Experience Design by Design Thinking

“As more of our basic needs are met, we increasingly expect sophisticated experiences that are emotionally satisfying and meaningful. These experiences will not be simple products. They will be complex combinations of products, services, spaces, and information. They will be the ways we get educated, the ways we are entertained, the ways we stay healthy, the ways we share and communicate. Design thinking is a tool for imagining these experiences as well as giving them a desirable form.”

Tim Brown: “Design Thinking” in Harvard Business Review, June 2008 (p.8)

Tim Brown is the CEO and president of IDEO

Design Thinking

Design Thinking activities may roughly be grouped in three themes: inspiration, ideation and implementation. Tim Brown writes: “The design process is best described metaphorically as a system of spaces rather than a predefined series of orderly steps. The spaces demarcate different sorts of related activities that together form the continuum of innovation. Design thinking can feel chaotic to those experiencing it for the first time. But over the life of a project participants come to see—as they did at Kaiser—that the process makes sense and achieves results, even though its architecture differs from the linear, milestone-based processes typical of other kinds of business activities.”

Source: http://design-planning.blogspot.dk/2008/06/design-thinking-tim-brown-or-ideo.html

 

1. Inspiration

Expect success

Build implementation resources into your plan

What’s the business problem? Where’s the opportunity? What has changed (or soon may change)?

Look at the world: Observe what people do, how they think, what they need and want

What are the business constraints (time, lack of resources, impoverished customer base, shrinking market)?

Involve many disciplines from the start (e.g. engineering & marketing)

Pay close attention to “extreme” users such as children or the elderly

Have a project room where you can share insights, tell stories

How can new technology help?

Are valuable ideas, assets and expertise hiding inside the business?

Organize information and synthesize possibilities (tell more stories!)

 

2. Ideation

Brainstorm

Make many sketches, concoct scenarios

Build creative frameworks (order out of chaos)

Apply integrative thinking

Put customers in the midst of everything: describe their journeys

Prototype, test, prototype, test…

Tell more stories (they keep ideas alive)

Communicate internally – don’øt work in the dark!

Prototype some more, test with users, test internally

 

3. Implementation

Execute the vision: engineer the experience

Help marketing design a communication strategy

Make the case to the business – spread the word

Move on to the next project – repeat

 

 

 

Vedr. sansningen og det tidslige

Carl Erik Kühl: Epistemisk og epimonisk sansning IN filosofske studier, no. 5, 2007
Link til artikel   epistemeepimone

“New Experiences Of The Body Through Space”

“Architecture is increasingly used as a tool to help people experience space as an open and variable dimension. Architecture is no longer considered as an object, but as a cognitive field, as an extension of our capacity to perceive. Actually, there are no borders anymore between interior and exterior, there are no fixed partitions. Architecture opens to the outside…

Stable identities as well as fixed space are no longer possible, because they do not correspond to the reality of today’s world. ..

Hybrid space proposes an approach to architecture that creates new cultural codes and disruptions within the physical and electronic networks that connect our international and local cultures.” (Mahdalickova 2009)

“The interactive architecture transforms how people inhabit space. What happens when space reacts to the body, when it is formed by means of the physical rhythm? People tend to react to mobile environment in a different way than they react to static environments. Their involvement with a building becomes an interaction more than a simple reaction. The deformed space forces the individuals to react. Architecture no more imposes an identity, it creates a change. Within the innovative and interactive architecture, we create ourselves by crossing spaces which change as they react to our bodies. Consequently, space and body are closely intertwined since space reacts to the body and the body to space….

Architecture can be a tool to intensify our senses and sharpen our consciousness of the reality which tends to be erased under the influence of the speed and of the surfeit of information. Architecture can help us to find our physical body….

The architecture establishes the place and in doing so, the rhythm of the space. It is to open the existence to the universal rhythm, to harmonize it with the physical rhythm and to create a new type of subjectivity, more connected with the fluid and changeable nature. In nature there is no negation, no opposition of opposites, there is a harmony.” (Mahdalickova 2009)

Eva Mahdalickova ( 2009): New Experiences Of The Body Through Space 
link: http://www.implications-philosophiques.org/Habitat/MAHDALICKOVA1.html

“Aesthetics, on the othe…

“Aesthetics, on the other hand, suggests a world of sensual contact with things – a world of bodies perceiving themselves and other bodies, a world thick with emotion and sentiment.”

“It is this sense of the term as corporeal – addressed to sensual perception and registering emotional intensities – that will make it useful to the sociologically informed study of culture. For social aesthetics, matter matters, and rationality and reason have to play second fiddle to the empirical world of sensation, affect and perception.” (Highmore 2010: 155)

“.. the positive challenge is for social aesthetics to apprehend the “qualitative uniqueness” of not just artworks but also cooking, gardening, media, furniture, business cultures, bureaucracies, and so on sociologically. This means, I think, treating such cultural forms as agents of social life, rather than mediated reflections thereof; it means always asking how such forms distribute the sensible and what effects and affects such distribution has; it means looking at the feelings, moods and modes that these forms generate. (…) It is at the concrete level of experience that the real potential of social aesthetics lies.” (Highmore 2010: 161)

Ben Highmore, 2010: “Social Aesthetics”, published in Handbook of Cultural Sociology, Routledge International Handbooks” edited by Hall, Grindstaff and Lo

Billeder fra UNESCO indstilling

Litterature notes: User Experience Design – a definition

“User experience design is the creation and synchronization of the elements that affect user’s experience with a particular company, with the intent of influencing their perceptions and behavior. These elements include the things a user can touch (such as tangible products and packaging), hear (commercials and audio signatures), and even smell (the aroma of freshly baked bread in a sandwich shop). It includes the things that users can interact with in ways beyond the physical, such as digital interfaces (web sites and mobile phone applications), and of course, people (customer service representatives, salespeople, and friends and family). One of the most exciting developments of the past few years has been the ability to merge the elements affecting these different senses into a richer, integrated experience.” (Unger & Chandler 2009:3)

Although the focus of Unger & Chandler’s book is the design of digital experiences  – particularly interactive media such as web sites and software applications (apps), the authors also offer a broader and more comprehensive definition of user experience design – that is; one which does not only center on the design of digital experiences.

Russ Unger and Carolyn Chandler, 2009: “A project guide to UX design: for user experience designers in the field or in the making”

Litterature notes: Design Methods in Experience Design

Reviewing litterature on experience design with attention towards design methods.

Themes

Methods in design

sketching (Buxton 2007)

visualisation

“empathic design” (persona, cards etc.)

Intro by Desmet, Hekkert & Schifferstein in Desmet & Schiffersteing 2011, How to design for a user experience. from floating wheel chairs to mobile car parkds: selected work from TU Delft

Experience-driven design processes: 14 ‘ingredients’ in 35 projects. various products (tourism, culture, transportation, every day life), all aim for experience.

3 main processes (+ evaluation)

explore/understand	envision	conceptualize/create	evaluate
understand the users + usage situation	envision + define the target user experience	conceptualize, materialize + test new concepts
empathise (IDEO)	formulate design intention	transition from design intention to product design
	envision target user experience: specifies the experiential intention of the design project
	target interactions
	interaction visions

(my graphic presentation of points made by Desmet, Hekkert & Schifferstein, 2011)

Method: empathic design

Koskinen et al, 2003, are from the design area of product design. Based on this design field they propose a method of empathic design. They argue that this method is relevant to a wider range of professions  which are engaged in designing innovative product concepts: industrial designers, software engineers, new media designers, human relations experts.

Conventionally a product has been understood in terms of function. There is now a need to deal with “subjective factors”, these subjective factors include the emotional experience, and fittingly may be called the user experience. “Designers need systematic methods to be able to study experiences and these methods have to enable empathic understanding of users.” (Koskinen et al 2003: 7). There is a need for user-centred, empathic methods. Among other things, the authors suggest mapping the social and material contexts of use. (Informed by ANT/the material semiotic tradition, I like that they include both sociality and materiality. This could be pursued further).

Litterature notes: Experience Design

Reviewing litterature on experience design for good advice in relation to the design of a museum (exhibition facilities, communication and surrounding public space (landscape).

There is a cluster of terms at play: experience-driven design, experience design, experience-centered design, experience-based design, designing for experience, user experience design. I have chosen to use the term experience design. Several specific design areas deal with experience design. These design areas may be grouped in three large categories: product design, design of digital technologies and media, and spatial design.

Product design

Product design is closely related to and somewhat congruent with the field of  industrial design. When experience design is embraced in product design it is from the fundamental attitude that all products are for users, and that a good way to think about these users is by focusing on experience. Desmet, Hekkert & Schifferstien (2011) call this experience-driven design, and argue that the method can be used for all sorts of design – from the design of floating wheel chairs to mobile car parks. In product design it has been common to conceptualize the user-product relation in terms of ergonomics – thinking about the physical and cognitive abilities of the user. Now these two foci have been supplemented with emotions; thinking of the user-product relation also as an emotional relation. This calls for experience- driven design strategies and methods (McDonagh, Hekkert, van Erp, Gyi 2004 editors of the book “Design and emotion: the experience of everyday things” Taylor & Francis, London & New York)

Three aspects of design experience: sensing, thinking and feeling

User experience (product experience) may be understood by focusing on three different aspects of users: physical abilities, cognitive abilities and emotions. Thinking of users by means of these three different aspects, provide us with three qualitatively different ways of thinking about the relation between the user and a design. Focusing on users physical abilities takes us to an aesthetic, sensorical relation, where ‘sensing’ is the primary mode of interaction. Focusing on users cognitive abilities takes us to a domain of mental acitivity, where ‘meaning making’ is at the centre. Focusing on emotional aspects of users takes us to the domain of affect, where the mode of interaction is governed by feelings and emotions.

Design of digital technologies and media

Experience is at the heart of people’s interactions with digital technologies. This is the applied design area where I have found it to be most common to use the term user experience – as in the term UX design. Growing from and out of the field of human computer interaction (HCI) the approaches of  interaction design and user experience design have been good at articulating the need to focus on user experiences, and to point out discrepancies between the design intention and how it is experience by users. Unger and Chandler provide the following definition of digital user experiences […]. Although the focus of Unger & Chandler is the design of digital experiences  – particularly interactive media such as web sites and software applications (apps), the authors also offer a broader and more general definition of user experience design.

Wright & McCarthy argue for human-centered informatics: for digital technologies and media “that enhance lived experience”.  Digital technologies should be designed from an agenda of humanism, emancipation and empowerment.

In this applied design area there is a tradition for studies which point out flaws in technology. so much so that the tradition of participatory design has become a well established design tradition which stresses empowerment, user involvement, and works ethnomethodologically for including user practices, perspectives and logics into design processes. In participatory design there has been a tradition for working with complex information systems in situations of work, but with ubiquitous computing the domain of these design principles is expanding.

Spatial Design

A shift towards sense and emotion may be witnessed in the architecture and interior design. Architecture and the built environment has taken on new emotional and sensorical/aesthethic qualities. Buildings and interiors are designed to be experienced by the senses and to generate emotional impact.

Architecture can conceptualized for its appeal to users, in the form of  ‘sense architecture’ (aesthetics), ‘feel architecture’ (emotion), ‘think architecture’ (cognition, reflection), and ‘act architecture’ (activity). This conceptualization is developed by architect Anna Klingman (2007: 50), and quoted in Marling, Jensen & Kiib 2008: 24).  It echoes the domains of sense/body/aesthetics, emotion, and cognition/meaning, and furthermore adds act, activity (which I take it also encompasses inactivity/rest.) [This addition of act, activity is inspiring. It links to practice theory; to emergent patterns of action. And it also would be interesting to think further about it with Serres philosophy of the five senses, where motion plays a central role.]

Museums are an example of a space which  primarily has operated within a logic of rationality, where the primary relation with visitors was in terms of cognition and meaning-making with the purpose of information and education, but which now  operates in sensory engagements, affects, emotions and – experiences.

In “Designing the Experience City”, edited by Marling (2008), Marling writes of hybrid buildings. For example a hybrid art museum, which both functions to exhibit art, make art and sell art. It works through what Marling calls a combination of architectural programmes. The architectural structure, the museum, takes on the form of a cultural project with a mixture of ingredients and identities. It is simultaneously an architectural icon, a motor for urban renewal and a space for performance. The museum is a hybrid of high culture, edutainment,  and bodily exertion. “Hybrid cultural projects are characterised by a conscious fusion between urban transformation and new knowledge centres, cultural institutions and experience environments.” writes Marling (2008:29), and with reference to Haajer & Reindorp (2001) further remarks that “it is the overall thesis that these hybrid cultural projects, stages and spaces are potential ‘public domains’, i.e. places for social and cultural exchange between lifestyle groups with different values and worldviews.”

 

Litterature

Product design: Desmet, Hekkert & Schifferstein 2011; McDonagh, Hekkert, Van Erp, Gyi 2004; Koskinen 2003

Design of digital technologies and media: Shedroff 2001 (focus on new media but also other examples); Unger & Chandler 2009; Wright & McCarthy 2010 “Experience-centered design – designers, users, and communities in dialogue, Morgan & Claypool Publishers (syntheisis lectures on human-centered informatics #9; Wilson 2010 (further reading: -> the Morgan Kaufmann Series on interactive technologies)

Spatial design: [retail spaces:] Riewoldt 2002; [city:] Kiib, Marling; [garden & landscape] Conan 2003

Workshop 22 august 2012 Østsjællands Museum

Tidspunkt: 12-15.30

Tidsangivelserne er cirka-tider. Programmet justeres om nødvendigt undervejs.

Program

12.00 Ankomst, velkomst, sandwich

12.30 Introduktion, formål med dagen, v. Tove Damholt

12.45 Introduktion, workshoppens forløb og metode, opgave og personafordeling, v. Connie Svabo

13.00 Arbejde med udvikling af persona, grupper á 2-3

14.00 Fremlæggelse, plenum

14.30 Diskussion/opsamling, v. Connie

15.15 Afslutning: Det videre arbejde & tak for i dag, v. Tove

Uddybet program

Introduktion, formål med dagen, v. Tove Damholt

Formålet med workshoppen er at have fælles drøftelser med relevante aktører fra museet, kommunen og turistforening om kravene til det fremtidige oplevelsesdesign. Hvad skal stedet kunne i fremtiden? Baggrunden for projektet, samt status i projektet.

Introduktion, workshoppens forløb og metode, opgave og personafordeling, v. Connie Svabo

Workshop-arbejde med  fremtidige ønsker, lyster og behov (via arbejde med personaer ):  Tanken er at workshopdeltagerne parvis arbejder med at udvikle en persona, som af TD og CS skønnes at være  en relevant og sandsynlig del af den fremtidige målgruppe. Workshoppen skal bidrage til formulering af en vision for stedet: workshopdeltagerne skal forsøge at svare på spørgsmålet: ‘hvad ville det være fedt, at her var for x, y, z gruppe af besøgende?’ tænkt ind i fremtiden.

Workshopdeltagerne bruger deres kendskab til museet og de  nuværende besøgende, deres baggrundsviden, almene orientering og deres forestillingsevne. En type af viden og erkendelse, som føder ind i dette er, hvorfor kommer folk hertil i dag? Hvem er de? Hvilke krav stiller de nuværende besøgende? Hvad er de glade for? Hvilken slags social situation befinder de sig i? Hvilke tidsmæssige, stedslige og andre rammer er der omkring deres besøg? Kendskab til den nuværende situation foregår med et blik rettet mod fremtiden: Hvem er fremtidens brugere? Hvilke ønsker, lyster kommer de til at have? Hvilke krav vil de forskellige slags besøgende stille til stedet – (relevante aspekter – i tilfældig rækkefølge – kan være: formidling, service, oplevelser, tilgængelighed, bygninger, udendørsarealer, transport, forplejning, overnatning, picnicområde, toiletforhold etc.).

Det er meningen at deltagerne deles op i mindre grupper (2-3 personer), og at hvert par/gruppe får ansvaret for ‘at være’ en enkelt person. De skal sætte sig i den persons sted, leve sig ind i, hvad der er vigtigt for denne (potentielle) besøgende.

Liste over persona kandidater

Arbejde med udvikling af persona, grupper á 2-3

Grupperne skal arbejde med at udvikle en kød- og blod beskrivelse af personaen: alder, navn, udseende (fx via udklip/collage fra magasiner e.l.), hobbies, interesser, familieforhold etc. Opgaven er at gøre personaen så levende, virkelig og troværdig som mulig.

Fremlæggelse, plenum

Personaen (og dennes besøg på Stevns Klint?)  skal  formidles til de øvrige workshopdeltagere. Det kan foregå som collage, slideshow, sketch e.l. Gerne med humor. Det kunne også være, at grupperne skal producere noget tekst/billede/slideshow e.l. som skal lægges ind på denne blog. Fordelen ved fremlæggelse er, at personaen krystalliseres klarere og gøres til fælles eje. Og det kan – hvis gruppen er med på det – være ret underholdende.

Diskussion/opsamling, v. Connie

To runder: Informeret af personaudvikling og fremlæggelse: diskussion i plenum, oplistning af punkter. Udføres i fællesskab/plenum på stort papir, tusch/proces v. Connie

Runde 1: Fra personaens perspektiv: hvad skal den  nye bygning kunne – som minimum? Og hvad ville det være fantastisk, hvis den kunne?

Runde 2: Fra personaens perspektiv: hvilken rolle spiller app’en Kalklandet / anden digital formidling i besøgsoplevelsen? Hvordan skal bygning og digital infrastruktur spille sammen? Og hvad med bygning, digital infrastruktur, landskab og seværdigheder?

Afslutning: v. Tove

Det videre arbejde & tak for i dag

? workshop 2

CS udarbejder forskningsbaseret koncept (tekstuel beskrivelse)

baseret på desk research og state of the art + observationer og workshop 1

denne tekst/konceptbeskrivelse kvalificeres af

– museumsforskere, didaktikere og formidlere

– arkitekter

– grafikere og udstillingsdesignere

– interaktionsforskere