Modèle novateur de conception d’interface humain-ordinateur centrée sur l’utilisateur : le designer en tant que médiateur

Cette recherche porte sur des questions relatives à la conception des interfaces humain-ordinateur. Elle s’inscrit dans le courant des recherches sur l’utilisabilité et elle s’intéresse particulièrement aux approches centrées sur l’utilisateur. Nous avons été très souvent témoin des difficultés éprouvées par les utilisateurs dans l’usage de certaines interfaces interactives et nous considérons que ces difficultés découlent d’un problème de design. Le design d’interface doit être basé sur les besoins de l’utilisateur dans le cadre de ses activités, dont les caractéristiques devaient être bien comprises et bien prises en considération pour mener à la conception d’interfaces qui respectent les critères d’utilisabilité. De plus, la communauté des chercheurs ainsi que l’industrie admettent maintenant que pour améliorer le design, il est crucial de développer les interfaces humain-ordinateur au sein d’une équipe multidisciplinaire. Malgré les avancées significatives dans le domaine du design centrées sur l’utilisateur, les visées annoncées sont rarement réalisées. La problématique étudiée nous a conduit à poser la question suivante : En tant que designer d’une équipe multidisciplinaire de conception, comment modifier la dynamique de collaboration et créer les conditions d’une conception véritablement centrée sur l’interaction humain-ordinateur ? Notre démarche de recherche a été guidée par l’hypothèse voulant que l’activité de design puisse être le moyen de faciliter la création d’un langage commun, des échanges constructifs entre les disciplines, et une réflexion commune centrée sur l’utilisateur. La formulation de cette hypothèse nous a mené à réfléchir sur le rôle du designer. Pour mener cette recherche, nous avons adopté une méthodologie mixte. Dans un premier temps, nous avons utilisé une approche de recherche par projet (recherche-projet) et notre fonction était celle de designer-chercheur. La recherche-projet est particulièrement appropriée pour les recherches en design. Elle privilégie les méthodes qualitatives et interprétatives ; elle étudie la situation dans sa complexité et de façon engagée. Nous avons effectué trois études de cas successives. L’objectif de la première étude était d’observer notre propre rôle et nos interactions avec les autres membres de l’équipe de projet pendant le processus de design. Dans la seconde étude, notre attention a été portée sur les interactions et la collaboration de l’équipe. Nous avons utilisé le processus de design comme méthode pour la construction d’un langage commun entre les intervenants, pour enrichir les réflexions et pour favoriser leur collaboration menant à redéfinir les objectifs du projet. Les limites de ces deux cas nous ont conduit à une intervention différente que nous avons mise en œuvre dans la troisième étude de cas. Cette intervention est constituée par la mise en place d’un atelier intensif de conception où les intervenants au projet se sont engagés à développer une attitude interdisciplinaire permettant la copratique réflexive pour atteindre les objectifs d’un projet de construction d’un site web complexe centré sur l’utilisateur. L’analyse et l’interprétation des données collectées de ces trois études de cas nous ont conduit à créer un modèle théorique de conception d’interface humain-ordinateur. Ce modèle qui informe et structure le processus de design impliquant une équipe multidisciplinaire a pour objectif d’améliorer l’approche centrée sur l’utilisateur. Dans le cadre de ce modèle, le designer endosse le rôle de médiateur en assurant l’efficacité de la collaboration de l’équipe. Dans un deuxième temps, afin de valider le modèle et éventuellement le perfectionner, nous avons utilisé une approche ethnographique comportant des entrevues avec trois experts dans le domaine. Les données des entrevues confirment la validité du modèle ainsi que son potentiel de transférabilité à d’autres contextes. L’application de ce modèle de conception permet d’obtenir des résultats plus performants, plus durables, et dans un délai plus court.

User-designer collaboration during the early stage of the product development process

As an understanding of users' tacit knowledge and latent needs embedded in user experience has played a critical role in product development, users’ direct involvement in design has become a necessary part of the design process. Various ways of accessing users' tacit knowledge and latent needs have been explored in the field of user-centred design, participatory design, and design for experiencing. User-designer collaboration has been used unconsciously by traditional designers to facilitate the transfer of users' tacit knowledge and to elicit new knowledge. However, what makes user-designer collaboration an effective strategy has rarely been reported on or explored. Therefore, interaction patterns between the users and the designers in three industry-supported user involvement cases were studied. In order to develop a coding system, collaboration was defined as a set of coordinated and joint problem solving activities, measured by the elicitation of new knowledge from collaboration. The analysis of interaction patterns in the user involvement cases revealed that allowing users to challenge or modify their contextual experiences facilitates the transfer of knowledge and new knowledge generation. It was concluded that users can be more effectively integrated into the product development process by employing collaboration strategies to intensify the depth of user involvement.

What is in the name of a fashion designer

Currently, fashion quite comfortably covers the space between unique pieces and serialisation, mobilising as necessary the discourses of art or commerce; however, the question of what a fashion designer is remains open. Historically, the image of the fashion designer has been constructed within a heroic and Romantic narrative centred on the concept of designers as artists and hence authors. The recent development of the fashion industry as an image-driven industry, on the one hand, and the placement of fashion in museum contexts on the other, requires a re-thinking of the function of the designer. This paper does not set out to identify a theory that establishes a truthful answer to the position and significance of the fashion designer within the fashion system, but it proposes that an analytical and critical understanding of the fashion designer requires a contextualisation of the philosophies and institutions (including fashion magazines and fashion criticism) that support it.

User-designer collaboration during the early stage of the design process

As user involvement becomes a necessary part of the product development process, various ways of accessing users' latent needs have been developed and studied. Reviews of literatures in user involvement and product development have revealed that accessing users' latent needs and transferring them into design process could be facilitated by effectively implementing user-designer collaboration during the early stage of the design process. In this paper, various types of user-designer collaboration were observed and then distinct characteristics of user-designer collaboration were classified into three categories. 1) Passive objectivity, 2) workplace democratisation, and 3) shared contexts were observed as strategies for better user-designer collaboration, which have been employed in the area of user-centred design, user participatory design and design for experiencing. Based on the literature review, this paper proposed a basic collaboration mechanism between the users and the designers during the early stage of the design process and then discussed how its mechanism will help to describe the interactions between the users and the designers during the user involvement sessions.

"I'm a designer, get me out of tech class!" : closing the gap between design and technology education

The following paper explores the use of collaborative pedagogical approaches to advance foundational architectural design education, by linking design process to sustainable technology principles. After a brief discussion on architectural design education, the mentioned collaborative approach is described. This approach facilitates students’ exchange of knowledge between two courses, despite no explicit/assessable requirement to do so. The result for the students is deeper learning and a design process that is enriched through collaboration with sustainable technology. The success of this approach has been measured through questionnaires, evaluation surveys, and a comparative assessment of students common to both courses. The paper focuses on the challenges and innovations in connecting architectural design and technology education, where students are encouraged to implement lessons learnt, thereby closing the gap that these courses have traditionally represented.

Design process excludes users : the co-creation activities between user and designer

User needs are a fundamental element of design. If the design process does not properly reflect user needs, the design will be severely compromised. Therefore, it is worthwhile to investigate how the user is, and user needs are, understood in the design process. In this article, three accepted linear process models for web site and interactive media design are reviewed in terms of the designer and user participation. The article then proposes a user-evolving collaborative design process which is built on co-creation activities between designer and user. Co-creation activities across the entire design process structurally and ontologically reposition the users, and user needs, centrally, which allows the designers to holistically approach to the user needs through building a partnership with the users. Co-creation creates an equal evolving participatory process between user and designer towards sharing values and knowledge and creating new domains of collective creativity.

New organisational leadership capabilities : transitional engineer the new designer?

Traditionally, design has been centred within the manufacturing and production areas of companies and or as a styling afterthought. Increasingly, design is viewed as a vital and important strategic business resource (Dell’Era, Marchesi & Verganti, 2010) and consequently companies worldwide look to design to help them innovate, differentiate and compete in the global marketplace. The role of the professional designer is evolving to a point where they are needed to work beyond being a specialist in the manufacturing and aesthetics of an artefact (Wrigley & Bucolo, 2011). This paper challenges the values held by academics and industry regarding the traditional role of designers in business. It investigates the emerging transitional engineering framework and puts forward a proposal for the next generation designer in the future era of design. Questions surrounding how designers will develop these new skills and how the Authors’ new framework of design led innovation can contribute to the future of design will be presented. This research is needed to better equip future designers to have a more central role in business.

Influencing innovation in SME’s : from designer to transitional engineer

The following paper presents insights found during an ongoing industry engagement with a family-owned manufacturing SME in Australia. The study seeks to unpack cultural, strategic, product opportunities and challenges available to the firm engaging in a design led approach to innovation. Design led innovation finds new market opportunities to innovate through a holistic perspective of both the internal business operations, focusing on the customer experience and external stakeholders. The action research based methodology consisted of 25 semi-structured interviews, a reflective journal and focus group, all of which were analysed thematically. This paper focuses on the resultant themes of the focus group data constituting a discussion around the best strategies to try and integrate design thinking as a fundamental skill across the company. The main thematic results included the participant’s limited views of themselves (in current roles) as being to create ‘buy-in’ to change initiatives, a preference to act as a group to gain traction in the firm, importance of better defining the problem before reaching a design solution and lastly the time required to implement versus the need for change. These findings are valuable in assisting other family owned firms in managing core growth activities with design and innovation initiatives, particularly in the area of new product development.

Beyond designing : roles of the designer in complex design projects

Human computer interaction and interaction design have recognised the need for participatory methods of co-design to contribute to designing human-centred interfaces, systems and services. Design thinking has recently developed as a set of strategies for human-centred co-design in product innovation, management and organisational transformation. Both developments place the designer in a new mediator role, requiring new skills than previously evident. This paper presents preliminary findings from a PhD case study of strategy and innovation consultancy Second Road to discuss these emerging roles of design lead, facilitator, teacher and director in action.

The chef as designer : classifying the techniques that chefs use in creating innovative dishes

This qualitative study explores the methods that chefs use to create innovative marketable product and compares these findings to other design tools. This study is based on a series of interviews with locally recognised chefs in Minnesota and observations of them in their kitchens in order to understand the details of how they conceive and develop dishes from preliminary concept to final plating and user consumption. This paper focuses on idea generation and discusses two key findings: first, the variety of idea generation techniques presented by the chefs can be classified into the creativity tool SCAMPER (substitute, combine, adapt, modify/magnify, put to other use, eliminate, reverse/rearrange); second, chefs evoke the theory of MAYA or Most Advanced Yet Acceptable when innovating new dishes, which implies making novel changes while remaining relatable to the consumer. Other reoccurring topics in the interview discussion of food innovation include play, surprise, and humour.

Industrial Designer

A discussion with Dr Rafael Gomez on Industrial Design for the Nelson Senior Graphics for Queensland Schools publication.

Customer inspired innovation with designer as innovation catalyst

This study explores the processes of introduction, implementation and integration of design-led innovation within a family owned company driven by engineering innovation in a sector dominated by product and process improvements. This paper is based on the outcomes of an investigation of a family manufacturing company in the METS sector over an 11-month period, where the researcher was embedded in the firm to deliver value to the company by using an action research approach. The design innovation catalyst used a design-led innovation process to capture customer insights that led to changes at the leadership, managerial and employee level of the organisation.

Tryst with a molecular and supramolecular oddity: an anti-Furst-Plattner epoxide opening product as a designer additive for accessing an elusive polymorph

Additive induced polymorphism of a conformationally locked tetraacetate 3 in presence of its diastereomer 4 is described. The ester 3 was specially crafted on a trans-decalin backbone to relegate the O-H center dot center dot center dot O H-bond donors to the molecular interior and have the peripheral H-bond acceptors in 1,3-syndiaxial relationship. The supramolecular assembly of 3 was destined to evolve along two mutually exclusive pathways, namely one, which employs intermolecular O-H center dot center dot center dot O H-bonds (pathway 1) and the other that sacrifices these for intramolecular O-H center dot center dot center dot O H-bonds and settles for a crystal packing dictated by weak intermolecular interactions alone (pathway 2). Exploiting the similarity between the self-assemblies of 4 and the two recently reported dimorphs of 3, the ester 3 has been stimulated to follow the elusive non-hierarchical pathway 2 through preferential inhibition of pathway 1. Interestingly, the inhibitor 4 was obtained serendipitously en route 3 via an apparent breakdown of Furst-Plattner rule.