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Building on the concept “prototypes that filter the design space,” we establish how other kinds of design artifacts and activities (e.g., sketching, tests, concept posters, metaphors, design tools) are equally critical in filtering the design space. We also suggest a parallel term, “informing the design space,” to define how design artifacts and activities expand the design space. We focus on a 16-month, full-scale media architecture design project and zero in on seven of its component events, and use design-space schemas to shed light on the dynamics of the design space with respect to informing and filtering the design space. Our concluding contribution is to propose design-space thinking as a sub-discipline of design research. We argue that this research perspective serves to address the creative aspects of the design process, the generative potential of design-space thinking, and the tools that support design-space thinking and research.

Data supports an increasing number of services in society. This has created a growing needfor organizations to consider data a key facilitator of service innovation and development.However, research reveals that organizations lack the tools to support creative andinnovative work with data in ways that help to promote data-driven innovation. To addressthis problem, this dissertation examines how organizations can design and innovate theirdata-based services. Specifically, it explores how domain experts who are not ITprofessionals may participate in designing and innovating the data and data structures thatunderpin the digital services they use and provide, as part of their work practices. Thedissertation demonstrates how it is possible to enable domain experts to design with datawhen data is carefully foregrounded. It also demonstrates that domain experts maycollaboratively design with data in a way that takes into account that many organizations areconnected to external stakeholders and organizations through shared practices, systems,and, indeed, data. The dissertation is based on a three-year action research study withIndustriens Uddannelser (IU), an organization that works to maintain and develop vocationaland continuing education programmes related to Denmark’s industrial sector. Thisdissertation takes a practice perspective to explicitly focus on day-to-day data practices as away to investigate how IU may work with data, to innovate and design their data-basedservices. The long-term action research project with IU forms the core of this dissertation’s sixprincipal contributions. First, the dissertation discusses how data is used and handled todayby local government and organizations in the public sector. Second, the dissertationpresents a diagram that reveals the complex network of stakeholders which frame how anorganization may provide and innovate essential data-based services. Third, the dissertationinvestigates how an organization can develop and establish a culture of design andinnovation to foster data-driven innovation. Fourth, the dissertation elaborates on the toolsdeveloped to enable domain experts who are not IT professional, to participate in the designof the data-based services they use and provide as part of their work practices. Fifth, basedon the tools developed, the dissertation proposes a Data Mode Map, which is an instrumentthat supports reflection on the design of data notation for co-design. Finally, thedissertation’s principal theoretical contribution is the proposal to develop a co-designperspective on data. This perspective aims to support organizations in developing theirexisting as well as new data-based services using data. Additionally, this perspectivepromotes collaborative methods that reveal and take into account varying data practices inthe design process – not only within the individual organization, but across the network ofstakeholders who are more or less involved or influenced by new data-driven initiatives. Thelast contribution, in particular, offers suggestions for future research. Data supports an increasing number of services in society. This has created a growing need for organizations to consider data a key facilitator of service innovation and development. However, research reveals that organizations lack the tools to support creative and innovative work with data in ways that help to promote data-driven innovation. To address this problem, this dissertation examines how organizations can design and innovate their data-based services. Specifically, it explores how domain experts who are not IT professionals may participate in designing and innovating the data and data structures that underpin the digital services they use and provide, as part of their work practices. The dissertation demonstrates how it is possible to enable domain experts to design with data when data is carefully foregrounded. It also demonstrates that domain experts may collaboratively design with data in a way that takes into account that many organizations are connected to external stakeholders and organizations through shared practices, systems, and, indeed, data. The dissertation is based on a three-year action research study with Industriens Uddannelser (IU), an organization that works to maintain and develop vocational and continuing education programmes related to Denmark’s industrial sector. This dissertation takes a practice perspective to explicitly focus on day-to-day data practices as a way to investigate how IU may work with data, to innovate and design their data-based services.The long-term action research project with IU forms the core of this dissertation’s six principal contributions. First, the dissertation discusses how data is used and handled today by local government and organizations in the public sector. Second, the dissertation presents a diagram that reveals the complex network of stakeholders which frame how an organization may provide and innovate essential data-based services. Third, the dissertation investigates how an organization can develop and establish a culture of design and innovation to foster data-driven innovation. Fourth, the dissertation elaborates on the tools developed to enable domain experts who are not IT professional, to participate in the design of the data-based services they use and provide as part of their work practices. Fifth, based on the tools developed, the dissertation proposes a Data Mode Map, which is an instrument that supports reflection on the design of data notation for co-design. Finally, the dissertation’s principal theoretical contribution is the proposal to develop a co-design perspective on data. This perspective aims to support organizations in developing their existing as well as new data-based services using data. Additionally, this perspective promotes collaborative methods that reveal and take into account varying data practices in the design process – not only within the individual organization, but across the network of stakeholders who are more or less involved or influenced by new data-driven initiatives. The last contribution, in particular, offers suggestions for future research.

Organisations are looking for new service offers through innovative use of data, often through a Service Design approach. However, current Service Design tools conceal technological aspects of service development like data and datasets. Data can support the design of future services but is often not represented or rendered as a readily workable design material. This paper reports on an early qualitative study of the tools used to work with data and analytics in a medium-sized organisation. The findings identify the current representations of data and data analytics used in the case organisation. We discuss to which extend the available representations of data and data analytics support data-driven service innovation. A comparison of our findings and current Service Design representations show that Service Design lack to represent data as design material. We propose the notion of expansiveness as a criterion to evaluate future data representations for data-driven Service Design.

Design artefacts are vital to communicate design outcomes, both in remote and co-located settings. However, it is unclear how artefacts are used to mediate interactions between designers and stakeholders of the design process. The purpose of this paper is exploring how professional design teams use artefacts to guide and capture discussions involving multidisciplinary stakeholders while they work in a co-located setting. An earlier draft of this paper was paper published in the Proceedings of the European Conference on Cognitive Ergonomics (ECCE 2017). This work adds substantial clarification of the methodology followed, further details and photographs of the case studies, and an extended discussion about our findings and their relevance for designing interactive systems. We report the observations of six design meetings in three different projects, involving professional design teams that follow a user-centered design approach. Meetings with stakeholders are instrumental for design projects. However, design teams face the challenge of synthesizing large amounts of information, often in a limited time, and with minimal common ground between meeting attendees. We found that all the observed design meetings had a similar structure consisting of a series of particular phases, in which design activities were organized around artefacts. These artefacts were used as input to disseminate and gather feedback of previous design outcomes, or as output to collect and process a variety of perspectives. We discuss the challenges faced by design teams during design meetings, and propose three design directions for interactive systems to coordinate design meetings revolving around artefacts The research leading to these results has received funding from the European Research Council under the European Union's Seventh Framework Programme (FP7/2007-2013) / ERC grant agreement n° 610725 (COnCEPT project)

This dissertation contributes to three fields within design research: - Explorations of a design space related to aesthetics of Tangible Interaction, which have led to a set of design imaginations as well as perspectives on salient design qualities. - Views on and a designerly example of knowledge construction related to Research through Design as well as to programmatic approaches to design research. - Rich and reflected examples of how to co-develop design and pedagogy in the field of profound disabilities. Through the programme Tangible Participation the research seeks and expresses alternatives by critical questioning and imaginations of change. Such alternatives are articu¬lated in a set of designs making the possible present. These designs have been part of collaborative question¬ing and imaginations in a long-term engagement with pedagogical praxes. Through this engagement, design and pedagogy have co-developed; and from this, the programme has matured and collaborative ways of criticality has been developed. The matured programme presented in this dissertation entails seven designs built and used in the pedagogical praxes as well as evolved framings able to generatively address a design space: a tangible interaction designer’s palette, a sensuous perspective, a compositional principle and potentials of tangibles for participation. Denna avhandling söker nya vägar: - Nya vägar för sinnlig design som är både digital och materiell. - Nya vägar för hur designforskning och pedagogisk praxis kan utvecklas tillsammans. - Nya vägar för en forskning som värdesätter designfältets sätt att närma sig och verka i världen. Ting och rum som är tilltalande för våra sinnen, känner vi alla till. En unik typ är så kallade Snoezelen-rum. Det är sinnesrum som kan anpassas till den enskilda individen och som typiskt används av människor med omfattande funktionsnedsättningar. Dessa rum är fyllda med designföremål som tilltalar olika sinnen. Sinnesrummen och användningen av dem har utvecklats från 70-talet och framåt. Ett kännetecken är ett sökande efter möjligheter i situationen – i mötet mellan användare, personal och designföremål, snarare än förutbestämda mål eller givna diagnoser. Snoezelen-rörelsen hade också ett sökande förhållningssätt till utveckling av den teknik som fyller rummen. Emellertid förefaller inte ny interaktiv teknologi – där designföremål kan känna och reagera – att ha funnit sin plats i Snoezelen. Skulle det kunna vara annorlunda? Vilka möjligheter uppstår när designföremål – genom sin interaktivitet – kan ge rikare sinnliga upplevelser? För att undersöka sådana möjligheter skisserar designforskningen en värld som vi ännu bara anar eller har sett en glimt av. Ett sådant sökande behöver värdesätta och vara baserat på värderingar, kunskap, omdöme, sensitivitet och handlingar ifrån alla involverade. Detta sökande har utspelat sig i ett projekt kallat SID – Sinnlighet, Interaktion och Delaktighet (http://sid.desiign.org). De tre begreppen har också varit ledstjärnor för denna avhandlings designforskningsprogram, tangible participation. Under tre år har barn med omfattande utvecklingsstörning besökt Snoezelen-sinnesrum. Designforskare och pedagogisk personal har tillsammans utvecklat processer och tankesätt som sätter användaren i centrum – utan de krav på samtals- och föreställningsförmåga som annars ofta kännetecknar användarmedverkan. Här har designföremål fungerat som förslag som skapat ett gemensamt fokus i sökandet efter inspiration, värden och estetik. Avhandlingen presenterar och reflekterar över en rad exempel på sådana designprocesser. Utifrån dessa lyfts designprocessers särskilda potential för pedagogisk reflektion fram. Med tiden visade sig en paradox i projektet. Orsakssammanhang är en omfattande utmaning i dessa barns vardag. Icke desto mindre njöt barnen av att använda de nya designföremålen, trots att dessa byggde på okända orsakssammanhang som att beröra ljus, klämma på ljud och trycka sig in i ett färguniversum. Genom att fånga sådana kvalitéer har avhandlingen bidragit till forskning inom interaktionsdesign med följande: Snoezelens sinnlighet har med de nya designföremålen blivit berikad med interaktivitet – en interaktivitet som knyter an till både inre och yttre (kroppsliga) sinnesupplevelser. Avhandlingen lyfter fram sådana exempel och framhäver hur designers genom detta sinnliga perspektiv kan få syn på nya möjligheter för både att berika och stödja engagemang. Avhandlingen bidrar till att begreppsliggöra ett relativt nytt fält, där form inte enbart handlar om användning av material utan också om hur designföremålen (re)agerar – deras interaktivitet. Designarbetet har dessutom fört fram en palett av dynamiska och flersinnliga formelement. Paletten kompletteras med stämningsgivande beskrivningar och videoklipp av designföremål i användning. Denna del av avhandlingen bidrar till att skapa ett gemensamt formspråk inom det nya designfältet för s.k. tangibles. Varje design kan ses som en kombination av element som skapar helhet i upplevelser och element som kittlar eller till och med retar. Genom sådana kombinationer är designen både tillgänglig och berikande, på en och samma gång. Denna basala kompositionsprincip exemplifieras och förs i dialog med teman inom interaktionsdesign så att andra designers kan ha nytta av den. Det som karakteriserar designföremålen är det sätt på vilket de både understödjer förståelse och uppmärksamhet samt berikar och fördjupar engagemang. Här skiljer sig designens estetik radikalt från synsätt som förenklar interaktionen och bara ser estetik som en tillfogad ”vacker” yta. Avhandlingen visar hur detta helhetsgrepp har vuxit fram ur samarbetet mellan designforskare och pedagogisk personal. Allt som allt har designföremålens egenskaper främjat barnens delaktighet i Snoezelen-samspelet. Designen har både kunnat gripas och begripas. De designade föremålen har också tjänat som närmast magiska samlingspunkter som barnen har kunnat sätta igång samspel kring. En särskilt viktig egenskap har varit hur designens interaktivitet har understött barnens möjligheter att kunna påverka världen och känna sig själva som en del av den. Sådana exempel och tankesätt har relevans för såväl design som för pedagogik. Designforskning som fångar drag hos en möjlig värld genom och för skapande processer är ett gryende fält. Denna avhandling ger ett exempel på hur sådan forskning kan ta form genom ett engagemang i en pedagogisk praxis. Dessutom skisseras en modell för en sådan designforskning. Modellen bygger på ett arv från designfältet avseende sätt att verka i världen, vad man strävar efter kunskap om och typen på denna kunskap. Denne afhandling søger nye veje: - Nye veje for sanselige designs, der både er digitale og materielle. - Nye veje for hvordan designforskning og pædagogisk praksis kan udvikles sammen. - Nye veje for en forskning, der værdsætter designfeltets måder at tilgå verdenen. Ting og rum, der appellerer til vores sanser, kender vi alle. En unik type er såkaldte Snoezelen-rum. Det er sanserum, der kan tilpasses den enkelte og som typisk bruges af mennesker med gennemgribende funktionshindring. Disse rum er fyldt med designs, der appellerer til mange forskellige sanser. Sanserummene og brugen af dem er blevet udviklet siden 70’erne. Et kendetegn er en søgen efter muligheder i situationen –i mødet mellem bruger, personale og designene, snarere end forudbestemte mål eller givne diagnoser. Snoezelen-bevægelsen havde også en søgende tilgang til udvikling af den teknologi, der fylder rummene. Imidlertid syntes ny interaktiv teknologi – hvor ting kan sanse og reagere – ikke at have fundet sin plads i Snoezelen. Kunne det ikke være anderledes? Hvilke muligheder opstår når designs – gennem deres interaktivitet – kan give rigere sanselige oplevelser. For at undersøge sådanne muligheder skitserer designforskningen en verden vi indtil nu måske kun har set en flig af eller blot fornemmer. En sådan søgen må værdsætte og trække på både værdier, kundskab, dømmekraft, sensitivitet og handlinger fra alle involverede: Denne søgen har udspillet sig i et projekt kaldt SID – Sanselighed, Interaktion & Delagtighed (http://sid.desiign.org). Disse tre begreber har tillige været ledestjerner for afhandlingens designforskningsprogram, Tangible Participation. Gennem tre år har børn med gennemgribende udviklingshæmning kommet til Snoezelen-sanserum. Sammen har designforskere og pædagogisk personale udviklet processer og tankesæt, der sætter brugeren af rummene i centrum – uden krav om samtale og forestillingsevne, der ellers kendetegner brugerinddragelse. Her har designene fungeret som bud på en verden snarere end produkter – udtryksfulde bud der har skabt et fælles fokus i en søgen af inspiration, værdier og æstetik. Afhandlingen præsenterer og reflekterer over en række eksempler på disse designprocesser. Herudfra fremhæves designprocessers særlige potentialer for at fremme pædagogisk refleksion. Undervejs i projektet fremkom et paradoks. Årsagssammenhænge er en gennemgribende udfordring i disse børns dagligdag. Ikke desto mindre nød børnene at bruge de nye designs på trods af at disse opererede med ukendte årsagssammenhænge så som at ælte lys, skubbe lyd og trykke sig ind i et farveunivers. Det er sådanne kvaliteter som afhandlingen har indfanget og derudfra bidraget med følgende indenfor interaktionsdesignforskning. Snoezelens sanselighed er med designene blevet beriget med interaktivitet – en interaktivitet, der knytter an til både ydre og indre (kropslige) sanseoplevelser. Afhandlingen giver eksempler herpå, og fremhæver hvordan designere gennem dette sanselige perspektiv kan få syn for nye muligheder for både at berige og støtte engagement. Afhandlingen bidrager til at begrebsliggøre et relativt nyt felt, hvor form ikke handler kun om brugen af materialer, men også hvordan designene (re)agerer – deres interaktivitet. Designarbejdet har tillige ført frem til en palet af dynamiske og flersanselige formelementer. Paletten suppleres af stemningsgivende beskrivelser og videoklip af designs i brug. Denne del af afhandlingen bidrager til at skabe et formsprog i et stadigt nyt designfelt af såkaldte tangibles. Hvert design kan ses som en kombination af elementer der skaber helhed i oplevelserne og elementer der pirrer. Gennem sådanne kombinationer er designene på en og samme tid tilgængelige og berigende. Dette basale kompositionsprincip eksemplificeres og bringes i dialog med temaer indenfor interaktionsdesign så andre designere kan gøre brug heraf. Det karakteristiske ved designene er den måde de på en og samme vis understøtter forståelse og opmærksomhed samt beriger fordybelse. Herved adskiller designenes æstetik sig radikalt fra tilgange, der forsimpler interaktionen eller som blot ser æstetik som en tilføjet ’pæn’ overflade. Afhandlingen viser hvordan dette helhedsgreb er vokset ud af samarbejdet mellem designforskere og pædagogisk personale. Alt i alt har disse træk ved designene fremmet børnenes delagtighed i Snoezelen samspillet. Designene har været til både at gribe og begribe. De har også tjent som nærmest magiske samlingspunkter, hvoromkring børnene har kunnet igangsætte samspil. Et særligt vigtigt træk har været hvordan designenes interaktivitet har fremmet børnenes muligheder for at kunne påvirke verdenen og mærke sig selv som en del av den. Sådanne eksempler og tankesæt har relevans for design såvel som pædagogik. Designforskning som det at indfange træk af en mulig verden gennem og for skabende processer er et gryende forskningsfelt. Denne afhandling giver et eksempel på hvordan en sådan forskning kan tage form gennem et engagement i en pædagogisk praksis. Derudover skitseres en model for en sådan designforskning. Modellen trækker på en arv fra designfeltet med hensyn til måder at tilgå verdenen, hvad man vil have kundskab om og typen af denne kundskab.

International audience

Low-fidelity prototyping is a Knowledge Elicitation technique in Human-Computer Interaction (HCI). However, empirical methods for low-fidelity prototyping have remained relatively static in development. We describe artefact-driven dynamic constructionism, allowing us to view the temporal evolution of design artefacts as measurable constructs within low-fidelity prototypes. Two mobile software tools are described, PROTEUS and PROTEUS EVALUATOR, using Social Constructionism. HCI class prototyping exercises with the tools are reported with 40 HCI Postgraduate students. Artefact-driven constructionist metrics are thus applied to low-fidelity prototyping pedagogy. Advantages and disadvantages of using such methods are demonstrated and explained.

International audience; Today, collaboration is no more limited to the designers' sphere. Especially the design of products or systems dedicated to expert users requires the active participation of the users themselves. The aim of this paper is to explore the design collaboration process between designers and expert users in the specific case of new surgical instruments. Two design meetings have been studied; one technical design review without the user, and one design validation meeting with the expert user. Designers were using an annotation tool as a communication support during the design process, before and during the first meeting. Our observations showed that the designers were not able to make decisions about the technical solutions that contained user related issues. Moreover, the expert user's comments during the validation meeting altered the proposed solution. In conclusion, it seemed that the actual design organization should be changed in order to integrate the expert user more actively. Annotation as a communication tool proved to be useful for technical exchanges, but we found important limitations for non technical users, we then propose solutions for further improvement of the tool.

International audience; Today, collaboration among design teams must be achieved across time and geographical constraints in addition to the usual problems associated with cognitive distance. In this paper, we propose a model mainly based on the concept of design intermediary object (DIO) that takes into account the collective dimension of the cognitive process of geographically remote designers. This model has been used for characterising the cognitive synchronisation mechanisms involved in a distributed collective design process. More precisely the analysis of two design protocols highlight a specific 'sequential effect' in distributed design situations where video facilities are poor or missing. We suggest that cognitive synchronisation is mainly affected by both distances and therefore there is a need to support better this process as it is a major performance factor in distributed teams.