**2. Rationale**

As stated by physiological and health studies, teaching personal hygiene practices in children is fundamental for a number of reasons. Referring to literature and dedicated websites [5–9] we summarized that:


We took these considerations as the basis of our design activity. Indeed, we decided to design a set of objects that stimulate and improve the learning of the right hygienic habits during preschool age.

### **3. The design process**

The design process followed the whole cycle of research, design, prototyping and testing solutions. Theories in the field of education, personal hygiene and health, and sensory communication were investigated, a benchmarking analysis was performed, consisting of a deep investigation of the current educational products, their strength and weakness, and the market. This research activity led to the definition of the design brief and to the concepts design and development. At the end, we built working prototypes and we performed pilot tests.

#### **3.1. Research**

(e.g. visual inspection of hand and teeth, touching toothbrush to check if it is wet, etc.). These practices inspired us to explore how IoT and interaction design can be applied to the field of children's personal hygiene, in order to reinforce the educational process and to teach them to

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

We decided to explore this problem space by designing dynamic products that focus on sensory and non-verbal communication. In interaction design, diverse forms of non-verbal communication have started to be investigated recently, which regard alternative—more physical and sensory—languages for the communication of digital information to the user. Ambient interfaces [1, 2] and dynamic products are at the core of this design area. In particular, dynamic products are objects that show sensory features (visual, tactile, auditory and olfactory) that change proactively and in a reversible way over time, providing information to users by transforming their own sensory appearances (i.e. shape, colour, smell, light, sound,

Dynamic products provide the possibility to convey information in an implicit and sensory way, and highlight the emergence of a new semantics, which understands the changing and dynamic appearances of products as communication means. Design can apply different strategies to effectively shape and map information into dynamic sensory features, like abstract disruption, translation, reproduction and metaphor, according to the context where the product will be used and to the communication goals ([4], p. 96). Moreover, communicating by senses seems to be a more engaging way to provide information to users and has the ability to create meaningful experiences and to affect the users' activities and practices ([4], p. 92).

However, we could not find any study in this area investigating how product's dynamic sensory features can be used to convey information or to encourage certain behaviours, having children as users, with a product and interaction design perspective. As dynamic products seem to be powerful means to emotionally engage users and affect their behaviour, we explored their potential in the field of personal hygiene in children, through a real case study. This work intends to explore how dynamic products can be used to influence users' behaviour in a practical project, and it wants to expand their application field, by testing this approach in

As stated by physiological and health studies, teaching personal hygiene practices in children is fundamental for a number of reasons. Referring to literature and dedicated websites [5–9]

• Incorrect habits and skills of personal hygiene are often learnt; this may lead to different

• Habits and competences learnt in infancy are the deeply fixed and last longer in life.

• Personal hygiene is very important for wellbeing and for a healthy life.

problems during life and are difficult to be reversed.

be more autonomous, while at the same time reducing parents' burdening.

temperature, etc.) [3].

2017

266

the area of design for children.

**2. Rationale**

we summarized that:

#### *3.1.1. The state of the art*

The kickoff of this project was the perception of the lack of a fully dedicated and successful product for children hygiene, confirmed by a deep market analysis. The benchmarking highlighted that hygiene was encouraged either by making products more engaging thought an playful appearance, or by developing digital apps that gamify hygiene practices, mainly targeted to children in school age. The use of dynamic sensory features to engage and persuade was almost completely absent, with the exception of some toothbrushes, which light up while used.

#### *3.1.2. Educational theories*

To understand how to design something useful and specific for children, we investigated psychological and educational theories. We focused mainly on three approaches to education: the Montessori's pedagogy, focused on the principle of educating the child to independence and on the tactile experience [10–12]; the scaffolding theory, that is centred on how adults can help children to fill the gap between their abilities and the job required, to let them become better at those activities [5, 7, 13]; the Behavioural theory, which argues that all human habits and actions are pursued or abandoned depending on the reward or punishment that follows the action [5, 7]. Considering these knowledge, some guidelines emerged that guided the design process. The resulting interactive solutions should:


It is important to underline that the aim of this set of objects is not to teach the child the action to perform starting from scratch, but to lead them to the right hygiene habits and competences, always guided and overseen by their parents.

#### *3.1.3. Hygiene rules*

We focused on three hygiene practices that require learning and following specific rules, and that usually represent the focus of education in hygiene:


A very important part of the research process was dedicated to identifying correct rules and hygienic practices; to this aim, literature research was performed and a dentist was interviewed, to collect information about the right practices. These rules have been implemented in the design of the final products and will be described concurrently with the presentation of the concepts.

#### **3.2. Design brief**

#### *3.2.1. Goal*

The brief emerged by research findings consisted in designing a set of three products for preschool children, each one related to a specific hygiene practice: oral hygiene, hand hygiene and use of the toilet. These products should be able to communicate information to the user by working alongside, or replacing, the existent items of the toilet. The set exploits the nonverbal communication and the positive reinforcement method.

#### *3.2.2. Users*

The products are addressed to two different users: the kid and the parents. The main user is the child, who should be reminded to perform the action, and should be guided during the activity. The second category of users is the parents, who should be supported in the control of their children's activities.

### **4. The Igeni set**

Igeni is the result of the design activity. It consists of three products: Billy Brush, Fanny Flush and Wally Wash. It is a set of dynamic products meant to support children during everyday hygiene activities and habits thanks to dynamic sensory stimuli. Each of these little monsters, cute and colourful is related to a specific hygienic practice.

By using sensors, this set monitors children's actions and send messages both to parents and children through changes in their physical and sensory appearance (**Figure 1**).

**Figure 1.** The Igeni set.

It is important to underline that the aim of this set of objects is not to teach the child the action to perform starting from scratch, but to lead them to the right hygiene habits and compe-

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

We focused on three hygiene practices that require learning and following specific rules, and

A very important part of the research process was dedicated to identifying correct rules and hygienic practices; to this aim, literature research was performed and a dentist was interviewed, to collect information about the right practices. These rules have been implemented in the design of the final products and will be described concurrently with the presentation

The brief emerged by research findings consisted in designing a set of three products for preschool children, each one related to a specific hygiene practice: oral hygiene, hand hygiene and use of the toilet. These products should be able to communicate information to the user by working alongside, or replacing, the existent items of the toilet. The set exploits the non-

The products are addressed to two different users: the kid and the parents. The main user is the child, who should be reminded to perform the action, and should be guided during the activity. The second category of users is the parents, who should be supported in the control

Igeni is the result of the design activity. It consists of three products: Billy Brush, Fanny Flush and Wally Wash. It is a set of dynamic products meant to support children during everyday hygiene activities and habits thanks to dynamic sensory stimuli. Each of these little monsters,

By using sensors, this set monitors children's actions and send messages both to parents and

children through changes in their physical and sensory appearance (**Figure 1**).

tences, always guided and overseen by their parents.

that usually represent the focus of education in hygiene:

verbal communication and the positive reinforcement method.

cute and colourful is related to a specific hygienic practice.

*3.1.3. Hygiene rules*

2017

268

of the concepts.

**3.2. Design brief**

*3.2.1. Goal*

*3.2.2. Users*

of their children's activities.

**4. The Igeni set**

• brushing teeth [14–17] • washing hands [14, 18] • flushing the toilet [19]

#### **4.1. Billy Brush**

Billy Brush is a small green monster, a little devil or minotaur, which takes care of the oral hygiene and is made of a toothbrush and a toothbrush base (**Figure 2**).

The shape of Billy Brush's mouth is designed to host the toothbrush when unused. When the toothbrush starts to be used, its movement is detected and the monster's mouth starts to rotate. Also, a two-minute song is played, to signal the right duration of tooth brushing. When the brushing time is finished, the mouth returns to the initial position and the song stops. The monster's mouth flashes a white light when the activity is completed, to evoke a clean and healthy mouth. If the brushing is stopped earlier, Billy Brush's mouths stops in a wrong position that prevents the toothbrush storage; the music goes on and a blue flashing lights calls the child's attention. If the child does not finish his/her duty, the mouth becomes red to signal the error to him/her and to the parents. Moreover, the mouth becomes red also to signal if the toothbrush is unused for too long, this time pulsating, to encourage the child to brush his/her teeth (**Figure 3**).

#### **4.2. Funny Flush**

Fanny Flush is a small blue monster, a dinosaur or a dragon that reminds the child to flush the toilet. It consists of a body with a belly that can be pressed and of a balloon, a membrane button, connected with retractable wire. Fanny Flush should be fixed behind the WC in such a way that the WC cover lays on its belly when lifted. The balloon should be stuck to the flush button (**Figure 4**).

The aim of Funny Flush is to teach the right use of the WC. Indeed, it recognizes when the toilet is used thanks to a sensor in the belly and reminds the child to lay down the toilet cover and flush it after the use, by emitting a sound that reminds water. If the actions are done following the correct order, Funny Flush rewards the child with a "winning" sound. Otherwise, it makes a sad-loosing sound, like the ones used in videogames (**Figure 5**).

**Figure 2.** Billy Brush.

**Figure 3.** Billy Brush Storyboard.

Igeni: Reinforcing Hygiene Practices in Children Through Dynamic Products http://dx.doi.org/10.5772/intechopen.71122 271

**Figure 4.** Funny Flush.

**Figure 5.** Funny Flush Storyboard.

**Figure 3.** Billy Brush Storyboard.

**Figure 2.** Billy Brush.

2017

270

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

#### **Figure 6.** Wally Wash.

**Figure 7.** Wally Wash Storyboard.

#### **4.3. Wally Wash**

Wally Wash is the last item of the Igeni set. It consists of a little orange monster resembling a crocodile, and a faucet adapter. This dynamic product promotes child's correct faucet use and hand hygiene in an engaging way, thanks to sensorial communication. Moreover, Wally Wash is designed to centre the water flow in the sink, making hand washing easier for children (**Figure 6**).

Wally Wash is connected to Fanny Flush and activates itself to remind the child to wash his/ her hands after the toilet use. It calls the child's attention by flashing light through its eyes. If the child does not wash his/her hands the eyes become red. Furthermore, its mouth lights up for 30 seconds when the faucet is opened (an inner dynamo registers the water flow), to suggest the correct duration of hand washing, in order to avoid water waste (**Figure 7**).

The recall of the design in this paper is mostly focused on the products' dynamic features. Other important details should be considered in the final product design (e.g. anti-bacterial coating) but our intent was to discuss the relevance of the products in terms of how they change the experience and influence the user's behaviour thanks to dynamic elements.

### **5. User tests**

**Figure 6.** Wally Wash.

2017

272

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

**Figure 7.** Wally Wash Storyboard.

A prototype of the Igeni set was built and tested with users in order to evaluate the efficacy of the sensory communication, the pleasantness of the experience and the overall effectiveness of the system (**Figures 8** and **9**).

The use of off-the-shelf components and available materials and technologies led to some small changes in the prototype, compared to the real design. In particular, the toothbrush prototype shows a split body, to host interchangeable heads and to improve safety during the tests. However, the main features, especially the dynamic ones, were kept identical to the design.

#### **5.1. Tests deployment**

Six pilot tests were performed. The Igeni set was installed in six homes and was tested by each family. Altogether, the trial was performed with six children (two male and four female), two fathers and four mothers (**Figure 10**).

The test was divided into four parts:


**Figure 8.** Igeni prototypes outside.

**Figure 9.** Inside of Igeni prototypes.

**Figure 10.** Children interacting with the Igeni prototypes during tests.

#### **5.2. Preliminary results**

**Figure 8.** Igeni prototypes outside.

2017

274

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

**Figure 9.** Inside of Igeni prototypes.

The tests were mainly focused on evaluating the effectiveness of the communication by the products' dynamic sensory features and the children's overall experience. Results show that the communication by dynamic sensory features was very effective and all the messages were understood by children without difficulties. In particular, sounds and lights were appreciated as clear stimuli. The use of colours associated with meanings (white for a clean mouth as a reward, red for alert) and the use of metaphoric sound, like the water, were very easy to understand and recall. The careful choice of the dynamic sensory stimuli in the design process turned out to be successful. Children considered the experience very fun and engaging, they liked a lot interacting with "living" characters, they enjoyed performing hygiene practices thanks to the dynamic, simple and friendly communication between them and the monsters. Moreover, the mere presence of the objects in the bathroom caught the children's attention and reminded them of specific actions like flushing the toilet or brushing teeth.

The use of sensory features instead of screens or interfaces and the possibility to give contextual feedback was highly appreciated by parents that also found the sensory stimuli effective in communicating the messages addressed to them.

Experience was evaluated on a five-point Likert scale. Some of the results are shown in **Figure 11**.

**Figure 11.** Test results.

### **6. Discussion and conclusion**

A set of dynamic products was designed to reinforce hygiene practices in children from 3 to 5 years old. The design was focused on mapping messages into dynamic product features. The following sensory features were chosen to convey different kinds of messages:


The system is going to be tested for a longer period in households, in order to evaluate the impact of the use of such products on children's hygiene practices and to understand how to improve the design and the sensor application. The preliminary tests confirmed the ability of dynamic products to convey messages in an effective, engaging and contextualized way and their potential in encouraging positive and healthy habits in this context.

The preliminary findings reported in this paper can inform the design of dynamic features in other contexts, especially with children, where communication and encouragement are at the centre of the design activity.

### **Acknowledgements**

The set was developed by Marta Taverna as a master thesis project in Design & Engineering, Politecnico di Milano. It was patented by Politecnico di Milano. We are grateful to Dr. Mazzone for the information he provided during the interview and to Marta Zambelli for her help with the prototypes.

### **Author details**

Marta Taverna\*, Sara Colombo and Lucia Rampino

\*Address all correspondence to: martamtt@hotmail.com

Politecnico di Milano, Milan, Italy

### **References**

**6. Discussion and conclusion**

2017

276

wrong action.

centre of the design activity.

**Acknowledgements**

her help with the prototypes.

Politecnico di Milano, Milan, Italy

Marta Taverna\*, Sara Colombo and Lucia Rampino

\*Address all correspondence to: martamtt@hotmail.com

**Author details**

A set of dynamic products was designed to reinforce hygiene practices in children from 3 to 5 years old. The design was focused on mapping messages into dynamic product features.

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

• Encouragement: flashing light, sound or vibration were used to grab the child's attention in order to remind him/her to perform an action like flushing the toilet, washing hands or changing arch. Both abstract stimuli (flashing light) and metaphors (the sound of water to remind to flush the toilet) were employed. They both came out to be very effective, because also in the case of flashing lights in Billy Brush and Wally Wash, the stimulus was con-

• Feedback: Still coloured light and sound were used to give feedback about the correctness of the activity. Red light was immediately associated to an error, and both high-pitch joyful sounds and low-pitch and sad sounds were instinctively connected with reward or "punishment". Sound came out to be stronger than light in conveying the idea of a right/

The system is going to be tested for a longer period in households, in order to evaluate the impact of the use of such products on children's hygiene practices and to understand how to improve the design and the sensor application. The preliminary tests confirmed the ability of dynamic products to convey messages in an effective, engaging and contextualized way and

The preliminary findings reported in this paper can inform the design of dynamic features in other contexts, especially with children, where communication and encouragement are at the

The set was developed by Marta Taverna as a master thesis project in Design & Engineering, Politecnico di Milano. It was patented by Politecnico di Milano. We are grateful to Dr. Mazzone for the information he provided during the interview and to Marta Zambelli for

The following sensory features were chosen to convey different kinds of messages:

nected to the object, therefore easily associated to the suggested activity.

their potential in encouraging positive and healthy habits in this context.


**Developing Sensitivity - Co-creating Experiences**

**Provisional chapter**

### **On the Role of External Representations in Designing for Participatory Sensemaking for Participatory Sensemaking**

**On the Role of External Representations in Designing** 

DOI: 10.5772/intechopen.71207

Philémonne Jaasma, Jelle van Dijk, Joep Frens and Caroline Hummels Joep Frens and Caroline Hummels Additional information is available at the end of the chapter

Additional information is available at the end of the chapter

http://dx.doi.org/10.5772/intechopen.71207

Philémonne Jaasma, Jelle van Dijk,

#### **Abstract**

Public issues demand highly complex collaborations in which different (public, private) stakeholders, each with their own complementary or conflicting interests, expertise and experiences, work toward public good. Typically, collaborative technological applications function to represent people's ideas and to enable the exchange of representational messages between people. By contrast, we designed [X]Changing Perspectives ([X]CP): an interactive table-system for multi-stakeholder collaboration around public issues. The system aims, not to *represent* views but rather, to *scaffold* the emergence of situated meaningful couplings in face-to-face interactions. It helps people to align their visual attention, materialises their input and provokes associations. However, [X]CP does contain representations, such as symbols, tangibles and an interactive visualisation. In reflecting on its design and use, we analyse what these representations *do*, as seen from the perspective of embodied, participatory sensemaking. We explain how representations are not the foundational building blocks of the system, and how they do not have fixed meanings. Rather, as scaffolds, our representations add a layer of artificial structure that guides the ongoing interactive couplings between people, contributing to *participatory sensemaking.* Applying this approach to the design of mediating technologies for multi-stakeholder collaborations can open up new ways of interacting and understanding between stakeholders without disrupting their collaboration.

**Keywords:** multi-stakeholder collaboration, participatory sensemaking, embodied sensemaking, representation, embodied cognition

### **1. Introduction**

Public issues are complex as they cross borders of sectors and disciplines. Cross-disciplinary multi-stakeholder collaborations are needed to work on today's societal challenges [8, 9].

© 2016 The Author(s). Licensee InTech. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. © 2017 The Author(s). Licensee InTech. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

Researchers in the field of human-computer interaction (HCI) are increasingly working on sociotechnical systems for societal issues in the complex context of sociopolitical multi-stakeholder dynamics [6, 16, 21]. Buur and Larssen [3] even call for designers to design 'new formats of collaboration for large, complex contingents of stakeholders' ([3], p. 137), and, when facilitating such collaborations, to focus on the role of crossing intentions and conflict.

### **1.1. Tangible mediation of collaboration**

In HCI, a vast body of work [17] is dedicated to mediating collaboration. The work focused on designing interactive systems, such as tangible interfaces and multi-touch tabletop interfaces. Such HCI systems indeed can contribute to collaboration [2], for example, multi-stakeholder brainstorms [1], the creation of narratives [12] or equitable participation [20]. In existing technological mediation (tabletops), tangibles tend to represent predefined meanings or functionality.

#### **1.2. Representation**

Within embodied approaches to HCI, and in the existing body of work, a core issue pertains to the role of *representation*. In tangible- and tabletop-interaction designs, physical objects, visual information on or around objects, as well as interactive behaviour of such objects (e.g., flashing led-light, sounds), are primarily used as re-presentations of digital information. Hereby, the digital information in itself is also a re-presentation: it often represents the insights and ideas generated by the participants: the 'results' [10]. Or, in other cases [17], it re-presents the prior knowledge given as 'input' to the collaborative process, as it is. Representing this information on a public workspace was expected to help people to associate further on the ideas of others, to combine ideas and knowledge into new ideas, to express one's own ideas and then communicate them, by means of its external representation, to others, and so on.

Such traditional interactive systems are representational through and through. The users of these systems are understood as cognisers: In the cognivist perspective on sensemaking, representation forms the basis of how insight is created and stored in the minds of individual users [11]. Likewise, representational messages (whether verbal, text or image) are the means by which insights get communicated between users. The task of reaching a shared understanding is regarded as an information processing task, and the system is assumed to have an information processing role: it functions to store, process and represent information to and from the user and to enable the exchange of messages between users.

#### **1.3. Embodiment**

We approach the design of interactive tools supporting multi-stakeholder collaboration from an embodied perspective. In our work, we build on embodied cognition theory, which takes an enactive view of cognition [4, 15, 25, 26]. Cognition does not happen solely in our brain, but is an emergent property of our active body as it is interacting with the world. We perceive and make sense of the world by interacting in and with it using our sensorimotor skills in active, ongoing and coupled processes of action and perception [26].

The social- and physical-*context* in which interaction takes place partakes in embodied processes of sensemaking, as socially situated practice theory investigates [24]. Suchman [24] argues that people's actions are not pre-planned in their minds, but rather actions are improvised achievements guided by the material and social circumstances: situated action. More specifically, Suchman argues that face-to-face communication and collaboration activities are fundamental for sensemaking. Suchman [24] explains how people inter-subjectively construct knowledge, in the physical world as well as in social situations, and how physical artefacts play a binding role in how people create shared insight together, in action. As every person has different bodies, experiences and skills, interpretations greatly vary amongst different people. Therefore, a rich respectful exchange of perspectives is necessary to reach participatory sensemaking; people influence each other's individual sensemaking and generate meaning in social interaction [15].

Based on the work of Suchman [24], De Jaegher and Di Paolo [15] and others [13], we regard technological artefacts first and foremost as a collection of publicly available objects that play a coupling role in skilled embodied manipulation and situated social coordination [7, 15, 19, 24].

#### **1.4. Sensemaking**

Researchers in the field of human-computer interaction (HCI) are increasingly working on sociotechnical systems for societal issues in the complex context of sociopolitical multi-stakeholder dynamics [6, 16, 21]. Buur and Larssen [3] even call for designers to design 'new formats of collaboration for large, complex contingents of stakeholders' ([3], p. 137), and, when

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

In HCI, a vast body of work [17] is dedicated to mediating collaboration. The work focused on designing interactive systems, such as tangible interfaces and multi-touch tabletop interfaces. Such HCI systems indeed can contribute to collaboration [2], for example, multi-stakeholder brainstorms [1], the creation of narratives [12] or equitable participation [20]. In existing technological mediation (tabletops), tangibles tend to represent predefined meanings or

Within embodied approaches to HCI, and in the existing body of work, a core issue pertains to the role of *representation*. In tangible- and tabletop-interaction designs, physical objects, visual information on or around objects, as well as interactive behaviour of such objects (e.g., flashing led-light, sounds), are primarily used as re-presentations of digital information. Hereby, the digital information in itself is also a re-presentation: it often represents the insights and ideas generated by the participants: the 'results' [10]. Or, in other cases [17], it re-presents the prior knowledge given as 'input' to the collaborative process, as it is. Representing this information on a public workspace was expected to help people to associate further on the ideas of others, to combine ideas and knowledge into new ideas, to express one's own ideas and then

Such traditional interactive systems are representational through and through. The users of these systems are understood as cognisers: In the cognivist perspective on sensemaking, representation forms the basis of how insight is created and stored in the minds of individual users [11]. Likewise, representational messages (whether verbal, text or image) are the means by which insights get communicated between users. The task of reaching a shared understanding is regarded as an information processing task, and the system is assumed to have an information processing role: it functions to store, process and represent information to and

We approach the design of interactive tools supporting multi-stakeholder collaboration from an embodied perspective. In our work, we build on embodied cognition theory, which takes an enactive view of cognition [4, 15, 25, 26]. Cognition does not happen solely in our brain, but is an emergent property of our active body as it is interacting with the world. We perceive and make sense of the world by interacting in and with it using our sensorimotor skills in active,

communicate them, by means of its external representation, to others, and so on.

from the user and to enable the exchange of messages between users.

ongoing and coupled processes of action and perception [26].

facilitating such collaborations, to focus on the role of crossing intentions and conflict.

**1.1. Tangible mediation of collaboration**

functionality.

2017

282

**1.2. Representation**

**1.3. Embodiment**

De Jaegher and Di Paolo [15] extend embodied cognition to the social domain: they take an enactive approach to social cognition. They explain that in social encounters meaning is generated in interaction between the actors. De Jaegher and Di Paolo [15] propose *participatory sensemaking*: 'the coordination of intentional activity in interaction, whereby individual sensemaking processes are affected and new domains of social sensemaking can be generated that were not available to each individual on her own' ([15], p. 497).

Joint meaning is generated between actors, in the *in-between*; it is not generated in each of their heads, as they cannot enter each other's heads. In the in-between, the interaction process itself becomes autonomous: it can change the actors [15]. In other words, when people interact in a social encounter, they generate meaning that could not have been generated by either person alone and cannot be attributed to either person; a truly new meaning emerges that can change them as persons.

#### **1.5. Design challenge: Sensemaking and the role of representation**

Our design challenge was to create a working system that would enable multi-stakeholders to constructively exchange their viewpoints on real-life public issues in their cities in multi-stakeholder consultation sessions. The topics for these sessions, public issues, would be contemporary, but not concrete: they would not be about public spaces, public services or city planning. Instead, the topics would be rather abstract: how should the municipality and citizens be able to make use of publicly available data or what is needed (from municipalities, citizens, housing corporations or SMEs) to support citizen initiatives?

With that question in mind, we embarked on a research-through-design (RtD) process that resulted in the design of [X]Changing Perspectives ([X]CP). It is an interactive system that

enables up to 100 multi-stakeholders to discuss and exchange viewpoints on a public issue by (re)positioning tokens with symbols on top, on round high tables fitted that track the tokens' movements and visualise them on a screen in real-time.

As designers, we are inspired by embodied and participatory sensemaking theory. If the insight and ideas formed within a collaborative setting are not captured by and stored 'in representations', then the question rises whether we need any representational artefacts at all, in order to catalyse and sustain a participatory sensemaking process. Earlier work in embodied design [14, 23] shows that in design projects inspired by participatory and embodied sensemaking, representations do come into being in people's use of such designs. While iteratively exploring our design challenge, our design decisions were informed by the design context compromising theoretical principles for working principles. We found it was helpful to create some representational basic elements within the system, in order to support the sensemaking process and trigger interactions between the participants. Our intention is to address them as sensemakers rather than cognisers. In this chapter, we therefore raise the question: what *is* the role of representation in participatory sensemaking in collaborations?

We describe in what way the [X]CP system makes use of representations, tangibility and spatiality to stimulate participatory sensemaking in multi-stakeholder consultation settings.

We illustrate examples of participants' use of representation in our system and we use them to show (1) how the ground for these objects is non-representational in *what they do for* the participants in terms of participatory sensemaking and (2) how they are nonetheless representations. Through examples in our system, we elucidate what representations can actually do within an embodied, situated conception of participatory sensemaking in multi-stakeholder consultations.

### **2. Approach**

Inspired by the theories outlined in the introduction, we designed [X]Changing Perspectives by taking a research-through-design (RtD) approach [18] . In an iterative design process, we developed low-fi and high-fi prototypes and deployed them in participant explorations in real-life multi-stakeholder settings. We gained insights through the materialising (prototyping) process: that forced us to make decisions: itself, but also through observations from participant explorations.

### **2.1. Research-through-design process**

The concept of [X]CP arose in a cultural exchange of students in Sienna, informed by political history, cultural differences and the contemporary public issues in the city. A team of students and researchers designed Aesthetics of Politics [22], a tool that facilitates debate by writing down arguments on tokens and moving them around a central statement (**Figure 1**).

Inspired by the debating tool, the first prototype of [X]CP consisted of a Perspex board, flat writable circles and whiteboard markers. The concept remained similar, but this time, the participants wrote their challenge in the centre, not a statement, and the circles were meant to

**Figure 1.** RtD iterations of [X]changing perspectives: chronologically from left to right.

fulfil the challenge, or important milestones, or preconditions to fulfil it. The circles could be moved by dragging them with the markers, while simultaneously leaving a trace of the movement. In this way, the documentation of the discussion was made active (live) and analogue.

The exploration with users (multi-disciplinary neighbourhood professionals) showed that they used the traces of the pens to refer back to earlier moments in their conversation. Afterwards, however, the traces did not form a meaningful visual to them. The physical circles played a central role in sensemaking, as they invited participants to ask questions and to relate the different aspects (circles) to one another.

However, participants were hesitant to come up with new things to write down on the circles and the relative size of the board and circles did not allow for enough differentiation in positions of the circles.

These insights informed the third iteration of [X]CP, where we redesigned the circles into pillars (fitting better to the hand) with symbols (instead of blank canvasses) on top. Moreover, we scaled up from one Perspex board to 15 Perspex high tables, to be used by up to 100 participants in public consultation sessions. Participants could move the tokens on Perspex high tables, and the movements were tracked and visualised on a screen in real-time.

Participant explorations in nine real-life multi-stakeholder settings showed that the symbols triggered participants to share their primary associations and this started a lively exchange of viewpoints.

In the final iteration of [X]CP, we refined the prototypes and evaluated the system in a participant exploration with five tables.

In what follows, we describe the design's characteristics in relation to our theoretical frame as well as observations of the usage of the system in a real-life multi-stakeholder consultation session. We conclude with insights on the role of representation in designing for participatory sensemaking.

#### **2.2. Design**

enables up to 100 multi-stakeholders to discuss and exchange viewpoints on a public issue by (re)positioning tokens with symbols on top, on round high tables fitted that track the tokens'

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

As designers, we are inspired by embodied and participatory sensemaking theory. If the insight and ideas formed within a collaborative setting are not captured by and stored 'in representations', then the question rises whether we need any representational artefacts at all, in order to catalyse and sustain a participatory sensemaking process. Earlier work in embodied design [14, 23] shows that in design projects inspired by participatory and embodied sensemaking, representations do come into being in people's use of such designs. While iteratively exploring our design challenge, our design decisions were informed by the design context compromising theoretical principles for working principles. We found it was helpful to create some representational basic elements within the system, in order to support the sensemaking process and trigger interactions between the participants. Our intention is to address them as sensemakers rather than cognisers. In this chapter, we therefore raise the question: what *is* the

We describe in what way the [X]CP system makes use of representations, tangibility and spatiality to stimulate participatory sensemaking in multi-stakeholder consultation settings. We illustrate examples of participants' use of representation in our system and we use them to show (1) how the ground for these objects is non-representational in *what they do for* the participants in terms of participatory sensemaking and (2) how they are nonetheless representations. Through examples in our system, we elucidate what representations can actually do within an embodied, situated conception of participatory sensemaking in multi-stakeholder consultations.

Inspired by the theories outlined in the introduction, we designed [X]Changing Perspectives by taking a research-through-design (RtD) approach [18] . In an iterative design process, we developed low-fi and high-fi prototypes and deployed them in participant explorations in real-life multi-stakeholder settings. We gained insights through the materialising (prototyping) process: that forced us to make decisions: itself, but also through observations from par-

The concept of [X]CP arose in a cultural exchange of students in Sienna, informed by political history, cultural differences and the contemporary public issues in the city. A team of students and researchers designed Aesthetics of Politics [22], a tool that facilitates debate by writing

Inspired by the debating tool, the first prototype of [X]CP consisted of a Perspex board, flat writable circles and whiteboard markers. The concept remained similar, but this time, the participants wrote their challenge in the centre, not a statement, and the circles were meant to

down arguments on tokens and moving them around a central statement (**Figure 1**).

movements and visualise them on a screen in real-time.

role of representation in participatory sensemaking in collaborations?

**2. Approach**

2017

284

ticipant explorations.

**2.1. Research-through-design process**

Based on our theoretical frame, RtD iterations and earlier work [14], we designed the final version of [X]Changing Perspectives to invite embodied interactions in discussions between stakeholders with the aim of contributing to participatory sensemaking between them.

#### **2.3. [X]changing perspectives system**

[X]CP consists of a technological system, a moderation format and a service system. In this chapter, we focus on the usage of the technological system by multi-stakeholder participants, and do not describe the moderation or service around the system.

The technological system consists of 15 discussion tables with integrated camera tracking hardware and visual computing software, see **Figure 2**. On each table, there are six tokens that are identified by coloured LED light and a symbol on top (as in iteration 3), and are tracked by unique marker patterns on the bottom. The symbols, a bird, Euro sign, a gift box, a woundup puppet, puzzle pieces and a clock with arrow, were inspired by literature on hurdles in citizen participation [5] but were not inscribed with specific meaning: on the contrary, they were intended to freely associate with.

Participants stand around the tables and discuss a central question, placed physically in the centre of the table. They do so by associating with the symbols on the tokens, and positioning the tokens in a meaningful place on the table, creating a shared *landscape* of meaning generated on the spot. Intentionally, neither symbols nor tokens or table surface positions have pre-defined meanings or terms of use: the participants at each table generate their own meaningful use of the objects. The symbols can be used to associate *content* with tokens and the table surface can be used as a *scale of importance*, where the most important tokens are placed in the middle and others in the periphery, or where the periphery can be used to place pre-conditions for the tokens placed in the inner ring.

While positioning and repositioning, stakeholders exchange different associations and together generate and reshape meanings of the tokens.

The tokens' (marker) positions are tracked by the tables and represented in real-time on a big projected data visualisation. The visualisation shows a helicopter view of the movements of all tokens at all tables and allows filtering between them, to discover patterns in movements, relative distances, centrality on the table or amount of touches. By showing alternative views

**Figure 2.** Elements of the [X]CP system, f.l.t.r.: real-time visualisation, table with tokens, symbols on tokens, tracking hardware and token hardware.

of—and relations between—all the table landscapes, the visualisation aims to support a collective reflection between participants of different tables. The visualisation alone does not represent the meaning generated at each table: the meaning forms in-between the participants and as such cannot be captured by the visualisation. Instead, the visualisation is intended to provide a mirror and trigger reflection between table groups.

The role of representational elements in our system is to invite interpretations and associations, rather than to express predefined, instilled meaning.

### **3. Participant exploration**

The [X]CP system was developed in three research through design iterations in which we meticulously tested the technological functionality and evaluated the interaction and usage patterns in participant explorations in nine real-life multi-stakeholder sessions. Implementing insights from each iteration, it was recently prototyped as high-fidelity final design. At the time of writing, we have had the opportunity to implement the final system in one real-life context. In this section, we describe the context, set-up and findings of this first participant exploration with the latest prototype of [X]Changing Perspectives.

#### **3.1. Context**

**2.3. [X]changing perspectives system**

2017

286

were intended to freely associate with.

hardware and token hardware.

pre-conditions for the tokens placed in the inner ring.

together generate and reshape meanings of the tokens.

[X]CP consists of a technological system, a moderation format and a service system. In this chapter, we focus on the usage of the technological system by multi-stakeholder participants,

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

The technological system consists of 15 discussion tables with integrated camera tracking hardware and visual computing software, see **Figure 2**. On each table, there are six tokens that are identified by coloured LED light and a symbol on top (as in iteration 3), and are tracked by unique marker patterns on the bottom. The symbols, a bird, Euro sign, a gift box, a woundup puppet, puzzle pieces and a clock with arrow, were inspired by literature on hurdles in citizen participation [5] but were not inscribed with specific meaning: on the contrary, they

Participants stand around the tables and discuss a central question, placed physically in the centre of the table. They do so by associating with the symbols on the tokens, and positioning the tokens in a meaningful place on the table, creating a shared *landscape* of meaning generated on the spot. Intentionally, neither symbols nor tokens or table surface positions have pre-defined meanings or terms of use: the participants at each table generate their own meaningful use of the objects. The symbols can be used to associate *content* with tokens and the table surface can be used as a *scale of importance*, where the most important tokens are placed in the middle and others in the periphery, or where the periphery can be used to place

While positioning and repositioning, stakeholders exchange different associations and

The tokens' (marker) positions are tracked by the tables and represented in real-time on a big projected data visualisation. The visualisation shows a helicopter view of the movements of all tokens at all tables and allows filtering between them, to discover patterns in movements, relative distances, centrality on the table or amount of touches. By showing alternative views

**Figure 2.** Elements of the [X]CP system, f.l.t.r.: real-time visualisation, table with tokens, symbols on tokens, tracking

and do not describe the moderation or service around the system.

The session was part of a congress about the increasing availability and usage of data for Dutch municipalities. The total of 30 attendees consisted of alderman, civil servants, policy makers, members of the city council and entrepreneurs. The central question was: 'what is needed in order for the data-driven municipality to work in a good way?'

**Figure 3.** Partial overview of session set-up.

With the exception of entrepreneurs, all participants worked in municipal institutions. Even though they had different stakes in the discussion, this was an important limitation in participant composition.

#### **3.2. Set-up**

The session consisted of five tables and the participants were distributed over the tables so that there were six participants (unacquainted with each other) with different stakeholder roles at each table. The session lasted 50 min: two discussion rounds of 15 min separated by a collective reflection of 10 min. A wrap-up of 5 min concluded the session (**Figure 3**).

### **4. Observations**

Substantiated by patterns in observations of earlier sessions, we use examples of the latest participant exploration to illustrate our observations on the role of representations of the [X] CP system in sensemaking processes between multi-stakeholder participants. We describe our observations in three categories: the interactions invited by the representational elements of symbols (1), tokens (2) and visualisation (3).

#### **4.1. Symbols**

In this section, we highlight some observations that elucidate the role of the symbols in participatory sensemaking during the use of the [X]CP system.

#### *4.1.1. Symbols trigger primary associations and open inquiry into differences*

It was easy for participants to associate with the symbols: they shared their primary associations with the symbols, which was often telling for their viewpoint or background. For example, participant A (entrepreneur) placed the bird-token in the centre for 'citizens' autonomy over own data, see **Figure 1**, and participant B (alderman) reacted 'oh, it's funny you said that because I would place it in the centre too, but to me it stands for overview: I think that we [municipality] should monitor the data that we have of the city'. Afterwards, another participant joined in by placing a new token on the table and relating it to the first two interpretations. As the tokens were repositioned, the conversation evolved and their meaning evolved (**Figures 4** and **5**).

In this example, the symbols were used for associating, and at first instance, represented something unique for each of the participants. One striking observation was that symbols functioned as social mediators offering a non-offensive motive to question each other without eliciting a defensive response: indeed, using the symbols as 'neutral' objects, people could attend to helped to catalyse an ongoing exchange of associative conversation in which different perspectives, personal experiences, anecdotes and ways of reasoning were shared, something that participants told us does not usually happen in such settings.

On the Role of External Representations in Designing for Participatory Sensemaking http://dx.doi.org/10.5772/intechopen.71207 289

**Figure 4.** Participants discuss the firstplaced token.

With the exception of entrepreneurs, all participants worked in municipal institutions. Even though they had different stakes in the discussion, this was an important limitation in partici-

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

The session consisted of five tables and the participants were distributed over the tables so that there were six participants (unacquainted with each other) with different stakeholder roles at each table. The session lasted 50 min: two discussion rounds of 15 min separated by a

Substantiated by patterns in observations of earlier sessions, we use examples of the latest participant exploration to illustrate our observations on the role of representations of the [X] CP system in sensemaking processes between multi-stakeholder participants. We describe our observations in three categories: the interactions invited by the representational elements

In this section, we highlight some observations that elucidate the role of the symbols in par-

It was easy for participants to associate with the symbols: they shared their primary associations with the symbols, which was often telling for their viewpoint or background. For example, participant A (entrepreneur) placed the bird-token in the centre for 'citizens' autonomy over own data, see **Figure 1**, and participant B (alderman) reacted 'oh, it's funny you said that because I would place it in the centre too, but to me it stands for overview: I think that we [municipality] should monitor the data that we have of the city'. Afterwards, another participant joined in by placing a new token on the table and relating it to the first two interpretations. As the tokens were repositioned, the conversation evolved and their meaning evolved

In this example, the symbols were used for associating, and at first instance, represented something unique for each of the participants. One striking observation was that symbols functioned as social mediators offering a non-offensive motive to question each other without eliciting a defensive response: indeed, using the symbols as 'neutral' objects, people could attend to helped to catalyse an ongoing exchange of associative conversation in which different perspectives, personal experiences, anecdotes and ways of reasoning were shared, something that participants told us does not usually happen in such settings.

collective reflection of 10 min. A wrap-up of 5 min concluded the session (**Figure 3**).

pant composition.

**4. Observations**

**4.1. Symbols**

(**Figures 4** and **5**).

of symbols (1), tokens (2) and visualisation (3).

ticipatory sensemaking during the use of the [X]CP system.

*4.1.1. Symbols trigger primary associations and open inquiry into differences*

**3.2. Set-up**

2017

288

**Figure 5.** Participant C pointing at the 'last' token.

#### *4.1.2. Symbols carry dynamic attributed meaning, constantly altered through interactions*

After the placement of a first token, the other participants joined in and shared their associations, sometimes adding other tokens to the table. The different associations with symbols were the beginning of a participatory sensemaking process wherein different *meanings and relations* were discussed and changed on-the-fly. For example, the symbols turned out to be used as on-the-fly generated representations of *values, bottlenecks or goals*. Meanings changed *while interacting* physically with other tokens (repositioning) and other symbols (pointing, *orienting other agents attention* [13]) to compare their meanings. In doing so, the participants generated new meaning together.

#### **4.2. Tokens**

In this section, we highlight some observations that elucidate the role of the symbols and token in participatory sensemaking during the use of the [X]CP system.

#### *4.2.1. Tokens allow for intuitive expressions*

For example, on one of the tables, five of the six tokens were positioned and one was left on the side. When the moderator announced that there was only 1 min left, the untouched token

gained an interesting role. Participant A said to her table: 'OK we should add the puzzle piece!'. 'Why then?' asked participant B. Participant A, humorously: 'Because we do not want to leave it alone and exclude it, it would be sad… and-'. All laughed and then participant C stepped in: 'actually, for the puzzle piece, you know that when you put tech-guys together (…)' and he enriches their landscape with a new relevant meaning, that was only possible because the neglect of the token was physically visible—its physical distance to the other tokens bothered participant A. In other words, the physicality of the token invited to share a feeling, a line of thought that may have not been shared otherwise.

The physical presence of the tokens changes *the way of interacting* with each other. Intuitive expressions come to the fore, verbally, when moving them physically. Body language seems to be amplified, as the tokens afford different interactions that could communicate something to the other participations. Three examples of such communications were: (1) gesturing around tokens to indicate their preciousness or (2) tapping on the tokens to highlight their importance or to communicate that they should be related to the current conversation topic or (3) ticking or drumming around the token on the table surface to communicate one's interest to speak next (**Figures 6** and **7**).

#### *4.2.2. Tokens lead to relations between discussed elements (multidimensional image)*

The physicality of the tokens also means that they are physically positioned 'in space', on the table surface. Naturally, after symbols were given meaning, the connections between tokens were discussed: where should it be placed, closest to which other token, or how does one relate to the other?

The meanings were not limited to definitions of symbols; instead, they were narratives of arguments, anecdotes and interests that were brought to the table by all participants. The eclectic or even conflicting input was not brought to a 'safe middle way' or consensus; instead, the input was tied together as a story, supported by the physical token positions in space, the invisible *traces* on the table that the visualisation made visible through the digital representation of movements.

**Figure 6.** Pointing and repositioning a token to relate it to the others.

On the Role of External Representations in Designing for Participatory Sensemaking http://dx.doi.org/10.5772/intechopen.71207 291

**Figure 7.** The visualisation is used to reflect across tables.

This was evident during the collective reflections, in which participants explained their landscape as a holistic story, of which the separate elements or symbol meanings *could not be attributed to any participant alone* anymore; they had emerged *in the interactions between* the participants. Moreover, the symbols functioned not only as external placeholders/representations of one (shared) meaning, but were continuously altered through ongoing interactions and in relation to other tokens.

#### **4.3. Visualisation**

In this section, we highlight some observations that elucidate the role of the visualisation in participatory sensemaking during the use of the [X]CP system.

#### *4.3.1. Visualisation invites taking a new perspective*

By showing the same view of all tables, the visualisation (**Figure 5**) enables the participants to relate their landscape to that of others. Initially in the collective reflection phase, participants were excited to see what the 'technology' would show them. Soon, however, they realised that without participant's explanations, the visualisation had no meaning at all. Together, the moderator and participants could discover patterns in movements of specific tokens but what could those movements mean? The moderator invited several tables to explain their landscapes, to give meaning to the visual representation on the screen. Participants were very curious to hear the stories and generated meanings of the other tables' landscapes. Moreover, they reacted to the explanations when a statement was made that connected to their discussion by giving a shout-out to share their views on it.

#### **5. Reflections**

**Figure 6.** Pointing and repositioning a token to relate it to the others.

gained an interesting role. Participant A said to her table: 'OK we should add the puzzle piece!'. 'Why then?' asked participant B. Participant A, humorously: 'Because we do not want to leave it alone and exclude it, it would be sad… and-'. All laughed and then participant C stepped in: 'actually, for the puzzle piece, you know that when you put tech-guys together (…)' and he enriches their landscape with a new relevant meaning, that was only possible because the neglect of the token was physically visible—its physical distance to the other tokens bothered participant A. In other words, the physicality of the token invited to share a

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

The physical presence of the tokens changes *the way of interacting* with each other. Intuitive expressions come to the fore, verbally, when moving them physically. Body language seems to be amplified, as the tokens afford different interactions that could communicate something to the other participations. Three examples of such communications were: (1) gesturing around tokens to indicate their preciousness or (2) tapping on the tokens to highlight their importance or to communicate that they should be related to the current conversation topic or (3) ticking or drumming around the token on the table surface to communicate one's interest

The physicality of the tokens also means that they are physically positioned 'in space', on the table surface. Naturally, after symbols were given meaning, the connections between tokens were discussed: where should it be placed, closest to which other token, or how does one

The meanings were not limited to definitions of symbols; instead, they were narratives of arguments, anecdotes and interests that were brought to the table by all participants. The eclectic or even conflicting input was not brought to a 'safe middle way' or consensus; instead, the input was tied together as a story, supported by the physical token positions in space, the invisible *traces* on the table that the visualisation made visible through the digital representation of movements.

feeling, a line of thought that may have not been shared otherwise.

*4.2.2. Tokens lead to relations between discussed elements (multidimensional image)*

to speak next (**Figures 6** and **7**).

relate to the other?

2017

290

Our observations of interactions with the [X]Changing Perspectives system shed light on several roles that the representations played in participatory sensemaking processes. Perhaps, somewhat

contrary to our initial focus designing for the non-representational aspects of interaction, reflecting on the design case brings forward that representations have an important role to play in participatory sensemaking. However, observations show that representing information is not the *primary* function of the table—what we see is that representation forms an added 'scaffolding' layer that enhances the capacity of people to engage in a face-to-face, situated process of participatory sensemaking (see [11, 21] for related views). The representations we used mostly function to provide:


As our design was the vehicle that allowed us to observe the interactions, we are able to move beyond the description our intentions (as we did in the beginning of this chapter) toward pointing to the characteristics of the representations that supported the sensemaking processes in our design case. Our main reflection is that the [X]Changing Perspectives system provided a scaffolding structure for sensemaking, and to allow this we needed a careful balance between 'structuring' representations with open interpretations (point 2 in the list above). For example, the symbols triggered primary responses (*structuring* the interactions) from participants, disarming them, taking people out of their 'labelled' role and engaging them as whole person, with experiences, emotions and creativity next to expertise. The symbols, however, were *not pre-defined (open interpretations)*: they were asked to be interpreted by the participants. The same applies to the table surface: it provides structure in the sense that it frames a circular area, and it defines the proximity of participants standing around it, but it does not provide a structure for positioning tokens. At the same time, it does imply a structure due to the central question placement.

Reflecting on those examples, we regard the value of representations for participatory sensemaking processes to be in the balance of providing representational elements such as structure, while at the same time leaving open what they stand for and how they could be used.

The role of representations in collaborative sensemaking is especially interesting in the context of multi-stakeholder collaborations and consultations regarding public issues. Namely, in this context, the topics are often highly abstract, formal, and relate to different disciplinary expertise as well as corporate interests and different emotional or otherwise engaged interests. Structuring the dynamics between these interests in relation to an abstract topic is a complex task. The [X]Changing Perspectives system demonstrated that representations as social-embodied scaffolds can make (open-up) embodied, intuitive and personal interactions (leading to participatory sensemaking, to the shared generation of new understanding of the topic) approachable without resulting in discomfort, conflict or abstract meta-discussions.

### **Acknowledgements**

We thank the participants and organisers of the sessions. We convey our thanks to RI.SE Interactive for the development of the software of the [X]CP system. We thank students Bastiaan van Hout and Tom van Rooij for their assistance in prototype development and camera work. We also thank our partners Necker van Naem and the municipality of Eindhoven, and particularly, we express our gratitude to the municipality of Eindhoven for their funding support.

### **Author details**

contrary to our initial focus designing for the non-representational aspects of interaction, reflecting on the design case brings forward that representations have an important role to play in participatory sensemaking. However, observations show that representing information is not the *primary* function of the table—what we see is that representation forms an added 'scaffolding' layer that enhances the capacity of people to engage in a face-to-face, situated process of participatory sensemaking (see [11, 21] for related views). The representations we used mostly function to provide:

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

**2.** a layer of associations that structures interactions while leaving open interpretations:

**3.** (tactile as well as digital) visualisations of conflicting interests that make them discussable. As our design was the vehicle that allowed us to observe the interactions, we are able to move beyond the description our intentions (as we did in the beginning of this chapter) toward pointing to the characteristics of the representations that supported the sensemaking processes in our design case. Our main reflection is that the [X]Changing Perspectives system provided a scaffolding structure for sensemaking, and to allow this we needed a careful balance between 'structuring' representations with open interpretations (point 2 in the list above). For example, the symbols triggered primary responses (*structuring* the interactions) from participants, disarming them, taking people out of their 'labelled' role and engaging them as whole person, with experiences, emotions and creativity next to expertise. The symbols, however, were *not pre-defined (open interpretations)*: they were asked to be interpreted by the participants. The same applies to the table surface: it provides structure in the sense that it frames a circular area, and it defines the proximity of participants standing around it, but it does not provide a structure for positioning tokens. At the same time, it does imply a structure due to the central question placement.

Reflecting on those examples, we regard the value of representations for participatory sensemaking processes to be in the balance of providing representational elements such as structure, while at the same time leaving open what they stand for and how they could be used. The role of representations in collaborative sensemaking is especially interesting in the context of multi-stakeholder collaborations and consultations regarding public issues. Namely, in this context, the topics are often highly abstract, formal, and relate to different disciplinary expertise as well as corporate interests and different emotional or otherwise engaged interests. Structuring the dynamics between these interests in relation to an abstract topic is a complex task. The [X]Changing Perspectives system demonstrated that representations as social-embodied scaffolds can make (open-up) embodied, intuitive and personal interactions (leading to participatory sensemaking, to the shared generation of new understanding of the topic) approachable without resulting in discomfort, conflict or abstract meta-discussions.

We thank the participants and organisers of the sessions. We convey our thanks to RI.SE Interactive for the development of the software of the [X]CP system. We thank students Bastiaan

**1.** a layer of playfulness that breaks the ice;

'social-embodied scaffolds'; and

2017

292

**Acknowledgements**

Philémonne Jaasma<sup>1</sup> \*, Jelle van Dijk<sup>2</sup> , Joep Frens<sup>1</sup> and Caroline Hummels<sup>1</sup>


### **References**

	- [10] Geyer F, Pfeil U, Höchtl A, Budzinski J, Reiterer H. Designing reality-based interfaces for creative group work. In: Proceedings of the 8th ACM Conference on Creativity and Cognition (C&C '11). ACM, New York, NY, USA, 2011. pp. 165-174. DOI: http://dx.doi. org/10.1145/2069618.2069647
	- [11] Goodwin C. Action and embodiment within situated human interaction. Journal of Pragmatics. 2000;**32**(10):1489-1522
	- [12] Harley D, Chu JH, Kwan J, Mazalek A. Towards a framework for tangible narratives. In: Proceedings of the Tenth International Conference on Tangible, Embedded, and Embodied Interaction (TEI'16), 2016. pp.62-69. http://dx.doi.org/10.1145/2839462.2839471
	- [13] Haugeland J. Philosophy of Mental Representation. Oxford: Clarendon Press; 2002
	- [14] Hummels C, Van Dijk J. Seven principles to design for embodied sensemaking. In: Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction, 2015. pp. 21-28
	- [15] Jaegher H, Di Paolo E. Participatory sense-making: An enactive approach to social cognition. Phenomenology and the Cognitive Sciences. 2007;**6**(4):485-507
	- [16] Jenkins T, Le Dantec C, Disalvo C, Lodato T, Asad M. Object-oriented publics. In : Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems. 2016.
	- [17] Keller A, Pasman GJ, Stappers PJ. Collections designers keep: Collecting visual material for inspiration and reference. CoDesign. 2006;**2**(1):17-33
	- [18] Koskinen I, Zimmerman J, Binder T, Redstrom J, Wensveen S. Design Research through Practice: From the Lab, Field, and Showroom. Elsevier; 2011
	- [19] Lave J. Cognitison in Practice: Mind, Mathematics and Culture in Everyday Life (Learning in Doing) by Jean Lave. Cambridge: Cambridge University Press; 1988
	- [20] Macaulay C, Jacucci G, O'Neill S, Kankaineen T, Simpson M. The emerging roles of performance within HCI and interaction design. Interacting with Computers 2006:18;5: 942- 955. DOI: http://dx.doi.org/10.1016/j.intcom.2006.07.001
	- [21] Norman D, Stappers PJ. DesignX: Design and complex sociotechnical systems. She Ji: The Journal of Design, Economics, and Innovation. 2016;**1**:2. DOI: http://dx.doi.org/10.1016/j. sheji.2016.01.002
	- [22] Peeters J. Perpetual Perspectives: On Designing for Aesthetic Engagement [thesis]. RISE Interactive: Umeå University; 2017
	- [23] Smit D, Oogjes D, Goveia de Rocha D, Trotto A, Hur Y, Hummels C. Ideating in Skills: Developing Tools for Embodied Co-Design. In Proceedings of the TEI '16: Tenth International Conference on Tangible, Embedded, and Embodied Interaction (TEI '16). ACM, New York, NY, USA, 2016. pp. 78-85. DOI: https://doi.org/10.1145/2839462.2839497
	- [24] Suchman LA. Human-Machine Reconfigurations: Plans and Situated Actions. 2nd. New York and Cambridge, UK: Cambridge University Press; 2007.

[10] Geyer F, Pfeil U, Höchtl A, Budzinski J, Reiterer H. Designing reality-based interfaces for creative group work. In: Proceedings of the 8th ACM Conference on Creativity and Cognition (C&C '11). ACM, New York, NY, USA, 2011. pp. 165-174. DOI: http://dx.doi.

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

[11] Goodwin C. Action and embodiment within situated human interaction. Journal of

[12] Harley D, Chu JH, Kwan J, Mazalek A. Towards a framework for tangible narratives. In: Proceedings of the Tenth International Conference on Tangible, Embedded, and Embodied Interaction (TEI'16), 2016. pp.62-69. http://dx.doi.org/10.1145/2839462.2839471

[14] Hummels C, Van Dijk J. Seven principles to design for embodied sensemaking. In: Proceedings of the Ninth International Conference on Tangible, Embedded, and

[15] Jaegher H, Di Paolo E. Participatory sense-making: An enactive approach to social cogni-

[16] Jenkins T, Le Dantec C, Disalvo C, Lodato T, Asad M. Object-oriented publics. In : Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems. 2016.

[17] Keller A, Pasman GJ, Stappers PJ. Collections designers keep: Collecting visual material

[18] Koskinen I, Zimmerman J, Binder T, Redstrom J, Wensveen S. Design Research through

[19] Lave J. Cognitison in Practice: Mind, Mathematics and Culture in Everyday Life (Learning in Doing) by Jean Lave. Cambridge: Cambridge University Press; 1988 [20] Macaulay C, Jacucci G, O'Neill S, Kankaineen T, Simpson M. The emerging roles of performance within HCI and interaction design. Interacting with Computers 2006:18;5: 942-

[21] Norman D, Stappers PJ. DesignX: Design and complex sociotechnical systems. She Ji: The Journal of Design, Economics, and Innovation. 2016;**1**:2. DOI: http://dx.doi.org/10.1016/j.

[22] Peeters J. Perpetual Perspectives: On Designing for Aesthetic Engagement [thesis]. RISE

[23] Smit D, Oogjes D, Goveia de Rocha D, Trotto A, Hur Y, Hummels C. Ideating in Skills: Developing Tools for Embodied Co-Design. In Proceedings of the TEI '16: Tenth International Conference on Tangible, Embedded, and Embodied Interaction (TEI '16). ACM, New York, NY, USA, 2016. pp. 78-85. DOI: https://doi.org/10.1145/2839462.2839497

[24] Suchman LA. Human-Machine Reconfigurations: Plans and Situated Actions. 2nd.

New York and Cambridge, UK: Cambridge University Press; 2007.

tion. Phenomenology and the Cognitive Sciences. 2007;**6**(4):485-507

for inspiration and reference. CoDesign. 2006;**2**(1):17-33

955. DOI: http://dx.doi.org/10.1016/j.intcom.2006.07.001

sheji.2016.01.002

Interactive: Umeå University; 2017

Practice: From the Lab, Field, and Showroom. Elsevier; 2011

[13] Haugeland J. Philosophy of Mental Representation. Oxford: Clarendon Press; 2002

org/10.1145/2069618.2069647

2017

294

Pragmatics. 2000;**32**(10):1489-1522

Embodied Interaction, 2015. pp. 21-28

**Provisional chapter**

### **Design for the Next: Integration of Path to Sustained Usage Model into Design Process Usage Model into Design Process**

**Design for the Next: Integration of Path to Sustained** 

DOI: 10.5772/intechopen.71110

Armağan Karahanoğlu and Yekta Bakırlıoğlu Armağan Karahanoğlu and Yekta Bakırlıoğlu Additional information is available at the end of the chapter

Additional information is available at the end of the chapter

http://dx.doi.org/10.5772/intechopen.71110

#### **Abstract**

The aim of this chapter is to evaluate and further discuss the integration of the "Path to Sustained Usage" model into design process. To achieve this, this chapter explains the details and the outcomes of Engage! Workshop in which the model was tested with "backwards-designing" approach. The paper ends with further suggestions for application of the model into design process.

**Keywords:** path to sustained usage, long term user experience, user experience, technological products, workshop

### **1. Introduction**

There are several models and perspectives in user experience literature that explore people's long-term experience of a particular system, product or technology [1–4]. In one of these models, Karapanos et al. [3] explored the temporality of experience by defining three phases of experience in which user (i) gets familiar with the product; (ii) explore the product more, and (iii) makes the product part of everyday life. In another framework, the "pre-interaction" phase also comes into prominence as users' perceptions and expectations also affect the way the product is experienced [5].

On the other hand, designing for experience is a challenge for designers. During this complicated, iterative and creative process [6–8], designers confront several user and product-related problems [9]. In the early stages of this process, several methods, such as personas and user journey maps, can be applied to comprehend the users' experience [10, 11]. However, other inspirational tools and methods are still required in this process [12]. While there are several tools and techniques suggested for designing for user experience [13],

tools and techniques especially designing for long-term experience of users are limited [14]. Therefore, after exploring long-term experience of technological products, through user research we first developed a four-stage model [15]. This model (**Figure 1**) brings together affected human-related qualities and affecting product qualities at every use phase (i.e., before acquiring, learning, mastery and post-mastery). The purpose of the model is to develop technological design solutions which will end up in sustained usage that people will keep using for a long period.

In this model, *path dependency* refers to feeling dependent to previously used products. This dependency affects the experience of new products as users expect the new product to have several qualities of previously used products. *Learning phase* of the product is about exploring and understanding the qualities and capabilities of the new product. At this phase, users get *familiar* with the new product and *adapt* to the qualities of it. In *mastery phase*, users make a decision on whether they want to continue using the product or quit using it. For technological products, this decision is made through the abilities of the product (1) to *change* existing *habits*, (2) to be used in *different contexts*, and (3) to become a routine part of everyday practices (i.e., *habitualization*). Finally, at the *post-mastery* phase, product becomes indispensable to the user (i.e., *sustained usage*) until the user finds a new product that satisfies emerging needs and preferences. The end of this phase intrinsically becomes the *path dependency* of the next product. For more information, see [15].

With the definition of these phases and by considering the current debate in design community, we conducted a design workshop study in which we investigated the usage of "backwards designing" approach to integrate "Path to Sustained Usage" model into design process. Thus, the aim of this chapter is to first discuss the outcomes of the ENGAGE! Workshop, and further discuss the possibilities of integrating our model into design process.

**Figure 1.** Path to Sustained Usage Model (retrieved from Bogazpınar et al. [15]).

### **2. Engage workshop**

tools and techniques especially designing for long-term experience of users are limited [14]. Therefore, after exploring long-term experience of technological products, through user research we first developed a four-stage model [15]. This model (**Figure 1**) brings together affected human-related qualities and affecting product qualities at every use phase (i.e., before acquiring, learning, mastery and post-mastery). The purpose of the model is to develop technological design solutions which will end up in sustained usage that people

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

In this model, *path dependency* refers to feeling dependent to previously used products. This dependency affects the experience of new products as users expect the new product to have several qualities of previously used products. *Learning phase* of the product is about exploring and understanding the qualities and capabilities of the new product. At this phase, users get *familiar* with the new product and *adapt* to the qualities of it. In *mastery phase*, users make a decision on whether they want to continue using the product or quit using it. For technological products, this decision is made through the abilities of the product (1) to *change* existing *habits*, (2) to be used in *different contexts*, and (3) to become a routine part of everyday practices (i.e., *habitualization*). Finally, at the *post-mastery* phase, product becomes indispensable to the user (i.e., *sustained usage*) until the user finds a new product that satisfies emerging needs and preferences. The end of this phase intrinsically becomes the *path dependency* of the next prod-

With the definition of these phases and by considering the current debate in design community, we conducted a design workshop study in which we investigated the usage of "backwards designing" approach to integrate "Path to Sustained Usage" model into design process. Thus, the aim of this chapter is to first discuss the outcomes of the ENGAGE! Workshop, and

further discuss the possibilities of integrating our model into design process.

**Figure 1.** Path to Sustained Usage Model (retrieved from Bogazpınar et al. [15]).

will keep using for a long period.

2017

298

uct. For more information, see [15].

We undertook an investigation into how the Path to Sustained Usage model can be employed as an idea generation method in design process. To achieve this, we defined a set of criteria to go through the phases of the model. Naming the workshop "ENGAGE!", we structured the idea generation workshop with 19 industrial design bachelor students. One month prior to the workshop, we published an online invitation for the 3rd and 4th year industrial design students to participate in the workshop. In total, we have selected 20 participants out of 27 applications, one of which had dropped out before the workshop. One week prior to the workshop, we sent an email to the participants to inform them about the workshop process with detailed instructions of the user study that we expected them to conduct before coming to the workshop.

On the day of the workshop, after 30-minutes briefing about the workshop process, the students were introduced the details of the Path to Sustained Usage model. Following that, the students were formed into the groups of 4 in relation to the technological products to be designed. With these groups, the Engage workshop took about 6 hours in total with a final presentation and discussion of the workshop outcomes.

During the workshop, we applied the "backwards-designing" process in which we asked students to start designing the final product without thinking of the applicability of technology. Within this process, participants started the design process from the "post-mastery" phase and then, continued their design process backwards by considering the product features that we listed in our model, from post-mastery to before acquiring. The aim of applying "backwards-designing" process was to help the participants break free from the current technology and develop possible future design solutions (i.e., the next product/experience). By following the backwards design process, the participants made associations with the currently available products and designed the path towards the new experience and its sustained usage.

We spared 1 hour for each phase (i.e., post-mastery, mastery, learning and before acquiring) during the workshop. At the beginning of each hour, the groups were informed about the aim and focus of designing for the phase. Through discussions, group members first decided how to implement the human-related and product-related qualities defined for each phase to the product they are designing. For instance, when designing for path-dependency phase, participants considered the qualities that could be adopted from similar products that could break the users' dependency to previous products. Following this discussion, participants made visualizations and mock-ups for further developing the product. The discussions and brainstorming followed on until the end of final visualization of the product.

### **3. Results**

Five groups of participants developed five different design solutions during the workshop. The solutions were smart (i) sports watch, (ii) cam, (iii) screen, (iv) children's watch and

(v) earphones (**Figure 2**). All these initial design ideas were extremely detailed as the participants dwelled upon all the aspects of our model and developed usage paths to adopt and to use for a long period of time. Hence, in this chapter, we will follow upon the backwards designing process of one of the outcomes (i.e., SmartScreen) to present the kind of outcomes to be expected from ENGAGE-Path to Sustained Usage Workshop. Here, it should be stated that the participants were free to define what the next product would be. Also they were allowed to make iterations of visual and interactive qualities of the products throughout the design process in relation to the human-related and product-related qualities listed for each phase.

#### **3.1. Stage 4: designing the post-mastery phase**

In this stage, the participants were expected to come up with a design idea for the "next" product and the way it is going to be used after a potential user learns and masters its features. This is the stage where designers sketch out the intended use for their technological product, and how it will have been integrated into users' lives. At this stage, the groups utilized the knowledge they gathered from the initial field work (i.e., interviews with users) to understand users' needs, expectations and desires.

For the SmartScreen design solution, the participants preferred to develop a Persona to map out potential users of their products and decided upon the necessary features for the next home entertainment system. The persona they developed was someone working in a creative work, who values his/her independence, rather nomadic and enthusiastic about trying new things. Through the utilization of this persona and the knowledge they gained from the field work, the participants interrogated possible features of such a home entertainment system and tried to foresee the context it will be used in. The sketches drawn on large post-it notepapers in **Figure 3** show the initial interaction details between the user and the product which helped to develop the spherical form as well.

It should be noted that, although participants were generating an idea for the final stage of our experience model, it was only the first step of the ENGAGE workshop. At this point, the ideas were initial and the details developed were vague. The final design solution and other elements of the long-term experience are detailed in the coming steps of the workshop.

Design for the Next: Integration of Path to Sustained Usage Model into Design Process http://dx.doi.org/10.5772/intechopen.71110 301

**Figure 3.** Sketches for the post-mastery stage (developed by Groups 2).

#### **3.2. Stage 3: designing the mastery phase**

(v) earphones (**Figure 2**). All these initial design ideas were extremely detailed as the participants dwelled upon all the aspects of our model and developed usage paths to adopt and to use for a long period of time. Hence, in this chapter, we will follow upon the backwards designing process of one of the outcomes (i.e., SmartScreen) to present the kind of outcomes to be expected from ENGAGE-Path to Sustained Usage Workshop. Here, it should be stated that the participants were free to define what the next product would be. Also they were allowed to make iterations of visual and interactive qualities of the products throughout the design process in relation to the human-related and product-related

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

In this stage, the participants were expected to come up with a design idea for the "next" product and the way it is going to be used after a potential user learns and masters its features. This is the stage where designers sketch out the intended use for their technological product, and how it will have been integrated into users' lives. At this stage, the groups utilized the knowledge they gathered from the initial field work (i.e., interviews with users) to

For the SmartScreen design solution, the participants preferred to develop a Persona to map out potential users of their products and decided upon the necessary features for the next home entertainment system. The persona they developed was someone working in a creative work, who values his/her independence, rather nomadic and enthusiastic about trying new things. Through the utilization of this persona and the knowledge they gained from the field work, the participants interrogated possible features of such a home entertainment system and tried to foresee the context it will be used in. The sketches drawn on large post-it notepapers in **Figure 3** show the initial interaction details between the user and the product which

It should be noted that, although participants were generating an idea for the final stage of our experience model, it was only the first step of the ENGAGE workshop. At this point, the ideas were initial and the details developed were vague. The final design solution and other elements of the long-term experience are detailed in the coming steps of the workshop.

qualities listed for each phase.

2017

300

**3.1. Stage 4: designing the post-mastery phase**

understand users' needs, expectations and desires.

helped to develop the spherical form as well.

**Figure 2.** Summary of workshop outcomes.

In the second stage of the workshop, groups were expected to extend the product idea by considering the product and human-related qualities of "mastery phase." At this stage, students both did sketches (**Figure 4**) and early mock-ups (**Figure 5**) to improve the *interaction* between the user and the product. With the mock-ups, participants elaborated on how the product will be interacted. At this stage, they also searched for the product qualities that would help the user to understand the interaction of the product better and achieve the integration of product into users' lives (i.e., *habitualization*) through *ease of interaction.*

At this stage, participants were informed that mastery phase is the one that users make a decision to accept or reject the product to be a part of their life. The product features such as *personalization* and *mobility* are listed as the important factors of product acceptance. Therefore, the groups pursued for additional product features facilitate the user to personalize and mobilize the product. They also put extra effort to understand how the product will *change users' habits* with new product features (left end side of **Figure 6**). Developing upon the assessment of possible *changes in habits* and figuring out how it is related to *changing* 

**Figure 4.** Sketches for the mastery phase for SmartScreen (developed by Group 2).

**Figure 5.** Mock-ups for the mastery phase for SmartScreen (developed by Group 2).

*contexts*, also considering that the persona they have created is enthusiastic about creating new things, participants added "customized kit" idea to the product to facilitate the user with the ability of buying extra kits in relation to their changing personal interests. They have selected three key functionalities to develop specialized parts, namely a projector, a high-power speaker and a motion sensor. These specialized parts are offered in various combinations to respond to people's needs and expectations, as illustrated on the right end side of **Figure 6**. Furthermore, the spherical parts were designed to be taken out of their stands and placed in different rooms or outdoor settings to provide their functionality in various contexts.

At this stage, the participants also inquired into advanced interactions by considering the change in the context and habits of the user. These included products giving haptic and audio feedback to inform the user about the interactions (e.g., buzzing, clicking sounds and even playing recorded information). The interaction ideas that the participants came up with at this stage were also additionally explored in designing the learning phase.

#### **3.3. Stage 2: designing the learning phase**

The interactions that the participants explored in this stage aimed to help users understand how the product works through *familiarization* and *adaptation*. As affecting product qualities, *connectivity, multi-functionality* and *ease of interaction* comes to fore. For the SmartScreen, participants focused on four interactions as turning on and off the device, Design for the Next: Integration of Path to Sustained Usage Model into Design Process http://dx.doi.org/10.5772/intechopen.71110 303

**Figure 6.** Visualization of mastery phase for SmartScreen (developed by Group 2).

*contexts*, also considering that the persona they have created is enthusiastic about creating new things, participants added "customized kit" idea to the product to facilitate the user with the ability of buying extra kits in relation to their changing personal interests. They have selected three key functionalities to develop specialized parts, namely a projector, a high-power speaker and a motion sensor. These specialized parts are offered in various combinations to respond to people's needs and expectations, as illustrated on the right end side of **Figure 6**. Furthermore, the spherical parts were designed to be taken out of their stands and placed in different rooms or outdoor settings to provide their functionality in

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

At this stage, the participants also inquired into advanced interactions by considering the change in the context and habits of the user. These included products giving haptic and audio feedback to inform the user about the interactions (e.g., buzzing, clicking sounds and even playing recorded information). The interaction ideas that the participants came up with at this

The interactions that the participants explored in this stage aimed to help users understand how the product works through *familiarization* and *adaptation*. As affecting product qualities, *connectivity, multi-functionality* and *ease of interaction* comes to fore. For the SmartScreen, participants focused on four interactions as turning on and off the device,

stage were also additionally explored in designing the learning phase.

**Figure 5.** Mock-ups for the mastery phase for SmartScreen (developed by Group 2).

**3.3. Stage 2: designing the learning phase**

various contexts.

2017

302

initiating the functions, making the adjustments and charging (**Figure 7**). These interactions were actually considered by the participants as the "initial interactions" with the product after the purchase.

The participants also reviewed the product-product interactions that affect the users' interaction through using the product for different purposes (i.e., multi-functionality). On the right end side of **Figure 7**, the other products are depicted as laptops, smartphones and tablets, which connect with the SmartScreen to provide content. *Connectivity* and *ease of interaction* are crucial for the learning phase, as the new product is introduced into a context of other products the user owns, and the connectivity is essential to create a "fitting" product experience. And, if such *connectivity* is established, the user can use the product for various purposes. For this purpose, participants thought of an auto-on function, in which case the projector turns on as soon as a smartphone or a tablet is in its vicinity, and an app to control the SmartScreen is launched automatically.

**Figure 7.** Visualization of learning phase for SmartScreen (developed by Group 2).

#### **3.4. Stage 1: designing the before acquiring phase**

Before acquiring is the initial stage of user experience, which is heavily influenced by *path dependency*: a kind of loyalty to their previous experience with similar products. Hence, this stage requires an understanding of the previous products and use experiences, which—if any—of the product qualities should be transferred and how. Only through such an assessment, the "next" product (in this case, SmartScreen) can be adopted by users.

**Figure 8** presents an analysis of products by participants that are defined as predecessors of the SmartScreen (i.e., television, Apple TV, Smart TVs and projectors). During this assessment, they highly used the knowledge they gained from the field research. Through this assessment, they have defined *connectivity, being stand-alone* and *personalization* as key product qualities, which are also transferred to the SmartScreen. They referred to the results of their field research and their personas, and defined *mobility* as an important product quality. It was because, the users of this new system will like to travel a lot and would like to carry this multifunctional product wherever they go. This was stated as an essential way to break *path dependency* to previous products.

**Figure 8.** Visualization of before acquiring phase for SmartScreen (developed by Group 2).

### **4. Discussions**

**3.4. Stage 1: designing the before acquiring phase**

2017

304

*dependency* to previous products.

Before acquiring is the initial stage of user experience, which is heavily influenced by *path dependency*: a kind of loyalty to their previous experience with similar products. Hence, this stage requires an understanding of the previous products and use experiences, which—if any—of the product qualities should be transferred and how. Only through such an assess-

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

**Figure 8** presents an analysis of products by participants that are defined as predecessors of the SmartScreen (i.e., television, Apple TV, Smart TVs and projectors). During this assessment, they highly used the knowledge they gained from the field research. Through this assessment, they have defined *connectivity, being stand-alone* and *personalization* as key product qualities, which are also transferred to the SmartScreen. They referred to the results of their field research and their personas, and defined *mobility* as an important product quality. It was because, the users of this new system will like to travel a lot and would like to carry this multifunctional product wherever they go. This was stated as an essential way to break *path* 

ment, the "next" product (in this case, SmartScreen) can be adopted by users.

**Figure 8.** Visualization of before acquiring phase for SmartScreen (developed by Group 2).

As stated, designing for experience is a complex task and requires tools and techniques to support the designers in this process and [10, 11]. With this vision, we designed the ENGAGE! Workshop with an aim of integrating the Path to Sustained Usage model into the idea generation phase of the design process. The results were two-fold: on one hand, we were able to assess if the model could be integrated into the design process, and on the other hand, we were able to try out a new tool (i.e., backwards designing) to help designers imagine the next product. The outcomes of the workshop showed that both the human-related and productrelated qualities we listed in the model and "backwards-designing" method were complementary and guided the participants in this task. We observed that with the guidelines we provided, the participants were able to develop very detailed product ideas in a short time. It was because the workshop we designed for the effective usage of the model associated the participants with a systematic approach at every stage.

There can also be drawbacks of designing a model. For instance, as seen in **Figure 8**, participants used the before acquiring phase as a phase for self-assessment rather than further development of the product. The participants conferred to the products that can be the predecessors of their design just to check whether it can break path dependency through the product qualities they employed. In addition, we were expecting the participants to come up with more advanced interaction suggestions than the participants listed at the learning phase.

However, starting the design process from the "post-mastery" phase and designing "backwards," prevented the participants from setting personal mental blocks that might restrict them from thinking "out of the box." On the other hand, the qualities that are listed at every phase of the model helped the participants to focus on the design process better. By trying to cover all the product qualities, in the end, the participants were able to associate the outcomes of the design process with the technological products that users currently use.

### **5. Conclusions**

In this chapter, we have explained and discussed the outcomes of the first design workshop that we conducted to integrate "Path to Sustained Usage" model into the idea generation phase of the design process of technological products. We applied the "backwards-designing" method in which we asked the participants to start designing the "next" technological product without taking the boundaries of current technology into account. The participants were asked to further develop their products—to design the path to the sustained usage of their solutions—by considering the human and product-related qualities we provided for each phase of the long-term experience of technological products.

Our study revealed that the participants of the workshop were confident with design of the model we developed, especially with the backwards-designing method. This process assisted the participants in the sense that they did not have to consider the feasibility of

the product. As the participants were totally free in defining the next product, design criteria were created by the participants themselves. Our model and backwards design process were just a guidance for them throughout this process. We believe that this process can better help the companies to design and develop products to be produced in the following 5 years.

With the learnings from the participants of this workshop, we will further develop the backwards designing process. For further studies, we plan to further investigate this process in detail by researching upon how designers can benefit from it for specific consumer products with futuristic scenarios.

### **Acknowledgements**

This chapter is based upon work funded by the TUBITAK 1002 Grant (Project No. 315M199).

### **Author details**

Armağan Karahanoğlu1,2\* and Yekta Bakırlıoğlu3,4


### **References**


[5] Roto V. User experience from product creation perspective. In: . Towards a UX Manifesto; 2007. p. 31-34

the product. As the participants were totally free in defining the next product, design criteria were created by the participants themselves. Our model and backwards design process were just a guidance for them throughout this process. We believe that this process can better help the companies to design and develop products to be produced in the

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

With the learnings from the participants of this workshop, we will further develop the backwards designing process. For further studies, we plan to further investigate this process in detail by researching upon how designers can benefit from it for specific consumer products

This chapter is based upon work funded by the TUBITAK 1002 Grant (Project No. 315M199).

[1] Hassenzahl M. User experience (UX): Towards an experiential perspective on product quality. In: Proceedings of the 20th International Conference of the Association

[2] Desmet P, Hekkert P. Framework of product experience. International Journal of Design.

[3] Karapanos E, et al. User experience over time: An initial framework. In: Proceedings of the 27th International Conference on Human Factors in Computing Systems. 2009,

[4] Pucillo F, Cascini G. A framework for user experience, needs and affordances. Design

following 5 years.

2017

306

with futuristic scenarios.

**Acknowledgements**

Armağan Karahanoğlu1,2\* and Yekta Bakırlıoğlu3,4

1 University of Twente, Enschede, Netherlands

4 Orta Doğu Teknik Üniversitesi, Ankara, Turkey

ACM: Boston, MA, USA. p. 729-738

Studies. 2014;**35**(2):160-179

3 Univesity of Limmerck, Limerick, Ireland

\*Address all correspondence to: a.karahanoglu@utwente.nl

2 TOBB Ekonomi ve Teknoloji Üniversitesi, Ankara, Turkey

Francophone d'Interaction Homme-Machine. 2008. ACM

**Author details**

**References**

2007;**1**(1):57-66


Provisional chapter

### **Unveiling the Expressivity of Complexity: Drifting in Design Research** Unveiling the Expressivity of Complexity: Drifting in Design Research

DOI: 10.5772/intechopen.71123

Jeroen Peeters, Stoffel Kuenen and Ambra Trotto

Additional information is available at the end of the chapter Ambra Trotto

http://dx.doi.org/10.5772/intechopen.71123 Additional information is available at the end of the chapter

Jeroen Peeters, Stoffel Kuenen and

#### Abstract

Design research is regarded to be a mode of inquiry particularly suited to engage with complex topics. In our work, we are interested in unpacking the complexity at the heart of an embodied aesthetic experience. In this article, through our digital and physical artefacts and a methodological reflection, we illustrate an ongoing design research project that a multi-disciplinary team of interaction designers, professional dancers, software developers, artists and 3D modelling experts are carrying out to develop insights on how to understand this complexity and how to use such insights as inspiration for interaction design-related projects. By embracing combinations of design, new technologies and simple visualisation tools, the project investigates the complex and hidden expressivity embedded in the skills of dancers in a programmatic design research approach. This investigation leads to insights on different levels. Firstly, cycles of formulation, realisation and reflection on design programs express parts of this complexity and this lets new research interests emerge. Secondly, as a body of work, reflecting on these cycles exposes how our "drifting" within this programmatic approach has started to unveil the complexities inherent in our research program. In this article we aim at contributing to the growing understanding of what designerly ways of knowing might be and how a practice aimed at expanding and contributing such knowledge unfolds.

Keywords: constructive design research, drifting, embodiment, aesthetics, complexity

#### 1. Introduction

Our approach is based on constructive design research [1]: research based on design action that builds things, with some form of reflection or evaluation on that action that generates knowledge. In previous work [2, 3], we employed this approach to design and build

© 2017 The Author(s). Licensee InTech. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

© The Author(s). Licensee InTech. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and eproduction in any medium, provided the original work is properly cited.

prototypes aimed at articulating how certain qualities may elicit an engaging aesthetic experience in interaction. In the project presented in this publication, we employ a similar designerly approach in a different way. Instead of developing and implementing our understanding of qualities in designing for an aesthetic experience, our intention here could be considered the opposite. Here, we aim to use our skills, interests and technologies to design from an experience—defined by the whole of its aesthetic qualities—in order to gain access to its complexity by expressing and amplifying the qualities we find in it.

The qualities of the dancers' experience are revealed in this process through cycles of reflectionon-action, where the action is constituted by different ways of making elements of the dance explicit and the reflection happen as a joint dialogue between designers and dancers. Such qualities are subsequently explored through several individual design research projects, in which we transpose them into other instances, where design becomes a tool to better understand them. These design projects follow several different avenues of exploration, with different design teams, within different contexts, and they exist in varying states of completion. We ask the reader to bear with us, since we will explain in detail and with clear examples, what we just mentioned in a generalised way.

We report on intermediate results of the project here because we believe they are valuable to the Interaction Design Research community on two levels: firstly, the various avenues of exploration that have emerged form a palette of different opportunities in which an embodied perspective on the aesthetic experience can become relevant in other design projects. In this sense, what has emerged from these different individual projects so far is not a knowledge contribution per se. It rather constitutes emergent design programs that are being further developed in parallel. This palette of opportunities is illustrated in the fourth section of this paper.

Our focus, in this publication, is thus less directed towards the knowledge of aesthetic or movement qualities that these individual projects have generated (or are generating) as isolated studies. Our main intention is to present a wider view, to frame and place these projects from a methodological perspective: as a body of work that explores the complexity of experience in dance through design. As a body of work, this brings about new design programs. The overarching project, in its current state, offers an opportunity to be used as a research vehicle to expose and reflect on our programmatic design research approach, that is, investigating the complexity of experiences. The work provides different perspectives on this complexity when framed as a programmatic design research approach. In reflecting on the program/experiment dialectics [4] that guided this research project, we aim to contribute to the growing understanding of what designerly ways of knowing [5, 6] might be. Or, more particularly, what ways of drifting there might be in design research [7, 8] and how a practice aimed at expanding and contributing such knowledge unfolds.

### 2. Related work and scope

Building on an embodied perspective [9] the importance of movement for interaction design is clear and the community has produced a variety of different approaches, methods and tools to develop this importance. In particular, many approaches and methods have been developed to use dance, as a way of moving that is expressive and has aesthetic qualities, in embodied interaction design research (e.g. [10–13]). Instances of work more directly related to our research program here are projects by Silang Maranan et al. [14] and Alaoui et al. [15] that also aimed at visualising and understanding the qualities of movement in dance using interactive technologies. Other related works that capture, translate and transpose qualities from movement into visualisations or materialisations, include both artistic (e.g. [16–18]) and academic (e.g. [19]) projects. Similar to this work, our intention in this research program is to use our design skills to create prototypes that emphasise and amplify the qualities hidden within the complexity of dance.

Similar to our other design research work, this program builds on theoretical foundations that include ecological perception [20], phenomenology [21] and embodied cognition [22]. These foundations share a notion of embodiment: we experience and make sense of the world subjectively, through our bodies, by acting in the world. Meaning is released in dialogue and so our experiences become ungraspable, ephemeral and dynamic. A phenomenological and embodied perspective on our experiences with the world thus stresses the inherent complexity of such experiences. In this publication we aim at exposing how our drifting has started to unveil the complexities inherent in this research program.

### 3. Methodological framing

prototypes aimed at articulating how certain qualities may elicit an engaging aesthetic experience in interaction. In the project presented in this publication, we employ a similar designerly approach in a different way. Instead of developing and implementing our understanding of qualities in designing for an aesthetic experience, our intention here could be considered the opposite. Here, we aim to use our skills, interests and technologies to design from an experience—defined by the whole of its aesthetic qualities—in order to gain access to its complexity

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

The qualities of the dancers' experience are revealed in this process through cycles of reflectionon-action, where the action is constituted by different ways of making elements of the dance explicit and the reflection happen as a joint dialogue between designers and dancers. Such qualities are subsequently explored through several individual design research projects, in which we transpose them into other instances, where design becomes a tool to better understand them. These design projects follow several different avenues of exploration, with different design teams, within different contexts, and they exist in varying states of completion. We ask the reader to bear with us, since we will explain in detail and with clear examples, what we

We report on intermediate results of the project here because we believe they are valuable to the Interaction Design Research community on two levels: firstly, the various avenues of exploration that have emerged form a palette of different opportunities in which an embodied perspective on the aesthetic experience can become relevant in other design projects. In this sense, what has emerged from these different individual projects so far is not a knowledge contribution per se. It rather constitutes emergent design programs that are being further developed in parallel. This palette of opportunities is illustrated in the fourth section of this

Our focus, in this publication, is thus less directed towards the knowledge of aesthetic or movement qualities that these individual projects have generated (or are generating) as isolated studies. Our main intention is to present a wider view, to frame and place these projects from a methodological perspective: as a body of work that explores the complexity of experience in dance through design. As a body of work, this brings about new design programs. The overarching project, in its current state, offers an opportunity to be used as a research vehicle to expose and reflect on our programmatic design research approach, that is, investigating the complexity of experiences. The work provides different perspectives on this complexity when framed as a programmatic design research approach. In reflecting on the program/experiment dialectics [4] that guided this research project, we aim to contribute to the growing understanding of what designerly ways of knowing [5, 6] might be. Or, more particularly, what ways of drifting there might be in design research [7, 8] and how a practice aimed at expanding and

Building on an embodied perspective [9] the importance of movement for interaction design is clear and the community has produced a variety of different approaches, methods and tools to

by expressing and amplifying the qualities we find in it.

just mentioned in a generalised way.

contributing such knowledge unfolds.

2. Related work and scope

paper.

2017

310

Since Frayling [23] coined the term Research through Design, many scholarly efforts have been made to articulate methodologies, strategies and approaches as to how this form of research can generate knowledge. Koskinen et al. [1] aimed at specifying such ideas further, proposing the notion of constructive design research, where the construction of artefacts or interventions takes centre stage as the source of new knowledge.

A particular approach to articulating how knowledge may be generated within such a research endeavour is programmatic design research [24]. The program in this case is a provisional knowledge regime, a statement that acts as a lens through which to view the research interest. This statement proposes handles on how and where to start designing. An experiment then can be a designed artefact, intervention or even proposal, that brings (parts of) the program to expression. In a dialectic process, the researcher repositions herself between program and experiment: both program and experiment mutually influence and sharpen one another [4].

#### 3.1. Research cycles

When we cast our own research work in a programmatic approach, we can make a distinction between the research program and the design program. The research program formulates an intention and area for an overarching research interest. Design programs are particular instances of that research program more directly related to the design experiments within a project. The research program for the projects presented in this publication is to use the forming language of design to amplify and express the (hidden) qualities and intentionality embedded in the skills of dancers. The research program is grounded in theory and practice: it

builds on a embodied and phenomenological understanding of experience and points to a design space: expressing the qualities in dance. This design space is always in flux, as it is impossible to fully grasp. Yet, it can be seen as an encapsulation of complexity on a certain level of abstraction (see Figure 1).

From the research program, we can formulate a design program: the starting point of a design research project (see Figure 2). The design program provides a particular perspective on the design space providing handles on where and how to start designing. The design program is realised through design experiments (see Figure 2). The design experiment is engaging directly with the complexities of the design space. They extend outwards, towards abstraction, as they gain value in relation to the design program through reflections. Individual reflections exist on a certain level of abstraction but stay connected to particular experiments. Reflecting on these results in relation to the design and research program, allows for the formulation of a new

Figure 1. The design space as existing between increasing levels of abstraction and complexity: as a metaphor for the potential of possible designs, it is infinitely complex, as the subject of a research investigation it is limited by the particular design domain that is of interest.

Figure 2. The three stages of a cycle: formulating a design program (left), realising the program through individual design experiments and reflecting on individual results (middle) and reflecting on the results and program (right) to gain a new perspective.

program. Cycles of formulation, realisation and reflection on design programs express parts of the complexity of the research topic and suggest where further expression can be found [25].

In this publication, we present and reflect on what we have learned about our research program using this approach. Our focus here is not on describing in detail the lessons learned from each individual cycle, nor on presenting a highly precise theoretical model describing all the complexities inherent to design research practice. Rather, our focus is on describing how each cycle influences the following cycles, thereby articulating how the body of work as a whole engages with the overarching research program in a complementary way. It is therefore important to note that the three-stage model of a cycle, introduced earlier in this section and presented in Figure 2, is intended merely to illustrate the dynamics of a constructive design research process. The position, size and form of the elements in the model should thus not be considered as formally accurate individually, but rather as relative to one another. For example, the design program (Figure 2, left) is a perspective on the design space and thus exists on the outside, looking in. However, the shape of this perspective (angle, width) in the illustration is arbitrary: the design space is an infinite domain of possible designs and the limits of a design program are inherently unknown before realisations are created. Similarly, it is difficult to accurately draw the shape and position of the new perspective one gains from reflecting on a cycle in the third stage (Figure 2, right). How this new perspective relates to the infinite possibilities of the design space, or the potential of a design program, is impossible to describe accurately. What we do know, is something about how this new perspective exists in relation to the graphical elements that describe stages 1 and 2. First, its position in relation to the design space is more abstract than that of the original design program, because it is a reflection on this program. Second, it casts a wider perspective on the design space as new insights of the possibilities inherent to this design space have emerged. And finally, that it is formed by, and thus overlaps with, the design program and experiment generated in stages 1 and 2.

#### 3.2. Drift and stabilisation

builds on a embodied and phenomenological understanding of experience and points to a design space: expressing the qualities in dance. This design space is always in flux, as it is impossible to fully grasp. Yet, it can be seen as an encapsulation of complexity on a certain

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

From the research program, we can formulate a design program: the starting point of a design research project (see Figure 2). The design program provides a particular perspective on the design space providing handles on where and how to start designing. The design program is realised through design experiments (see Figure 2). The design experiment is engaging directly with the complexities of the design space. They extend outwards, towards abstraction, as they gain value in relation to the design program through reflections. Individual reflections exist on a certain level of abstraction but stay connected to particular experiments. Reflecting on these results in relation to the design and research program, allows for the formulation of a new

Figure 1. The design space as existing between increasing levels of abstraction and complexity: as a metaphor for the potential of possible designs, it is infinitely complex, as the subject of a research investigation it is limited by the particular

Figure 2. The three stages of a cycle: formulating a design program (left), realising the program through individual design experiments and reflecting on individual results (middle) and reflecting on the results and program (right) to gain

level of abstraction (see Figure 1).

2017

312

design domain that is of interest.

a new perspective.

This process is characterised by drift [4, 24]: as understanding of the research interest develop, one's perspective often shifts from its original position to a new one. It is what such drift exposes that we aim to address in this publication. In particular the work we present exemplifies a kind of mechanics—between research program and its series of heterogenous design explorations—that reveals while leaving complexity intact.

Several other scholarly efforts [7, 8] have been made that attempt to describe what this drifting is, how it may be controlled or steered and what its relation is to knowledge production. To describe drift in a design research process if fundamentally difficult, because it is often used as a general term to describe the many elements that form the ephemeral activity of designing. This includes the tacit and explicit knowledge that steer decisions [6, 26], intuition and skill of the designer [27], the personal agendas present in multi-disciplinary design teams [4], serendipity or even more banal issues such available resources. Nonetheless, we agree with others (see e.g. [8, 28]) that it is important for design researchers to attempt and articulate the process

Figure 3. By articulating start and end stages of different cycles that explore the same topic, we can sketch how we drift from one perspective to another, and how these perspectives together express the complexity of the research topic.

of drifting, in order to better understand how design as an activity functions in generating knowledge.

What is easier to describe than the process of drifting and the factors and forces that influence it, are the moments of stabilisation: points where we are not synthesising different concerns through designing, but take a step back to relate what we have done to our research interest. Although these points are also certainly not accurate: they are to a certain extent postrationalisations of a dynamic process. They serve as anchor points: moments where we state an intention (in the formulation of a design program) and moments of reflection (on realisations of that program). In describing and exposing our considerations, we can describe vectors that connect these perspectives on the design space and that allow us to sketch what happens as we drift between these perspectives (see Figure 3).

On the following pages, we first introduce the initial design project that formed the start of our investigation through describing the formulation, realisation and reflection of its design program. The pages thereafter sketch different avenues of exploration, that is, new design programs that have emerged from reflections on previous design programs. We conclude with a methodological reflection on how the continuous repositioning between program and experiment in this approach is a valuable way to give expression to complexities inherent in the research interest.

### 4. Design research cycles

The following pages briefly discuss several of the different avenues of exploration, framed within the programmatic approach through their presentation: as full cycles of formulating, realising and reflecting on a design program. These three stages of each cycle are illustrated on the left-hand side of each subsection image. These cycles are intended to illustrate how knowledge generated in one cycle, influences the actions and reflections in following cycles. The reflections on the design program and its realisation highlight insights that steer further drift

Figure 4. Still image from the MoCap tango performance with the dancers in the middle, and a real time visualisation of their movements projected behind them. Photo courtesy of Murat Erdemsel.

after a moment of stabilisation in the completion of the design program. Salient points of these reflections form the basis for the formulation of new design program(s).

#### 4.1. MoCap tango performance

of drifting, in order to better understand how design as an activity functions in generating

Figure 3. By articulating start and end stages of different cycles that explore the same topic, we can sketch how we drift from one perspective to another, and how these perspectives together express the complexity of the research topic.

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

What is easier to describe than the process of drifting and the factors and forces that influence it, are the moments of stabilisation: points where we are not synthesising different concerns through designing, but take a step back to relate what we have done to our research interest. Although these points are also certainly not accurate: they are to a certain extent postrationalisations of a dynamic process. They serve as anchor points: moments where we state an intention (in the formulation of a design program) and moments of reflection (on realisations of that program). In describing and exposing our considerations, we can describe vectors that connect these perspectives on the design space and that allow us to sketch what

On the following pages, we first introduce the initial design project that formed the start of our investigation through describing the formulation, realisation and reflection of its design program. The pages thereafter sketch different avenues of exploration, that is, new design programs that have emerged from reflections on previous design programs. We conclude with a methodological reflection on how the continuous repositioning between program and experiment in this approach is a valuable way to give expression to complexities inherent in the

The following pages briefly discuss several of the different avenues of exploration, framed within the programmatic approach through their presentation: as full cycles of formulating, realising and reflecting on a design program. These three stages of each cycle are illustrated on the left-hand side of each subsection image. These cycles are intended to illustrate how knowledge generated in one cycle, influences the actions and reflections in following cycles. The reflections on the design program and its realisation highlight insights that steer further drift

happens as we drift between these perspectives (see Figure 3).

knowledge.

2017

314

research interest.

4. Design research cycles

A performance with world class tango dancers Murat Erdemsel and Sigrid Van Tilbeurgh took place during the Midnight Light Tango Festival in Umeå, Sweden in June 2015 (see Figure 4). For more information on this project, please refer to [29].

Design program: use novel technologies to create the possibility for an audience to appreciate dimensions of the dance that are normally unperceivable for the audience, but clearly present for the dancers.

Realisation: the dancers' movements were tracked through a motion capturing system and custom designed wearables. The movements were visualised in real time through a projection behind the dancers. By building on the embodied experience of the dancers, we visualised particular aspects of the dance, that is, accelerations and traces of movement through space. The visualisations emphasise elements of the dynamics and makes them linger in time, to enhance their perceivability.

Reflection: the overall sophistication of the visualisation was not at the same level of the dancers' performance. However the design case has operationalised the research program, by creating a common vocabulary (both verbally and visually) between dancers and designers, enabling a mutual understanding of aesthetic qualities that we aimed at exposing. Another reflection relates to the method of visualisation: the projection reduced an embodied experience to a two-dimensional representation of parts of that experience, leading to interest as to

how the movements might acquire a physical, embodied presence in its representation that resonates more strongly with its original (see Section 4.2). Shared reflections with the dancers revealed another quality: in discussing their bodily, felt experience in relation to the visualisation, the dancers were able to show how glimpses of their intentionality, the play of forces between partners to indicate future movement that is normally hidden for an audience, were visible in the visualisation (see Section 4.3).

#### 4.2. Materialising movement qualities

The enormous amounts of data gathered in the MoCap tango performance provided the basis for a wide area of explorations with the intention of exploring ways to materialise the qualities of movement embedded in the dance.

Design program: find an expression of the captured data that is as rich, beautiful, dense as the dance.

Realisation (see Figure 5): data from dancing tango dancers were gathered with a motion capture system, allowing specific steps and figures to be isolated. Both 3D models and animations of the data in those intervals were generated. Renderings were done both by using particle systems and ray-tracing techniques and we investigated the visual effect obtained through assigning different kinds of materials. Sculptures were realised with FDM techniques and visualisations of the data were projected onto fabric sculptures to examine ways in which the visualisations could acquire a physical presence in the same space as the dancers.

Figure 5. Experiments in materialising movement qualities with data captured during the MoCap tango performance. Clockwise from top left: animation experiments, rendering experiments, 3D printing movements, and materialising projections. Bottom left photograph courtesy of Murat Erdemsel.

Reflection: there are qualities about the aesthetics of the material that is being produced along this project, that is simply, irresistibly, sensually beautiful and is demanding us to keep on exploring: the grace, sensuality, viscerality of the visual material that we realised so far; the combination between live dance and visualisation or the materialisation of dance (yes, we can touch a dance now!); all these elements, make this design research project irresistible and push us to go further and dig deeper. Leaps from one medium, one materiality to another, starts unveiling hidden elements, even to the dancers. At that point, we started noticing ephemeral leads: in materialising movement qualities, different models and prototypes provided new perspectives on the dance. The dancers themselves were able to see and discuss things they were unable to perceive before. This brought us to elaborate, later on, educational material, meant for the dancers, in their pedagogical work (see Section 3.4). The physical materialisation of the movement, especially in forms of 3D printed sculptures, showed how the dance may inspire spatial explorations, further explained in Section 3.5.

#### 4.3. Intentionality

how the movements might acquire a physical, embodied presence in its representation that resonates more strongly with its original (see Section 4.2). Shared reflections with the dancers revealed another quality: in discussing their bodily, felt experience in relation to the visualisation, the dancers were able to show how glimpses of their intentionality, the play of forces between partners to indicate future movement that is normally hidden for an audience, were

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

The enormous amounts of data gathered in the MoCap tango performance provided the basis for a wide area of explorations with the intention of exploring ways to materialise the qualities

Design program: find an expression of the captured data that is as rich, beautiful, dense as the

Realisation (see Figure 5): data from dancing tango dancers were gathered with a motion capture system, allowing specific steps and figures to be isolated. Both 3D models and animations of the data in those intervals were generated. Renderings were done both by using particle systems and ray-tracing techniques and we investigated the visual effect obtained through assigning different kinds of materials. Sculptures were realised with FDM techniques and visualisations of the data were projected onto fabric sculptures to examine ways in which

Figure 5. Experiments in materialising movement qualities with data captured during the MoCap tango performance. Clockwise from top left: animation experiments, rendering experiments, 3D printing movements, and materialising pro-

jections. Bottom left photograph courtesy of Murat Erdemsel.

the visualisations could acquire a physical presence in the same space as the dancers.

visible in the visualisation (see Section 4.3).

4.2. Materialising movement qualities

of movement embedded in the dance.

dance.

2017

316

Together with the same tango dancers that we have collaborated for the performance design program, we started working on how to expose the dialogue among the two dancers, by digging into how the initiative that is taken by one dancer, is communicated to the other. Together with the dancers, we have chosen to isolate the element of transmitting pressure on the floor, as one way to visualise how the intention of undertaking a specific step can be studied, exposed and made more apparent (see Figure 6).

Design program: to explore ways in which the intentionality, the hidden forces with which partners sense each others' movements before they happen, may be expressed and become perceivable.

Realisation: we initially defined 'pressure transmitted on the floor' as the element to visualise, in order to further explore ways to transmit intentions in the dance dialogue; we did some

Figure 6. Exploring intentionality in tango: pressure sensors embedded in the shoes of the dancers are used to gather data and visualise pressure, force and points of contact. Photos courtesy of Murat Erdemsel.

photoshop work to simulate how we could visualise such pressure (see Figure 6). We then recorded the pressure, by implementing a pressure sensor under the dancers' shoe soles and gathered data while motion capturing movements. The pressure sensor data is currently being integrated with the motion capture data, in order to add the dimension of intentionality to the visualisations.

Reflection: the first trials in visualising downward pressure from the feet of the dancers are promising, in the sense that it shows activity. However, as our investigation is a designoriented one, and not an analytical inquiry into objective, measurable elements of tango, this also highlights a difficulty: in itself, the sensor data in this project is meaningless, unless integrated with other elements of the dance, like the whole movements. Shared reflections with the dancers, in which they explain their intentions and felt experience in relation to the data, are one way in which these missing dimensions might be exposed. Moreover, reflecting on this design program also made clearer that our real interest regarding intentionality is in the direct dialogue between dancers: for example, the physical dialogue at points of contact between the dancers' bodies that elicit or guide successive movements. This latter reflection is the driving force between a new design program, that explicitly aims to use the laid by this project, into interaction design: produce material to inspire a reflection intentionality in intelligent products and systems, in relation to how such products and systems can detect and respond to human cues and intentions.

#### 4.4. Educational material

The first and second design programs and their realisations informed us about the possibilities of creating visualisations to be used for educational purposes, in teaching Argentine tango. The suggestion came from the dancers: through the materialisations, renderings and animations of the captured data, they were able to compare and articulate their felt experience and reflect on it. In some cases, their felt experience was completely different from what happened in reality (e.g. feeling like make a circular movement pattern, but in reality making a distinctly different shape, see Figure 7).

Design program: develop material that supports the teaching of dance, exposing elements of complexity that are difficult to verbally explain to others. Such tacit elements are, for instance, the physical dialogue between dancers, complex movements that require coordination of several body parts or better visualisation of movements' characteristics, such as place and space.

Realisation: in tight collaboration with the dancers, we have developed a visual language that has specific aesthetic characteristics, such as how long the trace of movements lingers, how acceleration and speed are represented (the thicker the line, the faster the movement), how the position of the feet is represented (light dots), or what interval of dance is visualised (see Figure 6). We have elaborated a series of visualisations that show separately movements of feet, movements of hips and movements of shoulders.

Reflection: this design program constitutes a very practical application of the first, more abstract and artistic case, that is, the MoCap tango performance. In proposing a specific representation of the movement (with defined aesthetic qualities), we make a decision concerning

Figure 7. Renderings of the data can be used to provide a new perspective on the movements (in time and space), or to isolate particular body parts. In the above still image, only the feet of the man and woman dancing are shown (green and pink, respectively) from a bird's eye view. This visualisation showed a professional tango dancer that the patterns of movement he thinks he makes are in fact very different from what he does in reality.

the exposure of certain movement's features. The material that has been produced so far, is currently used for educational purposes and will produce a feedback by its impact on students, which will inform the next iterations. From a design perspective, this design program also highlights an interesting tension: to isolate certain elements of the movement reduces its complexity to a more handleable form, however, at the same time, this process reveals elements that were obscured by its complexity.

#### 4.5. Tools for spatial design

photoshop work to simulate how we could visualise such pressure (see Figure 6). We then recorded the pressure, by implementing a pressure sensor under the dancers' shoe soles and gathered data while motion capturing movements. The pressure sensor data is currently being integrated with the motion capture data, in order to add the dimension of intentionality to the

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

Reflection: the first trials in visualising downward pressure from the feet of the dancers are promising, in the sense that it shows activity. However, as our investigation is a designoriented one, and not an analytical inquiry into objective, measurable elements of tango, this also highlights a difficulty: in itself, the sensor data in this project is meaningless, unless integrated with other elements of the dance, like the whole movements. Shared reflections with the dancers, in which they explain their intentions and felt experience in relation to the data, are one way in which these missing dimensions might be exposed. Moreover, reflecting on this design program also made clearer that our real interest regarding intentionality is in the direct dialogue between dancers: for example, the physical dialogue at points of contact between the dancers' bodies that elicit or guide successive movements. This latter reflection is the driving force between a new design program, that explicitly aims to use the laid by this project, into interaction design: produce material to inspire a reflection intentionality in intelligent products and systems, in relation to how such products and systems can detect and

The first and second design programs and their realisations informed us about the possibilities of creating visualisations to be used for educational purposes, in teaching Argentine tango. The suggestion came from the dancers: through the materialisations, renderings and animations of the captured data, they were able to compare and articulate their felt experience and reflect on it. In some cases, their felt experience was completely different from what happened in reality (e.g. feeling like make a circular movement pattern, but in reality making a distinctly

Design program: develop material that supports the teaching of dance, exposing elements of complexity that are difficult to verbally explain to others. Such tacit elements are, for instance, the physical dialogue between dancers, complex movements that require coordination of several body parts or better visualisation of movements' characteristics, such as place and

Realisation: in tight collaboration with the dancers, we have developed a visual language that has specific aesthetic characteristics, such as how long the trace of movements lingers, how acceleration and speed are represented (the thicker the line, the faster the movement), how the position of the feet is represented (light dots), or what interval of dance is visualised (see Figure 6). We have elaborated a series of visualisations that show separately movements of

Reflection: this design program constitutes a very practical application of the first, more abstract and artistic case, that is, the MoCap tango performance. In proposing a specific representation of the movement (with defined aesthetic qualities), we make a decision concerning

visualisations.

2017

318

respond to human cues and intentions.

4.4. Educational material

different shape, see Figure 7).

feet, movements of hips and movements of shoulders.

space.

The design program aimed at materialising movement qualities (Section 3.2) drew attention to the sculptural and spatial qualities of the dance. This led to a new design program, in which we explored specifically how the technologies that we were using to understand dance, might become functional as ways to directly design spaces. Within a research project called +Plus on sustainable production methods for residential buildings, we carried out a series of explorations with the contemporary dance collective Nomodaco. The movement sessions had specific assignments for the dancers, who were sketching with their bodies in a virtual reality space, using the HTC Vive technology, a motion capture system, and a mixture of custom and commercially available softwares.

Design program: inspire new ways and create new (digital) tools that support the design for spaces, by using one's body movement as a means of sketching.

Realisation: the explorations were designed in order for the dancer to express the interactive qualities of an everyday activity (making and drinking tea), using different obstructions, such as being physically connected with each other with a rigid joint or with a flexible joint. The movement was traced with brushes connected to their hands in a virtual reality space and later, with sensors on all of their body, tracked by a motion capture system. The sketches were visualised and materialised using different methods of representation.

Figure 8. Designing spaces from movement, annotating movements using motion capture (left) and carving spaces with dance virtual reality (right).

Reflection: each representation highlights different elements of the session and caters for a different purpose. The most relevant are: firstly, sculpturally annotating movements to give expression to specific interactive qualities that can be abstracted and turned into spacial qualities to inspire the design of a space. Secondly, by moving carving out space from a solid volume, to directly shape a space and be able to experience the qualities of that space to inspire further design steps. Further iterations will be carried out on the basis of this first exploration: in particular to explore how the tools and techniques used in this workshop, may be used by architects, as experts in the design of spaces (Figure 8).

### 5. Perpetual perspectives

To conclude this article we reflect on our cycles of formulating, realising and reflecting on design program, to expose how the drifting this process causes allows for expressions of the complex research topic. Reflecting on a design program and its realisation, affords a shift in perspective on the design space (see Figure 9). We drift from one position to a new one: a vantage point where our point of view on the design space is guided by reflections on the work and the knowledge it generated. This new perspective highlights new opportunities within the design space: it can show us something that is interesting to pursue further from the particular realisation in this design program. For example, the ephemeral intentionality that is part of the embodied dialogue between dancers: glimpses of it were visible in the first visualisation experiments for the performance. This suggested we could further expose them and leading to the design program explained in Section 3.3. This reflection at the end of a cycle might also highlight or emphasis qualities we have neglected to address in the current design. For example, the richness that is lost in creating a two-dimensional

Figure 9. The conclusion of the first cycle (left) and the conclusion of the fifth cycle (right).

representation of a three-dimensional movement (leading to the design program explained in Section 3.2).

We find the distinction between the research program as a whole, and the individual design programs that substantiate parts of this whole, useful. The research program is concerned with expressing the (hidden) qualities embedded in the experience of dancers. It is difficult for individual design programs, and the design experiments they bring forward, to address of all the complexity that constitutes this experience. However, in casting the design programs as a certain systematic way to address new elements found in this complexity, and to build upon earlier work in order to expose it, aids us in viewing separate design projects as part of a bigger whole (see Figure 9). To develop new cycles based on earlier cycles, balances what has been discovered, with what is missing and latent. This way in which past experiments and design programs stay relevant for subsequent cycles, and thus for the research program as a whole is crucial. Design experiments typically focus on parts of the complexity of the design space and express certain parts of this complexity. To unveil and understand this complexity, these individual expressions as need to be considered as a whole, mutually influential and relevant, to respect and embrace the complexity.

### Acknowledgements

Reflection: each representation highlights different elements of the session and caters for a different purpose. The most relevant are: firstly, sculpturally annotating movements to give expression to specific interactive qualities that can be abstracted and turned into spacial qualities to inspire the design of a space. Secondly, by moving carving out space from a solid volume, to directly shape a space and be able to experience the qualities of that space to inspire further design steps. Further iterations will be carried out on the basis of this first exploration: in particular to explore how the tools and techniques used in this workshop, may be used by

Figure 8. Designing spaces from movement, annotating movements using motion capture (left) and carving spaces with

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

To conclude this article we reflect on our cycles of formulating, realising and reflecting on design program, to expose how the drifting this process causes allows for expressions of the complex research topic. Reflecting on a design program and its realisation, affords a shift in perspective on the design space (see Figure 9). We drift from one position to a new one: a vantage point where our point of view on the design space is guided by reflections on the work and the knowledge it generated. This new perspective highlights new opportunities within the design space: it can show us something that is interesting to pursue further from the particular realisation in this design program. For example, the ephemeral intentionality that is part of the embodied dialogue between dancers: glimpses of it were visible in the first visualisation experiments for the performance. This suggested we could further expose them and leading to the design program explained in Section 3.3. This reflection at the end of a cycle might also highlight or emphasis qualities we have neglected to address in the current design. For example, the richness that is lost in creating a two-dimensional

architects, as experts in the design of spaces (Figure 8).

5. Perpetual perspectives

dance virtual reality (right).

2017

320

We would like to thank all those involved in the various MoCap tango related design programs: tango dancers Murat Erdemsel and Sigrid van Tilbeurgh, Carolina Backman and Tove Skeidsvoll of dance collective Nomodaco, as well as Ronald Helgers, Olov Långström, Nigel Papworth, Thom Persson, Fredrik Nilbrink, Nicole Sampanidou, and Willem Zwagers of RISE Interactive.

### Author details

Jeroen Peeters<sup>1</sup> \*, Stoffel Kuenen<sup>2</sup> and Ambra Trotto<sup>3</sup>


#### References


[11] Loke L, Robertson T. Studies of dancers: Moving from experience to interaction design. International Journal of Design. 2010;4(2):39-54

Author details

\*, Stoffel Kuenen<sup>2</sup> and Ambra Trotto<sup>3</sup>

3 RISE Interactive and Umeå School of Architecture, Umeå, Sweden

Available from: http://dx.doi.org/10.6084/M9.FIGSHARE.1327999

Design Research Conference. Nordes; 2011. p. 1–8.

[1] Koskinen I, Zimmerman J, Binder T, Redström J, Wensveen S. Design Research Through Practice: From the Lab, Field, and Showroom. Amsterdam: Elsevier; 2011 224 p

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

[2] Peeters J, Trotto A. Reflections on designing for aesthetic engagement. In: Proceedings of the 2nd Biennial Research Through Design Conference [Internet]. 2015. (RTD 2015).

[3] Peeters J. Perpetual perspectives—On designing for aesthetic engagement [PhD. diss.].

[4] Redström J. Some notes on program/experiment dialectics. In: Proceedings of the Nordic

[5] Cross N. Designerly ways of knowing: Design discipline versus design science. Design

[6] Nelson HG, Stolterman E. The Design Way: Intentional Change in an Unpredictable World. Foundations and Fundamentals of Design Competence. Educational Technology:

[7] Ilpo K, Krogh PG. Teaching Drifting in Design: The Transition from Analysis to Concept. 2015; Available from: http://www.designedasia.com/Full\_Papers/2015/C2\_Teaching%

[8] Krogh PG, Markussen T, Bang AL. Ways of drifting—Five methods of experimentation in research through design. In: . ICoRD'15—Research into Design Across Boundaries. Vol.

[9] Dourish P. Where the Action Is: The Foundations of Embodied Interaction. Cambridge,

[10] Hummels C, Overbeeke KCJ, Klooster S. Move to get moved: A search for methods, tools and knowledge to design for expressive and rich movement-based interaction. Personal

\*Address all correspondence to: jeroen.peeters@ri.se

1 RISE Interactive, Umeå, Sweden

Umeå University; 2017

Issues. 2001;17(3):49-55

Eaglewood Cliffs, NJ; 2003

1. New Delhi: Springer; 2015. p. 39-50

and Ubiquitous Computing. 2006;11(8):677-690

20Drifting.pdf

MA: MIT Press; 2001

2 Umeå Institute of Design, Umeå, Sweden

Jeroen Peeters<sup>1</sup>

2017

322

References

	- [27] Trotto A, Hummels C, Restrepo MC. Towards design-driven innovation: designing for points of view using intuition through skills. In: Proceedings of the 2011 Conference on Designing Pleasurable Products and Interfaces. ACM; 2011. p. 1. (DPPI '11).
	- [28] Bang AL, Eriksen MA. Experiments all the way in programmatic design research. Artifact. 2014;3(2):4.1-4.14
	- [29] Peeters J, Trotto A, Kuenen S. MoCap tango: Traces of complexity. In: Proceedings of the TEI '16: Tenth International Conference on Tangible, Embedded, and Embodied Interaction. New York, New York, USA: ACM Press; 2016. p. 545–550. (TEI '16).

**Provisional chapter**

### **Why Healthcare and Well-being Researchers should Become Developers: A Case Study Using Co-Creation Methodology Become Developers: A Case Study Using Co-Creation Methodology**

**Why Healthcare and Well-being Researchers should** 

DOI: 10.5772/intechopen.71113

Mart Wetzels, Joost Liebregts, Idowu Ayoola, Peter Peters and Loe Feijs Idowu Ayoola, Peter Peters and Loe Feijs Additional information is available at the end of the chapter

Additional information is available at the end of the chapter

http://dx.doi.org/10.5772/intechopen.71113

Mart Wetzels, Joost Liebregts,

#### **Abstract**

[27] Trotto A, Hummels C, Restrepo MC. Towards design-driven innovation: designing for points of view using intuition through skills. In: Proceedings of the 2011 Conference on

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

[28] Bang AL, Eriksen MA. Experiments all the way in programmatic design research. Arti-

[29] Peeters J, Trotto A, Kuenen S. MoCap tango: Traces of complexity. In: Proceedings of the TEI '16: Tenth International Conference on Tangible, Embedded, and Embodied Interac-

Designing Pleasurable Products and Interfaces. ACM; 2011. p. 1. (DPPI '11).

tion. New York, New York, USA: ACM Press; 2016. p. 545–550. (TEI '16).

fact. 2014;3(2):4.1-4.14

2017

324

Wearable technologies increase the ability to track different parameters related to health and well-being. As the variety and amount of data sources grow, a better understanding of health-related data can be obtained through research on data fusion. Outcomes can either be validated by end users when results are finalized or throughout the design and development process of mobile health applications. This chapter addresses the co-creation methodology applied for the creation of a mobile health application, called *Vire*, and the backend, called *Synergy*, to serve personal data to the mobile health application. *Synergy* provides an interface for the research team to interact with participants and visualizes parameters relevant to the study. Modern frameworks and platforms, such as React Native and Meteor, are used to facilitate the adaptiveness and functionality required for the co-creation of *Vire*. The chapter concludes by addressing the findings from the study with 26 participants.

**Keywords:** mobile health application, mobile application, research team, back office, react native, minimum viable product, experiential design landscape

### **1. Introduction**

Wearable technologies increase the ability to track different parameters related to health and well-being. Mobile applications such as Gyroscope [1], Apple Health [2], and Google Fit [3] aggregate health data to provide a better personal insight or a collected overview of data. Individual vendors of wearable trackers, such as Fitbit and Beddit, provide mobile applications specific to their devices. These vendors often provide Application Programming Interfaces (APIs) to collect data for analysis or visualization. The objective of *Vire* and *Synergy* is to design

© 2016 The Author(s). Licensee InTech. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. © 2017 The Author(s). Licensee InTech. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

a mobile health application that applies data fusion and data visualization techniques to create additional value for the users besides the vendor-specific applications. Existing research and design methodologies to evaluate the value of these visualizations for potential users are limited. Questionnaires can provide insights into specific topics such as the comfort of using trackers [4]. Text messaging can be used to test the efficacy of a system intended to improve blood pressure control and treatment adherence compared with usual care [5]. The co-creation method described combines these methods (questionnaires/text) and uses the infrastructure. The infrastructure developed (*Vire* and *Synergy*) enables to use these methods real-time for continuous observation and responsiveness to events within the scope of the research objectives.

### **2. Methodology**

The methodology, being developed through this case study, is based on the *Experiential Design Landscapes* (EDL). EDL follow a research-through-design approach where the design process is positioned in the social context by creating infrastructures that enable designers and other stakeholders to develop *Experiential Probes* that evolve over time [6]. The EDL methodology solves the dilemma of ecological validity versus control, by enabling measurements to be taken in the actual context previously only possible in a controlled environment. Also, the EDL methodology solves the complication in generalizing the findings from a controlled environment to a real-life setting. The real-life setting, in case of an EDL, is an open environment accessible to the general public. Our methodology is applied to the individual participant's context instead of the open environment, so it extends the probes to *Personal Experiential Probes* (PEPs). As visualized in **Figure 1**, each participant independently interacts with the mobile application and related devices. Feedbacks from participants are collected throughout the study, and changes to the mobile health application are pushed to the participants in an iterative fashion. The advantage of this approach is that suggestions for new features, or other changes, are evaluated independently by other participants. In comparison with the EDL methodology, our methodology is restricted to software possibly extended with connected devices.

#### **2.1. Minimum viable product**

Prior to the inclusion of participants, a period of 1–2 months is reserved for the definition and building of the minimum viable product (MVP). For this study, no prior cases provided experiences to substantiate features to be included in the MVP; thus, existing mobile health applications were investigated to define features. Features were categorized between *essentials* and *optionals*. *Essentials* are required to be ready before the launch of the mobile application whereas *optionals* can be built during the study. See **Table 1** for examples of features defined for this case study.

#### **2.2. Participants**

The size of the study population is limited from 20 to 30 participants between the ages of 18 and 75. The lower limit (20) prevents over-fitting and generalization of feedback on design decisions. The upper limit (30) is dependent on the number of available devices, but a larger sample would require additional members in the research team. Participants without an iOS- or Why Healthcare and Well-being Researchers should Become Developers: A Case Study... http://dx.doi.org/10.5772/intechopen.71113 327

**Figure 1.** Visualization of methodology based on EDL.


**Table 1.** Essentials and optional features for MVP.

Android-based mobile phone operation system are excluded due to the current limitation for Windows Mobile development in React Native. Each participant received a Fitbit Charge HR [7] and Beddit 2 [8] and was asked to install the corresponding mobile applications, Moves [9], *Vire*. Also, all research team members used the same devices.

#### **2.3. Environment**

a mobile health application that applies data fusion and data visualization techniques to create additional value for the users besides the vendor-specific applications. Existing research and design methodologies to evaluate the value of these visualizations for potential users are limited. Questionnaires can provide insights into specific topics such as the comfort of using trackers [4]. Text messaging can be used to test the efficacy of a system intended to improve blood pressure control and treatment adherence compared with usual care [5]. The co-creation method described combines these methods (questionnaires/text) and uses the infrastructure. The infrastructure developed (*Vire* and *Synergy*) enables to use these methods real-time for continuous observation and responsiveness to events within the scope of the research objectives.

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

The methodology, being developed through this case study, is based on the *Experiential Design Landscapes* (EDL). EDL follow a research-through-design approach where the design process is positioned in the social context by creating infrastructures that enable designers and other stakeholders to develop *Experiential Probes* that evolve over time [6]. The EDL methodology solves the dilemma of ecological validity versus control, by enabling measurements to be taken in the actual context previously only possible in a controlled environment. Also, the EDL methodology solves the complication in generalizing the findings from a controlled environment to a real-life setting. The real-life setting, in case of an EDL, is an open environment accessible to the general public. Our methodology is applied to the individual participant's context instead of the open environment, so it extends the probes to *Personal Experiential Probes* (PEPs). As visualized in **Figure 1**, each participant independently interacts with the mobile application and related devices. Feedbacks from participants are collected throughout the study, and changes to the mobile health application are pushed to the participants in an iterative fashion. The advantage of this approach is that suggestions for new features, or other changes, are evaluated independently by other participants. In comparison with the EDL methodology, our

methodology is restricted to software possibly extended with connected devices.

Prior to the inclusion of participants, a period of 1–2 months is reserved for the definition and building of the minimum viable product (MVP). For this study, no prior cases provided experiences to substantiate features to be included in the MVP; thus, existing mobile health applications were investigated to define features. Features were categorized between *essentials* and *optionals*. *Essentials* are required to be ready before the launch of the mobile application whereas *optionals* can be built during the study. See **Table 1** for examples of features

The size of the study population is limited from 20 to 30 participants between the ages of 18 and 75. The lower limit (20) prevents over-fitting and generalization of feedback on design decisions. The upper limit (30) is dependent on the number of available devices, but a larger sample would require additional members in the research team. Participants without an iOS- or

**2. Methodology**

2017

326

**2.1. Minimum viable product**

defined for this case study.

**2.2. Participants**

**Figure 2** depicts the ecosystem utilized in the study. Specific for the aggregation of Fitbit, Beddit, and Moves data, the services preceding *Synergy* are used to facilitate the availability of

**Figure 2.** Visualization of ecosystem used in study.

personal data in *Vire*. **Figure 2** also shows two versions, alpha and beta, of *Vire* that are used to evaluate a new *Vire* version within the research team before deploying to the participants. The illustrations used in **Figure 2** are the logos of the platform or framework used by the services.

*Synergy* is built using the Meteor (open-source) platform, developed by the Meteor Development Group (MDG). *Synergy* functions as the backend for *Vire* and serves the back office for the research team. Meteor was chosen for its use of the distributed data protocol (DDP)—a publication/subscription mechanism through websockets—that enables "real-time" applications. *Vire* is built using the React Native framework, developed by Facebook [10]. React Native enables the development of native, iOS and Android mobile applications using JavaScript and React. React Native was chosen for its crossplatform compatibility and performance in comparison with its alternatives. The uses of Meteor and React Native require researchers to only have experience in JavaScript for the development of the backend, back office, and mobile applications. The use of one programming language throughout enables a lower threshold for new researchers to become skilled in the tools used.

**Figure 3.** Screenshot of back-office participant view.

Why Healthcare and Well-being Researchers should Become Developers: A Case Study... http://dx.doi.org/10.5772/intechopen.71113 329

personal data in *Vire*. **Figure 2** also shows two versions, alpha and beta, of *Vire* that are used to evaluate a new *Vire* version within the research team before deploying to the participants. The illustrations used in **Figure 2** are the logos of the platform or framework used by the services. *Synergy* is built using the Meteor (open-source) platform, developed by the Meteor Development Group (MDG). *Synergy* functions as the backend for *Vire* and serves the back office for the research team. Meteor was chosen for its use of the distributed data protocol (DDP)—a publication/subscription mechanism through websockets—that enables "real-time" applications. *Vire* is built using the React Native framework, developed by Facebook [10]. React Native enables the development of native, iOS and Android mobile applications using JavaScript and React. React Native was chosen for its crossplatform compatibility and performance in comparison with its alternatives. The uses of Meteor and React Native require researchers to only have experience in JavaScript for the development of the backend, back office, and mobile applications. The use of one programming language throughout enables a lower threshold for new researchers to become skilled in the tools used.

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

**Figure 3.** Screenshot of back-office participant view.

**Figure 2.** Visualization of ecosystem used in study.

2017

328

**Figure 4.** (a) Vire daily, (b) chat with researchers, (c) list of DOs, and (d) profile information and settings.

#### **2.4. Interfaces**

The interfaces presented in **Figures 3** and **4** are specific to the implementation of *Vire* and *Synergy* but can be stripped to be reused for other researches. Throughout the design of these interfaces, the intent of creating a boilerplate for future research is kept in mind.

**Figure 3** shows the interface for the members of the research team. On the left pane is a list of all users with a notification label that shows a counter of unread messages sent by the participants. In the center pane, top left is the chat module to communicate with the participants. Participants do not know to which researchers they are talking to. On the top right, a list of current DOs for the participants and the completion state is listed. New DOs can be added there as well. On the bottom pane, there is room for notes from the researchers about the participants. Researchers share notes on the homepage and have a single page for notifications.

**Figure 4** shows four screenshots of the MVP of *Vire* containing the homepage, where the visualization work will be done; the messenger, where participants can communicate with the research team; the list of DOs, where participants can see and mark their DOs complete; and the profile page where participants can link their devices and change language. The primary focus is on the development of the homepage.

### **3. Results**

After six months of running the study, the results on user requirements can be categorized as macro- and microfeatures concerning the MVP or for the implementation of *Vire* and *Synergy*.

**Table 2** shows the division between MVP and *Vire*- and *Synergy*-specific requirements found during the study. For *Vire* and *Synergy*, the new MVP requirements are built in during the study. Future studies will include these before the involvement of participants. The requirements for *Vire* and *Synergy* are meant to be obtained while performing the research and are planned to be implemented and evaluated during the duration of the study. The outcome of this methodology is a back-office and crossplatform mobile application, ready for further research. The final results provide new requirements for the definition of the MVP. Future studies can reuse the boilerplate—template code for the MVP—with the improvements from previous experiences. Also, as stated in **Table 2**, the structure of the methodology can be redefined to clarify expectations from participants and increase efficiency in the iterative process.


**Table 2.** Overview on user requirements.

Why Healthcare and Well-being Researchers should Become Developers: A Case Study... http://dx.doi.org/10.5772/intechopen.71113 331

**2.4. Interfaces**

2017

330

**3. Results**

Vire and Synergy

The interfaces presented in **Figures 3** and **4** are specific to the implementation of *Vire* and *Synergy* but can be stripped to be reused for other researches. Throughout the design of these interfaces,

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

**Figure 3** shows the interface for the members of the research team. On the left pane is a list of all users with a notification label that shows a counter of unread messages sent by the participants. In the center pane, top left is the chat module to communicate with the participants. Participants do not know to which researchers they are talking to. On the top right, a list of current DOs for the participants and the completion state is listed. New DOs can be added there as well. On the bottom pane, there is room for notes from the researchers about the participants. Researchers share notes on the homepage and have a single page for notifications. **Figure 4** shows four screenshots of the MVP of *Vire* containing the homepage, where the visualization work will be done; the messenger, where participants can communicate with the research team; the list of DOs, where participants can see and mark their DOs complete; and the profile page where participants can link their devices and change language. The primary

After six months of running the study, the results on user requirements can be categorized as macro- and microfeatures concerning the MVP or for the implementation of *Vire* and *Synergy*. **Table 2** shows the division between MVP and *Vire*- and *Synergy*-specific requirements found during the study. For *Vire* and *Synergy*, the new MVP requirements are built in during the study. Future studies will include these before the involvement of participants. The requirements for *Vire* and *Synergy* are meant to be obtained while performing the research and are planned to be implemented and evaluated during the duration of the study. The outcome of this methodology is a back-office and crossplatform mobile application, ready for further research. The final results provide new requirements for the definition of the MVP. Future studies can reuse the boilerplate—template code for the MVP—with the improvements from previous experiences. Also, as stated in **Table 2**, the structure of the methodology can be redefined to clarify expectations from participants and increase efficiency in the iterative process.

Integration of push notifications

Data availability when offline

Descriptions of calculated values

server connection

Display connectivity status for internet and

Localization features and limited use of text

**Macro Micro**

Overview of activity/engagement of participants

Back-office interface mimicking participant's

Defining value *Vire* over the existing mobile

the intent of creating a boilerplate for future research is kept in mind.

focus is on the development of the homepage.

MVP Communication of current activities to participants

in back office

applications

views

**Table 2.** Overview on user requirements.

**Figure 5.** (a) Daily overview, (b) two-weekly overview, (c) dietary pictures, (d) list of DOs, and (e) profile and settings.

**Figure 5** depicts the final version of *Vire*. In relation to **Figure 4**, a two-weekly overview and food record is added to provide better information to the users. Other notable differences include the refinement of general styling and markup. Throughout the study, the focus lies on the definition and development of core functionalities of the app and test that the app works both on low- and high-end mobile phones. To the end of the study, the requirements become saturated and more concrete; this enables to focus on improving the visual experiences.

*Vire*, for Android and iOS, will be used for a clinical trial of 150 cardiac rehabilitation patients in the Netherlands, Spain, and Taiwan. The methodology and study itself have contributed to the clinical trial by evaluating the functionality and usability of *Vire* outside the scope of the trial within an open environment. Without this process, issues or additional requirements not considered on forehand could affect the experience of the clinical trial.

### **4. Discussion**

The methodology described in this chapter provides a rich feedback mechanism for the design and development of a research-based mobile application and accompanying back office. The reasons *why well-being researchers should become developers* are evident. The ability to define the MVP and the flexibility to implement features based on user feedback on the spot are the two main reasons we have found. By being involved in the development of a mobile health application as a researcher, the quality of the research increases. The effectivity of an intended interaction can be compromised by an esthetic mistake or incompatibility on certain devices. Using our methodology, the design and development artifacts that influence the user experience are already tackled. The experience, or the ability to gain experience, in defining prerequisites for the development of a mobile health application is gained through the hands-on approach. Within this process, the researchers are confronted with real-life development issues that give insight into the feasibility of a proposed or requested feature from participants or from within the research team itself. These learnings will provide the experience to prevent working on over-ambitious features and trigger creativity by discovering the limitations of used software and hardware. The use of JavaScript-based frameworks (React-Native) or platforms (Meteor) eases the learning curve for researchers, without in-depth programming experience, to tackle issues and develop iteratively by responding to feedback from participants. This approach enforces careful consideration of design and development decisions to (re)define the chosen direction of the study and offers a method to strengthen the qualities of the mobile health application and thereby the research itself.

### **Acknowledgements**

This work is supported by the European Commission Horizon2020 which funded Do Cardiac Health: Advanced New Generation Ecosystem (Do CHANGE) project.

### **Author details**

Mart Wetzels<sup>1</sup> \*, Joost Liebregts<sup>1</sup> , Idowu Ayoola1,2, Peter Peters<sup>1</sup> and Loe Feijs<sup>1</sup>

\*Address all correspondence to: m.h.wetzels@tue.nl

1 Designed Intelligence Group, Department of Industrial Design, Eindhoven University of Technology, Eindhoven, The Netherlands

2 Onmi B.V., Eindhoven, The Netherlands

### **References**

*Vire*, for Android and iOS, will be used for a clinical trial of 150 cardiac rehabilitation patients in the Netherlands, Spain, and Taiwan. The methodology and study itself have contributed to the clinical trial by evaluating the functionality and usability of *Vire* outside the scope of the trial within an open environment. Without this process, issues or additional requirements not

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

The methodology described in this chapter provides a rich feedback mechanism for the design and development of a research-based mobile application and accompanying back office. The reasons *why well-being researchers should become developers* are evident. The ability to define the MVP and the flexibility to implement features based on user feedback on the spot are the two main reasons we have found. By being involved in the development of a mobile health application as a researcher, the quality of the research increases. The effectivity of an intended interaction can be compromised by an esthetic mistake or incompatibility on certain devices. Using our methodology, the design and development artifacts that influence the user experience are already tackled. The experience, or the ability to gain experience, in defining prerequisites for the development of a mobile health application is gained through the hands-on approach. Within this process, the researchers are confronted with real-life development issues that give insight into the feasibility of a proposed or requested feature from participants or from within the research team itself. These learnings will provide the experience to prevent working on over-ambitious features and trigger creativity by discovering the limitations of used software and hardware. The use of JavaScript-based frameworks (React-Native) or platforms (Meteor) eases the learning curve for researchers, without in-depth programming experience, to tackle issues and develop iteratively by responding to feedback from participants. This approach enforces careful consideration of design and development decisions to (re)define the chosen direction of the study and offers a method to strengthen the qualities of the mobile health application and thereby the research itself.

This work is supported by the European Commission Horizon2020 which funded Do Cardiac

, Idowu Ayoola1,2, Peter Peters<sup>1</sup>

1 Designed Intelligence Group, Department of Industrial Design, Eindhoven University of

and Loe Feijs<sup>1</sup>

Health: Advanced New Generation Ecosystem (Do CHANGE) project.

considered on forehand could affect the experience of the clinical trial.

**4. Discussion**

2017

332

**Acknowledgements**

**Author details**

\*, Joost Liebregts<sup>1</sup>

Technology, Eindhoven, The Netherlands 2 Onmi B.V., Eindhoven, The Netherlands

\*Address all correspondence to: m.h.wetzels@tue.nl

Mart Wetzels<sup>1</sup>


**Developing Sensitivity - Dynamic Aesthetics**

**Provisional chapter**

### **Designing Biologically Inspired Movements into the Esthetics of Interactive Artifacts Esthetics of Interactive Artifacts**

**Designing Biologically Inspired Movements into the** 

DOI: 10.5772/intechopen.71117

Neda Fayazi and Lois Frankel Neda Fayazi and Lois Frankel Additional information is available at the end of the chapter

Additional information is available at the end of the chapter

http://dx.doi.org/10.5772/intechopen.71117

#### **Abstract**

Biological creatures have a variety of qualities that inspire design esthetics such as form, color, texture, structure, mechanics, and dynamics. This paper presents a biology-todesign approach as a design research method for adapting biological movements into the design of the kinetic and interactive esthetics of jewelry artifacts. It describes a preliminary study in which prototypes were developed by identifying and classifying the biophilic movements of small creatures, in consultation and collaboration with a biologist. It details how the biological insights were adapted into ideation concepts: beginning with a brainstorming workshop followed by further iterative sketching and prototyping. It adds to the literature on methods for taking design inspiration from nature, in particular, in the area of kinetic product esthetics.

**Keywords:** kinetic interaction esthetics, biology-to-design, kinetic design, biophilic movements, wearable computing

### **1. Introduction**

Product esthetics are important in product design, where designers have traditionally paid considerable attention to the visual appearance of products. Although visual esthetics are important in design, designers are also becoming more aware of other aspects of product esthetics that contribute to pleasure such as interactions that engage multi-sensory modalities [1–5].

Incorporating physical movements into product esthetics can also enhance the emotional value of the objects [6]. Nam et al. noted, "One of the ways to enhance emotional interaction is to use dynamic attributes as a way of expressing functional or emotional states of products" ([7], p. 1). Nevertheless, incorporating the element of movement into the design of products has been somewhat overlooked in the realm of industrial design. According to kinetic

designer Ben Hopson (oral communication, December 2013), "Movement has not historically been the designer's territory. It's really been the engineer's territory". He believes there is a need for tools and guidelines for designers working in this area [8].

Moreover, interdisciplinary approaches to the design of kinetic and interactive devices may involve various disciplines including science, design, fashion, computer, and technology [9–11]. This interdisciplinary study draws from the disciplines of biology and kinetic design to explore the esthetics of movement in the design of interactive artifacts. It adds to the literature on methods for taking design inspiration from nature, in particular, in the area of kinetic product esthetics.

#### **1.1. Interactive wearable artifacts and kinetic design**

Today, wearable objects are becoming increasingly interactive by engaging a range of sensory experiences through various types of sensory inputs and outputs. Garments with embedded sensors are employed for interactive entertainment, sport, military, medicine, exercising, connecting people to others, and to other networked activities [9–11]. The technology inputs and outputs may depend on embedded sensors that could result in dynamically lighting up, moving, and/or changing shape. Shape changing interfaces may be functional, exploratory, or hedonic. Hedonic interfaces that evoke human emotion may be used to stimulate, to identify, to esthetically enhance, or to increase the experience of fun [12]. The examples that follow demonstrate different kinetic dynamics that may evoke hedonic responses in the design of wearable artifacts.

In Joanna Berzowska's behavioral dresses, named "Kukkia and Vilkas", kinetic components frame the wearer's face, opening and closing slowly over time [13] and Fusakul's work, "Aliform", responds to the wearer's heartbeat by changing shape [14]. Wallace's neckpiece, "Journeys Between Ourselves" provides kinetic tactile feedback when a mother interacts remotely with her daughter through it [15]. Ross and Wensveen note, "designing such products and systems requires an aesthetic that goes beyond traditional aspects of static forms. It requires a new language of form that incorporates the dynamics of behaviour" [16]. Young et al. recommend that in designing movement for a product, the form of the object, and the capabilities of performing its designed movements should be considered first [17]. Furthermore, Hopson emphasizes the importance of choreographing product movements as follows:

Designers are not just form-givers, they are whole object creators and experience designers. By incorporating the creative and experiential notions of kinetic design into their vocabulary, designers will produce more exciting, more unified products, which will, in turn, lead to greater commercial success [8].

This study explores the kinds of biologically inspired movement that could contribute to different interactive outputs and kinetic product esthetics for wearables. It builds on other studies that indicate that shape-changing interfaces and organic, life-like movements can contribute to emotional or hedonic responses to the product [12–17].

In addition, the literature describes the qualities of movement: such as direction, volume (change in size), path (the line the object movement creates), speed, rhythm, continuity, and beat (cited by [18, 19]). For expediency, this research concentrates only on the kinetic qualities of direction, volume, and path. Other qualities of speed, rhythm, continuity, and beat are considered as stable variables in this study.

#### **1.2. Intersection of biology and design: bio-inspired movements**

designer Ben Hopson (oral communication, December 2013), "Movement has not historically been the designer's territory. It's really been the engineer's territory". He believes there is a

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

Moreover, interdisciplinary approaches to the design of kinetic and interactive devices may involve various disciplines including science, design, fashion, computer, and technology [9–11]. This interdisciplinary study draws from the disciplines of biology and kinetic design to explore the esthetics of movement in the design of interactive artifacts. It adds to the literature on methods for taking design inspiration from nature, in particular, in the area of kinetic

Today, wearable objects are becoming increasingly interactive by engaging a range of sensory experiences through various types of sensory inputs and outputs. Garments with embedded sensors are employed for interactive entertainment, sport, military, medicine, exercising, connecting people to others, and to other networked activities [9–11]. The technology inputs and outputs may depend on embedded sensors that could result in dynamically lighting up, moving, and/or changing shape. Shape changing interfaces may be functional, exploratory, or hedonic. Hedonic interfaces that evoke human emotion may be used to stimulate, to identify, to esthetically enhance, or to increase the experience of fun [12]. The examples that follow demonstrate different kinetic dynamics that may evoke hedonic responses in the design of

In Joanna Berzowska's behavioral dresses, named "Kukkia and Vilkas", kinetic components frame the wearer's face, opening and closing slowly over time [13] and Fusakul's work, "Aliform", responds to the wearer's heartbeat by changing shape [14]. Wallace's neckpiece, "Journeys Between Ourselves" provides kinetic tactile feedback when a mother interacts remotely with her daughter through it [15]. Ross and Wensveen note, "designing such products and systems requires an aesthetic that goes beyond traditional aspects of static forms. It requires a new language of form that incorporates the dynamics of behaviour" [16]. Young et al. recommend that in designing movement for a product, the form of the object, and the capabilities of performing its designed movements should be considered first [17]. Furthermore, Hopson emphasizes the importance of choreographing product movements as

Designers are not just form-givers, they are whole object creators and experience designers. By incorporating the creative and experiential notions of kinetic design into their vocabulary, designers will produce more exciting, more unified products, which will, in turn, lead to

This study explores the kinds of biologically inspired movement that could contribute to different interactive outputs and kinetic product esthetics for wearables. It builds on other studies that indicate that shape-changing interfaces and organic, life-like movements can con-

tribute to emotional or hedonic responses to the product [12–17].

need for tools and guidelines for designers working in this area [8].

**1.1. Interactive wearable artifacts and kinetic design**

product esthetics.

2017

338

wearable artifacts.

follows:

greater commercial success [8].

Humans have a historical and emotional attachment to nature. Contact with nature can provide positive impacts for human beings [20–22]. Even a minimum amount of interaction with nature: in the form of representations and reminders such as images, statues, and jewelry with a nature focus: can act as a medium for satisfying people's biophilic desire for nature [23]. It improves the physical, emotional, and intellectual well-being of humans [24]. As a result, natural biological elements-referred to in this paper as biophilic elements- can provide a familiar and even comforting source of inspiration for design.

Natural features have long-inspired science and engineering as well as art and design disciplines [20, 24, 25]. In the design literature, discussions about biology and design may refer to copying, adapting, or deriving from nature, or in some way integrating nature or natural elements into everyday objects, and environments. These discussions cross disciplines, but are related thematically, with names such as, 'biologically inspired design', 'biomimicry', 'bionics', 'biomimetics', 'biophilic design', and other similar terminologies [24, 26]. There are also numerous examples of biologically inspired kinetic approaches in the literature, however, few are focused on the hedonic aspects of kinetic esthetics as this study is. For example, Oxman's 2013 sophisticated robotic arm that uses figure-eight movements, similar to those of a silkworm, to create cocoonlike structures [27] and Festo's robotic octopus gripper, based on the octopus' tentacles, provide functional alternatives for the design of mechanical products, but not for addressing emotional experiences [28].

This study takes a biologically inspired design and 'biophilic design' approach. The latter is derived from Wilson's concept of the 'biophilia hypothesis'; that people have "an innate human urge to have contact with other species, to spend time in natural environments, surrounded by animals and other living things"(cited by [25], p. 34). Kellert further adds to the meaning of biophilic design as having a positive environmental impact, due to the bonding between people and nature within the built environment [24]. It would seem that biophilic design creates environments and products that incorporate naturally agreeable and appealingly positive emotional experiences [20, 29]. For that reason, bios forms are often applied in design to improve the value of the products for the consumer market [30].

Benyus and Baumeister, co-founders of the Biomimicry Institute, proposed two approaches for developing nature-based things: they are biology-to-design and challenge-to-biology [31]. Volstad and Boks refer to these as biology-to-design and design-to-biology. In the biology-todesign approach, the design could be inspired by form (what it looks like), material (what it is made out of), structure (how it is made), mechanics (how it works), or function (what it is able to do) [32]. Challenge-to-biology and design-to-biology are outside the scope of this study. Therefore, this paper presents part of a biology-to-design preliminary study in which a stepby-step approach for adapting biological movements was developed and applied to prototype design of kinetic jewelry. This is a process for generating bio-inspired designs for wearable products with kinetic esthetics. It presents an approach for designing movements that were inspired by natural creatures, especially those that people seem to experience positively. While positive impacts may enhance the value of a design, impacts from dangers in the natural environment, like snakes or height could create fears, stress, and "biophobic" responses [33]. Given that jewelry is typically an accessory to fashionable clothing, this study is part of a larger project to explore positive emotional responses to biophilic design elements. Its main contribution is a design approach for taking inspiration from biological movements and generating new ideation concepts in the design development stages of practice. It adds to the literature on methods for biology-to-design inspirations for ideation and early design development stages [32, 34, 35].

It describes the steps taken to identify, classify, and adapt biological movements into the design concept development process in order to create esthetically pleasant interactive products. This paper proposes a set of steps for applying biophilic movements in the ideation stage of designing interactive/kinetic esthetics for artifacts that may also convey emotion and elicit biophilic responses. The methods may be useful for artists, fashion designers, and form creators who aim to evoke various emotions in users through biophilic movements.

### **2. Methods**

This biology-to-design study includes the stages of: identifying, classifying, and adapting biological movements [**Figure 1**].

#### **2.1. Stage 1: identifying**

The first Identifying stage started with investigating and gathering information from the field of biology. Different methods were employed to collect the information about movements found in biological systems. While movements could have a positive or negative impact on viewers, this study attempted to identify the type of movements in nature that could possibly bring about a positive emotional impact on human beings. They were considered to be 'biophilic movements'. It was important to have a biologist to consult with when designing and taking inspiration from nature in order to benefit from his knowledge and expertise [36]. This interdisciplinary study included on-going consultations with a biologist, Dr. Jeff Dawson, as a method for gaining more insight about the movements of living creatures. Dr. Jeff Dawson is a biologist and professor at Carleton University who is an expert in the biomechanics of insect flight and animal locomotion.

#### *2.1.1. Internet survey of videos and exhibition visits*

The study also included observation of plants and animals in natural settings, videos, museums, and exhibitions. Regarding the importance of observation in research, Martin and Hanington note, "A fundamental research skill, observation requires attentive looking and systematic recording of phenomena-including people, artifacts, environments, events, Designing Biologically Inspired Movements into the Esthetics of Interactive Artifacts http://dx.doi.org/10.5772/intechopen.71117 341

**Figure 1.** Biology-to-design process.

Therefore, this paper presents part of a biology-to-design preliminary study in which a stepby-step approach for adapting biological movements was developed and applied to prototype design of kinetic jewelry. This is a process for generating bio-inspired designs for wearable products with kinetic esthetics. It presents an approach for designing movements that were inspired by natural creatures, especially those that people seem to experience positively. While positive impacts may enhance the value of a design, impacts from dangers in the natural environment, like snakes or height could create fears, stress, and "biophobic" responses [33]. Given that jewelry is typically an accessory to fashionable clothing, this study is part of a larger project to explore positive emotional responses to biophilic design elements. Its main contribution is a design approach for taking inspiration from biological movements and generating new ideation concepts in the design development stages of practice. It adds to the literature on methods for biology-to-design inspirations for ideation and early design development stages [32, 34, 35]. It describes the steps taken to identify, classify, and adapt biological movements into the design concept development process in order to create esthetically pleasant interactive products. This paper proposes a set of steps for applying biophilic movements in the ideation stage of designing interactive/kinetic esthetics for artifacts that may also convey emotion and elicit biophilic responses. The methods may be useful for artists, fashion designers, and form cre-

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

ators who aim to evoke various emotions in users through biophilic movements.

This biology-to-design study includes the stages of: identifying, classifying, and adapting

The first Identifying stage started with investigating and gathering information from the field of biology. Different methods were employed to collect the information about movements found in biological systems. While movements could have a positive or negative impact on viewers, this study attempted to identify the type of movements in nature that could possibly bring about a positive emotional impact on human beings. They were considered to be 'biophilic movements'. It was important to have a biologist to consult with when designing and taking inspiration from nature in order to benefit from his knowledge and expertise [36]. This interdisciplinary study included on-going consultations with a biologist, Dr. Jeff Dawson, as a method for gaining more insight about the movements of living creatures. Dr. Jeff Dawson is a biologist and professor at Carleton University who is an expert in the biomechanics of insect flight and animal locomotion.

The study also included observation of plants and animals in natural settings, videos, museums, and exhibitions. Regarding the importance of observation in research, Martin and Hanington note, "A fundamental research skill, observation requires attentive looking and systematic recording of phenomena-including people, artifacts, environments, events,

**2. Methods**

2017

340

biological movements [**Figure 1**].

*2.1.1. Internet survey of videos and exhibition visits*

**2.1. Stage 1: identifying**

behaviours and interactions" ([37], p. 120). Initially, butterflies were observed at Carleton University's weeklong 'Annual Butterfly Show' in the department of biology. In addition, the behaviors of insects were carefully observed while attending the Insectarium, a Botanical Garden in Montreal. Lastly, a visit to the American Museum of Natural History and a special exhibition on marine animals provided more observation opportunities to study the life of sea creatures and different types of marine creature movements. This step involved careful observation as well as gathering visual materials such as videos and images (Appendix A). The visual materials collected were samples of the movements that might create a positive emotional impact on viewers. The choice of visual materials was based on ease of access to videos depicting motion details, as well as direction from the biologist.

#### **2.2. Stage 2: classifying**

The aim of this step was to categorize similar types of movements and explore if the concepts could be related to one another. Classification of the creature's movements began after observing different types of movements and participating in on-going consultations with the biologist. This phase of the research was accomplished by using a card sorting technique.

#### *2.2.1. Card sorting*

Card sorting is a design technique for meaningful categorization [37]. In this phase of the research, card sorting was conducted to generate options for structuring the information collected. The participants in this session were the biologist and design researchers. The crucial aspect at this

stage was the interdisciplinary collaboration between the biologist with a background in biomechanics and locomotion and the design researchers with kinetic design interests. The biologist's knowledge assisted in better analyzing the patterns of movements in this step. Images of each of the creatures and their movements were printed onto a specific card for each one. During the session videos related to each image were also viewed to better clarify the movement pattern. The goal in this stage was to group the similar patterns of movements based on the formal qualities of direction, volume, and path.

In the card sorting session, 12 cards were used with the following creatures' images: Bluebutton, Feather Duster Worm, Anemone, Orange Cup Coral, Long-spined Sea Urchin, Fire Urchin, Green-and-orange Nudibranch, Christmas Tree Worms, Dragonfly, Morpho Butterfly, Sun Coral, and Ladybird. These were the creatures whose movements were identified in the previous step. They were chosen because their movements were different enough from each other and still basic enough to observe and reinterpret, and were perceived as pleasant, as opposed to dangerous. They were also simple enough to consider that the movements might contribute to generating a wider range of bio-inspired kinetic product esthetics combinations from simple to complex.

For each card, plenty of time was dedicated to watching the video, discussing, and analyzing each creature's movement. At the end of the session, biophilic movements, based on the direction and shape they formed in space, were classified into four different types: open-close, flapping, translational, and tentacle-like [**Table 1**]. At this point the classifications were primarily esthetic and not based on the kinds of mechanisms enabling the movements, however the organ that moves is indicated (e.g. Butterfly-wings).

The different categories are explained below:

In the *Change of size* category:


*Porpita porpita*

**(Blue-button)-strands Sabellidae (Feather Duster Worm)-tentacles**


**Worm)-tentacles**

**Long-spined Sea Urchin-tentacles**

**Fire Urchin-tentacles**

**Worm-tentacles**

**Green-and-Orange Nudibranch-tentacles**

**Ladybirds-elytra Feather Duster** 

**Tubastraea (Sun Coral)-tentacles**

**Table 1.** Classification of biophilic movements.

**Sabellidae (Feather Duster** 

stage was the interdisciplinary collaboration between the biologist with a background in biomechanics and locomotion and the design researchers with kinetic design interests. The biologist's knowledge assisted in better analyzing the patterns of movements in this step. Images of each of the creatures and their movements were printed onto a specific card for each one. During the session videos related to each image were also viewed to better clarify the movement pattern. The goal in this stage was to group the similar patterns of movements based on the formal qualities

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

In the card sorting session, 12 cards were used with the following creatures' images: Bluebutton, Feather Duster Worm, Anemone, Orange Cup Coral, Long-spined Sea Urchin, Fire Urchin, Green-and-orange Nudibranch, Christmas Tree Worms, Dragonfly, Morpho Butterfly, Sun Coral, and Ladybird. These were the creatures whose movements were identified in the previous step. They were chosen because their movements were different enough from each other and still basic enough to observe and reinterpret, and were perceived as pleasant, as opposed to dangerous. They were also simple enough to consider that the movements might contribute to generating a wider range of bio-inspired kinetic product esthetics combinations

For each card, plenty of time was dedicated to watching the video, discussing, and analyzing each creature's movement. At the end of the session, biophilic movements, based on the direction and shape they formed in space, were classified into four different types: open-close, flapping, translational, and tentacle-like [**Table 1**]. At this point the classifications were primarily esthetic and not based on the kinds of mechanisms enabling the movements, however

• **Open-close** movement occurs when an object moves outwards from a center and goes back

• **Translational** movement refers to the movement of the object from one point to the other point in a direct path like the direct movement of the tentacles in feather duster worm from

**Open-close Translational Flapping Tentacular (tentacle-like)**

**Dragonfly-wings**

**Sea Anemone-tentacles**

to the center again, like the movement of strands in *Porpita porpita* (blue button).

one point inside the tube to the other point in the same path outside the tube.

**Change in size (variable volume) Not change in size (fixed volume)**

of direction, volume, and path.

2017

342

from simple to complex.

In the *Change of size* category:

*Porpita porpita*

the organ that moves is indicated (e.g. Butterfly-wings).

The different categories are explained below:

**(Blue-button)-strands Sabellidae (Feather Duster** 

**Worm)-tentacles**

In the *No* change *in size* category:


Overall, while translational and open-close movements result in a change of size, flapping, and tentacle-like movements do not.

#### **2.3. Stage 3: adapting from classification to inspiration for ideation concepts**

In this stage of the study, the research aimed to translate the knowledge and insight gathered through collaborating with the science of biology into the design of interactive kinetic wearable objects. This phase of the study employed: a Brainstorming workshop, Sketching, and Rough Prototyping.

#### *2.3.1. Brainstorming workshop: form and movement ideation*

The objective of the workshop was to understand how participants might create three-dimensional kinetic models using simple materials such as paper, beads, wire, colored paper, cardboard, and foam to model their ideas. These materials were chosen since they were familiar, easy to work with and did not require sophisticated technical knowledge. This was important because the workshop participants were drawn from a convenience sample of one professor and five university students from different fields, since the participants' backgrounds were not a controlling factor. The six individuals provided their consent according to the approved ethics protocol. Four participants had design backgrounds and the others had IT backgrounds.

This workshop lasted for 2 h: it had three sections: an introduction (15 min), a working session (1:15 h), and a sharing session (30 min). In the introduction, participants were asked to design different movements with the materials provided. They were not aware of the natural movements classified in the previous stage and were not constrained to specific movements or forms. In the working section, all six participants created different forms incorporating a range of movements. In the final section, participants discussed their model/models, how it/ they moved, and the source of inspiration for that type of movement [**Figure 2**].

Even though the participants were sitting beside each other, they did not copy each other's ideas. Each participant explored different forms and three-dimensional kinetic models. Some workshop participants developed similar movements through various forms. **Figure 3A** shows two different models from the workshop. Both have the same pattern of movement, but the movement is represented through different formal compositions. The final rough concepts show that, based on the models' direction of movement, some participants represented the movement through a circular or a direct path while others showed movement through a change in shape [**Figure 3**, Panels A–C]. In short, the workshop results indicated that similar movements could inspire a wide range of formal esthetics, even without inspiration from nature. Some of these movements were similar to those observed in the natural creatures in the previous stages.

Designing Biologically Inspired Movements into the Esthetics of Interactive Artifacts http://dx.doi.org/10.5772/intechopen.71117 345

**Figure 2.** Models developed in the brainstorming workshop.

#### *2.3.2. Sketching and prototyping*

In the *No* change *in size* category:

2017

344

and tentacle-like movements do not.

Rough Prototyping.

the previous stages.

unison as in a flying butterfly's wings.

*2.3.1. Brainstorming workshop: form and movement ideation*

• **Flapping** movement refers to symmetrical wing shapes that come together and apart in

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

• **Tentacle-like** movement is the wavy movement of an object, which does not have the same continuity or rhythm such as the movement of Sea Anemone's tentacles in the water.

Overall, while translational and open-close movements result in a change of size, flapping,

In this stage of the study, the research aimed to translate the knowledge and insight gathered through collaborating with the science of biology into the design of interactive kinetic wearable objects. This phase of the study employed: a Brainstorming workshop, Sketching, and

The objective of the workshop was to understand how participants might create three-dimensional kinetic models using simple materials such as paper, beads, wire, colored paper, cardboard, and foam to model their ideas. These materials were chosen since they were familiar, easy to work with and did not require sophisticated technical knowledge. This was important because the workshop participants were drawn from a convenience sample of one professor and five university students from different fields, since the participants' backgrounds were not a controlling factor. The six individuals provided their consent according to the approved ethics protocol. Four participants had design backgrounds and the others had IT backgrounds. This workshop lasted for 2 h: it had three sections: an introduction (15 min), a working session (1:15 h), and a sharing session (30 min). In the introduction, participants were asked to design different movements with the materials provided. They were not aware of the natural movements classified in the previous stage and were not constrained to specific movements or forms. In the working section, all six participants created different forms incorporating a range of movements. In the final section, participants discussed their model/models, how it/

**2.3. Stage 3: adapting from classification to inspiration for ideation concepts**

they moved, and the source of inspiration for that type of movement [**Figure 2**].

Even though the participants were sitting beside each other, they did not copy each other's ideas. Each participant explored different forms and three-dimensional kinetic models. Some workshop participants developed similar movements through various forms. **Figure 3A** shows two different models from the workshop. Both have the same pattern of movement, but the movement is represented through different formal compositions. The final rough concepts show that, based on the models' direction of movement, some participants represented the movement through a circular or a direct path while others showed movement through a change in shape [**Figure 3**, Panels A–C]. In short, the workshop results indicated that similar movements could inspire a wide range of formal esthetics, even without inspiration from nature. Some of these movements were similar to those observed in the natural creatures in This phase synthesized the kinetic outcomes of the two previous stages: the classification of biophilic movements (different types of movements) and the insights from the brainstorming workshop (form and movement ideation). The researcher undertook sketching and "looks-like" prototyping explorations to select and translate insights into rough, but tangible "works-like" prototypes.

The results of the previous phase of this research revealed the importance of form in representing movement. For example, **Figure 4** compares the same movement pattern with non-organic forms and organic forms [**Figure 4**]. Both of them have a translational type of movement. This means that the object moves in a direct path from one point to the other point. In the threedimensional model shown on the left side, the arrows show the direction of the movement. In the image of the feather duster worm on the right side, the same type of movement occurs when it moves from one point inside the tube to the other point in the same path outside of the tube.

Based on this comparison, it seems that the form of the object has a significant impact on how the same type of movement is perceived in different objects.

Thus, concepts from the brainstorming session with an organic esthetic were selected and combined with the related types of biophilic movements taken from **Table 1**: classification of biophilic movements. The different forms and movements that were generated through twodimensional and three-dimensional sketches are illustrated in **Figure 5**. At this point only the design researcher generated the sketches.

After the phase of sketching and initial rough model making, four different kinetic forms were selected in order to reflect the biophilic movements of **Table 1**. Each form was selected because it would best mimic its inspirational biological creature and better reveal the type of movement that specific creature embraced. This study then applied prototyping as a creative method for translating research and ideation into slightly more esthetically pleasing tangible and "works-like" physical forms for the development and testing of ideas [37]. In the more refined prototyping phase, this study aimed to integrate all four types of biophilic movements resulting from stage 2 (classification) into the design of wearable artifacts. The four types of movements are: open-close, flapping, translational, and tentacle-like.

Four different prototypes (wearable objects-brooches), with a range of different movements, were developed as testing prototypes. The creatures—butterfly, feather duster worm, anemone, and blue button—were the main inspiration for the forms and movements of the prototypes. Provisional and simple mechanisms were designed and added to the objects to make each one move in a certain direction, mimicking its inspirational biological creature. For these early experimental prototypes, the movements were activated by a hand-controlled mechanism. This is often the case in early prototypes to minimize the cost, effort, and time involved in creating working models before finalizing the design concept [38]. Mechanisms were designed and built in the biology lab, at Carleton University with the assistance of the biology professor Dr. Jeff Dawson. The prototypes were all in the form of brooches. The brooch

**Figure 4.** Similar movement in non-organic and organic forms.

**Figure 5.** Two-dimensional and three-dimensional sketches.

format was selected because it has the least formal human factors' limitations; for example, it does not have to conform to a wrist, a finger or a neck. The premise was that it would be much easier to experiment with size and shape as well as represent different types of movements. Moreover, it could be gender neutral—an important consideration for future testing.

As shown in **Table 1**, each of these creatures exhibited specific types of movements. These four prototypes also have the same distinct movement types as described below:

#### *2.3.2.1. Prototype A*

The results of the previous phase of this research revealed the importance of form in representing movement. For example, **Figure 4** compares the same movement pattern with non-organic forms and organic forms [**Figure 4**]. Both of them have a translational type of movement. This means that the object moves in a direct path from one point to the other point. In the threedimensional model shown on the left side, the arrows show the direction of the movement. In the image of the feather duster worm on the right side, the same type of movement occurs when it moves from one point inside the tube to the other point in the same path outside of the tube. Based on this comparison, it seems that the form of the object has a significant impact on how

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

Thus, concepts from the brainstorming session with an organic esthetic were selected and combined with the related types of biophilic movements taken from **Table 1**: classification of biophilic movements. The different forms and movements that were generated through twodimensional and three-dimensional sketches are illustrated in **Figure 5**. At this point only the

After the phase of sketching and initial rough model making, four different kinetic forms were selected in order to reflect the biophilic movements of **Table 1**. Each form was selected because it would best mimic its inspirational biological creature and better reveal the type of movement that specific creature embraced. This study then applied prototyping as a creative method for translating research and ideation into slightly more esthetically pleasing tangible and "works-like" physical forms for the development and testing of ideas [37]. In the more refined prototyping phase, this study aimed to integrate all four types of biophilic movements resulting from stage 2 (classification) into the design of wearable artifacts. The four types of

Four different prototypes (wearable objects-brooches), with a range of different movements, were developed as testing prototypes. The creatures—butterfly, feather duster worm, anemone, and blue button—were the main inspiration for the forms and movements of the prototypes. Provisional and simple mechanisms were designed and added to the objects to make each one move in a certain direction, mimicking its inspirational biological creature. For these early experimental prototypes, the movements were activated by a hand-controlled mechanism. This is often the case in early prototypes to minimize the cost, effort, and time involved in creating working models before finalizing the design concept [38]. Mechanisms were designed and built in the biology lab, at Carleton University with the assistance of the biology professor Dr. Jeff Dawson. The prototypes were all in the form of brooches. The brooch

the same type of movement is perceived in different objects.

movements are: open-close, flapping, translational, and tentacle-like.

design researcher generated the sketches.

2017

346

**Figure 4.** Similar movement in non-organic and organic forms.

The movement and form of this brooch were primarily inspired by the feather duster worm [**Figure 6**, Panel 2]. This brooch includes 'translational', 'open-close', and 'changing size'

**Figure 6.** Prototype A.

types of movements [**Table 1**]. In this brooch, the fibers come out of the tube along one plane (translational movement), open in another direction and then close (open-close movement), and go back inside the tube again (translational movement) [**Figure 6**, Panels 1 and 3].

#### *2.3.2.2. Prototype B*

The movement and form of this brooch were primarily inspired by the movement and the form of a butterfly [**Figure 7**, Panel 2]. In this brooch, the wings have a bi-lateral symmetrical up and down movement (flapping motion) [**Figure 7**, Panels 1 and 3].

#### *2.3.2.3. Prototype C*

The movements and form of this brooch were inspired by a blue button [**Figure 8**, Panel 2]. The movements of this creature are open-close and tentacular [**Table 1**]. This marine animal has many strands, each having multiple branchlets that radiate outwards and go back inward to their previous position. In this brooch, the five attachments come out of the blue dome shape, move outward (which enlarges the overall size), and return inward again. Therefore, this brooch includes 'tentacular', 'open-close', and 'changing size' types of movements [**Figure 8**, Panels 1 and 3].

#### *2.3.2.4. Prototype D*

The form and tentacle-like movements of this brooch were primarily inspired by an anemone [**Figure 9**, Panel 2]. The organic form of the brooch consists of curvilinear strips that curl to make its shape. The prototype includes three strands filled with red beads that can be seen from inside the shape. These strands come out of the whole shape and go inside again (openclose movement). When the strands move outward, they also vibrate in a tentacle-like movement form. This prototype includes an 'open-close' and a 'tentacular' movement which also results in a change in size [**Figure 9**, Panels 1 and 3].

Designing Biologically Inspired Movements into the Esthetics of Interactive Artifacts http://dx.doi.org/10.5772/intechopen.71117 349

**Figure 8.** Prototype C.

types of movements [**Table 1**]. In this brooch, the fibers come out of the tube along one plane (translational movement), open in another direction and then close (open-close movement),

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

The movement and form of this brooch were primarily inspired by the movement and the form of a butterfly [**Figure 7**, Panel 2]. In this brooch, the wings have a bi-lateral symmetrical

The movements and form of this brooch were inspired by a blue button [**Figure 8**, Panel 2]. The movements of this creature are open-close and tentacular [**Table 1**]. This marine animal has many strands, each having multiple branchlets that radiate outwards and go back inward to their previous position. In this brooch, the five attachments come out of the blue dome shape, move outward (which enlarges the overall size), and return inward again. Therefore, this brooch includes 'tentacular', 'open-close', and 'changing size' types of movements [**Figure 8**, Panels 1 and 3].

The form and tentacle-like movements of this brooch were primarily inspired by an anemone [**Figure 9**, Panel 2]. The organic form of the brooch consists of curvilinear strips that curl to make its shape. The prototype includes three strands filled with red beads that can be seen from inside the shape. These strands come out of the whole shape and go inside again (openclose movement). When the strands move outward, they also vibrate in a tentacle-like movement form. This prototype includes an 'open-close' and a 'tentacular' movement which also

and go back inside the tube again (translational movement) [**Figure 6**, Panels 1 and 3].

up and down movement (flapping motion) [**Figure 7**, Panels 1 and 3].

results in a change in size [**Figure 9**, Panels 1 and 3].

*2.3.2.2. Prototype B*

2017

348

*2.3.2.3. Prototype C*

*2.3.2.4. Prototype D*

**Figure 7.** Prototype B.

**Figure 9.** Prototype D.

### **3. Discussion**

This exploratory study introduced a step-by-step process for applying a biology-to-design approach to early stages of ideation and concept generation.

#### **3.1. Step-by-step biology-to-design approach for kinetic ideation**

Each stage of this exploratory study provided useful outcomes for developing the next stage [**Table 2**]. The steps taken for adapting inspiration from biology and applying it to design esthetics followed this path:


#### **3.2. Biophilic form and movement**

This study contributes the term "biophilic movement" to the area of biophilic design. In this research, the initial focus was to take inspiration from the 'biophilic movements' found in nature. However, the findings that emerged from the brainstorming workshop indicated the importance of creating 'bio-inspired forms' as well while designing 'movement'. Therefore, it was not possible to define 'biophilic movements' without related 'forms' that represent their behaviors and movements. Ben Hopson and Young et al. indicated that form and movement are tightly correlated [8, 17]. In addition, Ross and Wensveen refer to this as a "new language of form that incorporates the dynamics of behaviour" [16].

#### **3.3. Collaborating with a biologist**

This interdisciplinary study benefitted from collaboration with a biologist at different research stages. As illustrated in **Figure 1** and described in **Table 2**, working with and consulting the biologist throughout stages one and two was important for generating innovative and creative outcomes. In stage one, the biologist provided expert insights related to the science of biology as well as more exposure to this discipline. In stage two, the collaborative card sorting provided a scientific approach to categorizing the types of biological movements. This indicates that biologists who study the movements of specific species may be able to recommend suitable sources of inspiration and provide designers with examples of organisms that may be of interest as design inspiration.


**Table 2.** Step-by-step biology-to-design approach for kinetic ideation.

**3. Discussion**

2017

350

esthetics followed this path:

considering movement on its own.

of form that incorporates the dynamics of behaviour" [16].

**3.2. Biophilic form and movement**

**3.3. Collaborating with a biologist**

be of interest as design inspiration.

researchers.

biologist.

This exploratory study introduced a step-by-step process for applying a biology-to-design

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

Each stage of this exploratory study provided useful outcomes for developing the next stage [**Table 2**]. The steps taken for adapting inspiration from biology and applying it to design

• **Observing and identifying** natural movements with a biologist and designers/design

• **Classifying** the kinds of movements based on direction, volume, and path [**Table 1**]. These classifications were based on observations of nature and conducted in consultation with a

• **Sketching and iterative prototyping**. This stage involves synthesizing the ideas inspired from observation of movements in nature (creatures, in this case) and ideas generated by

This study contributes the term "biophilic movement" to the area of biophilic design. In this research, the initial focus was to take inspiration from the 'biophilic movements' found in nature. However, the findings that emerged from the brainstorming workshop indicated the importance of creating 'bio-inspired forms' as well while designing 'movement'. Therefore, it was not possible to define 'biophilic movements' without related 'forms' that represent their behaviors and movements. Ben Hopson and Young et al. indicated that form and movement are tightly correlated [8, 17]. In addition, Ross and Wensveen refer to this as a "new language

This interdisciplinary study benefitted from collaboration with a biologist at different research stages. As illustrated in **Figure 1** and described in **Table 2**, working with and consulting the biologist throughout stages one and two was important for generating innovative and creative outcomes. In stage one, the biologist provided expert insights related to the science of biology as well as more exposure to this discipline. In stage two, the collaborative card sorting provided a scientific approach to categorizing the types of biological movements. This indicates that biologists who study the movements of specific species may be able to recommend suitable sources of inspiration and provide designers with examples of organisms that may

approach to early stages of ideation and concept generation.

**3.1. Step-by-step biology-to-design approach for kinetic ideation**

#### **3.4. Observation**

In stage one, the Internet survey of videos and exhibition visits, and the deep observation in the science of biology was an exciting technique for a researcher with a design background. This kind of observation is valuable in 'bio-inspiration' for becoming familiar with the behaviors and interactions of creatures in their natural environments (a sort of animal ethnography). Part of this observation was done with real creatures in museums and exhibits, and part was done virtually through videos and images. Closely observing the behaviors of creatures helped in better analyzing the patterns of movements. While observing different species and creatures, it was important to keep a record of the creature movements that seemed to evoke positive feelings in viewers since the focus of the study was on 'biophilic movements'.

#### **3.5. Limitations and further research**

This study was part of a larger qualitative research project focused on identifying terms for and emotional responses to biophilic inspirations. As a result, the prototypes from this study were later evaluated by another set of participants. Testing different prototypes with various biophilic movements could provide more complete knowledge about this topic.

Given that the study focused on a narrow set of sea animals and insects due to time constraints, there is potential for studying a wider range of animal and plant movements and expand the **Table 1**. The initial step of identifying and observing biophilic movements could also be applied to different kinds of biological sources of inspiration and used as a guideline for kinetic designers in the area of biology-to-design.

This preliminary study focuses on biologically based movements and the qualities of direction, volume, and path, not on the mechanisms that generated the movements. Further study would benefit from investigation into the mechanisms of the movement in order to develop the technical requirements for implementing the concept.

In addition, the Brainstorming workshop participants were not exposed to the results of the earlier creature studies. If future participants could be exposed to the natural movements previously classified, the participants might generate more bio-inspired concepts. Moreover, the materials for the workshop were primarily two-dimensional. A more advanced workshop could use more sophisticated materials and/or parts with Arduino programming of kinetic movements.

In this study, biophilic movements were designed for "looks-like" and "works-like" prototypes of jewelry pieces and activated by the researcher manually. In further studies, prototypes could be made using Arduino and sensor technologies to replicate nature more accurately. This would also provide the opportunity for different movement variables, such as speed, time or beat, continuity, direction, volume, and rhythm.

### **4. Conclusion**

This study is preliminary research into inspiring idea generation for biophilic movements for kinetic and interactive artifacts. It contributes a step-by-step biology-to-design approach for kinetic ideation. In particular, it highlights the importance of collaborating with a biologist when collecting, observing, and classifying natural movements.

### **Appendix A: Internet survey of videos and exhibition visits**

Exhibition: Carleton University's 'Annual Butterfly Show', Ottawa, Canada.

Museums: Canadian Museum of Nature, Ottawa, Canada|American Museum of Natural History, New York, USA|Insectarium, Botanical Garden, Montreal, Canada.

Web sources:

**3.4. Observation**

2017

352

**4. Conclusion**

**3.5. Limitations and further research**

for kinetic designers in the area of biology-to-design.

the technical requirements for implementing the concept.

as speed, time or beat, continuity, direction, volume, and rhythm.

In stage one, the Internet survey of videos and exhibition visits, and the deep observation in the science of biology was an exciting technique for a researcher with a design background. This kind of observation is valuable in 'bio-inspiration' for becoming familiar with the behaviors and interactions of creatures in their natural environments (a sort of animal ethnography). Part of this observation was done with real creatures in museums and exhibits, and part was done virtually through videos and images. Closely observing the behaviors of creatures helped in better analyzing the patterns of movements. While observing different species and creatures, it was important to keep a record of the creature movements that seemed to evoke

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

positive feelings in viewers since the focus of the study was on 'biophilic movements'.

biophilic movements could provide more complete knowledge about this topic.

This study was part of a larger qualitative research project focused on identifying terms for and emotional responses to biophilic inspirations. As a result, the prototypes from this study were later evaluated by another set of participants. Testing different prototypes with various

Given that the study focused on a narrow set of sea animals and insects due to time constraints, there is potential for studying a wider range of animal and plant movements and expand the **Table 1**. The initial step of identifying and observing biophilic movements could also be applied to different kinds of biological sources of inspiration and used as a guideline

This preliminary study focuses on biologically based movements and the qualities of direction, volume, and path, not on the mechanisms that generated the movements. Further study would benefit from investigation into the mechanisms of the movement in order to develop

In addition, the Brainstorming workshop participants were not exposed to the results of the earlier creature studies. If future participants could be exposed to the natural movements previously classified, the participants might generate more bio-inspired concepts. Moreover, the materials for the workshop were primarily two-dimensional. A more advanced workshop could use more

In this study, biophilic movements were designed for "looks-like" and "works-like" prototypes of jewelry pieces and activated by the researcher manually. In further studies, prototypes could be made using Arduino and sensor technologies to replicate nature more accurately. This would also provide the opportunity for different movement variables, such

This study is preliminary research into inspiring idea generation for biophilic movements for kinetic and interactive artifacts. It contributes a step-by-step biology-to-design approach for

sophisticated materials and/or parts with Arduino programming of kinetic movements.

www.nationalgeographic.com|www.bbc.co.uk/nature/wildlife|http://www.amnh. org/|http://nature.ca/

[JVC dude]. (2011, Oct 28). Beautiful little butterflies of Mexico are like dancing fairies. [Video File]. Retrieved from http://www.youtube.com/watch?v=HGsZfdmzgOU.

[Melvin Wei]. (2012, Aug 27). Monarch Butterflies Feed on Flowers in Montreal, Quebec [Video File]. Retrieved from http://www.youtube.com/watch?v=KeC\_FWSQYRU.

[derekmcgann100]. (2011, Jul 26). South Padre Blue Buttons [Video File]. Retrieved from http://www.youtube.com/watch?v=RFxrF\_hbQRU.

[BBC Earth]. (21 May 2010). Underwater masters of disguise—Wild Indonesia: BBC [Video File]. Retrieved from http://www.youtube.com/watch?v=yalRGgrm3ac.

[VideoTube]. (2011, Sep 13). Beautiful Coral Reef Tank [Video File]. Retrieved from http:// www.youtube.com/watch?v=J1ik\_SeNrmU.

[saliva911]. (2011, Apr 2). SALT WATER AQUARIUM feather duster releasing [Video File]. Retrieved from http://www.youtube.com/watch?v=K2qOImlgY4Y.

[Lunirra]. (2012, Aug 24). 20 gal Reef Update-Anemone on the Move [Video File]. Retrieved from http://www.youtube.com/watch?v=\_vinCblLjrw.

[Tim M]. (2013, Feb 20). Anemone is on the move. Wild saltwater REEF tank [Video File]. Retrieved from http://www.youtube.com/watch?v=A7nMWjnrelQ.

[Mark Heckman]. (2012, Feb 10). Feather Duster Worm Retracts and Expands [Video File]. Retrieved https://www.youtube.com/watch?v=9QUFmX5aaaY.

### **Author details**

Neda Fayazi\* and Lois Frankel

\*Address all correspondence to: neda.fayazi@carleton.ca

School of Industrial Design, Carleton University, Ottawa, Canada

### **References**


**References**

2017

354

Elsevier; 2008

Basic Books; 2004

October 2007; San Francisco

Technology. 2008;**60**:144-153

London, UK: Royal College of Art; 2002

ACM; 2012. p. 735-744

[1] Schifferstein HN, Hekkert P, editors. In: Product Experience. 1st ed. San Diego, CA:

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM

[2] Jordan PW. Designing Pleasurable Products: An Introduction to the New Human

[4] Norman DA. Emotional Design: Why We Love (or Hate) Everyday Things. New York:

[6] Chao PY, Cimen I, Lancee W, Offermans SA, Veenstra R. Exploring semantics of movement in context. In: Proceedings of the Conference on Dutch Directions in HCI (HCI 04);

[7] Nam TJ, Lee JH, Park SY. Physical movement as design element to enhance emotional value of a product. In: Proceedings of the International Association of Societies of Design

[8] Hopson B. Kinetic design and the animation of products [Internet]. 2009 Mar. Retrieved from: http://www.core77.com/posts/12642/kinetic-design-and-the-animation-of-prod-

[9] Frankel L. Connecting virtual and visceral: An introduction to the evolution of wearable computers for industrial designers. In: Proceedings of the National Conference, Congress and Education Symposium, Industrial Designers Society of America and the International Council of Societies of Industrial Design (CONNECTIONS 07); 17-20

[10] Carpi F, De Rossi D. Electroactive polymer-based devices for e-textiles in biomedicine. IEEE Transactions on Information Technology in Biomedicine. 2005;**9**(3):295-318

[11] Helmer RJ, Mestrovic MA, Farrow D, Lucas S, Spratford W. Smart textiles: Position and motion sensing for sport, entertainment and rehabilitation. Advances in Science and

[12] Rasmussen MK, Pedersen EW, Petersen MG, Hornbæk K. Shape-changing interfaces: A review of the design space and open research questions. In: Proceedings of the SIGCHI Conference on Human Factors in Computing Systems; 5-10 May 2012; USA. New York:

[13] Seymour S. Fashionable Technology: The Intersection of Design, Fashion Science, and

[14] Fusakul Sompit M. Interactive Ornaments: Emotions in Motions [Doctoral dissertation].

Technology. Vienna, Austria: Springer Publishing Company; 2008

Factors. Philadelphia, PA: Taylor and Francis; 2000

10 June 2004; Netherlands. New York: ACM; 2004. P. 5

Research (IASDR07); 12-15 November 2007; Hong Kong

ucts-by-ben-hopson-12642.asp [Accessed: 2012-04-19]

[3] Tiger L. The Pursuit of Pleasure. 1st ed. Boston: Little, Brown; 1992

[5] Chapman J. Emotionally Durable Design. 1st ed. London: Earthscan; 2005

	- [31] The Biomimicry Institute. Innovation Inspired by Nature: Biomimicry and Design. In: Biomimicry Resource Handbook. A Seed Bank of Knowledge and Best Practices; 2010
	- [32] Volstad NL, Boks C. On the use of Biomimicry as a Useful Tool for the Industrial Designer. Sustainable Development. 1 May 2012;**20**(3):189-199
	- [33] Heerwagen J, Hase B. Building biophilia: Connecting people to nature in building design. Environmental Design and Construction. 3 May 2001;**3**:30-36
	- [34] Dogan C, Bakirlioglu Y. Biomimicry Sketch Analysis: A Generative Tool for Sustainability in Product Design Education. In: Proceedings of the 17th International Conference on Sustainable Product Design; 29&30 Oct 2012; Germany
	- [35] Dogan C, Turhan S, Bakirlioglu Y. Evolving Paths: Undergraduate Design Education through Graduate and Generative Research with a Particular Focus on Sustainability. The Design Journal. 2016 Jul 3;**19**(4):585-604
	- [36] Snell-Rood E. Interdisciplinarity: Bring biologists into biomimetics. Nature. 2016 Jan 21;**529**(7586):277
	- [37] Hanington B, Martin B. Universal Methods of Design: 100 ways to research complex problems, develop innovative ideas, and design effective solutions. Beverly, MA: Rockport Publishers; 2012
	- [38] Hallgrimsson B. Prototyping and Modelmaking for Product Design. London: Laurence King; 2012

**Provisional chapter**
