The light on the face - Alberto Barreiro

UX Innovation The Light on the Face

EXPERIENCE

The Light on the FaceWhy do they call it love when they mean UX

Alberto Barreiro April 2013

Conceptual economy is a term describing the contribution of creativity, innovation, and design skills to economic competitiveness, especially in the global context. Source: Wikipedia / Daniel Pink

THE CONTEXT

TECHNOLOGY > FEATURES > EXPERIENCIES > MEANINGSMARKET MATURITY

http://en.wikipedia.org/wiki/Creativity

http://en.wikipedia.org/wiki/Creativity

http://en.wikipedia.org/wiki/Innovation

http://en.wikipedia.org/wiki/Innovation

http://en.wikipedia.org/wiki/Design

http://en.wikipedia.org/wiki/Design

http://en.wikipedia.org/wiki/Competitiveness

http://en.wikipedia.org/wiki/Competitiveness

http://en.wikipedia.org/wiki/Globalization

http://en.wikipedia.org/wiki/Globalization


1. THE SPACE OF DESIGN

THE PRODUCTIS THE EXPERIENCE


1. THE SPACE OF DESIGNTHE PRODUCTIS THE EXPERIENCE:

DURATIONINTENSITYBREADTHINTERACTIONTRIGGERSSIGNIFICANCE


2. THE EYE OF THE BEHOLDER

EXPERIENCESARE OPEN AND SUBJECTIVE(in summary: HUMAN)


3. THE MEANING OF LOVE

EXPERIENCES AREMEANINGFUL


3. THE MEANING OF LOVE

FOCUS ON PREFERABLE OUTCOMES (Rob Girling) SELF RELIANCE LIFE LONG LEARNING TIMELESSNESS

HAPPINESS CITIZEN ENGAGEMENT LIBERTY

CROSS CULTURAL EMPATHY

PROMOTING MASTERY

SOCIAL INCLUSION DIGNITY

AUTONOMY UNIVERSAL ACCESS

HEALTH AND WELL BEING


4. MISSIONS AND VISIONS

Visions emerge from the design process to support a mission


MISSION BEFORE VISION

4. MISSIONS AND VISIONS


Design is about setting the conditions for things to happen: products, business, innovations, experiences

The Miller-Urey Experiment

5. INNOVATION JUST HAPPENS


DESIGN STAGESto re-act the experience, not for users but for actors



DESIGN STAGESto re-act the experience, not for users but for actors



“CREATIVITY IS JUST CONNECTING THINGS”Steve Jobs

6. THE CREATIVE ACT


DESIGN REQUIRES EXPOSURE AND CONFLICT

7. AWAY FROM THE LAB


DESIGN REQUIRES EXPOSURE AND CONFLICT

7. AWAY FROM THE LAB


1. THE PRODUCT IS THE EXPERIENCE

2. EXPERIENCES ARE SUBJECTIVE AND OPEN

3. DESIGN FOR MEANING

4. MISSIONS BEFORE VISIONS

5. DESIGN STAGES

6. CREATIVITY IS JUST CONNECTING THINGS

7. DESIGN REQUIRES CONFLICT


1. THE PRODUCT IS THE EXPERIENCE

2. EXPERIENCES ARE SUBJECTIVE AND OPEN

3. DESIGN FOR MEANING

4. MISSIONS BEFORE VISIONS

5. DESIGN STAGES

6. CREATIVITY IS JUST CONNECTING THINGS

7. DESIGN REQUIRES CONFLICT


Meaning

Art

Lov

Idea

Desig

Desir

Function

Scienc

Sex

0. THE REALM OF DESIGN


DESIGNAS ATROJANHORSE


CASE STUDY 1: WEBJAM DNADesigning for Social Media: the designer as a gardener

“Let it be”Lennon & Maccartney


CASE STUDY 1: WEBJAM DNADefinitions, Narratives and Activations

LABS

IDeA

A

CTIVATE

FEASIBILITY

DESIRABILITY

VIABILITY

FACTORY

BUSINESS

ACT

MEASURE

CREATE

LISTEN

Webjam as a co-creation tool

Desing Thinking model applied to Social Media design & development

Note: Webjam’s updated platform can now be found on: www.hatchplatform.com

http://www.hatchplatform.com

http://www.hatchplatform.com


CASE STUDY 1: WEBJAM DNACo creation - co design - co development

FACTORY

L

ABS

I

DeA

A

CTI

VA

TE

ENGAGED COMMUNITY

BUSINESS

CONCEPTPACKAGE

PROPOSALCONTRACT

DEFINED SOLUTION

LAUNCH

DEFINE ACTIVATE

NARRATE

BUNCH OFPEOPLE


CASE STUDY 2: ITV XDesigning for TV: the designer as a surfer

Order from Chaos


EXPERIENCE

It's more fun to be a pirate than to join the navySteve Jobs


Experience


CASE STUDY 2: ITV XThe Product Development Process

Intera

ction p

attern

s

Concept valid

ation

Moodboard

s

Brandin

g briefs

Creative p

roposa

ls

Design d

irect

ion

Product concep

ts

Commercial ass

ets

Editoria

l asse

ts

QA validatio

n

Product validatio

n

Brand validatio

nVisual assets

Product front e

nd

Commercial pla

nning

Editoria

l str

ategy

Design validatio

n

Interaction specificatio

ns

Branding guidelin

es

Visual dire

ction

Wirefra

mes

Concept valid

ation

Use

r flo

ws/storyboards

Product r

equirements

Tech

nical require

ments

Visual e

xplorations

Editoria

l requirements

Branding re

quirements

QA sc

ope

Visual D

esign

Front E

nd Development

User t

esting

Ongoing QA

Release planning

Obse

rvatio

ns

Insights

Con

tent a

nd editorial strategy

Busi

ness o

bjectives

Use

rpro

filin

g

Tech

nology fr

amework

Concept Design Build Release

DELIVERABLES

TASKS & INPUTS

DIV

ER

GE

NC

E

CONVERG EN CE


CASE STUDY 2: ITV XSo, do you find a mission yet?

Our mission is to

BRING PEOPLE AND CONTENT TOGETHER

by extendingthe ITV Experience in the online media


GEMMA

How can we enhance and make the most of TOWIE’s experience for Gemma. everywhere, anytime?

THE ONLY WAY IS ESSEXCASE STUDY 2: THE X METHOD

MISSIONDURATION INTENSITY

engagementTRIGGERS

calls to actionINTERACTION BREADTH

platformsMEANING

CONTEXTSENSITIVE

How does the context of the experience changes depending on the user activities during the day?

How can we optimise user engagement depending of the context of the experience?i.e: light (twitter)mild (FB)strong (Website)at home, at the office?

How can we target the calls to action depending on the user, content, platform and device context.i.e. specific Twitter “get the look” during the show

How can the audience interact with the show depending on the context they are in?- Mobile, tablet, Social Media platforms? Public vs private interaction

What are the platforms where the experience is happening and how they affect/define the context of the experience?

How the context affects the meaning of the experience? Private vs shared experiences, mobile and fragmented vs focused viewing?

TIMESENSITIVE

How can the product deal with the duration variables of the show?How the product changes before/during and after the show.

How time sensitive interfaces can enhance the level of engagement of the user with the show?

What are the triggers before, during and after the show that drives participation and engagement?

What are the differences between the interactions before, during and after the show?

What platforms and devices are more relevant before, during and after the show?i.e Twitter during the show, website after

How people relate to the content before, during and after the show?Expectations, Curiosity, Emotions

SOCIAL

How can we use social strategies to set people expectations before the show, to allow user interaction and to keep the engagement after?

How the use of social media can enhance the intensity and engagement of a show?

What are the right calls to action depending on the social media platform and tools?

When and where can we find social interaction opportunities: commenting, likes, sharing, tweeting

What are the most relevant social media platforms for a particular show and how does ?

Are our social strategies enhancing the value of the content experience?

SEAMLESS

How can we tie show linearity with the digital products?

Is the story being developed across different context in a way that builds up user engagement?

Are the call to actions distributed across different context set for complementarity?

Is the interaction patterns developed in a consistent way?

Is there a sense of consistency and complementarity across the different platforms and devices?

Is the message clear and consistent?

ITV-NESS

Does the product reflect the pace of the show?

Is the engagement built around the values of the show?

Is the tone of voice and the nature of the calls to action aligned with the show brand?

Are we leveraging on the interaction opportunities defined by the show?

Are we developing a proper sense of the show brand across the different platforms and devices?

Is on brand?Does it make sense?What are the values behind the experience: The brand is the experience.

• I am a junior recruitment consultantI want to know what happened to KirkI like to watch TOWIEI like to read about celebrity gossipI really like doing my nails


CASE STUDY 2: THE X METHODExample

CONTEXT / INTENSITY

How can we optimise Gemma’s engagement with The Only Way is Essex depending of the context of the experience?

i.e: light (twitter following)mild (FB friendship)strong (Website commenting)during the show at home, reading the news at the office, checking for updates at the bus


CASE STUDY 2: THE X METHODExample#In Context

In Context timing / Duration: How does the content experience changes based on user activity and behaviors throughout the day?

Contextual Engagement: How do we optimise the intensity of user engagement based on where they are, who they are with and how they're feeling?

Contextual Calls to Action:How do we initiate calls to action tha are dependent of the user changing context? i.e. mobile (on the go) notifications.

Contextual Interactions:How many ways the audience can interact with the show depending on the context? i.e. at work (quizzes with colleagues). at home (tablet second screen companion), in the screen with the family.Is it a shared or private activity?

In Context Platforms:Which platforms should the experience be on to fit the need of a changing context?Does the experience need to be multiplatform? when and how?

Contextual Meaning:How context affects the meaning of the experience? Is it private or shared? Is it in one sitting or fragmented?


EXPERIENCES: contents -brands - needs - tasks - toolsCASE STUDY 2: THE X METHOD

MISSIONDURATION INTENSITY

engagementTRIGGERS

calls to actionINTERACTION BREADTH

platformsMEANING

PRINCIPLE

PRINCIPLE

PRINCIPLE

PRINCIPLE

PRODUCT drivers:businessdesignservicestechnologybrandmarketing

PEOPLE researchinsightsobservations

How can our [PRODUCTS] help [NAME] to do [EXPER.] ?


DESIGN AS A TROJAN HORSEDesign: entrepreneurship, creativity, strategy and innovation?

What does the business “say” they need?

- Disruptive Innovation

- Differentiation

- New standards of quality

- Customer centric strategies and products

- Creativity

- Holistic approaches (Brand, Business, Products)

- Efficiency

- Knowledge

- Focus on value and meaning

?THE ROLE OFDESIGN

What the Designer has to offer?

- Bottom-up innovation based on real user needs

- Unique and ‘authentic’ solutions

- Obsession for product quality

- User centric methodologies

- Familiarity with creative processes

- Cross-disciplinary mindset

- Expertise on Frameworks & Systems

- Experimental Insights

- Integrity

Design is becoming a key strategic driver for businesses.

We have to look beyond the technical realm of the discipline (defined by the skill-set) in order to place Design in the position in which it can develop and produce real value.


DESIGN AS A TROJAN HORSEDesign: entrepreneurship, creativity, strategy and innovation?

What does the business must offer?

- Access to core business variables

- Openness

- Allow strategic influence

- People centric values

- Flexibility

- Transversality and Cross-disciplinary

- Exposure

- Incentives and Recognition

?THE ROLE OFDESIGN

What does the Designer needs?

- To gather deep knowledge of the business

- To be part of every conversation

- To produce and sell ideas

- To represent the user/customer/people

- Space to play

- To become a facilitator and a leader

- Constructive conflict

- To add value

The role of Design leadership has to be defined by a combination of hard work (delivery) and strategic and organisational ‘land grabbing’.In most business this is presented in the shape of an conflict.But this is a conversation that we cannot avoid.


DESIGN AS A TROJAN HORSEThe Cultural Cycle analogy Cultural Cycles:

"The Culture Cycle is the iterative recursive process whereby people create cultures to which they later adapt, and culture shape people so that they act in ways that perpetuate the cultures.In other words, cultures and people make each other up”Hazel Rose Markus and Alana Conner.

SELVES

EVERYDAYPRACTISES& ARTIFACTS

INSTITUTIONS

FOUNDATIONALIDEAS


DESIGN AS A TROJAN HORSEThe Cultural Cycle analogy

Corporate Cycles:There’s a simple analogy to make between the Cultural Cycles and the Corporate ones and its relation with its customers and society in general.

The key value of the concept is to help us understand the bi-directional interdependency among the parts, instead of the top down classical reductionistic approach.

Customers create organisations the same way the companies create product for consumption.

From this point of view, the underlying “cultural” framework (Values, Mission, Purpose) surfaces as a critical aspect, as it defines the meaning of this relationships.USER

CUSTOMERPEOPLE/SOCIETY

PRODUCTS& SERVICES

PROCESSES & ORGANISATIONS

VALUESMISSIONPURPOSE



USERCUSTOMERPEOPLE/SOCIETY

PRODUCTS& SERVICES



CORPORATE DRIVEN

Broken Cycles:

1- Business Driven

Seduction is not enough




PRODUCTS& SERVICES



Broken Cycles:

2- Technology Driven

Usability is not enoughTECHNOLOGY DRIVEN



The Role of Design?

Brands, Organisations, Products and People make each other up


PRODUCTS& SERVICES




Thanks

Alberto Barreiro April 2013