Figure 1. Example shape-changing interfaces: (a) Morphees, a shape-changing mobile phone [75]; (b) An elastic deformable display [102]; (c) inFORM, a self-actuated pin-array [23]; (d) ShapeClip, a prototyping toolkit for shape-changing interfaces [32].

Abstract.There are many examples of cards used to assist or provide structure to the design process, yet there has not been a thorough articulation of the strengths and weaknesses of the various examples. We review eighteen card-based design tools in order to understand how they might benefit designers. The card-based tools are explained in terms of five design dimensions including the intended purpose and scope of use, duration of use, methodology, customization, and formal/material qualities. Our analysis suggests three design patterns or archetypes for existing card-based design method tools and highlights unexplored areas in the design space. The paper concludes with recommendations for the future development of card-based methods for the field of interaction design. Keywords: method cards, creativity cards, design methods, design tools Introduction'Design methods are like toothbrushes. Everyone uses them, but no one likes to use someone else's. ' [13] Physical cards have been popular design tools, perhaps because they are simple, tangible and easy to manipulate. Aside from the well-known Card Sorting method [22], cards have been used widely by designers to make the design process visible and less abstract [3,10] and serve as communication tools between members of the design team and users [9]. There are many examples of unique method card systems, many have similar features and formal qualities, yet it is not easy to get an overview of the available card systems in order to decide which to use, and when. As suggested in the opening quote attributed to John Zimmerman, designers often develop their own methods or appropriate widely known methods to best suit their needs, yet there is a tendency to use methods that are familiar instead of venturing out. Even though these methods are shared with the research community, it is difficult and time consuming for designers to review all available tools to understand their strengths and weaknesses. Therefore, this paper aims at providing an overview of some well-known

Digital fabrication laboratories (such as Fab Labs) are a global initiative of workshops that offer open access to technologies to produce objects from beginning idea to final production. Fab Labs encourage open and free knowledge sharing among 'experts' and the general public. Claims are being made about community-based digital fabrication workshops transforming practices of design, innovation, production and consumption, while describing positive impacts on the environment and social goals. Research that examines such claims is sparse. This paper explores realities of using digital fabrication technologies within a Fab Lab. It draws on a case study that describes practical outcomes of a design workshop in which a multidisciplinary team engaged in issues of sustainable design and processes of cocreation to design and fabricate a prototype. This experience provides insight into the impact of digital fabrication technologies within a sustainable and co-creational design context and critical reflections are presented.

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Wearable technologies involve the integration of technology into clothing or accessories to bring new functionalities for people on the move. Many examples of wearables are emerging, from simple fitness tracking watches to electronics deeply embedded into garments for multi-touch sensing and control for personal music players. Without careful development, wearables can have a negative impact on the environment due to increased production of electronic components, increased e-waste from abandoned devices, and increased energy usage. We examine environmental sustainability issues through a review of recent research and cases across three broad areas including the fashion industry, information and communications technology (ICT), and wearable technologies. In the analysis, we examine stages in the product life cycle and identify the unique issues for each sector, including the extraction of materials, production process, distribution of products, use, and disposal of products that have reached the end of their life. The findings are gathered as implications for design so that researchers, educators, designers, developers, and product managers will gain an overview of the issues related to environmental sustainability. Related examples of products and prototypes are provided to enable informed choices during the design and development of wearables that are more environmentally sustainable.

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Blood sampling is a common and necessary procedure in the treatment and diagnosis of a variety of diseases. However, it often results in painful and stressful experiences for children. Designed together with domain experts, Pufferfish is a breath-controlled biofeedback game technology with bespoke airflow sensor that aims to calm children during blood sampling procedures. An initial randomized controlled trial was conducted in which 20 children aged 6-11 were assigned to one of two conditions involving either passive distraction (watching a video) or active distraction using the Pufferfish prototype. Medical staff rated Pufferfish significantly more useful in facilitating the blood sampling procedure compared to passive distraction. Qualitative feedback from patients, parents, and medical staff identified aspects that impact the acceptance of breath-based active distraction. Our study highlights the potential of non-pharmacological assistive technology tools to reduce fear and pain for children undergoing painful or stressful medical treatment.