Category: interaction design

  • Responsive Web Design

    Responsive Web Design

    I manage the website for an Animal Rescue shelter. I have been struggling with the design of the site for some time now, as I have some users who are still using IE6 under windows XP (on an SVGA screen), some who want to view the site on their mobile phones, and some who have really wide displays and think my two column design looks outdated (it does). While looking for a solution, I came across the concept of responsive web design. Because the reference I just provided is stuffed with code snippets (and I personally think it is obscure), I will point you instead to some really great examples that demonstrate how a website design can be responsive.

    There is a neat concept at play in most of these designs, where a webpage layout is segmented into multi-device layout patterns, that simply “flow” differently, depending on the screen size that the user will display the site on. But screen size is not the only consideration – images have to be resized to scale with the device and the performance of the device must be considered (it is painful to load a large, graphics-intensive page on a slooow tablet!). I was also musing that – most relevantly to this course – site menus and navigation toolbar interfaces have to be designed so that they will work on any device or layout. Which is harder than you’d think, simply because of the layout conventions that we use on a typical web-page.

    Off to experiment with scripts and pageflow layouts …

  • The Potential of Interaction Design

    While browsing and working on a recent paper, I mused on the missed opportunity of interaction design. Reading Terry Winograd’s (1997) From Computing Machinery to Interaction Design, I was stunned to see how visionary this was, in the context of contemporary HCI thinking which focused on interactions with computer screen interfaces (still, sadly, the main focus of much HCI work).  Winograd saw computing as a “social and commercial enterprise” and saw the role of interaction design as situating technology within social and commercial processes. This thinking is related to Suchman’s (1987) Plans and Situated Actions: The Problem of Human-machine Communication, which saw human-computer-interaction as part of a stream of activity, located in the rationale of a wider sequence of tasks. While HCI theorists were fixated on task-analysis and screen-interface design, Suchman argued that we should see tasks as related to what had gone before and what was to follow.  Winograd argued that we should design technical artifacts to be useful in the larger context of social networks and the complexities of interactive spaces.

    I was reminded of this when reading a discussion of Don Norman’s (2005) Human-Centered Design Considered Harmful. In this essay, Norman argues that HCI designers focus on “human-centered design,” which he relates to support for tasks and artifact-interactions, when they should focus on “activity-centered design,”  related to the larger context of what people do. While I agree wholeheartedly with the sentiment (and applaud the fact that the idea will at last get an audience if Don Norman has taken it up), the concept of activity-centered design still misses the point that we need to understand how actors perceive their stream-of-reality, situated within both a social and a cognitive-processual context, for interaction design to fulfill its potential.

    In my 2003 paper, Human-Centered vs. User-Centered Approaches To Information System Design, I argued that human-centered design is not the same as user-centered design. User-centered design sees the human-being as a consumer of technology, whose reality is – somehow, magically – represented by the set of functions accessed via the computer artifact. This tends to be the focus of “traditional” HCI research. Human-centered design, on the other hand, sees the human-being as an autonomous individual, who may want to perform tasks in a different way, or a different order, to other computer “users.” They see the logic of what they do – and therefore the manner of its execution – as part of a socially-situated stream of activity that is meaningful to their understanding of work-processes and not some engineer’s idea of “best practice.” This means that design methods need to deal explicitly with problem inquiry, rather than just focusing on problem closure.

    In a new paper (hopefully to be accepted soon!), I have argued that situated interaction-design needs an analysis of two dimensions of the work that people do:

    • the formal vs. informal translations that need to take place, to locate work practice in both the social (unstructured-interaction)  and organizational (structured-interaction) worlds, and
    • the global vs. local translations that need to take place to locate work practice in both the situated and generically subjective worlds.

    Most of our design methods focus only on one quartile of this reality: the formal, structured world of data-processing. To really support interaction design, both education and practice need to take on a much wider scope.

  • Why The IKEA Font Matters

    People have been commenting on the change of font used by IKEA for their catalogs since August, when the new catalog came out. IKEA had used the Futura font for 50 years, but made the decision to adopt Microsoft’s Verdana font this year. Apparently, because it translates well to numerous languages.  Take a look at the two catalog examples in this picture.  Ignoring that the too-busy 2010 cover looks like they are trying to appeal to the attention-deficit generation,  the 2010 catalog could be anybody’s while the 2009 catalog is distinctively IKEA.  If you took the brand-name off the catalog, you’d know exactly whose it was.

    This is important because design is about more than a satisficing appearance. We tend to mock style over substance, but style plays another role in design. It reinforces the emotional response to artifacts that we have and it provides us with clues (affordances) that tell us how to respond to those artifacts. There is an aesthetic to design that makes the difference between something that is a joy to use and something that just does the job. Sometimes that aesthetic is as simple as the tactile response to a Pilot G2 pen (one of the mundane artifacts that tends to rouse a lot of passion in its users). Sometimes it is the lack of cognitive effort in being able to distinguish the utility of one artifact over another because of its appearance. Sometimes, it is just the comfort of recognizing a familiar artifact, that one knows how to use.

    For all of these reasons, IKEA’s decision seems stupid. They had a brand recognition that people would die for, based on the use of the Futura font. Yes, this may be a sad thing to obsess over. But the familiarity and distinctiveness of the IKEA catalog is gone. And I, for one, mourn its passing.