In this studio course students will be introduced to the concept of Interaction Design, which is understood in this context as the design of the behavior of digital artifacts, systems and environments. With computer-based devices becoming increasingly ubiquitous, we are interacting with our environments through digital artifacts on an everyday basis. Unlike many mechanical devices with simple behaviors and visible mechanisms, devices controlled by a computer chip are often more complex and less transparent to interact with. Interaction design concerns not only the design of a product’s functionality and its appearance, but also the design of its use and experience.
The objective of this course is to learn about the history and theory of Interaction Design while focusing on the process of designing interactive systems and products. You will be introduced to notions of interactivity and interface. You will analyze digital artifacts, and develop your own ideas by following a complete iterative design process using digital media. Topics include Information Design (Structure, Information Architecture), Presentation Design (Iteration, Style/Look and Feel, Prototyping), Interaction Design (Navigation, Behavior, User Experience), and Visualization (Sketching, Digital and Physical Prototyping). You will learn how to use a PC-based NURBS modeling software as a tool for Digital Prototyping. The class will also discuss basics concepts of Physical Computing (sensing and controlling the physical world using micro-controllers), which is necessary to design physical interaction with objects and environments.
Activities include a series of three exercises, which combine concept and technique followed by a final project. There will be a critique for each assignment where participants present their work and receive feedback from the Professor and the class. The participants will conduct individual research, analyze projects and present the results to the class. The process of creating the work, and the documentation of the process itself is equally important as the final outcome – and an important component evaluating your work. You are expected to document your thought process in a sketchbook, which will be shared periodically with the professor throughout the semester.
Evaluation
Exercises and projects will be evaluated based on their aesthetic, conceptual and interactive qualities, originality, and presentation. The following criteria will be taken into consideration. How innovative is your idea? Does it engage existing contexts in interesting ways or push conceptual boundaries? How thorough do you conduct your research? Are you able to analyze and transform this analysis into a conceptual framework for your ideas? What is the purpose of your design, and what is it about? How do users interact with your design? Is it intuitive to understand? Does your design interact in interesting ways with the user? How do the digital and the physical correspond? Is your idea/design presented in a clear and concise manner? What is the level of detail? Is your presentation visually convincing and how does it communicate to others? Active contribution is required. Are you involved in class critiques and discussions? Do others learn from you, do you help others?
All assignments must be completed in order to pass the course. Late assignments will reduce the grade proportionally. Exercises are only considered as completed when they are accessible from the course website as specified. There will be a sign-up sheet for each class meeting; it is the students’ responsibility to sign up in this list and to make sure that attendance is accounted for.
Attendance
Attendance is mandatory and required for a successful completion of the course. Unexcused absences will affect your grade directly, excused absences indirectly. Three unexcused absences will result in a reduction of the final grade by one letter grade, four or more unexcused absences are justification for failing the course. Absences without the Professor’s prior permission are generally considered unexcused absences. Late arrivals are very disruptive for other students. Being late to class three times will count as one unexcused absence. It is generally recommended to drop the course with more than four absences.
Materials
The course requires frequent handling of at times large digital files. It is required after every class meeting that students remove their files from the lab computers. Students are also required to store and backup their files appropriately. PC compatible USB memory key sticks (at least 100 MB capacity, 512 MB recommended) are a quick and easy way to transfer data without the use of a network. You may also need several CD-R recordable disks to backup and hand in assignments. It is recommended to store data additionally on a private computer or external hard-drive.
Exercises (% of final grade):
1: Exercise 1 (15%)
2: Exercise 2 (15%)
3: Exercise 3 (15%)
4: Final Project (40%)
5: Contribution, Participation, Research Report (15%)
Recommended Readings
Cooper, A. & Reimann, R. (2003). About Face 2.0: The Essentials of Interaction Design. Indianapolis, IN: Wiley Publishing Inc.
Löwgren, J & Stolterman, E. (2004). Thoughtful Interaction Design: A Design Perspective on Information Technology. Cambridge, Cambridge, MA; London, England: The MIT Press.
Sterling B. (2005). Shaping Things. Cambridge, MA: The MIT Press.
Krueger, M. W. (1977). Responsive Environments. In Wardrip-Fruin N. & Montfort N. (Ed.),The New Media Reader (pp. 379-389). Cambridge, Massachusetts; London, England: The MIT Press.
Kay, A. & Goldberg A. (1977). Personal Dynamic Media. In Wardrip-Fruin N. & Montfort N. (Ed.),The New Media Reader (pp. 393-404). Cambridge, Massachusetts; London, England: The MIT Press.
Rokeby, D. (1996). Transforming Mirrors: Subjectivity and Control in Interactive Media. Retrieved Jan. 3, 2006, from http://homepage.mac.com/davidrokeby/mirrors.html
Johnson, S. (1997). Bitmapping: an introduction. In Interface culture: how technology transforms the way we create and communicate (pp. 11-41). San Francisco: Haper Edge.
Bolter, J. D. & Gromala D. (2003). Windows and Mirrors: Interaction Design, Digital Art, And The Myth Of Transparency. Cambridge, Massachusetts; London, England: The MIT Press.
Norman D. A. (1988). The Design of Everyday Things. New York: Basic Books.
Norman, D. A. (1993). Things That Make Us Smart: Defending Human Attributes in the Age of the Machine. Perseus Books.
McCullough, M. (1998). Abstracting Craft: The Practiced Digital Hand. Cambridge, Cambridge, Massachusetts; London, England: The MIT Press.
Weibel, P. (1996). The World as Interface: Toward the Construction of Context-Controlled Event-Worlds, In Weibel, P. & Druckrey T. (Ed.), Net _Condition: Art and Global Media (Electronic Culture – History, Theory, Practice). New York: Aperture, 1996.
Dinkla, S. (1994). The History of the Interface in Interactive Art. Retreived Jan. 3, 2006, from http://www.kenfeingold.com/dinkla_history.html
Huhtamo, E. (1992): Commentaries on Metacommentaries on Interactivity. in TISEA (Third International Symposium of Electronic Arts), Sydney: Australian Network for Art and Technology.
Paul, C. (2003). Digital Art. New York, London: Thames & Hudson.
Daniels, D. (2000). Strategies of Interactivity. Retrieved Jan. 3, 2006, from http://www.mediaartnet.org/source-text/65/
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