Today’s environment conditions have reached a critical stage that challenges us to revertthe current paradigm of production and waste into new ways to fulfill needs. The wholesociety needs a shift away from the individual ownership, being it one big reason of environmentalcrisis.This thesis project is an exploration into the field of sustainability in housing contexts thatseeks a different approach in the matter by encouraging the collective use of resources.The resulting design is a product service system that uses indeed a combination of artifactsand services to enhance and augment behaviors towards sustainability, by usingcalm technology as main touchpoint with the users. This means that the project tries toestablish a dialog with the user at a level that presents a valuable aesthetic of interactionbecause of the fluency of communication.

This paper explores the field of virtual reality and how immersion and presences can be increased when it comes to navigation and interaction with Virtual Environments. The availability of VR technology has sparked a trend, especially in game development. Old ways of designing for interactive environments have tobe revised. This is done by exploring the massive body of work done on VR, exploring its underlying concepts, using tested design techniques and ways of evaluating interaction for VR. A design suggestion in the form of utilizing a tablet device as the main input device is derived. By using the knowledge gained from reviewing the research on VR conclusions are drawn on how not just design for a touch device, but when designing for many types of input devices

This thesis introduces the research of combining the field of interaction design with the domain of the classical concert. The research is framed around a curiosity about why interaction at big stages tend to fail: how can mass interaction support the concert experience in a way that interactivity becomes a dialogue between artistic intention and audience experience. The work is centered around a collaboration with The Royal Danish Theatre and The Royal Danish Academy of Fine Art – The School of Design, focused on a scheduled classical concert at The Royal Danish Opera, where a concept is tested. The work is carried out as an explorative work of a design space through interweaved processes of design practice and reflection, emphasizing the need to include the artistic intention and to support the experience of the performance. Validation of the work is triangulated: empirical results from interviews and observation at the concert, supported by theoretical aspects, related work, reflection, and analysis. Additionally validation is drawn from the collaboration, as well as on a micro level: all engagements are part of the validation, making reflections in iterations and through material exploration.With a focus on the whole, both regarding methodological points of view as well as the specific ideal to include artists and artistic intention, the work adds a new layer to the HCI (Human Computer Interaction) tradition otherwise dominated by a focus on the user. In conclusion, the work brings forth four provisional takeaways to the design space of mass interaction: Reserve interaction for dramaturgical significant moments, Breaking norms creates social playfulness and disruptive behavior, Create tight coupling between action and meaning, and Tie the stage to the whole space. The specific concept at the concert will be part of a repertoire and possibly be an inspiration to the design community and cultural institutions.

This report is an evaluation of if it is good or bad to use a metaphor in order to display the results of an academic search engine in a web interface. In order to evaluate this we are describing our work with developing two different web interfaces for an academic search engine by the name Silverfish. This project has been a co-operation between Indian Institute of Information Technol- ogy in Bangalore, India and Malmˆ University K3, Sweden. To start our report we describe how we see our context we are to work within. We define our stakeholders as being academics worldwide and also define that we are working within a web 2.0 context. To strengthen our choices regarding the design process of the two different interfaces as well as in order to give more validity to our discussion surrounding metaphors we continue with presenting different studies and facts that give more weight to the above mentioned parts. To make it possible to create the interfaces we have made use of several methods. We give a short definition of how these methods are to be used and later describe in the design process how we have made use of them. To describe how we have made use of the methods as well as to describe how we have developed our prototypes we continue our report with describing the design process, regarding which deci- sions we have made and why we have made them. To summarize our report we come to a con- clusion regarding our thesis question; communicating related key phrases through web interface metaphors; good or bad? Regarding our question we have found that the orientational metaphor we are using does not work as it is supposed to. We believe that further studies are required in order to get a deeper un- derstanding of how the user understands the orientational metaphor we are using. This informa- tion could help us come to an understanding of how we could make better use of our orienta- tional metaphor, or help us find out of a metaphor that would be better to use than our orienta- tional metaphor.

Despite a strong commercial trend towards wearable technology, this thesis considers the distal devices that have played an important role in our lives for over twenty years. Suggesting that the distance we have had between our bodies and our devices has given us the space to form meaningful relationships; the research explores how these relationships change when our devices migrate onto and into our bodies in the form of wearable technologies. The methodology of performative scenarios is developed to examine examples of relationships between people and their devices. Using examples of technologies that live with us now to inform the design of future technological developments reflects a post-phenomenological perspective calling for a materially oriented design approach. This thesis will explore this approach through focusing on the question; what would we lose if our distal devices became wearable devices? Ideations aiming to prevent any loss caused by the transition of devices from distal to wearable will provide examples of post-phenomenological wearable technology that not only maintains our relationships with our devices, but also helps our relationships to grow.

This paper focuses on how a single installation can enhance personalization of the information in cultural heritage museums and enhance the overall experience using interactive digital storytelling and the ability to touch artefacts. Interaction design methods helped establish best practices centring on usability. In the process low- fidelity and mid-fidelity prototypes were created based on the field studies such as obeservations in exhibits and interviewing professionals in different museums. The conclusion could be made that artefact and the purpose of the exhibit as an whole does get more intense if one has the opportunity to touch and make it part of the visitors journey can be said.

Reading old handwritten documents can be a real challenge for genealogists, especially as some documents in Sweden are written in the old German alphabet that is not used today. Much research has been done on how to enable computers to read old handwritten documents, but computers have so far not reached the level of reading that expert humans have. The focus seems to be on the computers reading the document with or without the help of human experts, with the aim of making the documents available in easily read form. I have, however, not found any research on how computers can help non-expert humans trying to read handwritten documents. In this project I have focused especially on beginning genealogists as reading gets easier with practice, and you need the help more in the beginning.By conducting interviews and observations with genealogists I established that reading is an issue and that there are many factors involved that make it difficult to read. Among the factors that make it difficult to read are handwriting, foreign alphabet, unknown words and old-fashioned spelling. I designed hi-fi prototypes that combine elements of online crossword-lexicons, encyclopedias and a visualization of the word in the German alphabet. After testing these on genealogists I could conclude that the prototypes made it possible for test subjects to identify words that they could not otherwise read. Seeing suggestions of words in the same alphabet as the source word makes it easier to identify the correct word. The prototypes and test texts contained a very limited amount of words and further research is needed concerning how to order and choose among word matches in a large lexicon to facilitate finding the correct word.

At the time of writing, touch is revolutionizing the market with devices that have touch as the primary input modality. In this thesis we have been able to explore how another input modality, touchless, can complement touch in everyday applications. Touchless refers to an input method that is able to recognize hand gestures and act upon them. To investigate how these two input modalities can be combined, an Android prototype application featuring both touch and touchless was created. We chose to create a recipe reader because we found that a lot of people can relate to having soggy hands in the kitchen. The outcome of this thesis is assembled to form design principles that we find worthy to consider when designing multimodal input interfaces that includes both touch and touchless.

This thesis introduces the research of combining the field of interaction design with the domain of the classical concert. The research is framed around a curiosity about why interaction at big stages tend to fail: how can mass interaction support the concert experience in a way that interactivity becomes a dialogue between artistic intention and audience experience. The work is centered around a collaboration with The Royal Danish Theatre and The Royal Danish Academy of Fine Art – The School of Design, focused on a scheduled classical concert at The Royal Danish Opera, where a concept is tested. The work is carried out as an explorative work of a design space through interweaved processes of design practice and reflection, emphasizing the need to include the artistic intention and to support the experience of the performance. Validation of the work is triangulated: empirical results from interviews and observation at the concert, supported by theoretical aspects, related work, reflection, and analysis. Additionally validation is drawn from the collaboration, as well as on a micro level: all engagements are part of the validation, making reflections in iterations and through material exploration.With a focus on the whole, both regarding methodological points of view as well as the specific ideal to include artists and artistic intention, the work adds a new layer to the HCI (Human Computer Interaction) tradition otherwise dominated by a focus on the user.In conclusion, the work brings forth four provisional takeaways to the design space of mass interaction: Reserve interaction for dramaturgical significant moments, Breaking norms creates social playfulness and disruptive behavior, Create tight coupling between action and meaning, and Tie the stage to the whole space. The specific concept at the concert will be part of a repertoire and possibly be an inspiration to the design community and cultural institutions.

It is a challenging task for interaction designers to find a way to design a digital artefact supporting serendipitous discovery. Its interdisciplinary nature requires sufficient knowledge of information visualization, social navigation and serendipity. Based on literature review and prior relevant works, several traces having potential to aid such exploration were defined. Through creating and testing AniMap, an interactive graph visualization for discovering new anime clips, in this thesis I argue that such an artefact has the potential to support serendipitous discovery, owing to its features of being information visualization, interactive and in a graph layout, coupled with users’ personal interests. Even so, finding details of how to influence serendipitous discovery remain an ongoing challenge considering the dynamic nature of serendipity.