top of page
IMG_0044.png

UX OF
SHADOWS

Design Brief
Design a physical artefact for measuring digital shadows.

Designers 
Fangze Qiu, Ruth Butler, Swaranjali Thakur, Ananya Manish

Research Methodologies
Artefact Analysis, Directed Storytelling

​

Key Words

Digital Shadow, Navigational Data, Emotional Landscape

​

​

Defining the key terms

​

Artefact: An item displaying human craftsmanship or alteration.
Digital Shadow: Traces of data we inadvertently leave behind during interactions with IoT; information generated passively.
Measure: Representing or mirroring the digital shadow through a physical object.

​

Frame 22.png
Shadows: The unseen narrative​

​

Shadows hold layers of meaning, depth and complexity in their narratives. They reveal the unspoken and the unseen. 

On a daily basis, as we engage with our smartphones, we leave behind abundant data traces. As a group we wanted to work with the shadow casted by the use of navigational apps on our personal phones. In our exploration of the UX of shadows, we employed two distinctive research methods - artefact analysis and directed storytelling.

Frame 9.png
Artefact Analysis: Decoding Map’s Nuances​

​

Artefact analysis involves breaking down an object to extract insights about its qualities, form, function, interactions, behaviours and more.  In our case, we chose a physical map as our artefact, specifically the Google map of London printed from one of our group member's smartphone.

1_edited.jpg
1_edited.jpg

We meticulously dissected the map, bombarding it with 48 questions that probed into its nuances. Our inquiry spanned its physical qualities, functional attributes, and user interactions. This method allowed us to unravel the layers of information embedded in the map, providing a foundation for understanding the potential elements that could manifest in our final design.

Directed Storytelling: Mapping memories and emotions

​

To complement artefact analysis, we turned to directed storytelling, a method that prompts participants to create narratives or stories based on a given theme. In our case, five participants were asked to craft personal maps of London from their memories, using coloured pens associated with specific emotions.

1_edited.jpg

The storytelling yielded results that showcased the different ways in which individuals emotionally and culturally engage with maps. Some participants focused on routes, others shaded areas and added emoticons, offering a rich tapestry of emotional and cultural landscapes intertwined with the urban space.

The amalgamation of artefact analysis and directed storytelling proved effective in shedding light on the varied lenses through which people perceive and connect with maps. However, a realisation dawned upon us - in our pursuit of

understanding existing artefacts, we had unintentionally designed our own.

The texture, communication, and feel of a real map vastly differ from a digitally printed one on paper.

Concept Development and Iterations:

​

We thus, pivoted our approach by acquiring tangible maps, including the London Underground station map and a local Chinese food map. This time, our data source shifted from memories to navigation history stored in the TFL app. Our goal was to experiment with visualising data in a way that it mirrors our personal navigational shadow. To make the maps more tactile we used coloured pins and thread to mark the areas on the map.

Before delving into crafting personal maps and exploring the final outcome, we established four fundamental research questions. These inquiries aimed to guide our exploration:

  1. What are the different ways of visualising navigational data? Are there different ways to look at maps?

  2. How does the physical artefact measure? What does it do and collect?

  3. What are we going to discover? What does it all mean in the end?

  4. What are the ethical implications of asking for someone’s data and measuring the digital traces?

With these questions as our compass, we ventured into creating multiple iterations that unearthed intriguing insights and patterns. 

1_edited.jpg

Analysis of the Research 

​

  1. While experimenting with 3-D lines and objects to mark the map, we discovered that casting an actual shadow on the map created a visual impact. Areas with higher frequency of visits appeared denser, indicating a potential scale for measurement.

  2. Manipulating shadow lengths using light angles and distance also emerged as a viable scale of measurement, offering a unique way to capture the digital shadow.

  3. To move closer to the essence of the map while shedding its intricacies, we explored alternative ways of representation.

  4. Broadening our scope, we incorporated bus and tube travels as part of measuring the navigational shadow.

Final Outcome: My Shadow on the City of London​

​

Continuing from our journey of designing a physical artefact reflecting digital shadows, the culmination of our efforts led to a thought-provoking and interactive final outcome, titled "My Shadow on the City of London." 

For the ultimate artefact, we crafted a map featuring cardinal directions, the River Thames, and the college campus for orientation. Lego blocks were chosen as our 3-D pins due to their stackability and shadow-casting capabilities. Participants were tasked with placing lego blocks on areas visited, stacking them according to the frequency of visits in a month. Suspended cones marked as Bus and Tube allowed us to measure the digital shadow cast by transportation usage.

1_edited_edited.jpg
Frame 12.png
Feedback from the participants​

​

  1. Participants enjoyed creating their personal lego map in the city.

  2. The experience was interactive, though a perceived disconnect existed between constructing the lego city and the shadows of transport.

  3. The multitude of lego colours proved distracting, impacting the focus on casted shadows.

  4. Lack of real motivation for participants to engage with the experience surfaced.

Feedback from the participants​

​

  1. Participants enjoyed creating their personal lego map in the city.

  2. The experience was interactive, though a perceived disconnect existed between constructing the lego city and the shadows of transport.

  3. The multitude of lego colours proved distracting, impacting the focus on casted shadows.

  4. Lack of real motivation for participants to engage with the experience surfaced.

Reflection: Lost layers and future potential

​

​Reflecting back, I believe , two interesting aspects were lost in the process – mapping emotional and cultural landscapes through the digital shadow and utilising colours to signify specific places or emotions. While the final outcome marked a great starting point, future iterations could delve into enhancing personal connection by incorporating these layers. Additionally, scaling the experience to become more embodied, allowing participants to physically traverse their personal map and feel the casted shadows, could be an exciting avenue for exploration.

References 

Liebenberg, M. and Jarke, M. (2020) ‘Information Systems Engineering with Digital Shadows: Concept and Case Studies’, Advanced Information Systems Engineering, pp. 70–84. doi:10.1007/978-3-030-49435-3_5. 

Cateli Rosa, A.L. (2023) ‘Digital Shadow and its legality aspects’, Economics & Management Information, pp. 1–6. doi:10.58195/emi.v2i1.65. 

What is Digital Shadow (DS) (no date) IGI Global. Available at: https://www.igi-global.com/dictionary/digital-twin-for-smart-school-buildings/97586. 

Drechsler, A. and Dörr, P. (2014) ‘What kinds of artifacts are we designing? an analysis of artifact types and artifact relevance in is Journal Publications’, Advancing the Impact of Design Science: Moving from Theory to Practice, pp. 329–336. doi:10.1007/978-3-319-06701-8_23. 

The use of stories in user experience design - researchgate. Available at: https://www.researchgate.net/profile/Daniel-Gruen/publication/235701126_The_Use_of_Stories_in_User_Experience_Design/links/5501f1a90cf24cee39fb1d27/The-Use-of-Stories-in-User-Experience-Design.pdf?origin=publication_detail.

bottom of page