• Expression of tangibility is of the most
• The beauty of material is highly concerned
• The quality of form and movement are at the
focus of interaction
• The function of emerging technology and
innovative usage is strongly welcome
1. How is "Design Basics" taught in design school?
2. What is the basics of "Tangible Interaction
Design" as a design discipline?
• Interaction Design Process by Bill Verplank
• What are the significant contrasts for Tangible
• What principles are applicable? For example,
synectics triggers, (synnectics examples), basic
systems in nature.
"Materials touch directly on three major topics:
• 1. A designer may be motivated and stimulated directly
by a particular material.
• 2. Materials are expressive, verying from fragile and
refined to earthy and coarse.
• 3.Certain materials are chosen for their inherent
physical properties that relate directly to the function
of the finished work."
• "Expression. Basically it describes any outward,
visible manifestation of an inward condition,
feeling, or mood: a shrug, a frown, a grimace,
a smile -- physical indicators of inner
emotional states. In design, expression refers
to the act of overtly communicating a visual
idea." Stoops & Samuelson.
"Three phases are involved in the design process, and
each contributes to individual expressiveness:
• 1. Recognizing and delimiting the visual problems to be
solved, and deciding what sort of action is needed.
• 2. Putting on paper a personal, imaginative, synthesis of
ideas as the specific form and arrangement of the concrete
physical solution develops. This middle phase, the
imaginative, creative one, is the most characteristic phase
of the whole design process. It embodies the designer's
• 3. Finally the design is translated, built, printed,
constructed, woven, fabricated by the designer or under
the designer's supervision." Stoops & Samuelson.
• "When designers reach the point in their
creative development where considerations of
placement, proportion, and empty space
occur without conscious effort, their work
may be called expressive." Stoops &
• Laban Movement Analysis
• Designing Behavior in Interaction: Using
Aesthetic Experience as a Mechanism for
• Simplicity in Interaction Design
• Introduction to Interaction Design
• Expressive Interaction Design 2010 at NTUST
• 1. Final project 70%, Design and engineering
collaborative work. (Generally, every member
in a group has the same score, however,
participation in proposal, presentation, and
discussion will alter)
• 2.Personal studio action 30%, consists of 3~6
homeworks done individually
Things you might prepare
• 1. Sketching tools: sketchbook, drawing tools
(pencils, markers, crayon...), glue, tape...
• 2. Form-making tools: Foamcore, hard paper,
• 3. Function-making tools: Arduino, toolbox for
sensors and actuators, if necessary, NB, Digital
• 4. Body and Brain.
SIMPLICITY V.S. COMPLEXITY
ABSTRACT ART V.S. PRACTICAL
• 1. Figure 4. in Designing Behavior in Interaction: Using
Aesthetic Experience as a Mechanism for Design
• 2. Move to get moved: a search for methods, tools and
knowledge to design for expressive and rich movement-based
• 3. other movement analysis:
Specify the 3 dimensions for 8
movements listed above
Sketch at least 3 gradations for each
dimension of the four Effort
Studio Action 1
Find representative tangible product pairs for each
dimension of the four Effort (8 in total)
• Select a clip of music
• Analyze the clip with 4 dimensions in Effort of LMA
• Draw 2D representation of it
• Find a tangible product to match this clip
• Finish in form of video
TAG: SA1, id_number
Move to get moved
• Retrieved from "Move to get moved"
1. How to design simple forms for rich
interaction? (including movement-centric,
social interaction, self-expression, etc.)
2. What's the relationship between movement
and form? Can we think "movement"
3. What kind of form is suitable for movement?
4. Echoing "tangible interaction = form +
computing" by Mark Baskinger and Mark
Gross, if "tangibility = movement + form", how
can Tangibility be explored?
5. Affordance: restriction or hint?
• regarding "functionality" of a music player, pick up 8
representative forms on the above siteless sample page for 8
Effort qualities of LMA
Studio Action 2
Prepare a A2 poster
collect music players and other inspiring form
make a physical model of a music player
show the picture of this model on poster, and
analyze according to LMA
Deadline: 3/22, 2011
Artisan intentions towards artistic meaning have
become a major factor that distinguishes fine art
from craft in recent years (Risatti, 2007).
Risatti asserted that "if the maker is deprived of
choice, of free will in the making processing, he
or she also is denied any chance at expression.
" He also cited Husserl that "the concept of meaning is
reserved for the intention to mean." (Risatti, 2007) By placing
the artisan at the focus of meaning creation, Risatti extended
the notion of intentionality from Husserl to posit that
"meaning should be understood as being made into the object
as an intentional act of its maker.
" (Risatti, 2007) We can infer that the artisan's intention to
express more profoundly impacts artistic meaning than
• 1. an expressional: a thing designed to be the
bearer of certain expressions
an appliance: designed to be the bearer of a
From use to presence
• 2. "A thing always presents itself through its
• 3. "When we let things into our lifeworld and
they receive a place in our life,
they become meaningful to us. We can say
that this act of acceptance is in a
certain sense a matter of relating expression
to meaning, or of giving meaning
• 4. "When we think of the expressions of, for
example, a mobile phone in elementary phoning-
acts such as listening, talking, waiting, dialing,
etc., these are clearly related to some basic form
of mobile phone use. However, thinking about
the thing in terms of how it forms its presence by
means of its expressions in such acts is different
from thinking about its functionality, for example,
how it enables people to talk to each other
despite not being co-located."
• 5. "In, for instance, graphical design and many areas of
industrial design, form giving often means to design
the exterior of an object.
• This is reasonable when the object is sufficiently static
and when its internal workings do not contribute to the
overall expression. If we think about the material that
forms the expressions of computational things, it is
clear that it is a combination of computations and
• 6. Assume that we will design a digital doorbell. A doorbell
is something we use to attract the attention of people
inside as we stand outside a door, to notify them that
someone is at the door.
• There is nothing in this description that refers to the
expression of a doorbell. We can also describe a
computational doorbell as a thing that displays the
execution of a certain program everywhere inside of a
compartment or a house as it is initiated outside a given
door. This is a distinction between describing the notion of
computational doorbell is in terms of its expression."
• 7. "To design a mobile phone as an
expressional means designing it on the basis
of a collection of generic expressions, that is,
the expressions associated with phones and
phoning. To do this, we typically bracket
functionality and focus on the expressions of a
mobile phone in use: How does it feel? How
does it look?
• How does it shape a gestalt of movements,
speech, and gestures?
• How does it transform and present my voice?
• How does it express time?
• Again, the expressions of a mobile phone in use
are different from what the phone expresses in
terms of being a part of my life, and here our
focus is on the expressions of the phone in use as
we try to understand these expressions as a
foundation for its presence in everyday life."
• 8. "As an expressional, the mobile phone with a hands-
free set is simply, among other things, a “talking-
loudly-to-yourself”-device. Being a “talking-loudly-
toyourself- device” is just one out of many things a
mobile phone can become as it is adopted as part of
someone’s everyday life. For instance, it might turn
into a “flirting-device” that is used to initiate and
ground a conversation (cf. Weilenmann and Larsson
), a “check-that-nothing-has-happeneddevice”
that is brought along just to see that no one has called,
a “walkingcompanion” that is brought when going for a
walk to ensure company for conversation, etc."
• 1. "We do not talk about functionality and
design, but about the complete expression of
a thing as it appears in the given context."
• 2. " Why is it not enough to have a
reminder sign on the wall saying in capital
letters ‘‘SMILE’’ or ‘‘THINK OF YOUR
FAVOURITE PAINTING BY MATISSE’’, etc?
• A key reason why this substitution is pointless
is that the reminder sign is very imprecise in
telling me what my favourite painting by
Matisse is or why I should smile. It is the
expression of the Matisse painting itself – or
probably a reproduction – hanging on the wall
that is important.
• The function of a thing designed to invite and
make room for reflection is inherent in the
precise meaning of reflecting that is given by
the total expression of the given thing;
function is inherent in design expression."
• 3. "One of the basic ideas behind the
examples of slow technology is to use
simplicity in material in combination with
complexity of form. ... Simplicity in material
invites people to reflect when there is an
obvious complexity in form."
• 4. "The design should give time for reflection
through its slow form-presence and invite us
to reflect through its clear, distinct and simple
material-expression. It is a combination of
simplicity in material with a subtle complexity
in form focusing on time as a basic element of
Conceptual Designing and Technology
• 1. "I extensively used the method of
moving between analyzing expressionals in terms of
appliances in terms of finding expressions."
• 2. "To create the form-making qualities, the material
were analyzed to find what transformation types the
could offer designers, by searching for variables that
could manipulate through the design activity."
• 1. From use to presence: on the expressions and aesthetics of
everyday computational things
• 2. Slow Technology
• 3. Conceptual Designing and Technology: Short-Range RFID as
• 4. Design for Internet of Things
• 1. revisiting notions of "Form," "Expression," "Function,"
• 2. Each group discusses with a brainstorming session, an
• 3. Both Meaning-making (Expression-making) and Form-giving
(with LMA) are of same importance.
• 4. Each group needs to work out a design process. Especially
identify "design problem," and "engineering problem."
• 5. One group is evaluated and criticized by another group.
• THE SEVEN RULES OF BRAINSTORMING (FROM
• 1) Defer judgment
• 2) Encourage wild ideas
• 3) Build on the ideas of others
• 4) Stay focused on the topic
• 5) One conversation at a time
• 6) Be visual
• 7) Go for quantity
• Seven Secrets to Good Brainstorming
• 1. Sharpen the focus.
• 2. Write playful rules.
• 3. Number your ideas.
• 4. Build and jump.
• 5. Make the space remember.
• 6. Stretch your mental muscles.
• 7. Get physical.
Inside IDEO Part 1