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Experience-centered design, experience-based design, experience design, designing for experience, user experience design. All of these terms have emerged and gained acceptance in the Human-Computer Interaction (HCI) and Interaction Design relatively recently. In this book, we set out our understanding of experience-centered design as a humanistic approach to designing digital technologies and media that enhance lived experience. The book is divided into three sections. In Section 1, we outline the historical origins and basic concepts that led into and flow out from our understanding of experience as the heart of people's interactions with digital technology. In Section 2, we describe three examples of experience-centered projects and use them to illustrate and explain our dialogical approach. In Section 3, we recapitulate some of the main ideas and themes of the book and discuss the potential of experience-centered design to continue the humanist agenda by giving a voice to those who might otherwise be excluded from design and by creating opportunities for people to enrich their lived experience with and through technology.

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People make use of software applications in their activities, applying them as tools in carrying out tasks. That this use should be good for people–easy, effective, efficient, and enjoyable–is a principal goal of design. In this book, we present the notion of Conceptual Models, and argue that Conceptual Models are core to achieving good design. From years of helping companies create software applications, we have come to believe that building applications without Conceptual Models is just asking for designs that will be confusing and difficult to learn, remember, and use.

We show how Conceptual Models are the central link between the elements involved in application use: people's tasks (task domains), the use of tools to perform the tasks, the conceptual structure of those tools, the presentation of the conceptual model (i.e., the user interface), the language used to describe it, its implementation, and the learning that people must do to use the application. We further show that putting a Conceptual Model at the center of the design and development process can pay rich dividends: designs that are simpler and mesh better with users' tasks, avoidance of unnecessary features, easier documentation, faster development, improved customer uptake, and decreased need for training and customer support.

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Human-centered informatics (HCI) is a young discipline that is still defining its core components, with approaches rooted in engineering, science, and creative design. In the spirit of this book series, this book explores HCI as an intersection point for different perspectives of computing and information technology, seeking to understand how groups of designers can communicate with an increasingly diverse set of colleagues on a broadening set of problems. In so doing, this book traces the evolution of claims as a way to capture and share knowledge, particularly in comparison to other approaches like patterns and issues. Claims can be a centrally important aspect in HCI design efforts, either consciously by targeted design techniques or through ingrained habits of experienced designers. An examination of claims, their uses in design, and the possibilities for explicit use in future collaborative design endeavors seeks to inspire their further development use in HCI design.

Table of Contents: What are Claims? / Knowing and Sharing / Evolution of Claims / Using Claims / Looking Forward

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Spaces of Interaction, Places for Experience is a book about Human-Computer Interaction (HCI), interaction design (ID) and user experience (UX) in the age of ubiquitous computing. The book explores interaction and experience through the different spaces that contribute to interaction until it arrives at an understanding of the rich and complex places for experience that will be the focus of the next period for interaction design. The book begins by looking at the multilayered nature of interaction and UX—not just with new technologies, but with technologies that are embedded in the world. People inhabit a medium, or rather many media, which allow them to extend themselves, physically, mentally, and emotionally in many directions. The medium that people inhabit includes physical and semiotic material that combine to create user experiences. People feel more or less present in these media and more or less engaged with the content of the media.

From this understanding of people in media, the book explores some philosophical and practical issues about designing interactions. The book journeys through the design of physical space, digital space, information space, conceptual space and social space. It explores concepts of space and place, digital ecologies, information architecture, conceptual blending and technology spaces at work and in the home. It discusses navigation of spaces and how people explore and find their way through environments. Finally the book arrives at the concept of a blended space where the physical and digital are tightly interwoven and people experience the blended space as a whole. The design of blended spaces needs to be driven by an understanding of the correspondences between the physical and the digital, by an understanding of conceptual blending and by the desire to design at a human scale.

There is no doubt that HCI and ID are changing. The design of “microinteractions” remains important, but there is a bigger picture to consider. UX is spread across devices, over time and across physical spaces. The commingling of the physical and the digital in blended spaces leads to new social spaces and new conceptual spaces. UX concerns the navigation of these spaces as much as it concerns the design of buttons and screens for apps. By taking a spatial perspective on interaction, the book provides new insights into the evolving nature of interaction design.

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Interactive technology is increasingly integrated with physical objects that do not have a traditional keyboard and mouse style of interaction, and many do not even have a display. These objects require new approaches to interaction design, referred to as post-WIMP (Windows, Icons, Menus, and Pointer) or as embodied interaction design.

This book provides an overview of the design opportunities and issues associated with two embodied interaction modalities that allow us to leave the traditional keyboard behind: tangible and gesture interaction. We explore the issues in designing for this new age of interaction by highlighting the significance and contexts for these modalities. We explore the design of tangible interaction with a reconceptualization of the traditional keyboard as a Tangible Keyboard, and the design of interactive three-dimensional (3D) models as Tangible Models. We explore the design of gesture interaction through the design of gesture-base commands for a walk-up-and-use information display, and through the design of a gesture-based dialogue for the willful marionette. We conclude with design principles for tangible and gesture interaction and a call for research on the cognitive effects of these modalities.

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This book presents a contextual approach to designing contemporary interactive mobile computer systems as integral parts of ubiquitous computing environments. Interactive mobile systems, services, and devices have become functional design objects that we care deeply about. Although their look, feel, and features impact our everyday lives as we orchestrate them in concert with a plethora of other computing technologies, these artifacts are not well understood or created through traditional methods of user-centered design and usability engineering. Contrary to more traditional IT artifacts, they constitute holistic user experiences of value and pleasure that require careful attention to the variety, complexity, and dynamics of their usage. Hence, the design of mobile interactions proposed in this book transcends existing approaches by using the ensemble of form and context as its central unit of analysis. As such, it promotes a designerly way of achieving convergence between form and context through a contextually grounded, wholeness sensitive, and continually unfolding process of design.

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This book is about how people (we refer to them as practitioners) can help guide participants in creating representations of issues or ideas, such as collaborative diagrams, especially in the context of Participatory Design (PD). At its best, such representations can reach a very high level of expressiveness and usefulness, an ideal we refer to as Knowledge Art. Achieving that level requires effective engagement, often aided by facilitators or other practitioners. Most PD research focuses on tools and methods, or on participant experience. The next source of advantage is to better illuminate the role of practitioners-the people working with participants, tools, and methods in service of a project’s larger goals. Just like participants, practitioners experience challenges, interactions, and setbacks, and come up with creative ways to address them while maintaining their stance of service to participants and stakeholders. Our research interest is in understanding what moves and choices practitioners make that either help or hinder participants’ engagement with representations. We present a theoretical framework that looks at these choices from the experiential perspectives of narrative, aesthetics, ethics, sensemaking and improvisation and apply it to five diverse case studies of actual practice.

Table of Contents: Acknowledgments / Introduction / Participatory Design and Representational Practice / Dimensions of Knowledge Art / Case Studies / Discussion and Conclusions / Appendix: Knowledge Art Analytics / Bibliography / Author Biographies

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he Envisionment and Discovery Collaboratory (EDC) is a long-term research platform exploring immersive socio-technical environments in which stakeholders can collaboratively frame and solve problems and discuss and make decisions in a variety of application domains and different disciplines.

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This book focuses on design of work from the human-factors (HF) perspective. In the approach referred to as Core-Task Design (CTD), work is considered practice, composed of human actors, the physical and social environment, and the tools used for reaching the actors’ objectives. This book begins with consideration of an industrial case, the modernization of a nuclear power plant automation system, and the related human-system interfaces in the control room. This case illustrates generic design dilemmas that invite one to revisit human-factors research methodology: Human factors should adopt practice as a new unit of analysis and should accept intervention as an inherent feature of its methodology. These suggestions are put into practice in the CTD approach, according to which three general design functions are performed, those being:

• understand-to-generalize—empirical analysis of the work at hand,

• foresee-the-promise—creation of concepts for future work, and

• intervene-to-develop—participatory development and design of work.

For fulfillment fulfillment of each of the design functions, several CTD methods are introduced. The methods are aimed at modeling the core task and analyzing how the actors actually take the core task features into account in order to achieve balance between potentially conflicting demands in action. Thereby, new understanding of the core task is acquired. Further methods focus on projecting the roles and functionality of technologies in the future work and on implementing changes to the work. Specific studies of the nuclear power plant’s control-room renewal constitute an example demonstrating a core task and the associated methods. We argue that the CTD approach offers clear utility for the design of future technology, work, and everyday services and environments.

CTD utilizes achievements of practice theory in the social sciences to generate a creative synthesis of Cognitive Work Analysis, semiotic analysis of practice, and the cultural-historical theory of activity. Core-Task Design facilitates dialogue among human-factors experts, design engineers, and end users in their joint development of work. The intended audience of this book is students, researchers, and practitioners of human factors, industrial art and design, and instrumentation and control-system design.