to the full text of this article is only available via subscription. A multiple case study was conducted to investigate the machineries of designers' user knowledge production at six design consultancies in the Northwestern USA in domains of architecture, industrial design, and interaction design. Karin Knorr Cetina's theory of epistemic cultures was utilised as the theoretical lens. The findings indicate that the user is not a given; instead, the user is a constructed phenomenon in design. The design process is characterised by the deconstruction and reconstruction of the user information and of experiential information, implemented to meet the epistemic needs of designers. User representations are used as the liminal knowledge. Designers manipulated this knowledge in order to narrow down the artefact to be designed. Washington State University

This article describes a model of the future software system, the main task of which is to provide assistance in coloring graphical user interfaces (GUI). The functioning of the system is based on semantic map data. Elements of this semantic map are individual colors and combinations of colors, associated with functional elements of the interface. The map coordinates of each individual color or combination are derived from emotional assessments by human participants. The usage of the map is based on patterns and schemas, typical for popular GUI designs. A system of this sort will be useful as a creative assistant to a human designer in various design projects and in design education.

This paper proposes extending the appearance of artefacts from human to zoomorphic on the basis of the uncanny valley phenomenon, while simultaneously realising the effects of bionic species, product realism, and gender differences on preschool children’s preferences for artificial animal appearances. In this study, animal toys were created as stimuli and a three-factor experiment was conducted with preschool children. Overall, the children demonstrated significantly stronger preferences for animal toys with extremely high or moderate realism compared with those with extremely low realism. Specifically, the boys preferred the toys with extremely high realism, and the girls preferred those with moderate realism. We conclude with some suggestions regarding the direction of design guidelines for the appearance of artificial animals, to facilitate the design and creation of animal products that promote human–robot interactions and design education.

Critique is an important component of creative work in design education and practice, through which individuals can solicit advice and obtain feedback on their work. Face-to-face critique in offline settings such as design studios has been well-documented and theorized. However, little is known about unstructured distributed critique in online creative communities where people share and critique each other's work, and how these practices might resemble or differ from studio critique. In this paper, we use mixed-methods to examine distributed critique practices in a UX-focused online creative community on Reddit. We found that distributed critique resembles studio critique categorically, but differs qualitatively. While studio critique often focuses on depth, distributed critique often revolved around collective sensemaking, through which creative workers engaged in iteratively interpreting, defining, and refining the artifact and their process. We discuss the relationship between distributed critique and socio-technical systems and identify implications for future research.