Category: Design

On “Orchestrating Experiences” and Service Design Books

I am in the midst of reading and working with Chris Risdon and Patrick Quattlebaum’s Orchestrating Experiences: Collaborative Design for Complexity.

This is a book for practitioners who want to understand key service design approaches and methods in greater depth. It offers workshop templates and copious visual examples of artifacts from Risdon and Quattlebaum’s past projects.

What is lacking for me so far is any mention of design for services theory or evidence-based insights. Andrea Resmini and David Benyon are doing remarkable research on mapping and blending cross-channel ecosystems, and scholars like Christopher Le Dantec are writing remarkable critical books on designing services for local communities, but Orchestrating Experiences, like Service Design for Business, is weakened, at least from my perspective, by  the lack of engagement with insights from business and design academics and the overemphasis of an inside-out organizaitonal frame. My hopes are a bit higher for This is Service Design Doing because Marc Stickdorn and colleagues’ weighty tomb included a microscopic footnote to service-dominant logic within the first couple of pages of the book. But I will wait and see once I get to it.

Chapter 3  of  Orchestrating Experiences, “Exploring Ecosystems” is a highlight because Risdon and Quattlebaum offer valuable details that I don’t recall reading in previous books like Polaine, Reason, and Lovlie’s Service Design. Specifically, Risdon and Quattlebaum emphasize the value of defining the different types of relationships between actors, artifacts, places in an ecosystem. And they encourage readers to model the ecosystem from multiple vantage points.

Something tells me I am going to have to wait for Andrea Resmini and Luca Rosati to write a follow-up to their remarkable, rich and eclectic Pervasive Information Architecture or Lucy Kimbell and Daniela Sangiorgi to collaborate on a hybrid combining the theoretical robustness of Design for Services and Designing for Services with the practical brilliance of Kimbell’s Service Innovation Handbook to break the monotony of practical service design books.

A Belated Who’s Who of EPIC 2017 – Perspectives

In October, I had the pleasure of attending EPIC 2017 – Perspectives at HEC Montreal. I’ve been a member of EPIC for the last two years and am volunteering on their Learning Advisory. I wasn’t quite sure what to expect walking into a conference of anthropologists, but what I found was a stimulating intellectual and social gathering that ranged from the technical to the Anthropocene.

DANA SHERWOOD: A brilliant artist who is exploring the  the Anthropocene through creating confectionary for animal collaborators, who, in turn, are changing how she draws and paints. Field work + Studio work + Places + Inhabitants.

DAVID JOHNSON: One of the US’s leading historians of gay culture, Johnson argued persuasively that the consumer market for muscle magazines and book clubs targeted at gay men created the conditions for the Civil Rights movement to emerge in the late 1960s.

ETHNOGRAPHIC FILMMAKERS: Three films stood out: 1. Nicholas Agafonoff’s affecting portrait of a man recuperating from a stroke who refused to tap into his long-term disability benefits. Agafonoff made a passionate argument for ethnomethodology. 2. Bad Babysitters’ documentary about twenty-somethings and their mobile phones. 3. Yuebai Liu’s amazing documentary about Italian-Chinese men.

JONATHAN BEAN and HANNA LARSEN: My favourite paper of the conference was a marketing case study of Marcus Samuelson’s Red Rooster brand using remote user research technology and  principles of material engagement theory and brand gestalt to study how consumers, the chef and the restaurant enact meaning through objects.

SAM LADNER: I’ve followed Ladner’s work on Twitter for several years, and I credit Ladner and her book Practical Ethnography  for introducing me to the amazing community of applied research  anthropologists who participate in EPIC. Ladner’s workship was about design research, and she emphasized thehe foundations of applied research design: 1.  Thick Description, 2. Action Objects, 3. Precise Measures. Designers and researchers alike should adopt design management principles: Creativity,  Complexity, Compromise, Choice. Systematic reduction and systhesis of data.

EPIC 2018 will be in Honolulu, HI, and the theme this year is EVIDENCE. The conference sold out in under 24 hours, so I may have to settle for the live stream this year. I’m not surprised that the conference sold out. EPIC’s ecclectic, intellectual mix delights.

 

Designing for the Common Good

DCGDesigning for the Common Good is a must-read for anyone involved with innovation in the public sector or in public spaces. The book is a superbly designed, practical follow-up to Kees Dorst’s Frame Innovation.

The book is build around concise descriptions of projects  that the Designing Out Crime Research Centre at University Technology Sydney has undertaken over the last decade and brief reflections on design principles and practices that underlie the projects.

If Frame Innovation presents Dorst’s current thinking on public sector and public space design practice for an academic audience, Designing for the Common Good, which is co-written by Dorst and many professional and student collaborators, addresses for a much broader interdisciplinary audience of designers, practitioners, and change makers.

If This is Service Design Thinking is the book that launched the practical service design movement (as evidenced in a metanalysis as the most cited text at the ServDes conference , then I see Designing for the Common Good as a positive sign that  the field of design for service and social innovation is evolving.  It compliments Lucy Kimbell’s Service Innovation Handbook, which offers a bricolage of theory, methods and cases. It bests Ben Reason, Lavrans Løvlie and Melvin Brand Flu’s Service Design for Business because it does more than share abstract advice and approaches for business professionals with scant examples. Dorst and his co-writers foreground authentic, varied case studies and back them up with evidence-based reflections and methods. Like Kimbell, Dorst and his collaborators offer newcomers to design for public innovation rich, authentic cases and methods to consider, and unlike any design for the public good text I have read yet, Dorst et. al are able to address the interdisciplinary and transdisciplinary nature  of  public design projects whereas  most of the books on design for public project still are constrained by a narrow focus on corporate and business design.

What I appreciate most about the work this work is how it offer practical pragmatic design methods that are informed by solid and intentional design research while also being written to inform practitioners. The authenticity and richness of the cases, reflections and methods distinguish this book from those that are overly theoretical and academic (for example, Making Futures), narrowly focussed on business and management lens (e.g. Service Design for Business). It complements the emerging bodies of work that address design for public sector innovation (e.g Leading Public Service Innovation) and work on design for services at the local or regional level (e.g. Design for Services or Design, where Everybody Designs). An interesting question for the future might be how might frame innovation inform or complement transition design towards particular environmental or social futures?

What I find most compelling about Design for the Common Good is that the authors explicitly address the limitations of their approach and  call for the need to augment design with substantive organizational development. Successful projects are bounded by time, space and geography. What might work at Kings Cross in Sydney will likely not work on the Granville Entertainment strip in Vancouver. Having read Frame Innovation and Design for the Common Good, I am itching to design and facilitate a frame innovation project.

 

 

Designing with my iPhone

For fun, I am participating in Design1o1 Redux, a MOOC that introduces basics of contemporary design. I’ve never been that successful as a student in MOOCs before because of the implicit time commitment they demand and, to be blunt, the poor quality of instructional design.

What I like about Design 1o1 is that the MOOC is playful, creative, and almost entirely based on the open Internet and through social media, mostly on Instagram but also on Twitter.  One of the challenges we have in British Columbia is that the Freedom of Information and Privacy laws are particularly strict about sharing personal information across borders, so I it would be challenging for a BC university to pursue such an open approach without wrestling with informed consent and forms.

What I am learning in Design1o1 Redux so far is how to use my iPhone as an instrument for creative expression and design research. I can see how this will be useful not only as I continue to take countless pictures of Megan and Claire but also as I dive more deeply into design research. One of the assignments I had last week prompted me to start thinking how I might use my phone and a few APPS to document service walkthrough and user journeys easily.

I will have more to say about my learning experience as time goes by. You can follow my progress on Instagram.

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What is your take on MOOCs? What have you learned by participating in them? How have you learned to persist?

Unraveling the threads of experience design

A kimchi refrigerator (Photo credit: cher https://flic.kr/p/7yh7dN)
A kimchi refrigerator (Photo credit: cher https://flic.kr/p/7yh7dN)

Have you ever considered how and why a kimchi refrigerator offers users more autonomy than conventional refrigerators might, what constitutes an ideal trip to and through an airport, or why a sophisticated golf simulator might offer a peak form of entertainment? Jin Woo Kim’s Design for Experience: Where technology meets design and strategy, which I discovered in Fjord’s slide deck on design trends for 2016, seeks to dymytisfy the thinking and requirements behind designing powerful product and service experiences.

Kim’s book is useful on multiple levels. I have been so immersed in the North American and European literature on design for service and experience design that it was refreshing to read a leading Korean HCI scholar on experience design. I appreciate how Kim integrated ideas from Confucius, John Dewey and Vitruvius  to underlie his exploration of experience design. Lucy Kimbell extolls Vitruvius in her handbook on service innovation, and Dewey is oft-cited in  Benz’s edited collection on Experience Design, but  I was delighted to read more about how Confucius’s ideas on harmony inform experience design.  I also enjoyed how Kim blends detailed technical explanations of design features with supporting narration of his experiences in Seoul, and detailed analyzed a range of Korean and Western products and services as UX examples.

At its core, the book presents a detailed framework of threads, levers, UX factors, and design features involved in designing product and service experiences. Kim breaks down meaningful, valuable and harmonious experience into three interrelated dimensions with associated key conceptual controls:

  • sensorial experience + sense of presence
  • judgemental experience + locus of causality
  • compositional experience + relational cohesiveness

Kim’s framework is similar to the product experience framework introduced by Desmet and Hekkert and adapted by Silvia Grimaldi, which I discussed in my review of Experience Design: Concepts and Case Studies. What distinguishes Kim’s monograph from either this previous work or a text like Pine and Gilmore’s The Experience Economy is Kim’s detailed analysis and explanation of underlying UX factors and design features. The detailed, careful analysis of case studies and exposition associated UX factors and design features will prove useful to design students and practitioners. If you haven’t thought what vividness or presence or autonomy and automation might mean in relation to an experience or if you having considered which type of information architecture is best suited to the product or service experience you hope to offer, this text explicates these ideas in detail and offers concrete useful examples from both products and services.

What I found most challenging about the book was its focus only on designing corporate or commercial products and services although the principles and concepts will be equally useful for those designing for social innovations or  community experiences. I was hoping that Kim might address to the scope of design challenges that Kees Dorst addresses in Frame Innovation (e.g. the experience in a Sydney entertainment district) or the contributors to Benz’s collection do (festivals, public spaces), but Kim situates his framework squarely in traditional commercial product and service design. Nor does Kim address aspects of power, social justice, or sustainability..

Kim ends Design for Experience with a process description to apply the three dimension framework to the example of designing a companion product or service. What surprised me most about this section of the book was that Kim also emphasizes the organizational requirements needed to offer a harmonious, successful project. What I most appreciated about Kim’s text was his case in favour of interdisciplinary design practices informed by research and theory from the humanities and social sciences. Kim advocates for partnership between industry and academia. He calls for not only social science informed design research but also careful analysis of humanities research on relevant concepts like play or companionship depending on the particular design challenge.

Design for Experience makes a valuable contribution to the experience design literature.  It offers a solid conceptual framework for user experience designers, information architects, and practitioners to work with as they collaborate.

 

Top 5 Books of 2015

As 2016 begins, here are my favourite books of last year.

       Follow David’s board 2015 Top Books of th Year on Pinterest.

Feel free to share any you think I should read.

On “Reassembling the Social: An Introduction to Actor-Network Theory”

When I was floundering about in graduate school, I read “Aramis or the love of technology” cover to cover. At the time, I was obsessed by the then state-of-the-art ASRS automated materials storage system that had just been installed at the heart of the Irving K. Barber Learning Centre at UBC. Now, of course you can find automated, miniature sorting and retrieval systems at public libraries, and Amazon’s warehousing and delivery systems are Things of public legend:

My first steps into ANT were to ponder mediation, affordances, and the classic Engstrom activity theory model with Mary Bryson.

That led me to think  about the assemblage of scholars, librarians, research knowledge artefacts, research libraries, giant climate-controlled storage environments, retrieval robots, computer networks, and the software that connects them. I even delved into the military-industrial history of the development of automated storage by the RAND corporation in the glorious, Modern 50s.

Which brings me to “Reassembling the Social: An Introduction to Actor-Network Theory“. The book presents Latour’s explanation of the basic premises and implications of Actor-Network Theory. Its object is social science in general, and sociology in particular. Latour presents a methodology of activity-network theory.  It is a history of ANT and a history of the Science Wars from the 1990s. Strangely, reading Latour brought be back to sitting at my parents’ kitchen table in 1996 as an English undergraduate, listening to an “As it Happens” interview about the Sokal Affair and those long-ago attacks on postmodernism.

I am struck by the sorts questions that Latour offers as a heuristic for courageous analysts to follow:

  1. What controversies? What actants? Where do they lead?
  2. “Where are the structural effects actually being produced” (p.174)
  3. “in which movie theatre, in which exhibit gallery is […The Big Picture…] shown? Through which optics is it projected? To which audience is it addressed? (p.187)
  4. “In which room? In which panorama? Through which medium? With which stage manager? How much?” (p.189)
  5. “How is the local itself being generated?” (p.192)
  6. “Where are the other vehicles that transport individuality, subjectivity, personhood, and interiority?” (p.206)
  7. What form “allows something else to be transported from on site to another?” (p.222)
  8. What happens upstream and downstream of the situation where subject and object arise? (p.237)

I doubt many people outside of academia will want to read this book but it offers a masterclass in how to question the most basic assumptions that most people take for granted, particularly society, culture, nature, science and politics.

Students of higher education will enjoy how Latour uses the example of a university professor lecturing in a lecture hall to explore how cognitive abilities assemble and are shaped by the scripts, forms, capabilities, and materials.

Despondent graduate students wrestling with theses can take solace from Latour’s perspective on academic writing. In a nutshell, write the 40,000 words and move on to the next challenge. One text does not a career make. Academics can also learn a lot from Latour about writing. Even though his text is complex, Latour is also entertaining, self-aware and humorous.

Thoughtful designers may want to consider Latour’s analysis of the relation between local, global and context in connection with the recent practical scholarship on context for post-thing design. For example, part of me wants to reconsider Andrew Hinton’s “Understanding Context“, Resmini and Rosati’s “Pervasive Information Architecture” and Thomas Wendt’s “Design for Dasein” with Latour in mind. If the aim of service and strategic design is to co-create pervasive information architectures and meaningful assemblages of digital and embodied experiences, then should one deploy, stabilize, and compose the social in the context of design before designing solutions or platforms. Furthermore, reading Latour made me wonder what ANT might offer design for social innovation. social innovation should embrace concepts like cosmopolitan-localism and rely on “sociologists of the social”, as Ezio Manzini suggests.

If the aim of service and strategic design is to co-create pervasive information architectures and meaningful assemblages of digital and embodied experiences, then should one deploy, stabilize, and compose the social present the context of design before designing solutions or platforms?

On “Design, When Everybody Designs” and “Making Futures”

This fall, I have read Ezio Manzini’s “Design, When Everybody Designs” (2015) and Ehn, Nillsson, and Topgaard’s collection.  “Making Futures: Marginal Notes on Innovation, Design, and Democracy” (2014).

Manzini is a leading design researcher and theorist, particularly in the field of design for social innovation. Manzini applies many of the sociological theories about risk and the life course  that I had read with Lesley Andres at UBC  in 2003. Manzini’s answer to the risk, uncertainty individuals and communities face is designed collaborative organizations and encounters.

This most useful section of the book, I think is the chapter dedicated to “Collaborative Encounters”, which draws on Martin Buber and theories of participation and social ties to demonstrate how to map services. The last section of this book work through the practical steps of representing collaborative designs and creating the conditions for social innovations to flourish.

Another theme of the book is the relationship between professional design and co-design with publics. Unlike Dan Hill and Thomas Wendt and other design theorists, Manzini seems less critical of design thinking and more conciliatory in his view on the relationship between expert design and diffuse design.

My favourite concept in Mazini’s book is “cosmopolitan localism“, which he borrows sustainable development. Since I read “Design, When Everybody Designs”, I’ve been working through Bruno Latour’s “Introduction to Actor-Network Theory”, which will merit a future post of its own. But for now I note that Mazini is relying on many studies that would fall into the category of “the sociology of the social”, and I wonder what the notion of design for social innovation might look like through the lens of Actor-Network Theory, which resists the global-local binary and questions the existence of macro social theories and models.

Watch Manzini introduce “Design, When Everybody Designs earlier this year at the University of Malmo:

Read Cameron Tonkinwise’s review of “Design, When Everybody Designs”

 

“Making Futures” is a wide-ranging poly vocal collection of case studies of participatory design work undertaken by design researchers and a multiplicity of partner community groups, governments, and private sector players in Malmö, Sweden.

Two concepts that sticks with me from “Making Futures”. infrastructuring suggests designers (or other change agents) need to foster long-term working relationships with partner community organizations rather than adopting a project orientation. The other concept is  friendly hacking, which seems to also be circulating in the design for policy literature.

“Making Furtures” is much more academic than “Design, When Everybody Designs” and my favourite chapters were  Erling Björgvinsson’s study of the complexity of collaborations for grassroots journalism and Per Linde and Karen Book’s case study of  place-making by youth groups

A key consideration in both books is the issue of scale and the question of how to create the conditions for collaborative innovations to flourish in neighbourhoods, cities, regions and across countries.. “Making Futures” tackles the political and power dimensions of collaboration between academics, government, community organizations and private sector organizations head on. Both books also consider how assemblages of people working together can collaborate to design and create scapes, places and interventions in the places which people inhabit.

Both books offer designers interested in collaborating with clients,and partners to bring social and community-based social innovations to life plenty of ideas for addressing complex challenges and enabling communities to flourish. For those who are tired of reading  service design method cookbooks, either book will infuse your practice with a hearty dose of theory and critical perspective.

If you have been reading either book, let me know what you find most useful or interesting in them.

 

Reading up on service design research

For fun on holiday, I started reading recently-published service design dissertations that are openly available on the internet. I owe Johan Blomkvist a debt of gratitude for the picture he published on Twitter that got me started:

Here is the list the studies I am exploring, including  some suggestions from Fabian Segelström , in alphabetical order:

Blomkvist, J. (2014). Representing Future Situations of Service: Prototyping in Service Design Linköping Studies in Arts and Science, Dissertation No.618. Linköping, Sweden: Linköping University Electronic Press.

Lee, J.J. (2012). Against Method: The portability of method in Human-Centered Design. PhD Dissertation. Helsinki, Finland: Aalto University.

Secomandi, F. (2012). Interface Matters: Postphenomenological perspectives on service design. PhD thesis. Delft, Netherlands. Delft University of Technology.

Segelström, F. (2013). Stakeholder Engagement for Service Design: How service designers identify and communicate insights. PhD thesis. Linköping, Sweden: Linköping University Electronic Press.

Vaajakallio, K. (2012). Design Games as a tool, a mindset, and a structure. PhD Dissertation. Helsinki, Finland: Aalto University.

Wetter-Edman, K. (2014). Design for Service: A framework for articulating designers’ contribution as interpreter of users’ experience. PhD thesis. Gothenburg, Sweden: ArtMonitor University of Gothenburg.

So far I have read Blomkvist, whose kappa on methodology was extremely helpful, and Segelström, whose studies on design ethnography  and participant observation of service design practice  helped me better distinguish anthropological and design ethnography  and offer a very useful process description for how service design consultancies work in practice. I will share more thoughts in the coming weeks..

Thanks to Jeff Sussna for pushing me to compile this list. If you know of any other cutting edge researchers in the field, please let me know.