"Interface design has often been considered a subsection of interaction design (Moggridge, 2007; Löwgren & Stolterman, 2004; Bagnara & Crampton Smith, 2006). In the shift from designing objects to designing experiences, interaction design needs to investigate temporal as well as spatial form (Redström, 2001; Mazé & Redström, 2005), and to see computation as basic material.
From a social, cultural and humanistic perspective, studies of the design of interactions and their contexts of use can be understood in terms of mediated communication and the historical, social, playful and aesthetic in digital design (Blythe, Overbeeke, Monk, & Wright, 2003; Lunenfeld, 1999). This approach has been framed as Communication Design (Morrison et al., in press). This mediational perspective of digital communication is informed by studies in new media, social semiotics, socio-cultural studies of learning and work, and practice-based research into multimodal composition in which mediated discourse itself undergoes change through active use (Jones & Norris, 2005; Morrison, in press). This view is distinct from the structuralist and directional or 'transmission' models of communication (e.g., Crilly, Maier, & Clarkson, 2008) that are not rooted in cultural and mediational theory. From a Communication Design perspective, the interface itself mediates; it is understood as socially and culturally constructed and situated. Such a perspective is not very widely articulated in discussions of the interface in design research. Further, few studies exist of dynamic, digital interfaces and their multimodal characteristics from a specifically media and Communication Design view (e.g., Skjulstad, 2007).
In their design activity, interaction designers invest heavily in the shaping of interfaces as symbolic and cultural texts. Alongside this attention to design, and with reference to user-driven studies, we also need to unpack the features and possible functions of these emerging forms of mediated communication. The proliferation of 'movement in the interface' demands that we pay attention to a variety of media types, genre conventions and earlier media, and to the ways that elements of these are combined in different configurations. Social semiotics provides some means for relating the various graphical, animational and kinetic aspects of dynamic interfaces within a wider communicative perspective.3"
(Jon Olav H. Eikenes and Andrew Morrison, 2010)
Jon Olav H. Eikenes and Andrew Morrison (2010). "Navimation: Exploring Time, Space & Motion in the Design of Screen-based Interfaces", International Journal of Design Vol 4, No 1.
"Inviting play and reflection on the role of green buildings, ECOS presents data on the Cube using a simple and interactive game-like application. The data shows how energy consumption and generation impacts people in a variety of climates within a five-star rated green building like the Science and Engineering Centre (SEC), where the Cube is located.
ECOS incorporates live weather data into an interactive illustration and places a fictional green building into different climates, allowing users to play with the parameters of the buildings and observe the results and the possible impacts on people.
ECOS promotes behavioural change by demonstrating the factors that influence sustainable energy consumption and generation."
Project team: Prof Jeff Jones (Cube Project Leader), Debra Polson (Project Leader), David Wallace, Cassie Selin, Warwick Mellow
"We differentiate research artifacts from design practice artifacts in two important ways. First, the intent going into the research is to produce knowledge for the research and practice communities, not to make a commercially viable product. To this end, we expect research projects that take this research through design approach will ignore or deemphasize perspectives in framing the problem, such as the detailed economics associated with manufacturability and distribution, the integration of the product into a product line, the effect of the product on a company’s identity, etc. In this way design researchers focus on making the right things, while design practitioners focus on making commercially successful things.
Second, research contributions should be artifacts that demonstrate significant invention. The contributions should be novel integrations of theory, technology, user need, and context; not just refinements of products that already exist in the research literature or commercial markets. The contribution must demonstrate a significant advance through the integration. This aspect of a design research contribution makes particular sense in the interaction design space of HCI. Meteoric technological advances in hardware and software drive an aggressive invention of novel products in HCI and interaction design domains that are not as aggressively experienced by other design domains. While product designers might find themselves redesigning office furniture to meet the changing needs of work, interaction designers more often find themselves tasked with inventing whole new product categories.
Our model of design research allows interaction design researchers to do what designers do best: to study the world and then to make things intended to affect change. Our model provides a new channel for the power of design thinking, desired by many disciplines, to be unleashed as in a research context. Design researchers can contribute from a position of strength, instead of aping the methods of other disciplines as a means of justifying their research contribution."
(John Zimmerman, Jodi Forlizzi, Shelley Evenson, p.500, 2007)
John Zimmerman, Jodi Forlizzi, and Shelley Evenson (2007). "Research through design as a method for interaction design research in HCI". In Proceedings of the SIGCHI conference on Human factors in computing systems (CHI '07). ACM, New York, NY, USA, 493-502. DOI=10.1145/1240624.1240704 http://doi.acm.org/10.1145/1240624.1240704
"As design-led and practice-based research institution, CIID has expertise in directly engaging with design and technological materials to produce prototypes. Prototyping is at the center of CIID’s design culture; it provides us with the methods and means to probe future scenarios, situate design discourses and test design and technical implementations in real world contexts. Our prototyping methods range from simple paper based co-creation props to functional physical prototypes of complex systems. In addition, video scenarios and various experience prototyping methods are employed, in the early stages of our research, in order to bring forward surprisingly foundational insights about the “role” a technological object or system may have in the real world. Overall, insights derived from all prototypes feed back into our research process to re-iterate over its concepts or focus. With clear probing or prompting goals, we can better use sketches in materials, hardware and software to think and communicate about research, technologies and their societal impacts."
"Art & Media Course in Information Design Department of Tama Art University manages various kinds of art forms by utilizing digital technologies and bio medias, such like interactive installations, audio & visual performances, software arts, bio arts, digital animations, and future cinemas. Through the background of recent dynamic changes of relationship between technology and human society, we aim to bring up new types of multi-skilled creators who can transcend the traditional boundaries of fine arts, science, engineering, mathematics and philosophy.The Course has established unique creative environment configured by four individual laboratories which has their own research themes."