Conceptual Design For Interactive Systems

Conceptual Design for Interactive Systems: Designing for Performance and User Experience provides readers with a comprehensive guide to the steps necessary to take the leap from research and requirements to product design. The text presents a proven strategy for transforming research into a conceptual model, discussing the iterative process that allows users to build the essential foundation for a successful interactive system, while also taking the users’ mental model into consideration. Readers will gain a better understanding of the framework they need to perceive, understand, and experience their tasks and processes in the context of their products. The text is ideal for those seeking a proven, innovative strategy for meeting goals through intuitive and effective thinking. Provides a practical, guiding approach that can be immediately applied to everyday practice and study Complete analysis and explanation of conceptual modeling and its value Discusses the implications of effective and poor conceptual models Presents a step-by-step process, allowing users to build the essential foundation for a successful interactive system

Making systems easier to use implies increasingly complex management of communication between users and applications. An increasing part of the application program is devoted to the user interface. In order to manage this complexity, it is very important to have tools, notations, and methodologies that support the designer's work during the refinement process from specification to implementation. The purpose of this proceedings of the first (1994) Eurographics workshop on this area is to review the state of the art. It compares the different existing approaches in order to identify the principal requirements and the most suitable notations and methods, and indicates the relevant results.

This book presents a design methodology that is practically applicable to the architectural design of a broad range of systems. It is based on fundamental design concepts to conceive and specify the required functional properties of a system, while abstracting from the specific implementation functions and technologies that can be chosen to build the system. Abstraction and precision are indispensable when it comes to understanding complex systems and precisely creating and representing them at a high functional level. Once understood, these concepts appear natural, self-evident and extremely powerful, since they can directly, precisely and concisely reflect what is considered essential for the functional behavior of a system. The first two chapters present the global views on how to design systems and how to interpret terms and meta-concepts. This informal introduction provides the general context for the remainder of the book. On a more formal level, Chapters 3 through 6 present the main basic design concepts, illustrating them with examples. Language notations are introduced along with the basic design concepts. Lastly, Chapters 7 to 12 discuss the more intricate basic design concepts of interactive systems by focusing on their common functional goal. These chapters are recommended to readers who have a particular interest in the design of protocols and interfaces for various systems. The didactic approach makes it suitable for graduate students who want to develop insights into and skills in developing complex systems, as well as practitioners in industry and large organizations who are responsible for the design and development of large and complex systems. It includes numerous tangible examples from various fields, and several appealing exercises with their solutions.

The authors in this work focus on and explore human computer interaction (HCI) by bringing together the best practice and experience from HCI and interaction design.

This book analyzes the challenges of a user-centered approach to software development, bringing together the essential elements of software engineering and user interface design. It is the first book to bridge this gap. The book provides a foundation in design principles and methods for involving the end user. A wide variety of examples are illustrated.

This book describes how domain knowledge can be used in the design of interactive systems. It includes discussion of the theories and models of domain, generic domain architectures and construction of system components for specific domains. It draws on research experience from the Information Systems, Software Engineering and Human Computer Interaction communities.

This book constitutes the thoroughly refereed post-proceedings of the 10th International Workshop on Design, Specification, and Verification of Interactive Systems, DSV-IS 2003, held in Funchal, Madeira Island, Portugal, in June 2003. The 26 revised full papers and 5 revised short papers presented together with an invited paper have passed through two rounds of reviewing, selection, and improvement. The papers are organized in topical sections on test and evaluation, Web and groupware, tools and technologies, task modeling, model-based design, mobile and multiple devices, UML, and specification languages.

Design is a fundamental creative human activity. This certainly applies to the design of artefacts, the realisation of which has to meet many constraints and ever raising criteria. The world in which we live today, is enormously influenced by the human race. Over the last century, these artefacts have dramatically changed the living conditions of humans. The present wealth in very large parts of the world, depends on it. All the ideas for better and new artefacts brought forward by humans have gone through the minds of designers, who have turned them into feasible concepts and subsequently transformed them into realistic product models. The designers have been, still are, and will remain the leading 'change agents' in the physical world. Manufacturability of artefacts has always played a significant role in design. In pre industrial manufacturing, the blacksmith held the many design and realisation aspects of a product in one hand. The synthesis of the design and manufacturing aspects took, almost implicitly, place in the head of the man. All the knowledge and the skills were stored in one person. Education and training took place along the line of many years of apprenticeship. When the production volumes increased, -'assembling to measure' was no longer tolerated and production efficiency became essential - design, process planning, production planning and fabrication became separated concerns. The designers created their own world, separated from the production world. They argued that restrictions in the freedom of designing would badly influence their creativity in design.