Experience Design: Concepts and Case Studies

208 Pages·2014·2.689 MB·English

by  Peter Benz (Editor)

Experience Design

Experience Design
Concepts and Case Studies
Edited by Peter Benz
Bloomsbury Academic
An imprint of Bloomsbury Publishing Plc
Bloomsbury Academic
An imprint of Bloomsbury Publishing Plc
50 Bedford Square 1385 Broadway
London New York
WC1B 3DP NY 10018
UK USA
www.bloomsbury.com
Bloomsbury and the Diana logo are trademarks of Bloomsbury Publishing Plc
First published 2015
© Peter Benz 2015
Peter Benz has asserted his right under the Copyright, Designs and Patents Act, 1988, to be
identified as Author of this work.
All rights reserved. No part of this publication may be reproduced or transmitted in any form or
by any means, electronic or mechanical, including photocopying, recording, or any information
storage or retrieval system, without prior permission in writing from the publishers.
No responsibility for loss caused to any individual or organization acting on or refraining
from action as a result of the material in this publication can be accepted by Bloomsbury
or the author.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
ISBN: HB: 978-1-4725-7114-4
PB: 978-1-4725-6939-4
ePDF: 978-1-4725-7109-0
ePub: 978-1-4725-7113-7
Library of Congress Cataloging-in-Publication Data
Experience design : concepts and case studies / [edited by] Peter Benz.
pages cm
Includes bibliographical references and index.
ISBN 978-1-4725-7114-4 (hardback) -- ISBN 978-1-4725-6939-4 (paperback) 1. Industrial design--
Psychological aspects. 2. Consumers--Attitudes. I. Benz, Peter, editor.
TS171.E97 2015
745.2019--dc23
Typeset by Fakenham Prepress Solutions, Fakenham, Norfolk NR21 8NN
Contents
List of Illustrations vii
Foreword and Acknowledgements ix
About the Authors xi
Editorial Introduction and Considerations 1
Matthew Turner
Part One Positions
9
1 Fundamental Aspects of Human Experience: A Phenomeno(logical)
Explanation
11
Ian Coxon
2 Experience as Excursion: A Note towards a Metaphysics of Design
Thinking
23
Connie Svabo and Michael Shanks
3 How Much Time Does it Take for Experience Design to Unfold? 33
Catherine Elsen and Pierre Leclercq
4 Experiential Equality and Digital Discrimination 45
Linda Leung
Part Two Objects and Environments
55
5 Narrativity of Object Interaction Experiences: A Framework for Designing
Products as Narrative Experiences
57
Silvia Grimaldi
vi Contents
6 Centers of Experience: Bodies and Objects in Today’s Museums 69
Xavier Acarin and Barbara Adams
7 Space, Experience, Identity, and Meaning 77
Peter Benz
8 Four Themes to (Phenomenologically) Understand Contemporary Urban
Spaces
87
Lakshmi P. Rajendran, Stephen Walker, and Rosie Parnell
Part Three Interactions and Performances
103
9 Co-Producing a Festival Experience: A Socio-Material Understanding of
Experience Design
105
Sara M. Strandvad and Kristine M. Pedersen
10 CurioUs: The Logic of Performance 113
Amy Findeiss, Eulani Labay, and Kelly Tierney
11 Designing for a Better Patient Experience 125
Gretchen C. Rinnert
12 Designing Mobile User Experiences: A Framework for a Design
Methodology
137
Claus Østergaard
13 Suspending Reality: A Disruptive Approach to Designing Transformative
Experiences
151
Tara Mullaney
14 Understanding and Designing the Meal Experience and its Psychological
Consequences
159
Werner Sommer, Felix Bröcker, Manuel Martín-Loeches, Annekathrin Schacht, and Birgit Stürmer
Further Readings 171
References 173
Index 187
List of Illustrations
Figure 3.1 Total number of occurrences, total duration in minutes and curve of proportional ratio. 38
Figure 3.2 Absolute number of occurrences for each type of reference and each setting. 39
Figure 3.3 Number of occurrences per minute for each type of reference and each setting. 40
Figure 5.1 Micro-events in the interaction with a kettle. 58
Figure 5.2 Diagram of Bal’s theory of interpretation. 60
Figure 5.3 Scene from Secretary. 63
Figure 5.4 Beats within the “kettle scene” in Secretary. 64
Figure 5.5 Storyboard 1. 65
Figure 5.6 Storyboard 2. 66
Figure 8.1 Student Union Building, Sheffield: image discussed by P11. 91
Figure 8.2 Sketch by P6 viewing the world from a secure point of view. 92
Figure 8.3 Western Park, Sheffield: image discussed by P4. 94
Figure 8.4 Fargate, Sheffield: image as discussed by P7. 94
Figure 8.5 S ketch by P5 showing the walking space she would prefer for the purpose of feeling related to a
space. 96
Figure 8.6 Public seating area, Sheffield: image as discussed by P5. 97
Figure 8.7 T ransition between the Sheffield University Library compound and Western Park: image as
discussed by P3. 98
Figure 9.1 T he photographer and his motive in the action: Both are working hard to create the right image of
the Orange Feeling. 111
Figure 10.1 Numbered footwork details; footwork accompanied by written prompt at test site. 116
Figure 10.2 Participant engaging in prompts and footwork. 117
Figure 10.3 Visual prompts suggesting postures and shapes. 118
Figure 10.4 Participant submitting a memory. 119
Figure 10.5 CurioUs performers in action. 122
Figure 11.1 Detailed results to Question 17. 129
Figure 11.2 Detailed results to Question 36. 130
Figure 11.3 Concept map of the application. 132
Figure 11.4 Patient Profile and Health Log page. 133
Figure 11.5 Community Center page. 135
viii List of Illustrations
Figure 12.1 Customer journey mapping on a map of the theme park. 141
Figure 12.2 Initial idea generation results in quick sketches and written notes. 141
Figure 12.3 Examples of participants’ mock-ups. 143
Figure 12.4 Workshop phases and activities. 148
Figure 13.1 The students’ project timeline including the two designed disruptions. 154
Figure 13.2 I mages of results from the Design-in-a-Day workshop: a) a responsive digital money token
being loaded; b) the secure credit card; c) the experience of exchanging electricity credits for
sunglasses. 155
Figure 13.3 T he development of Mino: a) Critical Objects workshop results, b) final design concept, c) end
result. 156
Figure 14.1 R esponse-synchronized ERPs from the Simon task. ERPs at electrode Cz, superimposed for
correct and incorrect responses and Sessions 1 and 2 and for the EG and CG. Topographies
of the Ne as the difference between incorrect and correct responses are depicted to the right of
the waveforms (25–85 ms). 164
Figure 14.2 S ame as Figure 14.1 but for electrode Pz (please note changes in voltage and time scales).
Topographies of error positivities (350––550 ms) are shown to the right of the waveforms. 165
Foreword and Acknowledgements
“Experience Design as a discipline is so new that its very definition is in flux,” wrote Nathan Shedroff in his
introduction to Experience Design 1. Despite the passage of more than a decade since then, remarkably
little seems to have changed: Experience Design as a discipline in its own right remains underdeveloped.
In the Foreword of the 2011 edition of their book, The Experience Economy, Joseph Pine and James
Gilmore lament their similar observation: “Although the book [Experience Economy, 1999] has since
been published in fifteen languages and purchased by more than three hundred thousand people
worldwide, the book’s thesis has not sufficiently penetrated the minds of enough business leaders (and
policy makers) to give bloom to a truly new—and desperately needed—economic order.”
One would like to add that the same is true about the penetration of the design community with
concepts, principles, and methodologies for designing experience. One could therefore be tempted to
dismiss the entire notion of Experience Design as a kind of “professional bubble” that didn’t stand the
test of time, and simply forget about it.
Nevertheless, the notion of “experience” as an economic value is well accepted today, and it is
common practice in a variety of professional (design) fields to refer to some sort of “experience” as
one practice outcome. Lingo such as “experiential marketing” and “brand experience” permeates the
advertising business, down to the most common levels of promotional communication, producing
such redundant slogans as “Feel the Experience” (the slogan of Daytona International Speedway, Kazy
Music, and others). Similarly “product experience,” “customer experience,” but also “travel experience,”
“educational experience,” and other similar experiential derivations are commonly accepted notions
within almost any new product or service development.
Thus another picture emerges; although “experience” is clearly a design issue, Experience Design
remains “stuck” in playing a poorly defined service role for other areas, and, in this sense, is merely
one approach among a number of competing concepts. The full potential of Experience Design as a
distinct creative discipline in its own right still needs to be articulated and recognized academically and
professionally.
With this background in mind it was the intention of this book to collect “over-the-shoulder-looks”
of the current state of discourse about the notions that underlie the designing of experiences: What is
“experience”? How can specific “experiences” be constructed purposefully, i.e. through which means
can experiences be designed, regardless of their medial articulation? What are the possible method-
ologies and practices to be used? What are the influences, overlaps, and relations of Experience Design
with other academic/professional disciplines? And so on.
To achieve this endeavour academics and professionals from the field were invited to submit their
proposals in an open call for abstracts initially circulated through relevant online forums in late 2012. From
the submissions received, the final list of contributors was subsequently selected through double-blind