Designing Interactions with Furniture

Towards Multi-sensorial Interaction Design Processes for Interactive Furniture

Pedro Campos

, Nils Ehrenberg

and Miguel Campos

Madeira-ITI, University of Madeira, Campus da Penteada, Funchal, Portugal

WowSystems LLC, R. Mary Jane Wilson, 21 G, Funchal, Portugal

Keywords: Human-Computer Interaction, Usability, Interactive Furniture, User Experience, Human Factors, Ergonom-

ics, Embedded Systems, Interaction Design.

Abstract: In this paper, we argue for novel user experience design methods, in the context of reimagining ergonomics

of interactive furniture. There is a need for improving both creativity and productivity at the workplace, and

there is ample room for scientific advancements brought by embedded systems, sensors and actuators which

can now be part of future pieces of furniture. Creative industries’ workers are becoming more prominent as

countries move towards intellectual-based economies. Consequently, the workplace needs to be reconfigured

so that creativity and productivity can be better promoted at these spaces. This position paper presents several

directions that can shed light on how we can better design interactive furniture for the workplace. In particular,

we argue for a multisensorial approach as a promising way of achieving the above-mentioned goals.

1 INTRODUCTION

Creative industries and their workers are becoming

more and more prominent, as countries move towards

intellectual-based economies. Consequently, the

workplace needs to be reconfigured so that creativity

and productivity can be better promoted at these

spaces. This position paper introduces the design and

prototyping of a new seat for relaxation and for

productivity, which fuses the digital and the analog in

a futuristic piece of furniture, targeted at workspaces,

in particular creative co-working spaces. This inter-

active seat, with embedded sensors and actuators,

aims at reimagining the role of interactive technolo-

gies in the workspace of the future, especially by

challenging disruptions in shared workspaces. Our

project aims to explore the balance between social in-

terruptions and social benefits of the creative work-

space. Creative industries’ workers are becoming

more prominent as countries move towards intellec-

tual-based economies. Consequently, the nature and

essence of the workplace needs to be reconfigured so

that creativity and productivity can be better pro-

moted at these spaces. We introduce initial interview

studies, a co-creation workshop - both of which in-

formed the design - and early renders and 3D prints

of our prototype.

We also present the rational for how the design has

been developed and our initial findings from the pro-

totyping efforts. There is a significant need for im-

proving both creativity and productivity at the work-

place, and there is ample room for scientific advance-

ments brought by embedded systems, sensors and ac-

tuators which can now be part of future pieces of fur-

niture. We will start by describing the most important

human factors in this context of design (Section 2,

Human Factors in the Workplace); afterwards, we de-

scribe our design approach (Section 3), including the

collaborative prototyping sessions and resulting arte-

facts; finally, we conclude with our position regard-

ing the need towards multisensorial approaches for

designing interactive furniture and some ways this

can be achieved.

2 HUMAN FACTORS IN THE

WORKPLACE

There are positive correlations between creativity-

supporting work environments and product innova-

tion (Dul and Ceylan, 2014). Organizations therefore

seek to engineer their workspaces in order to better

support creativity through ergonomics, e.g. by includ-

ing physical elements that can systematically improve

Campos, P., Ehrenberg, N. and Campos, M.

Designing Interactions with Furniture.

DOI: 10.5220/0006759505270532

In Proceedings of the 20th International Conference on Enterprise Information Systems (ICEIS 2018), pages 527-532

ISBN: 978-989-758-298-1

527

the employee creativity levels (Dul and Ceylan,

2011). Productivity can be defined as the effective-

ness of converting effort into useful outputs. In gen-

eral, organizations seek to improve their productivity

because it is a critical determinant of cost efficiency

and better outcomes. Our approach is based on

reimagining office furniture and designing it in such

a way it becomes a place to relax, to regain focus and

to conduct creative work. We are currently conduct-

ing three pilot user studies at co-working spaces in

three different locations: Malmo and Lisbon. In par-

allel, we have been prototyping in 3D (3D-image ren-

ders as well as a 3D-printed physical prototype) a new

seat/workstation for improving creativity at work. In

this position paper, we argue that any design approach

for interactive furniture should be grounded in in-

formed studies and user observations. We divide our

analysis between the physical factors at the work en-

vironment, and the disruptions that happen during

quotidian work.

2.1 Physical Work Environment

We first focus on the physical workspace aspects af-

fecting creativity, proposing the creation of an open

pod-like workstation unit that can help creativity by

simulating a creativity-supporting work environment.

Typical physical environment improvements, that af-

fect employee’s creativity in a positive way, as sug-

gested by various researchers, include: a non-

crowded workspace, the presence of plants, the use of

inspiring colors on the walls, a new carpet in the of-

fice, more pictures and posters on the walls, windows

with an outside view, privacy, dim lightning, etc. (Ai-

ello et al., 1977; Dul et al., 2011).

Aiello et al. (1977) did research on the effects of

workspace crowding over employee’s creativity, and

they concluded that crowding could have negative ef-

fects, regardless of the crowded subjects’ interper-

sonal distance preference, which showed a lower

level of creativity than their non-crowded counter-

parts. Also, Stokols and his team (2002) observed that

high levels of environmental distraction, such as

noise or prolonged exposure to crowded environ-

ments, were associated with less perceived support

for creativity at work, and they furthermore suggested

that private or non-overcrowded workspaces could

have a counter effect, i.e. it could boost employee's

creativity.

There has been great progress in terms of gaining

a better understanding of the interplay between the

work environment and the creativity, or productivity,

of office workers. In organizations, employee’s crea-

tivity can be translated into innovative products, serv-

-ices, processes, systems, work methods, etc. (Dul et

al., 2011).

Workplace creativity is usually seen as a result of

a creative personality or individual skillsets (Hennes-

sey and Amabile, 2010), dependent on intrinsic moti-

vations, such as personal interest, satisfaction, or the

challenge of the work itself. However, there are also

studies that suggest that other factors, such as socio-

organizational (e.g., job design, team work, rewards,

time pressure, and leadership) are also factors in mo-

tivating creative work (Campos and Nunes, 2005;

Campos et al., 2013; Dul et al., 2011), even in con-

texts such as kindergarten (Campos and Pessanha,

2011). Many factors contribute to these productivity

levels, which are quite subjective. Sometimes itis the

room temperature, other times it is the surrounding

noise. Even visuals play their role (e.g. if the work

desk is messy and cluttered).

2.2 Disruptions at Work

In this context, it does not come as a surprise that

some researchers have also addressed work interrup-

tions and how technological artifacts could be made

in order to reduce those interruptions, e.g. Züger

(2017) who propose FlowLight, a device that com-

bines a physical traffic-light-like LED featuring an

automatic interruptibility measure based on computer

interaction data. As mentioned before, one known so-

cio-organizational factor is crowding and interrup-

tions: crowded environments negatively impact crea-

tivity and studies suggest that private workspaces

could significantly improve employee creativity. In

our approach, it seems interesting to study and gather

scientific data about the interplay between interrup-

tions and the overall workspace. In particular, how

can we explore the balance between social interrup-

tions and the social benefits of the space. These and

other research questions are important for creative in-

dustries’ workspaces.

3 DESIGN APPROACH

Our project takes a multi-disciplinary approach in-

volving architecture, design, and engineering in order

to explore how to create a better tool for the work-

spaces. Our initial prototypes explore the goal of user

focusing and the ability for temporary separation

through the use of a pod-like chair (See Figure 1). The

aim is a design that allows the user to remain in the

office, and approachable if necessary while also com-

municating that they are working on something that

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Figure 1: The initial prototypes and sketches for illustrating

our multisensorial approach to designing interactive furni-

ture.

requires focus. Sensors and smart technology can de-

tect and respond to the person who is seated, what

they are working on (which software they are using,

posture, or focus).

Figure 1 also details our design approach in terms

of function, technology and form. While the function

concerns are relatively straightforward (connected

workspace, relaxing, personal), the form concerns we

are addressing with the seat prototype include achiev-

ing a contemporary, versatile, modular piece of tech-

nological furniture that can also bring a timeless, ele-

gant comfort to the workplace. In terms of technol-

ogy, a reclining seat will provide body positions val-

ues that can provide ergonomic feedback to the user.

Directional sound provides relaxing soundtracks ac-

cording to the user’s preference, the same applies to

the LED interior “mood” lighting.

3.1 Pilot Study

Our design approach has the explicit goal of creating

interactive furniture to provide a place for relaxation,

focus and creativity, something extremely difficult in

today’s fast-paced offices. To gain an initial under-

standing of these factors, we conducted a pilot study

with participants from a local co-working space, who

we invited to take part in an interview, as well as to

submita diary over disruptions in their work over

two weeks’ time. We distinguish between interrup-

tions and disruptions because of the negative conno-

tation which is typically inherent to interruptions – a

disruption can actually be positive for the user,

whereas it is never a positive thing to be interrupted.

Each of the interviews took 30 minutes and were con-

ducted with two interviewers, one leading the inter-

view and one recording, taking notes, speaking the lo-

cal language and translating as needed. There were

eight participants in the interviews, with four partici-

pating in the diary study. The study aimed to explore

what they perceived as both positive and negative fac-

tors with working in a co-working space.As all par-

ticipants were currently working in a co-working

space, it should be expected that they feel that the pos-

itive aspects outweigh the negative. In the interview,

they were asked about what they perceived as inter-

rupting their work, but also how they interact with

others in the space. In the diary that followed the in-

terview, we can consider comparing how their im-

pressions match up with reality.

The participants focused on two areas, the physi-

cal and the social space. The majority of the frustra-

tions expressed was in regards to the physical space,

too warm, noisy, uncomfortable, or otherwise not

suited for certain tasks, such as calls or meetings,

while the spaces dedicated for meetings were not

deemed sufficient.

In the discussion of the social space, where the

majority of participants expressed that the coworkers

were a major positive factor, they also expressed that

it was the largest distraction, though not always a neg-

ative one.

Joining others for a coffee when struggling with a

difficult or tedious task helped maintain focus, alt-

hough some would have offices that allowed them to

close the door when needed. The pilot study suggests

that there is a conflict between the public and private

in interactions, where the social aspects is at the same

time a source of inspiration and motivation, but also

interruptions.

3.2 Prototyping and Co-creation

In a second phase, we started our prototyping, work-

ing together with a team of interior designers, archi-

tects, HCI researchers, software and hardware engi-

neers (See Figure 2).

We held a 1-day co-creation workshop which em-

ployed brainstorming and product ideation tech-

niques with 16 participants, six of them part of the

project team, the remaining were creative industries’

professionals who had no previous contact or any in-

formation aboutthe project.

Figure 2 shows the overall aspect of this co-creation

workshop, as well as some of the low-tech prototyp-

ing tools and materials which were used. In this

workshop, we brought together design professionals,

researchers, and developers with the explicit goal of

creating concepts together.

We asked them to explore their view on smart fur-

niture through sketching, and low fidelity prototyp-

ing. The participants each set out to individually cre-

ate multiple concepts that were then explored in

groups where they combined their ideas, and proto-

typed them using low-fidelity materials such as paper,

foam-core and pencils.

Designing Interactions with Furniture

529

Figure 2: Participatory prototyping session.

The final concepts which were produced by the dif-

ferent groups of participants involved:

• a Work-life chair, a semi-open pod which can be

adjusted for relaxation, lighting, as well as placed

into groups for collaboration.

• an all-in-one chair that focuses on the physical

com- fort, such as sitting still for too long, or on

resting when needed. 

• a “sleeper bed” that senses both the environment

and the position of the sleeper, but also com-

municates with its surrounding environment. 

The common theme expressed by the participants

is relaxation or stress, this suggests that a future de-

sign could reflect the need to be able to relax, rather

than stressing productivity or focus.

Both the work-life chair and the sleeper bed are in-

tended as parts of a larger environment, rather than as

a stand-alone piece. 

4 TOWARDS MULTI-SENSORIAL

APPROACHES

Our position is that this new class of furniture has the

overall goal of promoting user focusing and the abil-

ity for temporary separation through the use of a pod-

like chair (see Figure 3 for 3D renders). The aim is a

design that allows the user to remain in the office, and

approachable if necessary while also communicating

that they are working on something that requires fo-

cus. Sensors and smart technology can detect and re-

spond to the person seated, what they are working on

(which software they are using, posture, or focus).

Although this is ongoing research, it is already possi-

ble to draw some conclusions. It becomes noticeable

that there are many external factors that can influence

one’s work productivity. That includes noise and tem-

perature, although the amount of these inputs and its

influence can vary from user to user.

Also, human-computer interaction can be used

to create better workspaces, either by embedding sen-

sors and actuators in a seat or any other tangible ele-

ment (e.g. desk).

The human-computer interaction will play its

role solely if the technology is embedded in a visual

subtle way; that is, in such a way that it contributes

positively for the productivity only by giving visual

or audio stimulus without distracting the user or add-

ing a lot of complexity to adjust such ambience. It is

also interesting to note that visuals play an important

role not only in how people work, but also the predis-

position that they would have towards using a solu-

tion such as the one we have envisioned.

When exploring solutions for the challenges of

creative workspaces, we have taken a multi-sensorial

approach, in order to explore how different senses,

such as hearing or sight can affect productivity. Our

design approach is ground in terms of function, tech-

nology and form.

While the function concerns are relatively

straightforward (connected workspace, relaxing, per-

sonal), the form concerns we are addressing include

achieving a contemporary, versatile, modular piece of

technological furniture that can also bring a timeless,

elegant comfort to the workplace. In terms of technol-

ogy, a reclining seat will provide body positions val-

ues that can provide ergonomic feedback to the user.

Directional sound provides relaxing soundtracks ac-

cording to the user’s preference, the same applies to

the LED interior “mood” lighting.

By sensing the position of the user, we can im-

prove the ergonomics of the chair using adjustable

seating, it can also remind the user to take a break

through gently adjusting the internal lighting. It helps

the user manage interruptions by letting others know

externally through outside LED-lighting that a person

is working. The aim is to provide simple, effortless

interactions.

For the final prototype, we are using pressure-sen-

sitive conductive sheets (Velostat) sewed to woven

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Figure 3: 3D-printed prototype.

Figure 4: some of the 3D renders of the envisioned interac-

tive seat.

conductive fabric with a thin conductive thread to

build two squares (matrix) for the seat and its back.

These allow to track the user's posture and presence.

Afterwards, we added an electret microphone am-

plifier and an air-quality sensor. Both will be used to

check if external factors such as noise and oxygen

levels polluted would interfere with the productivity

of users.

A temperature and humidity sensor was added so

that the system can check the outside air temperature

and trigger a ventilation to adjust the inside tempera-

ture. In terms of actuators, we added programmable

RGB-LED strips to the sides and back of the chair as

well as a directional sound beacon just above. Over-

all, the final prototype will register when a user is sit-

ting down, the ergonomic posture (if posture is cor-

rect, the pressure will be distributed along the pres-

sure-sensitive pads), the noise, outside air tempera-

ture and air quality (this data would then be cross-

checked by the team in terms of minutes against the

times when a user would be writing or typing, to see

if those had any influence).

Finally, the ambience sound and the LED colour-

ing will be adjusted to test what users would prefer

for their two main activities (relax and work). Figure

3 exhibits a 3D print of the prototype, including a

cross section that includes a ‘cap’. This can be used

to allow different configurations of the seat, e.g. re-

laxing configuration, ‘Conference-call’ configura-

tion, etc.

This approach brings up several research ques-

tions which will be assessed once the prototype be-

comes a fully usable product: Firstly, it introduces

tangible and embedded systems as an approach to re-

solve the challenge of the physical challenges found

at creative workplaces. Secondly, it sheds light on

how we can explore the balance between social inter-

ruptions and social benefits of the space. Interactive

furniture could play a decisive role in the near future

(e.g. a smart meeting table could invite other people

to join an interesting discussion). Thirdly, it raises

some privacy issues: what happens when the office

place has a seat like this, where ergonomics data from

users is being constantly gathered?

In any workspace, there is a dichotomy between

the company and the private. How much time and ef-

fort does the employee owe the company, what loy-

alty? Personal calls during work hours are often

frowned upon, but if the call is important the borders

soften. If the employer supplies a phone, the em-

ployee may receive work email and calls even after

hours. While there is no obligation to answer, it is

common for employees to respond if they feel it's ur-

gent, or if not, the mere existence causes mental

workload.

Therefore, there are many aspects that can be ex-

plored; for example, which spaces may be used by an-

yone? Where is it appropriate to chat and to have cof-

fee? To what extent should one share advice or

thoughts with someone from another company?

When creating technology for Smart Workspaces,

the intent of various stakeholders shape the needs and

requirements for new technology. Small changes in

existing designs, sometimes drastically change the

nature of the product. Thus, within collaborative

workspaces, there's a need to find the right balance

between the need for privacy and support for social

Designing Interactions with Furniture

531

interaction. As such, collaborative work environ-

ments require spaces, furnishings and technologies

that facilitate, not only for collaborative work, but

also to focus work that fosters solo creativity and

productivity.

We are very certain that there are still a lot of is-

sues to explore in this matter, but it seems clear that

by combining technology with furniture design and

interior design we can actually contribute for improv-

ing the worker’s productivity and mental well-being.

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