The Process

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The Process

  1. 1. WORKSHOP WITH FESTIVAL LEARNINGS FROM THESTAKEHOLDERS WORKSHOP19.08.11We held a small get together in August to test out So where does Service Design fit in? Peopleour assumptions around how festival stakeholders are at the very heart of the Service Designwould react to service design language and process and we introduced tools that encouragemethodology. empathy and a user-centred approach. Firstly, weThe participants were interested and enthusiastic created Personas based on fictional charactersso we kicked off by introducing them to the that represented the social and demographicdesign process, also know as the 4 D’s ( discover, characteristics of a wide range of festivaldevelop, define, deliver ) stakeholders. Personas have to be created so they represent stakeholders who are engaged as wellThe aim of the first half of this session was to as disengaged. They describe the needs, desires,understand how well the participants engaged with habits and cultural backgrounds of people andtransition from writing to visualising. The results are designed to help you see a festival experiencewere ultimately positive and almost natural, the from lots of different perspectives.team could immediately see the value in drawingtheir thoughts and ideas rather than writing The tool prompted the team to give the personathem. This came into play when I told a detailed a name, a photo, age, occupation and tell theiraccount of my last festivals experience - the team background story. The persona should tell us whatinterrupted to ask questions and probe for more that person does day to day, what does their lifeinformation whilst they sketched my story into a look like, what are their personality traits?storyboard template. Afterwards, the problems andtouchpoints were highlighted with a red felt tip. In In order to get the information necessary toa matter of minutes we had rich stories visualised create personas we tasked the team with phoningand analysed…ready to be servicized! individuals and interviewing them on the phone to gain the information they needed. This wasWe then introduced Relationship Mapping and a huge success if a little nerve racking for thetasked the team with mapping their personal lives team - within the space of a short phone call theironto the tool made up of concentric circles. We assumptions were challenged and they had a clear Workshop with Festival Stakeholders: the design process.asked them to draw their networks, the people picture of the person at the other end of the phonethey interact with on a daily basis and think about and what their festival experiences looks and feelshow these networks join up. like.The team all said they would use the tool again in The team used a key quote to sum up thata personal capacity as it encourages reflection. person’s thinking, this made the persona quick andAlthough, there were some questions around the easy to understand. The results included younglevel of detail required. For example, drawing your first time performers:family is more valuable when you break the family “We just want to know what is on the next twodown into siblings and parents. We realised that hours”, an older couple from USAshowing examples of completed tools is a great “We just came here to see The Tattoo and the restway to boost the confidence of people who are of the city!”, a disengaged professional woman intackling these tools for the first time. her 50s “The fringe is all about comedy - is there more happening at the same time” and a localOf course, the real value came from creating young professional “I want to find hidden gems,a detailed relationship map of one festival in just for locals - just for me!”particular. The team choose to work with TheFringe as this was the festival they were most Then it was time to get bums off seats and intoexcited about. The result was a physical and the streets! The goal of this task was to get thevisual representation of all the groups, people and team talking to strangers about their festivalorganisations remotely linked to The Fringe. By experiences. This aspect of Service Design isrepresenting stockholders in this way the interplay about weaving a rich story! They took to thebetween groups was analysed and understood; streets of Edinburgh on a mission to collect storieswho could the festival collaborate with to improve from a wide range of people. We gave them a listthe festival experience? Who does the festival of questions to ask to help them along the way;want to have a better relationship with? What How would you describe the festival in three wordsopportunities is the festival missing? It also and why? What is the one thing you would changesparked off interesting debate between team about the festival? Draw a picture that capturesaround what relationships should be priority and your relationship with the festival?they all discovered new relationships from eachother that they hadn’t been aware of at the start of Engaging strangers in a conversation aboutthe exercise. their service experiences is a difficult thing to do and the results reflected this. The team couldThis tool helps you better manage, and expand see the value in it but found it tricky. Once thethe networks particular festivals wants to cultivate. conversation starts well everything else flows, theThis activity proved that mapping links between problem lies in getting the conversation to begin Working with collected themes and feelings from users.people and places and everything in between in the first place. We realised the output of thisbrings new ideas and new thinking to the surface. piece of work had to include descriptive advice and guidelines to make the process as easy asA natural progression from mapping relationships possible.is mapping assets. Asset mapping is the best wayto share needs and discover resources. Again, the We combined the elements of being out in theteam created personal asset maps to get a flavour streets with the personas created earlier tofor how this activity unlocks the power residing produce a tool that challenged the team to find thein current networks to help people harness their answers to questions whilst acting as someoneassets. For example, in mapping the assets of your else. For example, you are a single mum in yourbest friend you realise that you should be making 20’s who recently moved to Edinburgh and youmore of the fact she can speak french fluently! would like to know where you can take your five year old to eat lunch? We asked the team toAgain, we decided to create one in-depth asset document their journey of finding the answer,map of The Fringe considering questions such including who they met and who they talked to.as; Do venues ever work together? Do hotels This exercise worked really well in terms of theand hostels talk to The Fringe? Who is involved? team shifting their perspective very quickly andWhere are the local resources? What could be realising what some festival experiences must feelbetter? Where are the networks? Where are the like for people very different to themselves.important places? We spent some time talking about touchpointsThe result was a visualisation that showed local and challenged the team to deconstruct severalresources, networks, places of importance. Using touchpoints such as The Fringe catalogue, helpfelt tips and post-its the team added how the section on website and a phone number. We askedassets could be connected differently. them to draw the touchpoint whilst answering questions such as: What do they offer? What do they look like? What do they feel like? When you phoned the number did you get the help you needed? Can the catalogue help you find out when your last train is? We then created new storyboard combining these touchpoints and the personas we created earlier. We gave the team homework to think about these tools on their own away from a workshop environment. The results speak for themselves. Homework sent in from the Festival Stakeholders.
  2. 2. WORKSHOP WITH ROHAN03.10.11The aim of this work is to assist Edinburgh in We will create a toolkit that people can print onmaintaining it’s position as world’s leading festival demand as well as a diagnostic tool in the formcity. of a website. This will include materials, process, options, case studies and projects. There willWe spent an intense afternoon with Rohan to be a small, medium and large scale. We spentoutline the details of the outputs of this piece of time delving into a typical festivals calendar andwork. The first question we tackled was ‘who’; mapping this process alongside it so we couldwho will be using this toolkit and who is it for? visually see where it fits.The answers ranged from festival management togeneric arts organisations. Our audience breaks We also want to showcase this approach workingdown into two main categories; people who are in the new context of festivals! We decided updoing Service Design and those who are interested on various events we could hold or tap into. Wein it. identified the range of options and product offers for the wide range of the audience by creating bothThere are also two key characteristics that this very small and very big challenges. Feedback iswork has to be embrace; it must be sustainable also very influential in this context, we want peoplefor obvious reasons and it must also be cross- who use this output to give us feedback and sharefestival / multi-disciplinary. Of course, there is their feedback with the rest of the cultural sector.the important aspect of legacy that an multi-disciplinary output will help us achieve. We are sharing all of this, we want it to be accessible and useful and most importantly, helpA huge part of this work is showing people how festivals think differently about the service theyand why it is relevant to them and their role in the offer.festival. It was important for us to work with Rohanto really understand these trigger points; “I want tomake the delegate / performer / artist experiencebetter” This toolkit can help you form a bid, sellmore tickets or improve how your staff access thefestivals data. Creating the toolkit - stage 1 with Rohan.WORKSHOP WITH THE LEARNINGS FROM THESCIENCE FESTIVAL TEAM WORKSHOP:26.07.11Edinburgh Festivals are some of the finest cultural We spent time exploring personas as a way toexperiences in the world. Snook have been provide the team with different perspectives onworking with them to explore what they can learn the services they offer. After building up clearfrom Service Design. We are working closely with pictures of typical characters who do engage withthe festivalslab; a unique and exciting programme the festival the team created their own personas ofof work which identifies and develops ways to people who do not engage with the service.improve the world’s festival city – for audiences,for artists, for partners and for the festival This exercise revealed assumptions around howorganisations themselves. and why people engage with the festival: “People decide they want to buy a ticket beforehand and then invest a long time in booking”. CreatingThis project kicked off with a basic introduction to personas sparked off interesting debate aroundhow Service Design tools are relevant to designing the barriers to engagement and how people seekfestival experiences as services. We spent the advice and recommendations around what eventafternoon with the Science Festival Team – to attend and why.including the development manager, the businessdirector, the marketing manager, the generation We then took these personas through ascience manager and the deputy director. typical customer journey. This revealed many opportunities for innovation within the festivalsInitially, the group carried out small exploration such as getting to and from events and theexercises focused on seeing the world differently. contrast between the touchpoints of an adultsParticipants tried to book a festival ticket online festivals experience to that of a child.and simultaneously wrote down a list of fifty thingsto capture this experience. Relevance is a big theme for the festival staff and they are clearly facing all the challenges thatThis was very simple yet revealed key insights into come with moving away from traditional sciencethe experience of booking a festival ticket online. education to a more modern representationKey insights were “the site never shows me an of science. As well as balancing the breadth Creating Customer Journey Maps with the Science Festival team.alternative, I want to give up and phone, why do and depth of their program they are focusingI need to create an account? Why do they need on helping people navigate their festival. Weso much information? Why can’t you book tickets discussed key questions such as: How can wethrough the mobile application?” build communities and loyalties throughout the year with all stakeholders? How can we trulyParticipants described these exploration tools combat the stigma of science? How can weas a “great chance to think virtually”. One tool actively seek out the voices of our audiences?was designed to encourage thought experimentswhilst walking around a public space. This resulted Snook are really excited about this project. In it’sin metaphors around accessibility; the festival small way it may very well be another revolutionoffers multiple messages for multiple customers, in how the cultural sector innovates in the UK.and this metaphor encouraged thinking around We intend to bring design thinking and doing towho chooses what at what point. Why do people the festivals and showcase the notion of seeingchoose the events they do and how can we festivals as service experiences.understand this better?
  3. 3. AN INTRODUCTION TO THEPROJECT FESTIVAL DESIGNFestival Design DNA is a project produced by festivalslab or the Edinburgh Festivals InnovationSnook for festivalslab. It is both a set of practical Lab works with and for the twelve Edinburghtools and an exciting new conversation about Festivals on how to use new thinking and newwhat happens when cultural professionals and tools to the experience of the world’s festivalorganisations start to think like designers and work city even better for audiences,creative talent and DNAto make the experiences they create better from a festival organisations.person-centred point of view. Snook is a Glasgow-based service design andDue to its origins the tools and approaches are social innovation agency focusing on transforming“festivized” but will be relevant to all types of the way services are delivered in Scotland,cultural organisation so we’d love to hear what ensuring people come first.you think about them and how you might be usingthem.SNOOK’S DESIGN PROCESSWhat if we approached festival innovation through Working with the base-structure of the Designthe eyes of a designer...and in particular a service Council’s 4 D’s (Discover, Define, Develop, Deliver)designer? This is the central question for this we built a Design DNA for the festivals, focusingfestivalslab project and conversation and one on the festival team’s perception of that stage ofwhich Snook think is relevant for everyone working the process. The purpose of this approach is toin arts & culture. break a complex process into small, digestible chunks.Snook have a created a series of bespoketools and templates to help you make festival Each stage, for example ‘Discovering Festivalexperiences even better. We’ve packaged these Customers’ houses several different design toolsinto easy-to-use bundles that can be downloaded to help you do this. It’s up to you as a team toin different shapes and sizes. decide which ones fit your project best.This piece of work is an opportunity for Edinburgh We wanted to design information and guidancefestivals to re-design services, processes and on using the tools, as well as the templatesways of working. We’re giving you the building themselves. The outcomes are easy to print, storeblocks. Each project will be unique so we have and use.designed a way for your to find exactly what youneed at the right time. For example, if you want The design process is not linear, that’s whyto find out how to sell more tickets at a particular we represent it as a circle containing the 4time, this toolkit will point you in the right direction. D’s. This means that designs and projects are continuously rotating over time, going throughSo how did we do it? We spent time with Festival different iterations as they develop and grow. Thestakeholders to understand connections and process we used to design this toolkit was exactlyrelationships within the Edinburgh Festivals the same. We went through several iterationslandscape. We asked them to interview members of producing the design DNA wheel layout, theof the public to truly understand how different templates and the tool cards.people perceive the festivals. This project also involved the production ofWe spent time with the Science Festival team in information about the toolkit, a website and anparticular, harnessing their expert knowledge to exhibition space. Prototyping methods of displaying information visually.learn the specifics of one particular festival. Again,we ran design-led activities to help the team This project has been designed to have a widerdiscover the value of Service Design, and help effect on the cultural sector in Scotland, with theSnook really understand where this toolkit fits. Edinburgh Festivals as a central flagship.We began to create a picture of the different types Are you ready to innovate your festival?of questions and projects people would use thistoolkit to tackle. Prototyping versions of downloadable/printable tools.

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