In this work in progress, we start to unpack the act of making in a digital fabrication process. In particular, one kind of digital fabrication - 3D printing - that is typically considered to be highly automated but in this case is not. In this process, a tension exists between our skills, the properties of a novel material and the capabilities of a novel machine. As design researchers, we navigated through the design space that emerged in this tension and explored how to 3D print in wood. In unpacking this tension between machine, material and designer, we pay attention to how the embodied nature of this process was essential for its development. We start to explore how we might explain the embodied act of making in the context of digital fabrication through the lense of ambiguity and resistance, notions previously used to unravel craftsmanship. © 2019 Copyright is held by the owner/author(s).

This paper reports on preliminary results of a design research project that explores how spaces in virtual reality may be designed to build on qualities of embodied sensemaking. The project forms a basis for the exploration of an ethical dimension to interactions in virtual reality. This publication focuses on identifying qualities of embodied sense-making in an existing physical space, the interactive exhibition Charged Utopia. These qualities are transposed into a virtual interactive space. The translation of the qualities is done through the three main themes: Physical Movement, Resistance and Ambiguity. We present the design research process to describe how these themes were identified and transposed. We conclude with reflections that sketch ways in which we might capitalise on the opportunities offered by a virtual space, while respecting human skills in embodied sensemaking.

In this chapter, the concept of Transformative Practices is introduced, i.e. shared relative steady ways of living and working with others (Wittgenstein, 1993), including specific configurations of actions, norms and knowledge (Freeman et al., 2011) and related tools and environments, focused at addressing our societal challenges, by transforming (elevating) our personal and social ethics and related behaviour through designing new ways of interaction with each other and the world. Through design research and innovation within these practices, we work together towards social-cul- turally, environmentally and economically sustainable communities.

Tango is a form of partner dancing in which two bodies sense one another, and move accordingly, in a dynamic, physical dialogue that is known for its subtle complexities, beauty and intimate experience. In MoCap Tango, we explore how we can build on our skills as designers to highlight and unravel these embedded qualities and use them as inspiration in designing interactions. In this pictorial, we invite the reader to actively participate in the designerly engagement that turns objective data into subjective expressions; highlighting the qualities embedded in the movements of professional dancers.

The interaction design community increasingly addresses how digital technologies may contribute to societal transformations. This paper aims at understanding transformation ignited by a particular constructive design research project. This transformation will be discussed and analysed using resilience thinking, an established approach within sustainability science. By creating a common language between these two disciplines, we start to identify what kind of transformation took place, what factors played a role in the transformation, and which transformative qualities played a role in creating these factors. Our intention is to set out how the notion of resilience might provide a new perspective to understand how constructive design research may produce results that have a sustainable social impact. The findings point towards ways in which these two different perspectives on transformation the analytical perspective of resilience thinking and the generative perspective of constructive design research - may become complementary in both igniting and understanding transformations.

Design research is regarded to be a mode of inquiry particularly suited to engage with complex topics. In our work, we are interested in unpacking the complexity at the heart of an embodied aesthetic experience. In this article, through our digital and physical artefacts and a methodological reflection, we illustrate an ongoing design research project that a multi-disciplinary team of interaction designers, professional dancers, software developers, artists and 3D modelling experts are carrying out to develop insights on how to understand this complexity and how to use such insights as inspiration for interaction design-related projects. By embracing combinations of design, new technologies and simple visualisation tools, the project investigates the complex and hidden expressivity embedded in the skills of dancers in a programmatic design research approach. This investigation leads to insights on different levels. Firstly, cycles of formulation, realisation and reflection on design programs express parts of this complexity and this lets new research interests emerge. Secondly, as a body of work, reflecting on these cycles exposes how our “drifting” within this programmatic approach has started to unveil the complexities inherent in our research program. In this article we aim at contributing to the growing understanding of what designerly ways of knowing might be and how a practice aimed at expanding and contributing such knowledge unfolds.

The pictorial track exemplifies how the field of interaction design research explores more designerly ways of communicating knowledge in an academic context. In this pictorial, we present the Interactive Dissertation project that explores how the design of a Ph.D. dissertation may embody the experiential qualities of interactive systems that are presented in its (textual) content by leveraging active perception. We report on the research-through-design process and present results from the project's first iteration. We conclude with a visual reflection on the potential of active perception in communicating interactive experiences in print as well as wider implications for the field.

 In this paper, we describe the research-through-design process that led to the realization of the interactive exhibition Charged Utopia that took place in August 2016 at the Norrbyskärs Museum. The design leveraged embodiment and active perception: visitors could activate the content by physically engaging with the space. These interactions were intended to trigger personal reflections on social coexistence, its paradoxes and challenges. The paper guides through the researchthrough-design process, from initial design direction and their theoretical grounding, to the design process and final event. The paper contributes with a reflection on the “wicked impact” of the event, suggesting that it is of relevance for design researchers that deal with societal issues, to discuss and expose the effects of their practice beyond immediate results.

Movement-based interaction design is increasingly popular, with application domains ranging from dance, sport, gaming to physical rehabilitation. In a workshop at CHI 2016, a set of prominent artists, game design-ers, and interaction designers embarked on a research journey to explore what we came to refer to as "aesthetics in soma-based design". In this follow-up work-shop, we would like to take the next step, shifting from discussing the philosophical underpinnings we draw upon to explain and substantiate our practice, to form our own interaction design theory and conceptualisations. We propose that soma-based design theory needs practical, pragmatic as well as analytical study -- otherwise the felt dimension will be missing. We will consider how such tacit knowledge can be articulated, documented and shared. To ground the discussion firmly in the felt experience of our own practice, the work-shop is organised as a joint practical design work session, supported by analytical study.

This paper describes the process of designing the Blue Studio: An interactive space for embodied multi-stakeholder ideation processes. Inspired by embodied sensemaking - the way people make sense of things through external expression and interaction with other people - we iteratively designed material, interactive and spatial interventions in the Blue Studio and evaluated them with multi-stakeholder participants in various studies. Thereupon, we analyzed the impact of the design interventions, based on the seven principles to design for embodied sensemaking and highlighted opportunities for refining our interactive space for embodied ideation. Based on the insights gained, a final design of the Blue Studio was realized and evaluated on functionality.