Wif 2012 setting a design culture in organisations

Setting a Design CultureObstacles and opportunites

Remy Bourganel | WIF 2012 | © 2012

Wednesday, 30 May 12


Tell me about design & design thinking...



When I ask across an organisation what a designer do...

A product manager: ... the one giving shape to our strategy to our customers

A strategist: ... the one building scenarios and prototypes

A researcher: ... the one making tangible our studies

A designer: ... the creative one, making stuff for good user experiences



When I check ICSID’s definition...

Design is a creative activity whose aim is to establish the multi-faceted qualities of

objects, process, services, and their systems in whole life cycles. Therefore design is

the central factor of innovative humanisation of technologies and the crucial factor

of cultural and economic exchange.



Designers and design

Designer are quite good at talking about their expertise, but rarely talk about

experience qualities.



So tell me more about qualities...



Let’s start from the beginning

Gestalt: the whole is bigger then the sum of it’s parts. We synthesise through a form.

form.



Let’s put Gestalt in product definition practice

A audio-visual experience: which one is perceived as the highest quality screen?

low resolution screen, high resolution audiolow resolution audio, high resolution screen



Producing an experience form...

Design is a creative synthesis activity @ the junction of:

• top-down approach: a value-led experience system: an ethos, a culture, a zeitgeist,

an imaginary, encapsulated in a brand.

• bottom-up approach: a usage and people-led experience system: focusing on

people’s needs.



An experience form made of certain qualities

Design is a creative synthesis activity: aiming at balancing experiential qualities.

cognitive practical

sensorial emotional

experience

Nokia’s DNA experience model Donald Norman’s experience model

inspired from Leroy Gourhan

bebavioural reflective

viceral

experience

Stephane Vial’s experience model

experiential socioplastic

calimorphic

a design effect

Richard Shusterman’s model

form function

interaction relation

experience



An experience form made of certain qualities

The most practical model for interactions/services being:

variation 1/semiotics

interactions values

signs

experience

variation 2/design

practical symbolic

sensorial

experience

Donald Norman’s experience model

inspired from Leroy Gourhan

bebavioural reflective

viceral

experience



So it’s quite empirical...

Design is a creative synthesis activity processing as an abductive thinking: a logic

inference described as ‘guessing’ and ‘projecting’: dessin à dessein.

This approach values:

• rapid iterative trials & errors bottom-up process: prototyping to feel, think, learn

• a holistic vision within which the whole is greater than the sum of its parts: gestalt

Ideo medical tool rapid prototype out os stationary features vs gestalt, the CD player feature list vs the Muji CD player list



So we observe people as well...

Piaget: To solve experience B, a child builds on previous experience A... from this

comes the concept of affordances: actions possibilities that are readily perceivable

by an actor from remembered experiences...



To define affordances...

• There is no such absolute concept as simplicity without an understanding of what

a user knows from a personal and a cultural point of view. what we think as

natural is to a large extend learnt, then projected on affordances/feedbacks.



Through metaphors...

For example, the desktop metaphor was purposefully referring to real world

objects as metaphors to help one grasp the abstraction of a digital ‘space’.

original desktop metaphor



We know how people learn and adapt...03/04/2011 12:41BBC NEWS | UK | Magazine | Giving up my iPod for a Walkman

Page 1 of 6http://news.bbc.co.uk/2/hi/8117619.stm

LISTEN UP TEENAGERS... THECLASSIC WALKMAN EXPLAINED

1: Clunky buttons

2: Switch to metal (that's a type ofcassette, not heavy rock music)

3: Battery light - usually foundflickering in its death throes

4: Double headphone jack (not tobe found on an iPod)

5: Door ejects - watch out forflying tapes and eye injuries

Walkman v iPod: Scott's verdict

When the Sony Walkman was launched, 30 years agothis week, it started a revolution in portable music. Buthow does it compare with its digital successors? TheMagazine invited 13-year-old Scott Campbell to swaphis iPod for a Walkman for a week.

My dad had told me it was the iPod of its day.

He had told me it was big, but I hadn't realised he meant THAT big.It was the size of a small book.

When I saw it for the first time, its colour also struck me. Nowadaysgadgets come in a rainbow of colours but this was only one shade -a bland grey.

So it's not exactly the mostaesthetically pleasing choice ofmusic player. If I was browsing ina shop maybe I would havechosen something else.

From a practical point of view, theWalkman is rather cumbersome,and it is certainly not pocket-sized, unless you have largepockets. It comes with a handybelt clip screwed on to the back,yet the weight of the unit isenough to haul down a low-slungpair of combats.

When I wore it walking down thestreet or going into shops, I gotstrange looks, a mixture ofsurprise and curiosity, that mademe a little embarrassed.

As I boarded the school bus,where I live in Aberdeenshire, Iwas greeted with laughter. Oneboy said: "No-one uses them anymore." Another said: "Groovy."Yet another one quipped: "Thatwould be hard to lose."

My friends couldn't imagine theirparents using this monstrous box, but there was interest in what thething was and how it worked.

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Page last updated at 10:10 GMT, Monday, 29 June 2009 11:10 UK

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Giving up my iPod for a Walkman

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03/04/2011 12:41BBC NEWS | UK | Magazine | Giving up my iPod for a Walkman


I managed to create animpromptu shuffle feature simplyby holding down 'rewind' andreleasing it randomly

The Walkman was a nostalgic sight forScott's parents

In some classes in school they let me listen to music and oneteacher recognised it and got nostalgic.

It took me three days to figure out that there was another side tothe tape. That was not the only naive mistake that I made; Imistook the metal/normal switch on the Walkman for a genre-specific equaliser, but later I discovered that it was in fact used toswitch between two different types of cassette.

Another notable feature that theiPod has and the Walkman doesn'tis "shuffle", where the playerselects random tracks to play. Itsa function that, on the face of it,the Walkman lacks. But I managed to create an impromptu shufflefeature simply by holding down "rewind" and releasing it randomly -effective, if a little laboured.

I told my dad about my clever idea. His words of warning broughthome the difference between the portable music players of today,which don't have moving parts, and the mechanical playback of old.In his words, "Walkmans eat tapes". So my clumsy clicking couldhave ended up ruining my favourite tape, leaving me music-less forthe rest of the day.

Digital relief

Throughout my week using the Walkman, I came to realise that Ihave very little knowledge of technology from the past. I made anumber of naive mistakes, but I also learned a lot about thegrandfather of the MP3 Player.

You can almost imagine the excitement about the Walkman comingout 30 years ago, as it was the newest piece of technology at thetime.

Perhaps that kind of anticipationand excitement has beensomewhat lost in the flood of newproducts which now hit ourshelves on a regular basis.

Personally, I'm relieved I live inthe digital age, with biggerchoice, more functions andsmaller devices. I'm relieved thatthe majority of technologicaladvancement happened before Iwas born, as I can't imaginehaving to use such basicequipment every day.

Having said all that, portablemusic is better than no music.

Now, for technically curious readers, I've directly compared theportable cassette player with its latter-day successor. Here are themain cons, and even a pro, I found with this piece of antiquetechnology.

SOUND

This is the function that matters most. To make the music play, youpush the large play button. It engages with a satisfying clunk, unlikethe finger tip tap for the iPod.

When playing, it is clearly evident that the music sounds significantlydifferent than when played on an MP3 player, mainly because of thehissy backtrack and odd warbly noises on the Walkman.

The warbling is probably because of the horrifically short battery life;it is nearly completely dead within three hours of firing it up. Notlong after the music warbled into life, it abruptly ended.

CONVENIENCE

With the plethora of MP3 players available on the market nowadays,

03/04/2011 12:41BBC NEWS | UK | Magazine | Giving up my iPod for a Walkman


Music on the move

each boasting bigger and better features than its predecessor, it ishard to imagine the prospect of purchasing and using a bulkycassette player instead of a digital device.

Furthermore, there were anumber of buttons protrudingfrom the top and sides of thisdevice to provide functions suchas "rewinding" and "fast-forwarding" (remember those?),which added even more bulk.

As well as this, the need forchanging tapes is bothersome initself. The tapes which I hadcould only hold around 12 trackseach, a fraction of the capacity of the smallest iPod.

Did my dad, Alan, really ever think this was a credible piece oftechnology?

"I remembered it fondly as a way to enjoy what music I liked, whereI liked," he said. "But when I see it now, I wonder how I carried it!"

WALKMAN 1, MP3 PLAYER 0

But it's not all a one-way street when you line up a Walkman againstan iPod. The Walkman actually has two headphone sockets, labelledA and B, meaning the little music that I have, I can share withfriends. To plug two pairs of headphones in to an iPod, you have tobuy a special adapter.

Another useful feature is the power socket on the side, so that youcan plug the Walkman into the wall when you're not on the move.But given the dreadful battery life, I guess this was an outrightnecessity rather than an extra function.

Scott Campbell co-edits his own news website, Net News Daily.

Return to link

A selection of your comments appears below.

Oh, I remember being so jealous of my classmates who hadWalkmans. When they first came out, they were over $200. Such joywhen the cheap electronics brands started making them! Every longtrip, I carried a big bag full of tapes and extra batteries. When theiPod came out, I was in awe at the idea of being able to carry myentire music collection in one small device that would fit in mypocket. I'd never trade my iPod for a Walkman, of course, but thisbrought back some great memories, and I really enjoyed the article.Maybe next you should try out a Commodore 64 for a week? Michelle, Portland, Oregon, USA

The one he is using now should be the earliest stage of Walkmanhistory. I still remember my last walkman 8 years ago was actuallypowered by a single AAA battery only and can last for few hours. Iagree perfectly to what he said about '.... with a satisfying clunk " omen... this was absolutely a SATISFACTION !! Chester Kev, Malaysia

You mention the lack of capacity and the limited number of tracksyou could carry around, I seem to quite merrily recall ALSO carryingaround a slick over the shoulder carry case for up to 20 cassettesshould my friends and I be heading out. And all the song lyrics werehandily printed out on the inside of the cassette cover, how ingeniuswas that!Andrew McCreath, Wateringbury, Kent

Memories! I still have exactly the same model that Scott used for hisreview - brought back floods of memories from the 80s - especiallyusing the double headphone socket so my girlfriend (now wife) and Icould share Phil Collins (!?). Between myself and my 3 kids I've nowbought every model of iPod/Phone, but I doubt I'll have thosememories again.Jim Mantle, Melbourne, Australia

BBC experiment on simplicity: asking an iPod’s generation teenager to play a walkman... http://news.bbc.co.uk/2/hi/8117619.stm


http://news.bbc.co.uk/2/hi/8117619.stm

http://news.bbc.co.uk/2/hi/8117619.stm


Therefore we do human-centred design...

• design builds on empathy: put your feet in user’s shoes, learn what they know.

• design focuses on people, not users, neither customers: people do connect or

adapt things to fit their life in ways you don’t think of, they hack.

• field observation, and role play in context are fundamental to help one discover

practices, routines, patterns, by nature not verbalised, but grounding innovation.

• iterations, prototyping and testing are key to avoid conceptual speculations.

• design is relevant in context: time, cultural, religious, political, economical, social.

• it is an iterative & collaborative approach.

• it is a holistic vision: the hole is bigger than the sum of its parts: gestalt



We can apply this knowledge in the design of a service...

Atone: Actors, Touch points, Offering, Need, Experience



Or in research...

Design practice/design studies/design exploration

Fallman’s interaction design research model



So, we manage paradoxes...

• There is no such a thing as disruption in usage: disruption is a marketing concept.

• There is a tension for the designer between addressing a marketing need to

value the perception of a disruption / people’s need to capitalise on experience.

• We form a point of view



And we create value as a meaning-changing agent...

Roberto Vergnanti/Donald Norman

meaning

incremental change radical change

tech

nolo

gy

incr

emen

tal c

hang

era

dica

l cha

nge

technology

push

technology

epiphany

design

market pull

(user centred)

design

time

prod

uct

Human

Centred

Design

technology change

or meaning change



Tell me more about meaning...



About meaning...

It can reveal itself through a form synthesizing some experiential qualities.

practical symbolic

sensorial

experience



All these qualities in tension...

• top-down approach: a value-led experience system: an ethos, a culture, a zeitgeist,

an imaginary, encapsulated in a brand.

• bottom-up approach: a usage and people-led experience system: focusing on

people’s needs.



Tell me more about imaginary...



Zeitgeist

We live in post-modernity with it’s own myths opposing modernity.

• Here and now rather than in the future.

• Dependant and sociable rather than autonomous, independant.

• ‘Utopies intersticielles’ rather than from the future.

• Continuum rather than disruption.



Impact on our practices

Research and strategy are becoming more complex to set and plan.

Design emerges as strategic for an ability to frame and translate:

• An imaginaire, beyond products, into actionable drivers, through experience

frameworks of generative tools (metaphors, principles, etc), in an experience

economy.

• A ‘raison sensible’ (M. Maffesoli)

• A strategy into an experience roadmap, and tangible experience concepts.

• A project, and manage change: design management=management by design.



How to build an experience strategy?



1. Create your experience culture

• Define your core experience qualities set (not products), your experience DNA

practical symbolic

sensorial

experience

Experience framework for experience DNA



2. Grow your practice from user-centred to design-driven

R. Verganti: interpreters in a collective research laboratory User-centred vs design-driven (user-centred) (design-driven)

• Learn to observe (observe extreme usages, people not users, at the periphery)

• Develop a point of view

• Connect influencers, let your experience qualities be translated

• Don’t confuse design-driven with designer-driven



3. Prototype to probe

• Design probes to explore meaning changes opportunities

• Map the controversies

Orange Vallee On

Espace partagé, Trace.Trace est une application de communication non verbale. C’est un espace partagé.C’est un ‘Chat’ visuel qui permet de partager avec l’être cher un écran de dessin. Ainsi en 3D-temps réel, quand A dessine dans le sable, B voit apparaître le dessin qu’il peut complétersimultanément. Si A et B s’arrêtent de dessiner, l’image s’efface dans le sable. Si A ou B secoue leur terminal, alors le dessin s’efface également. La vitesse de dessin affecte l’épaisseur du trait.Ainsi, les 2 personnes ont l’illusion d’une synchronisation spacio-temporelle.

Shared space, Trace.Trace is an application for non-verbal communication. It is a shared space.It is a visual chat allowing to share with the loved one a sandbox to draw.In real-time 3D, when A draws in the sand, B sees the drawing appearing and cancomplete it simultaneously. If A & B stop drawing, the image fades away in the sand.This way, they can draw for ever, as a conversation.The drawing speed affects the string’s thickness.With this app, sharing a screen enhances the perception of a shared time and space,it enhances presence.

Espace partagé, Nudge.Nudge est une fonction qui permet d’attirer l’attention de la personne chère,pour lui dire je pense à toi. Nudge permet également d’initier un appel, poliment.En touchant du doigt l’écran l’émetteur fait onduler l’eau sur l’écran du récepteur.Ainsi, les 2 personnes ont l’illusion d’une synchronisation spacio-temporelle.

Shared space, Nudge.Nudge is a function allowing to call for attention the loved one, to say I’m thinking of you. It also allows to introduce a call, politely. By touching the shared spaceon the screen the sender creates a wave that plays on the recipient’s side as well.Nudge enhances the perception of presence through the illusion of a shared time and space.



3. Prototype to probe

• Design probes to explore meaning changes opportunities

EnsadLab IDM, shared space, shared presence



4. Create generative tools, and experience frameworks

• Experience frameworks

Nokia, animism framework



4. Create generative tools, and experience mapping

• Experience frameworks



Questions?

@epourkoapa


Wif 2012 setting a design culture in organisations

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