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Ethnography case study june 24, 2013


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Ethnography Project by …

Ethnography Project by
Andrew Schechterman, MS, PHD
Michael Eckersley, MFA, PHD
Max Ruckman, Black & Decker HHI
Bill O’Connor, Source, Inc.

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  • 1. Andrew Schechterman, MS, PHD Michael Eckersley, MFA, PHD Max Ruckman, Black & Decker HHI Bill O’Connor, Source, Inc. Ethnography
  • 2. The ethnography research in this presentation was completed as part of a larger brand development project for Black & Decker. The project focus was on the creation of a new luxury brand of door hardware. This presentation covers only a small portion of the overall research. The research was enlightening, helping us to truly understand the designer, architect and client interaction during the custom home building process. The project was a deep dive into all of the nuances and emotions involved. Everything from the dynamics between husband & wife, how the designers presented their office to the detailed interactions between all parties involved. The project includes three different scenarios: 1) The client leads with help from the designer(arbiter), 2) The designer(arbiter) leads with input from the client, 3) The client and designer(arbiter) collaborate on the project. The information and discussions are real, taken from fieldwork, observing the interaction of designers, architects and clients while actually developing and building a custom home. The homes ranged from $2,000,000 to $5,000,000. Project Overview
  • 3. Ethno graphy
  • 4. Brand Strategy Development and Creation Design of a branding System
  • 5. brand strategy development and design of a brand branding system Brand objective
  • 6. processStrategy Brand System Design Post Design Research Finalization Application Research
  • 7. Designer Arbiter & Client Consumer User Research
  • 8. o b j e c t i v e s
  • 9. human-centered research and strategic design-planning
  • 10. Help inform A new Brand and platform
  • 11. accomplish qualitative research yielding insights and human- centered “DNA”
  • 12. provide conceptual representations of insights, conclusions and recommendations
  • 13. 14 p r i m e r
  • 14. design for experience method and process quick primer
  • 15. Design for Experience Method: High - Level Marketing Engineering Design Sellable & Distributable Possible & Feasible Useful & Desirable Product Success Human Centered Research Define Release Iterative Participant Studies Iterative Participant Studies Design A B
  • 16. Design for Experience Method: In-Depth
  • 17. “I am Me” By Becky Weraer I am funny I run, sing and play I like dogs Im a sister
  • 18. a wide or horizontal view yields a commodities or manufacturing view of humans as customers Experience Seeing Customers Humans
  • 19. a zoom or vertical view yields a market view of customers as humans Experience Seeing Customers Humans
  • 20. a microscopic view demands patience and skill, but yields critical insights 21 Experience Seeing Customers Humans
  • 21. Discover & Refinement Opportunities Everywhere
  • 22. Discover & Refinement Opportunities Everywhere
  • 23. Discover & Refinement Opportunities Everywhere
  • 24. Discover & Refinement Opportunities Everywhere
  • 25. Everyday Realities
  • 26. Human Data Personas Archetypes Design Filters 31
  • 27. natural affinities to “correct, life-size” archetypes Well, he’s right. Grandma Opal brings me toys! Mom, you’re the best!
  • 28. Archetype as Human Continuum
  • 29. Archetype As Human Continuum science teaches us that humans are more alike than different the primary differentiator being culture
  • 30. Archetype As Human Continuum understanding the nuances of human experience across a continuum, deeply informs strategy for brands & products
  • 31. Archetype as Human Continuum
  • 32. Express Search Manage Realize &&Manifest
  • 33. behaviors or actions which are largely objective and observable
  • 34. go to a showroom
  • 35. browse a catalog
  • 36. talk to a friend
  • 37. touch hardware
  • 38. place an item in context
  • 39. thoughts or opinions which are subjective and unobservable until expressed
  • 40. early American would be nice
  • 41. great quality, affordable too
  • 42. it should be inviting
  • 43. emotions or feeling which are subjective and inferentially observable, not requiring explanation
  • 44. it feels…
  • 45. solid
  • 46. safe
  • 47. e x c i t i n g
  • 48. b o r i n
  • 50. 55 Decisions reflecting
  • 51. e d u c a t i o n
  • 52. urgency
  • 53. choice
  • 54. confidence
  • 55. Satiation
  • 56. all prior behavioral Cognitive And Affective variables
  • 57. P a r t i c i p a n t s
  • 58. Participant Geography: Current and Previous 63 San Diego Phoenix Salt Lake Boise Kansas City St. Louis Chicago Birmingham Atlanta Miami D.C. Baltimore New Jersey Philadelphia New York City Participant Geography: Current and Previous
  • 59. A r b i t e r s
  • 60. 65
  • 61. Kim
  • 62. Lucy
  • 63. Martha
  • 64. Kathy
  • 65. C l i e n t C o n s u m e r s
  • 66. Liz &Robert
  • 67. Marlise&& Mike
  • 68. Leslie & Family
  • 69. h y b r i d s
  • 70. wearing the hats of an arbiter and a client at the same time
  • 71. Annie
  • 72. Brad
  • 73. melanie
  • 74. Data points Touch points Constructs Moments of Truth
  • 75. Touch point Universe
  • 76. Arbiter-relevant Touch points
  • 77. consumer-relevant Touch points
  • 78. Builder/Architect relevant Touch points
  • 79. ((consumer-arbiter)))) Touch points of shared relevance(((
  • 80. (expression: desires, needs, style, vision…) Touch point constellation construct
  • 81. (search(find): appropriate path elements) Touch point constellation construct
  • 82. (management: process, complexity) Touch point constellation construct
  • 83. (realization (manifestation): dream, style, goals visualization) Touch point constellation construct
  • 84. Problem Solution Spaces
  • 85. Problem Solution Space #1 arbiter client
  • 86. decisions made in the building process Problem Solution Space #2
  • 87. P e r s o n a s A r c h e t y p e
  • 88. Interior Designer ArchetypeCarole
  • 89. “you have to be an excellent communicator”
  • 90. “it‟s 90% of the job”
  • 91. “a lot of psychology”
  • 92. I enjoy developing a personal relationship with clients
  • 93. “it leads to successful collaboration”
  • 94. reflecting the family’s lifestyle
  • 95. “I don‟t get many clients who cheat on product quality”
  • 96. “they‟re pretty consistent on price- points throughout”
  • 97. “some of my clients are wealthy” “but they‟re not stupid” “they won‟t waste their money”
  • 98. “different”
  • 99. “but – product names don’t dictate what I choose to specify”
  • 100. Front door – the architecture and the material has to blend with what’s inside
  • 101. getting to know the arbiter, Carole
  • 102. Family originally from Cleveland
  • 103. children are in the public schools 40 years old two children, 8 & I0
  • 104. married to Jim for I5 years
  • 105. Jim works in Banking Administration (working on his MBA)
  • 106. They live in Dublin, an upper middle- class suburb of Columbus, Ohio
  • 107. with some coursework in architecture B.A. in Interior Design
  • 108. Carole Drives a 2010 Lexus SUV
  • 109. Jim drives a 2012 Mazda sedan
  • 110. full-time independent interior designer
  • 111. with full-time assistant
  • 112. primarily residential
  • 113. some commercial
  • 114. gets most referrals by word of mouth
  • 115. involved in 3-4 projects at a time
  • 116. project budgets range from less than $20,000 to more than $200,000
  • 117. Leslie & Doug Client couple archetype
  • 118. “door hardware may be heavy, a really great finish” [Leslie]
  • 119. bathroom hardware, possibly unique, but relating to sink fixtures and the style of tile [Leslie]
  • 120. “well, I guess they should be compatible, but not direct matches” [Leslie]
  • 121. I„ve already selected the front door hardware [laughs, then points to circled items in a catalog] [Leslie]
  • 122. “they‟re pretty plain. huh? actually, they‟re just what I wanted” [Leslie]
  • 123. “i‟m very concerned about it lasting a long time” [Doug]
  • 124. “my files appear to be in disarray” [Leslie‟s interior research] but I know where everything is; I stay organized by using this spiral binder. I got this one at Target” [Leslie]
  • 125. “…like the bathroom sink design, it makes it nice to get ready in the morning” [Leslie, Doug nods head]
  • 126. getting to know the clients
  • 127. originally from Columbus and Cincinnati (Ohio)
  • 128. married 16 years
  • 129. and a g 39
  • 130. s o n s2
  • 131. a family dog
  • 132. lives in an upper middle class suburb of Columbus Ohio
  • 133. (mechanical engineering) Doug is co-owner of a manufacturing firm
  • 134. Leslie is a full-time mom and CPA providing “relief“ for local corporations during tax season
  • 135. Doug drives a 2009 Jeep Grand Cherokee
  • 136. Leslie drives a 2011 Chrysler Minivan
  • 137. building a custom home on a private golf course budget $925,000
  • 138. Leslie is particularly interested in a “very nice kitchen and master bath”
  • 139. Doug is particularly interested in having a full-sized office
  • 140. and work shop
  • 141. Doug Also wants it to be a place where friends can come to relax
  • 142. and play golf
  • 143. We explored three different types of relationships
  • 144. 1 - client leads the project 2 - Collaboration between client &&&and Designer 3 - Designer Leads the project
  • 145. client leads
  • 146. Carole Leslie
  • 147. Leslie is a self-starter she has a lot of interest in:
  • 148. building
  • 149. design
  • 150. Leslie remodeled or built a home prior to the current custom home
  • 151. Leslie actively researches and specifies many of her materials and hardware
  • 152. she may work closely with her builder and architect
  • 153. sometimes even operating as the general contractor or “assistant" to the contractor 15 9
  • 154. this is a significant amount of work for Leslie, balanced with her own daily responsibilities
  • 155. but she enjoys it as a “labor of love”
  • 156. Leslie may access Carole„s expertise at the start of a project and at various stages of the process
  • 157. or on an "as needed" basis
  • 158. “ Carole“ may be her friend who “happens to be an interior designer”
  • 159. trusted family member
  • 160. actual interior design professional she encounters in a higher- end design showroom
  • 161. Carole may also be available via her builder
  • 162. architect
  • 163. Client and Arbiter collaboration
  • 164. Carole Leslie
  • 165. functioning in a somewhat more common client- professional relationship
  • 166. Leslie hires Carole after meeting her at an open house
  • 167. she asked Carole to help her in the design of the family„s new 6000 sq. ft. custom home nestled on 1.5 acres
  • 168. Carole knows she has the freedom to propose an array of ideas
  • 169. and expert recommendations to Leslie
  • 170. but honors that Leslie and her husband will make the final choices
  • 171. Leslie remains comfortable
  • 172. with family
  • 173. friends
  • 174. even some freelance work
  • 175. Leslie and Doug share a home office
  • 176. Leslie meets at Carole‟s office and Carole comes to Leslie's home
  • 177. the project is yet must be completed in less than a year
  • 178. Leslie and Carole spent an enjoyable saturday together recently
  • 179. visiting an exclusive showroom
  • 180. Several items were specified
  • 181. a few were “rejected!
  • 182. arbiter leads
  • 183. Carole Leslie
  • 184. Carole is an experienced
  • 185. Well regarded
  • 186. interior designer
  • 187. With A History Of Consulting On…
  • 188. c o m m e r c i a l
  • 189. restoration
  • 190. historic
  • 191. and private projects
  • 192. sometimes with high-dollar budgets
  • 193. She attracts Leslie as a client, by referral
  • 194. Leslie is busy with other activities in her life
  • 195. she and her husband currently have homes on both coasts
  • 196. She is less inclined to “dive into"the joint labor and decision making process
  • 197. detailing the family‟s new gathering place
  • 198. Carole spends enough time with Leslie to get a good feel of Leslie„s
  • 199. personality
  • 200. life style
  • 201. and needs
  • 202. this is an upfront “psychological" skill Carole has worked to refine
  • 203. though she acknowledges that she is also a natural, which helps
  • 204. and though she knows she„s been granted substantial liberty in the overall design of the new home
  • 205. she must ultimately find the right solution for Leslie‟s needs
  • 206. Use and Validation
  • 207. Carole - Designer Leslie - Client Scenario of actual customer client discussion
  • 208. Carole hello, i'm Carole and this is my friend (and client) Leslie.
  • 209. we've been asked to tell you something about our experience of working together
  • 210. and about the process we undertook to conceptualize, design and specify Leslie's amazing new, custom home here in Dublin. Ohio. LesIie?…
  • 211. Leslie hi! I suppose I can begin, since the ideas for the house go back some years – long before Carole and I met and got to know each other…
  • 212. Doug and I were married back in 1996. we met as undergrads at Miami University in Oxford (Leslie smiles and turns to Carole and smiles)
  • 213. Leslie I studied Business and Accounting and eventually got my CPA while I was still pregnant with our first child, Jeremy
  • 214. Leslie I guess you could say that Doug and I both come from suburban middle-class, midwestern families, rather conservative…
  • 215. Carole Me too, Carole chuckles - inside joke? I actually met Doug„s family at Leslie and Doug„s open house party
  • 216. I also got to know Leslie's mother on various occasions throughout the design of the home
  • 217. Leslie The reason I bring up history is that Doug and I lived in an apartment for some years
  • 218. and later our first home was pretty modest we have fond memories of those years
  • 219. but we’d always held out the prospect that someday we might have a home that is truly of our own making
  • 220. over the years I’ve collected many books and magazines looking for ideas hoping to find out what‘s possible in a custom home
  • 221. l also wanted to familiarize myself with the ins and outs of the process of home design you know, architecture, building, interior design…
  • 222. Carole Leslie invited her mom in to react to some of the design and furnishing issues that came up she had some good advice
  • 223. we‟ve laughed plenty of times over how much our families are alike wonderful people but conservative not willing to take too many risks
  • 224. Leslie has an impressive collection of resources
  • 225. catalogs
  • 226. “how-to” books
  • 227. videos
  • 228. stained wood
  • 229. she had a dream… and was patient and methodical about making it happen
  • 230. Leslie when Doug and I were finally in a position to consider building a new home
  • 231. his manufacturing business began to take-off
  • 232. around 2007 we set about looking for property in the Columbus area
  • 233. we’ve always lived close to neighbors
  • 234. subdivisions
  • 235. for this house we wanted some acreage
  • 236. its our favorite pastime
  • 237. We also wanted some freedom to build a truly custom home…
  • 238. we have close friends who live in beautiful upscale areas but the homes seem "cookie- cutter“
  • 239. they have a “sameness" that we didn„t want especially given the kind of investment involved
  • 240. anyway, we’ve always liked Dublin the schools are excellent the downtown is nice
  • 241. it took about a year, but we found a really wonderful piece of land
  • 242. abutting the 14th tee of a new country club golf development
  • 243. lots of trees lots of privacy plenty of space between the houses
  • 244. We interviewed some architects in the area with mixed results
  • 245. but eventually found out about a really gifted young residential architect in the Cleveland area…
  • 246. working with Roger over the summer (he would fly in or drive over every couple weeks) (Leslie smiles and turns to Carole)
  • 247. he was able to gradually get a feel for our vision of the house
  • 248. and create some great drawings and plans
  • 249. He brought a lot to the design qualities and possibilities that we had not even imagined
  • 250. but then we came to an impasse Roger had a great feel for the broad-brush design
  • 251. when it came to details in the interior plan we just couldn‘t get on the same page
  • 252. that's where Carole came in…
  • 253. Carole what she„s referring to is the annual designers‟ home show sponsored by businesses in the area to support a local women & children‟s clinic…
  • 254. I was awarded the job of designing and decorating the master bedroom and children‟s rooms of the show house
  • 255. Leslie liked my work and gave me a call thanks again Leslie! (laughs)
  • 256. Leslie I loved what Carole had done with the bedrooms enough to call her
  • 257. but what really sold me on her abilities was our ability to communicate she‟s a great listener
  • 258. yet always seems able to offer up some insight or possible solution that I know I’ve been thinking about but haven't had the words to express
  • 259. Of coarse, looking at Carole's portfolio of work
  • 260. her drawings
  • 261. her attention to detail
  • 262. to subtleties
  • 263. materials
  • 264. it was so impressive Great launching pads for making decisions
  • 265. in no time, Carole was up to speed on what we felt we needed and what we really hoped for in the home
  • 266. though I was familiar with many of the elements and the general process of designing and building a custom home
  • 267. I struggled with how to pull it all together
  • 268. Carole's ability to select just the right elements
  • 269. and finishes
  • 270. to cabinets and furniture was so helpful
  • 271. even more importantly, she was able to work with Roger to make important changes to the floor plan
  • 272. that significantly enhanced the experience of living in the home we now realize that
  • 273. A home‟s exterior is one thing everyone sees it
  • 274. but the interior is a whole other thing I think much more complicated
  • 275. Carole I occasionally consult with builders and architects
  • 276. working to integrate and coordinate all the various elements subtleties and spatial relationships
  • 277. that the architect often never has the time or patience to deal with
  • 278. Their elevations and plans succeed in roughing things in
  • 279. but before you know it, they're on to another project
  • 280. my clients and even architects
  • 281. are sometimes exhausted or impatient
  • 282. at later stages of the process, they want closure
  • 283. it's unfortunate because decisions made in the final 10% of the process
  • 284. often can make or break the completed design
  • 285. Leslie Carole showed us how relatively simple alterations in the original interior plan
  • 286. could create an entirely different orientation and flow to the upstairs bedroom and hallway experience
  • 287. I had some definite ideas about the configuration of the master bath
  • 288. my wants and needs are different than Doug‘s,
  • 289. and she found ways to make us both happy
  • 290. Carole also offered a practical adjustment to the downstairs entry
  • 291. h a l l w a y
  • 292. living room
  • 293. and kitchen flows
  • 294. We have a close group of friends and we like to entertain
  • 295. the kitchen breakfast nook dining area and patio area all had to work together So…
  • 296. and be adaptable to groups of three or four, even two dozen!
  • 297. tall order, I know(smiles at Carole)
  • 298. now that it’s complete, it simply feels right
  • 299. it captures all the qualities I had in my mind's eye ten years ago when we were still in our little starter home
  • 300. Carole Leslie mentioned the home entry…
  • 301. even really good architects can overlook the symbolic “entry- welcome” and “entry-farewell” experiences for the home-owners and their guests
  • 302. I consider the front door to be, both literally and figuratively the portal between the public and private worlds
  • 303. the walk way
  • 304. the lighting
  • 305. the scale
  • 306. and feel of the door
  • 307. the door hardware
  • 308. the sounds
  • 309. the smells
  • 310. the lines- of-sight
  • 311. all combine to potentially tell you something about the values of the family living there
  • 312. the front door should integrate with the exterior style of the house
  • 313. but also signal the ambiance of the experience that awaits inside
  • 314. Leslie for us, probably the quintessential enjoyment we get out of our new home
  • 315. friends have told us that coming into our house is somehow special
  • 316. they can‟t put their finger on it but they love it and so do we
  • 317. Carole the process of designing a custom (or even semi-custom) home is immensely gratifying to me
  • 318. it‟s like putting together a puzzle that„s different yet somehow familiar, every time
  • 319. it‘s fun getting to know a client well to help them articulate their own style and translate that style into a fully realized solution
  • 320. although, I have worked with builders to specify materials, hardware and appliance packages for higher-end housing developments
  • 321. “packaged solutions," seem impersonal they don„t do a whole lot for me they're right for some, but not the clients I tend to work with
  • 322. my vendors and I are a team
  • 323. I rely on them a lot and trust them, and vice versa
  • 324. the really good ones help me stay informed and up-to- date on new things
  • 325. they give me honest value
  • 326. I guess high-end professional residential Interior Design is about criteria of
  • 327. appropriateness
  • 328. proportion
  • 329. and perspective
  • 330. those are the qualities that set us apart it‟s where our value lies (End)
  • 331. Conclusions and Recommendations 1
  • 332. the earlier the arbiter gets involved
  • 333. the more likely she may be able to influence the overall residential experience
  • 334. the more anxious and overwhelmed the client, the more likely they may consider a one-stop solution or packaged solution
  • 335. this doesn‟t mean that each party won't want to “a la carte"the solution") the longer they live with it (before or after completion of the home")
  • 336. for a modest change fee (upgrade, downgrade)
  • 337. price points don‟t seem absolutely critical
  • 338. we studied the lives of arbiters-clients tackling custom home projects
  • 339. $750,ooo To $5,000,000 in the range
  • 340. Conclusions and Recommendations 2
  • 341. while the client must have some money to spend (for an interior designer to even take on the project)
  • 342. increasingly more unique hardware is of interest to many consumers
  • 343. a brand value proposition may carry greater weight if it can be introduced early into the design process
  • 344. if it‟s perceived as solving
  • 345. a distracting overwhelming or anxiety-provoking problem
  • 346. a brand marketing message may yield leverage if it touches not just
  • 347. the arbiter, but the client as well
  • 348. as distinctive
  • 349. either by means of a "stylistic heritage“ theme
  • 350. i.e., anthropolgie store
  • 351. possibly even sub-branding product lines
  • 352. with the names and faces of the actual artisan- designers
  • 353. i.e., sundance catalog
  • 354. a brand value proposition of architectural style families
  • 355. may initially, carry greater weight on the far ends of the arbiter-client relationship continuum
  • 356. Conclusions and Recommendations 3
  • 357. project management
  • 358. and associated artifacts
  • 359. the client obtains on his/her own or from the arbiter (as a gift)
  • 360. this might be a thoughtfully branded product
  • 361. workbooks bags or other items
  • 362. that would make easier the arbiter's and/or client's life
  • 363. making the arbiters job too easy may ultimately disintermediate them
  • 364. interior designers offer value because they‟re trained professionals, gaining insight into
  • 365. human needs
  • 366. wants
  • 367. interpreting these and then delivering flexible solutions, which are context, and client- centered
  • 368. project management of a custom home is no simple task
  • 369. helping arbiters & clients experience greater mastery over this
  • 370. can enhance a brand’s associations
  • 371. and facilitate serious consideration of products
  • 372. Conclusions and Recommendations 4
  • 373. we find evidence of stylistic eclecticism in the specification of interior
  • 374. materials
  • 375. surfaces
  • 376. furnishings
  • 377. and details
  • 378. homes designed to a particular stylistic theme throughout do exist, such as…
  • 379. bungalow
  • 380. Tuscan villa
  • 381. however, they do not appear to be the norm among our participants (at present)
  • 382. there is a significant amount of beautiful, functional, sustainable (though expensive) door and bathroom hardware, available
  • 383. many of these items are in niche markets
  • 384. some, such as southwest door‟s hardware are offered in “handmade, architectural families“
  • 385. brochures are detailed
  • 386. and clients seem willing to do the work to locate items of interest
  • 387. to see and touch for themselves
  • 388. there are certain items they‟re willing to purchase without having “laid hands”
  • 389. placed in context of the existing space, though this seems difficult for the hardware decision
  • 390. Conclusions and Recommendations 5
  • 391. very little research of this kind exists
  • 392. professionals are open to good clean objective information
  • 393. that helps them feel more empowered
  • 394. providing arbiters and clients the ability to place the hardware in-context
  • 395. to assess not only goodness -of-fit
  • 396. but, more importantly, perceived fulfillment of “dream,”
  • 397. may offer significant advantage over those hardware pieces that are not available
  • 398. What did the research tell us?
  • 399. target the arbiter to launch they have access to the transactor
  • 400. in the beginning the arbiter is the storyteller
  • 401. over time the brand can carefully begin to assume this role
  • 402. the storytelling attribute of this brand is essential
  • 403. It‟s what separates it from other competitors
  • 404. “architecturally inspired/ influenced product is the core marketing notion
  • 405. It’s not the marketing communications execution
  • 406. it won’t win on style alone
  • 407. or distribution
  • 408. therearetoo manyniche style authorities alreadyinplace
  • 409. there seems to be a lot of price elasticity
  • 410. promote the brand to the arbiter
  • 411. through him/her to his/her client
  • 412. with artifacts, workbooks etc. that support the brand’s meaning of discovery
  • 413. Andrew Schechterman, MS, PHD Michael Eckersley, MFA, PHD Max Ruckman, Black & Decker HHI Bill O’Connor, Source, Inc.