Inspiration card workshops

Halskov, Kim; Dalsgård, Peter

doi:10.1145/1142405.1142409

Cited by 223 publications

(160 citation statements)

References 16 publications

(16 reference statements)

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“…We have addressed our research question from a multidisciplinary perspective enabled by a series of collaborative workshops and other kinds of design activities, including field studies, experiments [14] and design workshops [15] that produced a series of materialized artifacts [16].…”

Section: Methodsmentioning

confidence: 99%

Staging Urban Interactions with Media Façades

Brynskov

Dalsgaard

Ebsen

et al. 2009

Human-Computer Interaction – INTERACT 2009

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Abstract. Using media façades as a subcategory of urban computing, this paper contributes to the understanding of spatial interaction, sense-making, and social mediation as part of identifying key characteristics of interaction with media façades. Our research addresses in particular the open-ended but framed nature of interaction, which in conjunction with varying interpretations enables individual sense-making. Moreover, we contribute to the understanding of flexible social interaction by addressing urban interaction in relation to distributed attention, shared focus, dialogue and collective action. Finally we address challenges for interaction designers encountered in a complex spatial setting calling for a need to take into account multiple viewing and action positions. Our researchthrough-design approach has included a real-life design intervention in terms of the design, implementation, and reflective evaluation of a 180 m 2 (1937 square feet) interactive media façade in operation 24/7 for more than 50 days.

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Section: Methodsmentioning

confidence: 99%

Staging Urban Interactions with Media Façades

Brynskov

Dalsgaard

Ebsen

et al. 2009

Human-Computer Interaction – INTERACT 2009

Self Cite

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“…First, drawing from PD ideas of representing work through pre-filled cards (Muller 1993;Halskov and Dalsgård 2006), we provided the participants with sets of cards in six categories for both trend identification and solution proposals. The second set of scaffolding was used in the solution identification part of the workshop where we turned to ideas of 'full scale modelling' (Hornyánszky Dalholm 1998) to help people achieve a 'hands on future' (Ehn and Kyng 1991).…”

Section: Lead-user Workhops and Participatory Design As Resources Fomentioning

confidence: 99%

Collaborative futuring with and by makers

et al. 2014

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Maker spaces and maker activities offering access to low-cost digital fabrication equipment are rapidly proliferating, evolving phenomena at the interface of lay and professional design. They also come in many varieties and change fast, presenting a difficult target for, for instance, public authorities, who would like to cater for them but operate in much slower planning cycles. As part of participatory planning of Helsinki Central Library, we experimented with a form of collaborative futuring with and by makers. By drawing elements from both lead-user workshops and participatory design, we conducted a futuring workshop, which allowed us to engage the local maker communities in identifying the issues relevant for a public maker space in 2020. It further engaged the participants in envisioning a smaller prototype maker space and invited them into realising its activities collaboratively. Our results indicate that particularly the information about future solutions was of high relevance, as was the opportunity to trial and elaborate activities on a rolling basis in the prototype space. Insights about more general trends in making were useful too, but to a lesser extent, and it is likely that these could have been gained just as easily with more traditional means for futuring.

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“…They seek to develop sensitivity and empathy [24] for the context, and engage designers and users in the process. Some cards are designed for a better communication between users and designers, examples here are the Questionable Concept Cards [1], which encourage criticism and debate or the Inspiration Cards [2] that require collaborative work between designers and domain experts using the cards.…”

Section: Design Dimensionsmentioning

confidence: 99%

“…"Customizable" cards are inherently customizable to some degree. Interestingly, we can see that most of these belong to the participatory design group and have specific instructions on PictureCARD (PC) [12] Sound Design Deck (SDD) [4] SUTD [14] Layered CARD (LC) [11] Questionable Concept Cards (QCC) [1] IDEO [16] Inspiration Cards (IC) [2] Instant Card Technique (ICT) [9] SILK [19] Design Heuristics (DH) [5] Eco Innovators' Cards (EIC) [23] DSKD [17] Ideation Deck (ID) [6] Oblique Strategies (OS) [7] Bootleg (BL) [25] PLEX Cards (PX) [3] Visual Explorer Cards (VEC) [21] MethodKit(MK) [18] Purpose&Scope Duration Customization Formal Qualities System how to use them to engage with end-users and non-designers. They are mainly used at a specific point in the design process and are composed of text and images.…”

Section: Toward Patterns Of Designmentioning

confidence: 99%

Method Card Design Dimensions: A Survey of Card-Based Design Tools

Wölfel

Merritt

2013

Human-Computer Interaction – INTERACT 2013

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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

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Inspiration card workshops

Cited by 223 publications

References 16 publications

Staging Urban Interactions with Media Façades

Staging Urban Interactions with Media Façades

Collaborative futuring with and by makers

Method Card Design Dimensions: A Survey of Card-Based Design Tools

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