This conference originally was driven by the need to move away from
a purely functional approach to usability, and focused on a more
experiential approach to human-product interaction. Now, the
rationalization of the means for design and production leading to a
relative standardisation of the products on the market, the sharp
competition between the mature companies exhorts to take into account
the aspects linked to the perceptions of the final users and to turn
innovation into a more experiential approach to human-product
Call for papers : November 2008
Deadline for Paper Submission : March 20, 2009
Peer review results sent to authors : May 30, 2009
Final paper uploading : July 15, 2009
Conference : October 13-16, 2009
Proposals must be submitted to the appropriate topic, as a single PDF file via the UploadSystem by the dates above.
Final submission papers (PDF) must be no larger than 5 Mo.
Proposals must be submitted as a single PDF file via the UploadSystem by the dates above.
Final submission papers (PDF) must be no larger than 3 Mo.
Proposals must be submitted in a one page presentation, as a single PDF file via the UploadSystem by the 15th of May, 2009.
Industrial Exhibition submission
Proposals must be submitted through email, to the contact in charge of industrial liaison, by the 28th of February, 2009.
FuTURN Innovation, the ground for co-emergence of experiences and technologies.
The scientific community taking part in this conference is a
compilation of research experts from multidisciplinary backgrounds,
i.e., the Industrial Design and Engineering Design as well as the Human
Sciences. Its focus is on the exploration of the innovation processes
through an experiential approach, inspired and ignited by the
challenges of human comprehension.
The integration of their different approaches through a common ground, design, is quintessential to its undertaking.
+ 1 : Aesthetics for intelligent product and system design
Organizers : Philip Ross and Joep Frens, Eindhoven University of Technology, The Netherlands
Aesthetics is key in product design. Design is moving towards
interactivity, product behaviour and system intelligence, in a setting
that increasingly includes networks of multiple people and multiple
What does such intelligent product and system design entail in terms
of aesthetics? It is clear that the notions of aesthetics in this
context are manifold, and this diversity may be inherent to the subject.
Therefore we do not only aim to identify a common ground in this
track, but also seek to chart the diversity of insights in this
changing design research area.
This call is open to contributions both of a theoretical and
practical nature, including but not limited to design approaches,
theoretical insights or design examples
Papers that mutually connect design theory and design activity are
particularly encouraged. A special invitation goes out to those that
look into the future of product and system design, pairing intelligence
and behaviour with aesthetics.
Please feel challenged to respond to the following questions, or to go beyond them:
What design approaches enable designing aesthetics in the context of intelligent products and systems?
How do the current theories and approaches hold in the upcoming domain of intelligent product and system design?
What relations can we find between specific notions to aesthetics and resulting designs?
What does aesthetics mean in networked system design?
How can we design intelligent product and system behaviour that is aesthetic?
Are there cultural, ethical or social implications to aesthetics in
intelligent product and system design? And if so, what are they?
See litterature references
Literature suggests a broad range of notions that are deemed
relevant to aesthetics in design, e.g., pragmatism (Shusterman, 2000;
Petersen et al., 2004), aesthetics laws (Hekkert, 2006), narrative
(Dunne & Raby, 2001), human values (Ross, 2008), richness (Frens
2006), resonance (Hummels, 2003). References
Dunne, A., Raby, F. (2001) Design Noir: The Secret Life of Electronic
Objects. Basel: Birkhäuser. Frens, J.W. (2006). Designing for rich
interaction - integrating form, interaction, and function. Drawing new
territories; 3rd symposium of design research, Swiss Design Network,
Switzerland. (pp. 91-106). Switzerland: Swiss Design Network.
+ 2 : Narrative design
Organizers: Ilpo Koskinen and Tuuli Mattelmäki, University of Art and Design Helsinki, Finland
Narratives are ubiquitous. People organize their world and make
sense what is important in things through narratives. They also learn
action: what motivated other people to do what they did. Narratives are
one of the most important devices people use to keep< things in
memory, and to retrieve these things from memory as well, often in
Even more importantly, it is through narratives that people share
experiences, values, and points of view. When we experience something
new, we tell about it. We make our experiences understandable, and
place them in context narratively. We explain our actions and give
reasons for them narratively, and thus come to construct a joint world.
This track explores narratives in design. Designers gather user data
through narratives, organize their observations through narratives -
often in co-design sessions - create storyboards, and create priorities
for their design narratively. It is also through narratives that
various design elements such as physical design, practices,
environments and their connections are envisioned or prototyped. We
have narrative graphics, websites, products, textiles. We also have
narrative interiors, cafés and restaurants, hotels, theme parks,
events, and neighborhoods.
Our claim is that narratives are widely used in design process, but
designers seldom tell about in detail how they work with them. This
session invites papers that explore but are not limited to:
1. How designers use narratives at work: how they gather and analyze
narrative user data, how they gain empathy through narratives and
create designs using narrative means (for example, through scenarios
and role playing), what roles narratives have in the design process and
decision making, and what kinds of technical means they use to help
working with narratives.
2. Narrative elements in actual designs. We encourage case studies
and analyses of products based on narratives, including products (for
example, Antti Eklund's Maus product series); services (for example, so
called designer hotels, or boutique hotels, or chains like San
Francisco Coffee and Ben & Jerry’s); events (for example,
children’s historical tours and the Opening ceremony of Beijing
Olympics); and even neighbourhoods and cities (for example, Autostadt
in Wolfsburg, Germany, and Celebration, originally a Disney city in
3. What are the benefits of narratives in design: What are the
settings and reasons for narrative approaches and how a narrative
design methodology could produce not just understandable products, but
also suspense, surprise, drama, and wow-effects
4. How narratives figure in co-design: how participants tell stories
to share their experience; how they construct and maintain focus
through narratives; and how the
actual structure for design emerges
from/ with the help of narratives.
+ 3 : Pleasure of risk and risk of pleasure
Organizers: Pierre-Henri Dejean and Michel Le Chapellier, Compiègne University of Technology, France
To date, there is little research on the relationship between pleasure and risk.
For example, the standard definition of risk as “combination of the
probability of occurrence of harm and the severity of the harm” is
neither helpful nor well understood.
However, the risk-taking process, which is induced by careful
evaluation or emotional impulse, may be a source of pleasure both for
the designer and the user of a new product.
Should we move beyond a defensive safety culture and consider risk
as a decisive factor for innovation?The present call for paper seeks
testimony, track, both empirical and theoretical research addressing
the risk-taking process and its pleasure, in a variety of human
machines, systems and products.
Topics may include but are not limited:
Methods for designing risk and pleasure
Pleasure of risk
Pleasure and risk of the designer
Pleasure and risk of the user
Benefit of risk's control and pleasure
Domains of technological applications include but are not limited
Consumer products (electronic devices, food, cosmetics,…)
Simulation and training
+ 4 : Products and services co-designed by Customers
Organizers : Francesca Rizzo, Francesco Zurlo, Politechnico di Milano, Italy
We are assisting to a proliferation of innovative products and
services that are generated in conjunction with end users. The model of
customer generated innovation, also with the help of web 2.0
capabilities, goes beyond the traditional involvement of end users
through qualitative research (focus group, in deep interviews etc.) and
it is based upon customers’ engagement on idea generations and product
development. Lego’s model of co-creation is currently the one that
excites the most because turns children and grown-up into producers.
But other terrific examples of deep co-creation are ranging from
digital media like videos and music samples to t-shirts, shoes and
furniture (completely on-line conceived and designed by their final
consumers), that would not have come to be, had end-users themselves
not been involved in creating them.
This trend is putting through the mill the concept of a product
being ready and complete and then purchased by a customer, is no longer
the only valid model. Instead, many companies are defining strategies
to create and manage continuous user driven innovation and make profit
from it through co-design platforms and collaboration with lead users.
These some of the current questions that are animating the debate in
the design field: What are the design strategies required to engage
with products, services and experiences that are to be completed and
built upon by users? How can we design for and with co-designers? How
to scale up participation and what are the favorable conditions? What
social and ethical considerations are involved? What methods and
practices might be involved when development and use become connected?
What are the characteristics of markets, companies, communities,
products, services and experiences that cater this phenomenon?
This track intends to collect experiences/case studies/applications
of co-creation design processes that have resulted in: new products;
new services; new product service systems.
Possible areas of application include but are not limited:
products conception, design and distribution (fashion products, furniture products, digital device);
artefact design for social interactions (social media, virtual worlds, social networking, off and on line communities);
social services design (active welfare, traffic congestion, urban spaces, learning/teaching activities)
users generated content (webTv, blog, Participatory Journalism) ;
new application and service concepts related with co-designing processes;
new user interfaces or interaction phenomena related to co-design ;
ways of generating customer engagement in co-creation processes
managment and social aspects of co-designing;
effectiveness of co-designing processes.
+ 5 : Sensory and innovative product
Organizers : Jean-François Bassereau, Arts et Metiers-ParisTech,
Régine Charvet Pellot, Louise Bonamy, RCP Design, France, Jean-François
Petiot, Ecole Centrale Nantes, France
Innovation can be divided into two categories:
1) Incremental innovation, a process through small successive improvements. The products of one family group evolve gently.
2) Innovation by rupture. The products are submitted to a brutal
mutation, that removes them away from their original family group.
Whether the innovation of a product is incremental or by rupture, both
processes are technological. However, despite their predominant
techno-centred aspects, the products are perceived (even
unconsciously). The perceived aspects are the consequences of
innovation, but the sensations they provide are not necessarily
different from the previous products. Since the emergence of sensory
assessment, designing the perceived aspects of a product is feasible.
Designing the sensory aspect of products opens up new horizons to
Thereby, sensory design puts techno-centred innovations of products
into perspective. Whereas technological innovations might be not
perceived, a little innovation which creates a perceivable differences
might be a rupture innovation. To put it clearly, taking into account
the interactions Man/Product linked to sensations may generate a new
type of innovation.
On this issue, we are eager to receive your contributions in this vast domain of innovative product and sensory.
A list of issues might help defining this domain without being restrictive:
What kind of innovative and sensory interaction between Man/Product covers this domain?
How can we apply sensory design to innovative product issues, including technological innovation?
How can we control the perceived aspects of innovative products? Which methodological tools should we use?
Which professions - evolutions in professions - could control the sensory design process of innovative products?
Which innovative products have specific undesired sensations, or
sensations we cannot control? Which products have improved their
innovative process when in contact with sensory design?
To stimulate debates and exchanges, we deeply encourage participants to
determine their approaches and the methodological tools to use, the
more accurately as possible. Please illustrate with genuine cases when
+ 6 : Enaction design for Human World Interaction (HWI)
Organizers : Olivier Gapenne, Anne Guenand, Charles Lenay, Indira Thouvenin, Compiègne University of Technology, France
Inspired by the paradigm of enaction developed in biology and
cognitive science, we suggest a specific approach in designing the
products, devices and interfaces which could be digital or not,
mediating the relations between humans and their physical or digital
environments and based on the history of their interaction.
This approach focused on the active and constitutive relations between
humans and the world through the devices is particularly aware to the
circularity (or coupling), the embodiement (or materiality), the
history (or constitution and genesis) and the experience (or proper
This session intends to promote both theoretical issues and practical
cases of innovative works in design which are sensitive and dedicated
to original design approaches for co-constitution of products and
experiences that are given possible through mediatised Human World
Interaction, design approaches based on contrasting the third and
first person of the technological experience, new systems design
enhancing the experience in both physical and virtual worlds, leading
to better comprehend the factors for building “enactive interfaces”
(constitution of guidelines, extraction of the invariants)
analysis of the interaction between the user and the world through the
use of the product with the support of the gesture analysis and the
digital possibilities design tools that support knowledge
capitalization in collaborative sessions between designers. design
physical and/or digital evolving machines or products for which the
humans constitutes the environment,
comparing enactive, ecological and computational approach of the
technological experience, considering all the multisensorial and
multimodal coupling between humans and the environment as a sort of
gesture which implies a chain of components as an operational closure
(this chain could be completely mechanical, and in this case defined as
ergotic in reference to Cadoz, but it could articulate the mechanical
and the optical order which constitutes a big challenge in cognitive
research and enaction design).
This session encourages works, theoretical or practical, which explore
the possibilities of virtual, augmented and/or mixed reality in all the
applications of the human mediatised environment, such as:
electronic devices, communication devices
+ 7 : Skilled Interaction: Making people better at being good.
Organizers : Mads Vedel Jensen, Marcelle Stienstra, SPIRE Centre, The Mads Clausen Institute, University of Southern Denmark
“Skill, in short, is a property not of the individual human body as
a thing-in-itself, but of the total system of relations constituted by
the presence of the organism-person in a richly structured
environment.” (Ingold 1996)
Through its relatively short life, interaction research has branched
out in many directions, and we have witnessed a variety of trends
running through the research community. We have seen interaction under
headlines such as, among others; Tangible Interaction (Ullmer and Ishii
2000), Expressive Interaction (Djajadiningrat, Overbeeke et al. 2000),
Embodied Interaction (Dourish 2001), Resonant Interaction (Hummels and
Helm 2004), ‘Expected and Sensed’ Interaction (Benford, Schnädelbach et
al. 2005), Movement Based Interaction (Klooster, Appleby et al. 2004;
Moen 2007), ‘Collaborative’ Interaction (Hornecker, Marshall et al.
2007), and recently also Skilled Interaction (Djajadiningrat, Matthews
et al. 2006; Jensen 2008).
In his influential book,‘Where the Action Is’, Dourish reflects on
the history of interaction. He emphasizes the increasing number of
skills we have been able to take advantage of interaction wise, in the
evolution of the computer. Those are predominantly cognitive skills,
such as linguistic and spatial skills and our ability to decode visual
metaphors (Dourish 2001 pp. 5-13). About tangible computing, Dourish
says that “it attempts to exploit our physical and spatial skills and
to extend interaction into arenas where these skills can be brought to
bear for smoother and more natural forms of interaction and expression”
(Dourish 2001 p. 189). Here Dourish has focus on the fundamental skills
that we build and nurture in our everyday interactions with the world.
We invite papers, which focus or touch upon specialized bodily
skills, built and expressed in craftsmanship and manual work, of
various sorts. Although these skills defy general description, we see
them as a rich and compelling source of inspiration, and we welcome
papers showing ways to expand and build on skilled practice through
We encourage the discussion and creation of novel interaction that
empowers the skilled user, interaction that makes him better at being
This session intends to promote both theoretical issues and practical
cases of innovative works in design, which are sensitive and dedicated
Crafts and human movement, in particular skills and skill-building and skilled practice as inspiration for interaction design.
original approaches that highlight and discuss skilled practice in
interaction design practical cases with a focus on skills and
skill-building. in the fields of :
everyday electronic devices, from mobile phones to specialized industrial controllers.
+ 8 : Mastering emotional values in the early phase of the design process
Organizer: Jettie Hoonhout, Philips Research, Eindhoven, the Netherlands
The attention for affective aspects of products, and for tools to
evaluate the affective quality of products is growing; however, such
tools mostly target the later phases of product development; yet, it is
at least equally important to have sufficient attention for tools,
techniques and models that can be used in the very early phases of the
development process – to support implementation of design aims, and
ensure that affective targets can be translated into concrete design
This session encourages both more theoretical contributions around e.g.
models that can be used to guide the development process, and practical
cases demonstrating how the affective quality of a product or service
was purposefully implemented right from the start, highlighting design
approaches, tools and instruments that supported this.
In addition, papers may adress issues such as :
Emotional value of a product. How a system of emotional values can
be constituted, and how such a set of values is then translated into
concrete design decisions.
"Other" user experience depending on the class of products. I.e. when
studying user experience, the focus often is on 'classical' user
experience aspects such as usability, functionality, and increasingly
on user experience qualities such as engagement, enjoyment, fun.
However, many more user experience characteristics might be considered,
depending on class of products; e.g. trust in case of financing or
medical services, luxury in case of certain domestic appliances,
challenge and surprise in case of entertainment related products.
Cultural aspects of the product in the early phase of design process.
When considering user experience and affective qualities of products,
it is quite often left undecided to what extent cross-cultural
differences might play a role.
This session invites papers that explore the construction of the
affective aspects of the products and present case studies,
applications or experiences that result in
+ 9 : Interaction design and tools for virtual prototyping
Organizers : Benoît Eynard, Compiègne University of technology,
Samuel Gomes, Belfort-Montbeliard University of Technology, Lionel
Roucoules, Arts et Metiers-ParisTech
Designing the product interfaces and man-product interactions are
huge challenges during the whole product lifecycle. Virtual engineering
and digital prototyping can be considered as key issues to enable the
right design to fulfil the right need. In such a context, innovative
methods and tools are required to explore, analyse, specify, prototype
and manufacture the products offering the functions, forms, usages, and
interaction characteristics awaited by end users. This session aims at
providing a synthesis on theoretical and applied works in the field of
virtual engineering, numerical prototyping, in managing the whole
product lifecycle and validating its usage. Numerous questions still
How end user viewpoint can be effectively integrated in product
design? Are end-users correctly involved in product specifications and
How to take advantage of the virtual prototyping to trigger new needs and usage requirements ?
How human behaviour can be efficiently taken in account in virtual environment?
How to trigger emotional responses of potential users through the interaction with a virtual world and a digital prototype ?
What kind of tools can enable the emergence of new product usage
striggering positive emotions? How can we validate the relevancy of
these new devices leading to the new usages and new interaction
modalities through the use of digital prototyping ?
Are digital and virtual reality technologies fulfilling the right
needs to tackle the virtual prototyping issue? Do they have to be
improved (i.e. what is the future of virtual engineering)?
How to garantee the acceptability of the products developped through
digital prototyping ? What could be the possible approaches to include
the end-user in the iterative loop of CAD and virtual design ?
The session should merge the scientific viewpoints and approaches in the field of industrial and engineering design,
product design ergonomics and human factors information technology,
This session invites papers that explore the construction of the
affective aspects of the products in digital environments and present
case studies, applications or experiences that result in
The technologies that are addressed by the session are but not limited to :
communication and electronic devices
+ 10 : Innovation centers
Organizers : Bruno Ramond, Thierry Gidel Compiègne University of Technology
Breakthrough innovation design is a topic that receives much
attention in industry , and that has led in the recent 10 years to the
development of many technocentres and centres for the exploration of
future socio-technical innovations.
The ambition nursed by the UTC concerning its project for an
innovation center is to have specific premises, which would be open to
society, and more particularly to companies, which, like a true "villa
Médicis of innovation", would welcome project carriers who would
collaborate with our research units and benefit from our know-how and
competencies. The innovation center, a truly inspirational place for
interaction and creativity, would allow for the accomplishment of
innovative projects by providing for the essential intersection of
knowledge and skills which exceed and go beyond the initial theoretical
basis. This center of innovation would contribute, with the backing of
the Picardy Region, to enhance the UTC’s image in the fields of
conception and innovation, establishing an efficient base for the
dissemination of research and the development of industrial
In this track we are seeking contributions from innovation centers which do innovation products or services.
A particularly attention and user experience related product qualities is clearly recognized as well.
DPPI is looking for contributions from innovative centers and industry,
to share views and cases, showing how they do innovation and how they
teach how they do.
+ Pre-conference workshop
The conference addresses questions on materializing visions on the
human-world interaction by means of the highly-technological devices.
Every researcher/practitioner who have a strong motivation to
comprehend the human-world interaction, who strives at materializing
for these interactions and who faces the question of acceptability by
the market, will find a vibrant environment at DPPI in Compiègne in
Designing Pleasurable Products and Interfaces was born in 2003 in
Pittsburgh. It welcomed people formerly involved in the International
Conference on Affective Human Factors (Singapore 2001), Design and
Emotion (Delft, 2002), and other venues. From 2003 onwards, DPPI has
travelled around the world, in 2005 in Eindhoven, 2007 in Helsinki, and
now in 2009 in Compiègne.
DPPI brings together designers, experts from industry, design
researchers and students to propose new ways towards industrial
innovation through advanced interactive design.
Améziane Aoussat France
Jean-Paul Barthes France
Alain Bernard France
Jean-Claude Bocquet France
Jonathan C.Borg Malta
Brigitte Borja De Mozota France
Carole Bouchard France
Jean-François Boujut France
Patrick Bourdot France
Jacob Buur Denmark
Amaresh Chakrabarti India
Hervé Christofol France
Pieter Desmet The Netherlands
Alex Duffy UK
George Fadel USA
Alain Findeli France
John Gero USA
Caroline Hummels The Netherlands
Thimothée Jobert France
Frédéric Kaplan Swiss
Evelyne Klinger France
Lysiane Léchot Hirt Swiss
Chris McMahon UK
Stéphanie Minel France
Sally Jane Norman UK
François Pachet France
Pierre Rabardel France
Johan Redstrom Sweden
Sébastien Remy France
Simon Richir France
Jean-Claude Sagot France
Colin Schmidt France
Bernard Stiegler France
Serge Tichkiewitch France
Xiu Tian Yan UK
Sandor Vajna Germany
Bernard Yannou France
Secretary contact :
Tel : +33 (0)3 44 23 43 46
Email : firstname.lastname@example.org