Det finns begränsad tillgång till pussel för personer med synfel (inklusive blinda personer). För att undersöka behovet av potentiella användare i 3D kartpussel och identifiera deras preferenser, behov och krav, användes en kvalitativ metod som på engelska kallas ”participatory design”. Projektet utfördes i Kreta och alla deltagare kom från ön. Då Icke-standardiserade subjekt användes i forskningsprojektet användes lämpliga tillgängliga metoder och kommunikationsvägar för att anpassa studien för denna grupp. Stor vikt lades ner på bakgrundsstudier, inklusive intervjuer med experter och undersökning av befintligt material inom detta ämne.  För att underlätta förståelsen av konceptet och skapa en gemensam referensram för alla deltagare gjordes funktionella 3D prototyper av  kartpussel föreställande Kreta. Prototyperna gjordes i trä, antingen tall eller MDF. Därefter organiserades fokusgrupper och intervjuer. I fokusgrupperna deltog vuxna och barn med synnedsättning. Aktiviteterna var scenariokreation, utvärdering av användarvänlighet och en enkätundersökning som fylldes in av de som kunde (personer med tillräckligt god syn).  Data som samlades analyserades med hjälp av kvalitativa och kvantitativa metoder. Resultatet av testerna visade potentiella användarvänlighetsproblem för prototyperna, de flesta relaterade till synskadade individers erfarenheter av linkande produkter. Dessutom identifierades deltagarnas preferenser och behov angående temat, storlek, material, typ av samband och andra faktorer av pusslet.  Resultaten visar att osäkerhet eller brist på bekräftelse huruvida pusselbitarna var lagda rätt eller fel var den största svårigheten bland deltagare med synnedsättning. Den mest populära metoden för låsning av pusselbitarna bland de med synnedsättning var ”fit in a frame” och ”magnets”. Majoriteten av deltagarna uppmuntrade att lägga till färger på pusslet och markera olika städer. Sex av åtta deltagare var intresserade av att köpa pussel liknande det som de testat. Av 22 icke synskadade personer svarade nio av dem att det är möjligt att de skulle köpa pusslet och elva svarade att det är väldigt möjligt att de skulle köpa tredimensionella pussel. Mer än hälften såg färger som ett tilläggselement på pusslet. De två mest populära låsningsmetoderna var ”loose contact” och ”fit in a frame”. Angående materialvalet, togs trä emot väl av både synskadade och icke-synskadade testpersoner. Träprototyper  var dock det enda tillgängliga under testet. Deltagare gav flera förslag angående temat, storlek och extra egenskaper för produkten. Det resulterade i att många idéer genererades under ”workshopen”. Utfall, problem och begränsningar relaterade till de använda metoderna diskuterades och rekommendationer för framtida studier gjordes. / There are a limited number of puzzles accessible to visually impaired people (including the blind population) and also limited 3D map-puzzles available in the market. In order to explore the interest of potential users in 3D map-puzzles and identify their preferences, needs and demands, a participatory design approach was adopted. The project took place in Crete and all participants came from the local population. Because of the non-standard population included in this research project (visually impaired people) accessible methods and means of communication had to be selected. Therefore an extensive background research was performed, including interviews with experts and a thorough study of existing knowledge and previous research in related fields.  Aiming to facilitate understanding of the concept and to provide a common point of reference for all participants, functional prototypes of a 3D map-puzzle of the island of Crete were developed and manufactured. Prototypes were made of wood, either Pine or MDF. Subsequently, focus group and interview sessions were organized. Visually impaired and sighted, adults and children, participated in these sessions which included usability testing of the prototypes, scenario creation and a questionnaire (for the sighted participants). Data collected in the conducted sessions were analyzed using qualitative and quantitative methods. The results revealed usability problems of the prototypes and provided signs of potential problems, most of them related to the use of similar products by visually impaired individuals. Additionally, preferences and needs of the participants about the theme, the size, the material, the type of connection and other elements of the puzzle, were identified. According to the findings, the most severe problem, occurring when visually impaired participants tried to assemble the puzzle, was the uncertainty or “lack of confirmation” whether pieces were assembled in the right way or not. The most popular connection types among visually impaired participants were “fit in a frame” and “magnet”. Additionally, the majority of visually impaired participants were in favor of adding colors on the puzzle and marks for the different cities. Regarding buying interest, six out of eight visually impaired participants stated that they would buy a puzzle like the one they tested. Out of the twenty-two sighted participants, nine answered that it is “possible” and eleven answered that it is “highly possible” to buy a 3D map-puzzle. More than half of the sighted participants selected colors as an additional element on the puzzle while the two most popular connection types were “loose contact” and “fit in a frame”. Regarding the material of the puzzle, wood was well accepted by both sighted and visually impaired participants. However, only prototypes made from wood were available to the participants.  Additionally, participants made various suggestions regarding the theme, the size and additional elements of a 3D puzzle. As a result, many ideas were produced during the sessions. Eventually, outcomes, problems and limitations related to the methods used during the study were discussed and recommendations for future work were made.

Det finns begränsad tillgång till pussel för personer med synfel (inklusive blinda personer). För att undersöka behovet av potentiella användare i 3D kartpussel och identifiera deras preferenser, behov och krav, användes en kvalitativ metod som på engelska kallas ”participatory design”. Projektet utfördes i Kreta och alla deltagare kom från ön. Då Icke-standardiserade subjekt användes i forskningsprojektet användes lämpliga tillgängliga metoder och kommunikationsvägar för att anpassa studien för denna grupp. Stor vikt lades ner på bakgrundsstudier, inklusive intervjuer med experter och undersökning av befintligt material inom detta ämne.  För att underlätta förståelsen av konceptet och skapa en gemensam referensram för alla deltagare gjordes funktionella 3D prototyper av  kartpussel föreställande Kreta. Prototyperna gjordes i trä, antingen tall eller MDF. Därefter organiserades fokusgrupper och intervjuer. I fokusgrupperna deltog vuxna och barn med synnedsättning. Aktiviteterna var scenariokreation, utvärdering av användarvänlighet och en enkätundersökning som fylldes in av de som kunde (personer med tillräckligt god syn).  Data som samlades analyserades med hjälp av kvalitativa och kvantitativa metoder. Resultatet av testerna visade potentiella användarvänlighetsproblem för prototyperna, de flesta relaterade till synskadade individers erfarenheter av linkande produkter. Dessutom identifierades deltagarnas preferenser och behov angående temat, storlek, material, typ av samband och andra faktorer av pusslet.  Resultaten visar att osäkerhet eller brist på bekräftelse huruvida pusselbitarna var lagda rätt eller fel var den största svårigheten bland deltagare med synnedsättning. Den mest populära metoden för låsning av pusselbitarna bland de med synnedsättning var ”fit in a frame” och ”magnets”. Majoriteten av deltagarna uppmuntrade att lägga till färger på pusslet och markera olika städer. Sex av åtta deltagare var intresserade av att köpa pussel liknande det som de testat. Av 22 icke synskadade personer svarade nio av dem att det är möjligt att de skulle köpa pusslet och elva svarade att det är väldigt möjligt att de skulle köpa tredimensionella pussel. Mer än hälften såg färger som ett tilläggselement på pusslet. De två mest populära låsningsmetoderna var ”loose contact” och ”fit in a frame”. Angående materialvalet, togs trä emot väl av både synskadade och icke-synskadade testpersoner. Träprototyper  var dock det enda tillgängliga under testet. Deltagare gav flera förslag angående temat, storlek och extra egenskaper för produkten. Det resulterade i att många idéer genererades under ”workshopen”. Utfall, problem och begränsningar relaterade till de använda metoderna diskuterades och rekommendationer för framtida studier gjordes. / There are a limited number of puzzles accessible to visually impaired people (including the blind population) and also limited 3D map-puzzles available in the market. In order to explore the interest of potential users in 3D map-puzzles and identify their preferences, needs and demands, a participatory design approach was adopted. The project took place in Crete and all participants came from the local population. Because of the non-standard population included in this research project (visually impaired people) accessible methods and means of communication had to be selected. Therefore an extensive background research was performed, including interviews with experts and a thorough study of existing knowledge and previous research in related fields.  Aiming to facilitate understanding of the concept and to provide a common point of reference for all participants, functional prototypes of a 3D map-puzzle of the island of Crete were developed and manufactured. Prototypes were made of wood, either Pine or MDF. Subsequently, focus group and interview sessions were organized. Visually impaired and sighted, adults and children, participated in these sessions which included usability testing of the prototypes, scenario creation and a questionnaire (for the sighted participants). Data collected in the conducted sessions were analyzed using qualitative and quantitative methods. The results revealed usability problems of the prototypes and provided signs of potential problems, most of them related to the use of similar products by visually impaired individuals. Additionally, preferences and needs of the participants about the theme, the size, the material, the type of connection and other elements of the puzzle, were identified. According to the findings, the most severe problem, occurring when visually impaired participants tried to assemble the puzzle, was the uncertainty or “lack of confirmation” whether pieces were assembled in the right way or not. The most popular connection types among visually impaired participants were “fit in a frame” and “magnet”. Additionally, the majority of visually impaired participants were in favor of adding colors on the puzzle and marks for the different cities. Regarding buying interest, six out of eight visually impaired participants stated that they would buy a puzzle like the one they tested. Out of the twenty-two sighted participants, nine answered that it is “possible” and eleven answered that it is “highly possible” to buy a 3D map-puzzle. More than half of the sighted participants selected colors as an additional element on the puzzle while the two most popular connection types were “loose contact” and “fit in a frame”. Regarding the material of the puzzle, wood was well accepted by both sighted and visually impaired participants. However, only prototypes made from wood were available to the participants.  Additionally, participants made various suggestions regarding the theme, the size and additional elements of a 3D puzzle. As a result, many ideas were produced during the sessions. Eventually, outcomes, problems and limitations related to the methods used during the study were discussed and recommendations for future work were made.

La littérature contient une abondance d’information sur les approches de design impliquant les utilisateurs. Bien que les chercheurs soulèvent de nombreux avantages concernant ces approches, on en sait peu sur ce que les concepteurs des entreprises en pensent. Ce projet a pour but de connaître les perceptions des concepteurs de produits quant aux outils de design participatif puis, d’identifier les opportunités et limites qu’ils évoquent à ce sujet, et finalement, de faire des suggestions d’outils qui faciliteraient l’introduction du design participatif dans un processus de design existant. Après avoir fait un survol du domaine du design participatif et de ses outils, six cas sont étudiés au moyen d’entrevues semi-dirigées conduites auprès de concepteurs de produits. Les données sont analysées à l’aide de cartes cognitives. En ce qui concerne les outils de design participatif, les participants rencontrés perçoivent un accès direct aux besoins des utilisateurs et la possibilité de minimiser les erreurs en début de processus donc, d’éviter les modifications coûteuses qu’elles auraient entraînées. Les obstacles perçus par les concepteurs sont principalement liés à la résistance au changement, à la crainte de laisser créer ou décider les utilisateurs, ainsi qu’au manque de temps et de ressources de l’équipe. Finalement, sur la base des informations collectées, nous suggérons quatre outils de design participatif qui semblent plus intéressants : l’enquête contextuelle, les sondes, les tests de prototypes et l’approche « lead user ». Pour faire suite à ce travail, il serait intéressant d’élaborer un protocole de recherche plus exhaustif pour augmenter la portée des résultats, ou encore, d’appliquer le design participatif, dans une entreprise, afin d’explorer la satisfaction des gens quant aux produits conçus, les effets collatéraux sur les équipes impliquées, l’évolution des prototypes ou le déroulement des ateliers. / Many approaches were developed to foster user involvement in design activities and the amount of data pertaining to this field is substantial. However, we know little about what designers think about these methods. This research aims at knowing how designers perceive the methods used in participatory design including the opportunities and limits they identify regarding these approaches and finally, suggest a set of tools to implement user participation in a design process. After presenting an overview of the participatory design domain and its tools, six cases are studied using semi-structured interviews with designers. Data is analysed using mind maps. Concerning participatory design tools, the designers perceive, a possible means to minimise errors in the front end of the design process thus avoiding costly changes in the end. The limits they perceive come from resistance to change and reluctance to share the creative and decisive parts of the process with users. Moreover, the lack of time and resources are reported to be a limitation by many. Finally, based on the information collected, four methods are chosen as being more interesting: contextual inquiry, probes, prototype testing and the lead user approach. Continuing this work would imply creating a more exhaustive research protocol involving more participants to extend the scope of the results or, applying participatory design and looking into people’s satisfaction towards the resulting products, collateral effects on the teams involved, prototype evolution through the process or workshops progress.

Les organisations qui s’engagent dans une démarche de responsabilité sociale sont appelées à mieux prendre en considération les impacts environnementaux, sociaux et économiques de leurs activités et à communiquer publiquement les engagements qu’il prennent. Ces engagements sont véhiculés à travers différents médias réalisés par un designer graphique. Comme les notions de responsabilité sociale sont complexes et les engagements uniques à chaque organisation, le designer doit s’assurer de bien comprendre le message à transmettre pour rendre les médias cohérents autant dans leur forme que dans leur contenu. Pour aider le designer à répondre à ce défi, une démarche participative, qui vise la collaboration entre les parties prenantes en amont du processus, a été testée dans le cadre de cette recherche. Elle consistait à observer et à documenter, en contexte de pratique réel, comment une démarche participative pouvait soutenir la communication graphique de la responsabilité sociale d’une organisation. La création de l’identité visuelle et des médias de l’Institut de l’environnement, du développement durable et de l’économie circulaire a été choisi comme cas d’étude. Suivant une méthodologie inspirée de la recherche-action, nous avons pu identifier et valider les freins et les leviers de la démarche avec les participants. Les résultats obtenus soulignent l’apport positif de la démarche au processus de conception. Elle a permis aux parties prenantes de visualiser collectivement les valeurs de RS à communiquer grâce à un partage de connaissances. De plus, le processus itératif et participatif a facilité l’appropriation du projet par l’organisation. Le manque de temps, de ressources humaines et de ressources économiques constituent les principaux freins au maintien de la démarche au-delà de l’étape d’idéation et de rétroaction. L’analyse des données recueillies a permis de formuler des recommandations en vue d’améliorer la démarche pour en favoriser l’usage auprès de la communauté de pratique du design graphique et des organisations qui recourent à ses services pour communiquer leur responsabilité sociale. / Organizations are increasingly choosing to implement corporate social responsibility in their activities. To do so, they are invited to consider the environmental, social and economic impacts of their activities and decisions and, consequently, share it with their stakeholders. These commitments are conveyed to the audience through different medias created by a graphic designer. Since corporate social responsibility knowledge is complex and unique to each organization, the designer has to carefully understand the organization’s message in order to create medias that are consistent in their form and content. To help the graphic designer respond to this challenge, a participative approach was tested through this research. The objective was to observe and document, while collaborating with a group of stakeholders, on a graphic design project and understand how a participative approach can support the graphic communication of an organization’s corporate social responsibility. The graphic design of the corporate identity and the medias of EDDEC Institute of environment, sustainable development and circular economy was selected to conduct this research. A methodology, inspired by action-research, was chosen to identify, with the project’s stakeholders, the brakes and levers of the approach. The results are confirming the general benefits of the participative approach to the creative process. Stakeholders were able to share and visualize their understanding of the organization’s corporate social responsibility. The iterative process, which is part of the approach, also helped the appropriation of the corporate identity by the organization’s stakeholders. Despite these positive aspects, limitations due to short delays and insufficient human and financial resources were major constraints in supporting the participative approach during the entire process. Recommendations towards the improvement of this participative approach were then formulated for its eventual usage by the graphic design community and its clients, in order to communicate their corporate social responsibility.

Communication between humans and interactive robots will benefit if people have a clear mental model of the robots' intent and awareness. The aim with this thesis was to investigate how human-robot interaction is affected by manipulation of social cues on the robot. The research questions were: How do social cues affect mental models of the Pepper robot, and how can a participatory design method be used for investigating how the Pepper robot could communicate intent and awareness? The hypothesis for the second question was that nonverbal cues would be preferred over verbal cues. An existing standard platform was used, Softbank's Pepper, as well as state-of-the-art tasks from the RoboCup@Home challenge. The rule book and observations from the 2018 competition were thematically coded and the themes created eight scenarios. A participatory design method called PICTIVE was used in a design study, where five student participants went through three phases, label, sketch and interview, to create a design for how the robot should communicate intent and awareness. The use of PICTIVE was a suitable way to extract a lot of design ideas. However, not all scenarios were optimal for the task. The design study confirmed the use of mediating physical attributes to alter the mental model of a humanoid robot to reach common ground. Further, it did not confirm the hypothesis that nonverbal cues would be preferred over verbal cues, though it did show that verbal cues would not be enough. This, however, needs to be further tested in live interactions.

This report describes an independent design-project with the purpose of designing a board game design process and as a result a re-design of anindependently developed board game named Northern Star, which under-gone development for three years prior to the project as a hobby-project (and may be subject to a Kickstarter at a later date).Northern Star was initially based on a competitive, strategic, card- and dice-based elements which evolved into a thematic, narrative and semi-cooperative game as a result of the project. Initially this game was developed outside the project in two prior courses (D0046A: Usability and D0051A: Context & Analysis) in which all results can be found in appendix 1). The target-group of the project were groups consisting of social circles with relatively long experience in regards to (mainly thematic) board games. The process used were mainly an agile project plan and weekly design sprints based around an iterative design process (much alike IDEOS (2015) three linear phases of inspiration, ideation and prototyping). However it was used in a non-linear way where the designer freely choose of which of the three phases that was to be used. During the inspiration-phase substantial amounts of data were recorded in a pre-study (see appendix 1) as well as user-needs (see appendix 2) were a benchmark led the designer to a design-specification (which also resulted in a new method in regards to board game design processes) were the projects core-values were defined guiding further development of Northern Star. This was followed by a cyclic process in which a concept were generated for Northern Star which led to rapid prototyping and the realization of a physical product, tested duringworkshops. Here the participants gave feedback in the form of discussions, surveys and video-footage for later analysis which added for additional inspiration in which the cyclic process began anew.This process lead to a re-design of Northern Star (briefly mentioned above) were an interactive board game box allowed for an organic game-play system evolving over time with a lot of focus given on player-interaction, meaningful choice, few components as well as immersion in the form of a graphically rich representation of the theme.A new design-process were developed and given the name: Exit: A board game design process in which a lot of focus was given human-centered and participatory design (supported by the theoretical framework and the project-results). This was realizedas a board game where the designers goal is to get from the beginning step - start (inspiration phase) to exit (end of the implementation phase) in which the designer was given choice of free movement between different phases through a field given the name “warp”. Lastly two questions were answered:•How can participatory and human-centered design (also in regard to research) as well as relevant theory contribute to a redesign for Northern Star as well as a better design-process for those involved in similar fields? •How can norms be identified and used in regards to making a more competitively successful product? Answers revolved around how human-centered design have a lot of similarities to board game design supported by exploration of different perspectivesand gave rise to opportunities for normative design(decreasing stigmatization around board games and resulting in unique solutions).

Detta kandidatarbete är format för att belysa den subjektiva upplevelsen av omvärlden hos människor med psykisk ohälsa, hur deras varseblivning kan förvrängas i svåra omständigheter. Då man uppfattar att antalet individer med psykisk ohälsa har ökat de senaste åren, så finns ett behov av att skapa ett nytt sätt, eller redskap för dem som behöver eventuella hjälpmedel och allmän förståelse i samhället. Med hjälp av kunskapen bakom perception utifrån bl.a. Yvonne Eriksson och Michel Chion kompetenser så vill vi ta fram ett sätt att placera in människor i en emotionellt påverkande miljö. Genom olika metoder så som intervjuer och kritiskt skapande har det framtagits hur vi skulle kunna gestalta en subjektiv upplevelse genom att betrakta audiovisuell varseblivning som verktyg i nämnd gestaltning. Avslutningsvis presenterar vi hur forskningen framställs under prövandet av gestaltnings prototyper och under diskussionen tas det även upp hur andra förhållningssätt hade kunnat forma projektet och dess resultat. / This bachelor thesis is formed to illustrate the subjective experience that people with mental illness have of the surrounding world, for how their perception can be distorted in bad circumstances. When one observes the number of individuals with mental illness rising the last couple of years, then we might need a new way off, or tool to show how those individuals do need eventual help and understanding in society. We want to create a way to place people with in an emotionally affecting environment, this with help of the knowledge behind perception with among others Yvonne Eriksson and Michel Chion´s competence. With different methods such as interviews and critical making its been formulated a way of how we would be able to mould a subjective experience with the concept that audiovisual perception as a tool in the configured artwork. At the end we present how the research show up while we examen the designed prototypes and under the discussion we bring up how other approaches may have formed the project and its result.

Designing for and with animals is common within Animal-Computer Interaction (ACI). However, studies involving animals within the design process has challenges due to verbal barriers, and an unclear methodology on how to both understand, and analyse animals in ACI. This paper explores how an air-scent search dog can participate in the design process from the beginning to end involved in various design methods with a Participatory design (PD) approach, to empower the relationship between human and dog with the help of wearable technology. The study explores the benefits and challenges of the involvement of other species than humans in the process of making a prototype. Furthermore, two types of tools with biting and pulling interactions attached to a vest were developed and tested on an air-scent search dog in two different environments. Due to the verbal barrier between dogs and humans, it was necessary to let the dog participate by testing physical prototypes. This study aims to empower this relationship between an air-scent search dog and its handler with the help of wearable technology. The results suggest that direct contact with the other species is crucial in the creation and iteration of prototypes regarding; weight, placement, and wearable technology. The results also showed that in the context of search training, or situated based action, it is crucial to test the prototypes in an environment that reflects a real scenario in a forest, which is a typical place for search training.

O trabalho que se apresenta tem como propóstio avaliar o processo de projeto participativo da Casa de Memória em Altamira, cidade do Estado do Pará. A exigência da construção das Casas de Memória, uma na cidade de Altamira e outra na cidade vizinha de Vitória do Xingu, é uma das condicionantes do processo de licenciamento ambiental do empreendimento da construção da Usina Hidrelétrica de Belo Monte. A partir dessa avaliação crítica, expõem-se os desafios, dificuldades, possibilidades, limites e as especificidades do processo de participação no projeto museológico e arquitetônico das Casas de Memória originários do programa de compensação socioambiental. O trabalho não corrobora com a necessidade da construção da usina hidrelétrica de Belo Monte e tampouco com o plano de eletrificação da Amazônia, assume-se aqui que, dada a aprovação da construção da usina as edificações das Casas de Memória, o acervo e as atividades propostas pelo projeto de museologia são uma possibilidade desejável de compensação para a população. Como arquiteto, urbanista e paisagista acredito ser importante o registro e a documentação das transformações, dos valores naturais e culturais da paisagem e da população impactadas. Entendo as Casas de Memória como espaço vivo, animado e apropriado pela população que contribua com a compreensão, o enfrentamento e rsistência frente às transformações e a história da comunidade. A hipótese que se quer provar é de que apenas adotando o processo participativo de trabalho e construção do acervo e do projeto, as casas terão alguma chance de ser concretizada a contento, ou seja, apenas com o envolvimento efetivo da população afetada pela construção da barragem no processo teremos a chance de vê-los apropriem-se do espaço e conotem o valor seimbólico que o espaço remete, caso contrário, o espaço servirá como um museu da cidade que sediará a edificação / The present study aims to evaluate the participatory design process of the Memory House in Altamira, Pará State. The requirement of memory houses construction, one in the city of Altamira and another in the nearby town of Vitória do Xingu, is one of the conditions of the environmental licensing process to the construction of Belo Monte Hydroelectric Plant. Fromthis critical evaluation, i expose challenges, difficulties, possibilities, limits and specificities of the participation in the museum and architectural desing of the memory houses originating from environmental compensation program process. The study does not corroborate the need to build the hydroelectric plant of Belo Monte, nor with the electrification plan of the Amazon. Otherwise, it is assumed here that, give the approval of the construction of the plant, buildings of memory houses, the collection and activities proposed by the museology project is a desirable possibility of compensation for the population. As an architect, urban planner and landscaper designer, I think the registration and documentation of change, natural and cultural values of the landscape and the affected population is important. I understand the memory houses as living space, lively and taken by the population, a space that contributes to the understanding, facing and resistance before the change and the history of the community. The hypothesis we want to prove is taht only by adopting the participatory process of work and construction of the collection and design, the houses will have any chance of being implemented satisfactorily, in other words, only with the effective involvement of the population affected by the dam construction in the process, we will have the chance to see them take the space and understand all the symbolic value that the space refers, otherwise the space will mwerely serve as a city museum which will host the building.

Esta pesquisa aborda como problema principal, a falta de participação do usuário de Habitação de Interesse Social (HIS) na definição da sua moradia. O modelo atual do processo de provisão da habitação é baseado, principalmente, no sistema de produção em massa, resultando em unidades habitacionais padronizadas que não atendem às necessidades de seus usuários. Dentro deste cenário, a Customização em Massa (CM), tem sido investigada e apontada como uma estratégia promissora para solucionar este problema. A CM é definida como uma síntese de dois sistemas, aparentemente concorrentes: o da produção em massa com a customização individual de bens ou serviços. A participação do cliente na configuração do seu produto é uma condição essencial no conceito da CM, para o atendimento de suas necessidades e desejos. Para viabilizar essa participação, é necessária a utilização de ferramentas que permitam aos clientes configurarem seus produtos, a partir de opções disponibilizadas pelo fabricante. Especificamente no setor da construção civil, estas ferramentas ainda precisam ser desenvolvidas e experimentadas. Neste contexto, o objetivo principal da pesquisa é desenvolver um instrumento funcional que apoie os usuários, nas decisões da customização da sua habitação, em processos participativos de projetos de HIS. A pesquisa utiliza a abordagem da Design Science Research, a qual orienta para que, após a compreensão da questão central, seja proposto um artefato aplicável em soluções práticas. Os resultados obtidos com a aplicação do artefato desenvolvido demonstraram que o mesmo pode ser utilizado, não apenas na CM, mas também em outros processos de projetos participativos. A principal contribuição desta pesquisa está na originalidade das características paramétricas do modelo físico proposto. / This research approaches, as a main problem, the lack of user participation in Social Housing regarding the definition of its dwelling. The current model of housing provision process is based, mainly, on the mass production system, resulting in standardized housing units that do not satisfy the needs of users. Within this background, the Mass Customization (MC), has been investigated and identified as a promising strategy to solve this problem. The MC is defined as a synthesis of two systems, seemingly competitive: the mass production with the individual customization of goods or services. The customer participation in his product configuration is an essential condition in the concept of MC to fulfill his needs and desires. In order to enable this participation, the use of tools is required to enable customers to configure their products, from options, provided by the manufacturer. Specifically, in the civil construction sector these tools still need to be developed and experienced. In this context, the main objective of this research is the development of a functional device that can support users in their decisions of housing customization in participatory processes of Social Housing projects. The research uses the Design Science Research approach, which after understanding the central issue, recommends the development of an artifact and its application in practical solutions. The results obtained by applying the developed artifact demonstrated that the latter can be used, not only in MC, but also in other participatory design processes. The main contribution of this research is the originality of the parametric features of the proposed physical model.