Design games as a tool, a mindset and a structure Kirsikka Vaajakallio

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Since the workers had their Make Tools mock-ups illustrating their dream devices, it was logical to ask them to act out how the tool would be used in specific situations confronted during the observation. While performing those scenarios, they proposed new ideas, especially concerning useful features and interaction styles like the one illustrated in Figure 1. Often their ideas evolved through acting instead of relying on earlier proposed features, supporting the view that simple mock-ups may work as thingsto-act-with when envisioning future opportunities (Brandt & Grunnet 2000). Since the interaction between people, environments and objects is tied to particular situations, by situating the idea generation to the possible application context we could reveal the relations that are hard to identify in a design studio. Inspired by the experiences from the Active@work and particularly from the Situated Make Tools study, I formulated my further research based on them. Fig. 2 Design collaboration Creative interplay between current practices and future opportunities Design materials as tools in ideation In the Active@work project three themes, summed up in the figure, emerged as essential in organizing co-design with a company, without evident objects to be designed. 25
My research approach follows the “exemplary design research” introduced by Binder and Redström (2006), in which the design research is guided by a research program which forms a frame for carrying out a number of design experiments. The experiences gained from the Situated Make Tools and Active@work in general, presented above, formed a base for my research program: 1.5 Research approach My study aims to explore how tangible and playful design representations such as Make Tools (Sanders & Dandavate 1999) and design games (Brandt & Messeter 2004) support facilitating everyday people’s participation in the user-centred design process. […] My research emphasizes the meanings of tangible design representations in user-centred design as a way to speed up the process and push it towards more design-based activity. […] Despite of the relatively rich research on design representations in user centred design, there is still a need for studies about applying these representations in various design contexts, especially outside product design. […] The idea of co-design, as seen in my research, is not only to get user-relevant ideas but also inspire and motivate designers. (Quotation from my research plan, January 2007) While writing the research plan quoted above, I was inspired by the work of American design researcher and psychologist Elizabeth Sanders about generative methods and by Danish design researcher Eva Brandt’s work on design games. Although their work differ in many ways, they share a common interest in enhancing non-designers’ creativity through tangible and visual design representations. The rather open nature of my research program allowed me to explore the meaning of tangible design material while questioning the use of games as a metaphor for describing an activity or practical way of designing and organising co-design in several contexts with distinct groups of people. Consequently, I refer to my research program as “setting the stage for co-design”. My industrial design education puts focus on a designerly way of thinking and doing (Cross, 2006) user research, i.e. the need for inspiration in addition to information, broadly speaking. This view has been inspired especially by my colleague and supervisor Tuuli Mattelmäki’s extensive work on probes (e.g. 2006) and design empathy (e.g. 2003; 2006). The experiments that will be described in the next section have been used to address the above-mentioned issues and questions stemming from the program, literature and the experiments. Jane Fulton Suri (2003, p 53), a psychologist who works in the IDEO design consultancy, has quoted Chinese philosopher Lao Tse to describe the meaning of personal discoveries in design: “What I hear I forget. What I see, I remember. What I do, I understand!” Correspondingly, empirical case studies have been 26
Page 1 and 2: 5mm Design games as a tool, a minds
Page 3 and 4: Aalto University publication series
Page 5 and 6: Chapter 3: Diving into games, play
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Page 10: Chapter 1 Setting the stage for co-
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Page 49 and 50: By considering users’ creative in
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Page 57 and 58: What I find worth of further studie
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sign partners are not professional
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as inspiration and empathic underst
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Fig.17 In this dissertation, when I
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The selection of props is relevant
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enhancing the creativity of ordinar
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Chapter 3 Diving into games, play a
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Design games: As a research tool. F
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Like concept design games organizat
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(2000) have proposed a technique ca
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96 methods for this category typica
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designing involves agreement-making
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about qualities, but instead focus
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utilized card based approaches in s
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with someone who is employed by the
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size and amount of video-cards can
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ut not be overwhelming, and so fort
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Common qualities for all design gam
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or revelations may emerge. These in
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ing the introduction speech, consid
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“In one case games are systematic
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ut it still has all the essential c
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According to Caillois (1961, p 5),
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as artistic events, many of them sh
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e-invention: betwixt and between. I
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It could be claimed that the notion
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The critique that Ehn and Sjögren
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emained the same, the players have
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materials. As such, design game is
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This chapter discusses how the Play
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(discussed in pages 94-96); in that
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Fig. 31 The phases are partly overl
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Since the approach emphasis on desi
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4.3 The three cases: Seeking for ne
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methods as well. In the Project Pla
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The methods placed under different
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The difficulties in encouraging par
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Some of the personal discoveries ma
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whereas in the first time the metho
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out-of-box thinking in co-design. I
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services. The Extreme Design case s
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3 Experiences that the participants
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As was illustrated, the development
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4.4 The fun of playing Fig. 43 Desi
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Fig. 45 A sequence of the game: Nin
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which the turn to introduce a scena
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a radio play by taking the characte
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4.5 Between a process overview and
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This chapter discards the chronolog
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the places of the cards, and throug
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5.2 Leaving visual traces: material
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happen in the magic circle that is
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action in the Character Game, a spe
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presented earlier, we may analyse t
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words, everyone had mixed roles as
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simultaneously. The emphasis given
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During the design games, the discus
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The notion that people are easily c
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Fig. 58 Participants started to go
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and one from YIT, referred as Playe
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5.3.8 Insights through role-play On
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Player 4: “I have my mobile phone
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As has been mentioned previously, r
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Like Hannu and Nina, who began joki
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Planning Game, mainly utilised desi
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dependent from the overall applicat
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ous people and what information is
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epresentations such as co-construct
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Whereas metaphors are useful in gui
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framework, this theoretical backgro
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6.1.1 Design games as a tool As Kei
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ery design researcher designs an ap
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printouts given to the participants
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The purpose of role-immersion, for
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6.2.1 Reflection on research aims I
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1 2 3 The Project Planning Game str
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the design purposes, but, since I w
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As has been discussed in relation t
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Fulton Suri, J. (2003). Empathic de
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Sanders, E.B.-N. (2002). From User-
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Design games as a tool, a mindset and a structure Kirsikka Vaajakallio

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