IDp Lab 2010 2 Assignment


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IDp Lab 2010 2 Assignment

  1. 1. Feb. 17 th 2010 Shana Agid Eduardo Staszowski Anna Meroni Assignment Two
  2. 2. 4 modules each stages has tools, cases, theories and methods for cooperative design and produces original results. 1 observing / understanding 2 co-creating 3 developing 4 prototyping
  3. 3. 4 Assignments 1 observing / understanding 2 co-creating 3 developing 4 prototyping ASSIGNMENT 1 Precedents ASSIGNMENT 2 Observing/Understanding ASSIGNMENT 3 Co-creating ASSIGNMENT 4 Developing/Prototyping
  4. 4. Assignment 2 | Observing & Understanding Goals <ul><li>The primary objective for this assignment is learning to understand and depict contexts and the people we work with/for , in order to develop empathy within the audience/constituencies/stakeholders involved in a project and learn from their expertise and experiences. </li></ul><ul><li>Getting to know and communicating the stories </li></ul><ul><li>Developing and applying a tool(s) aiming at observing/understanding a real situation. </li></ul>
  5. 5. Assignment 2 | Observing & Understanding 3 main phenomena should be observed <ul><li>What happens in the bodega? </li></ul><ul><li>What happens nearby the bodega having direct relation to it? </li></ul><ul><li>What happens in the neighborhood that is innovative and creative, and that might be in relation with the bodega? </li></ul>
  6. 6. Assignment 2 | Observing & Understanding a. Observing the General Context <ul><li>What’s the mood of the neighborhood? </li></ul><ul><li>Find the “hot spots” of the neighborhood (meeting points, service points, key people...) </li></ul><ul><li>What “kind” of people live and work there? </li></ul><ul><li>Questions of race, class, gender, and age might play a role in what kinds of bodegas are there and what they stock, so paying attention to these kinds of ideas is important, but also remember that how people look to you, or the assumptions you might make about them could be very different from how they identify themselves. Try not to make assumptions about people, and not to relate assumptions about race, class, or gender to assumptions about desires, needs, concerns, etc. </li></ul>
  7. 7. Assignment 2 | Observing & Understanding b. Observing the Physical Traces <ul><li>What do you see in terms of the: </li></ul><ul><li>Space configuration </li></ul><ul><li>Adaptation for use </li></ul><ul><li>Personalization, identification, group membership … (how do people make the space their own?) </li></ul><ul><li>Communication and messages </li></ul><ul><li>Can you imagine behaviors, motivations and preferences behind the traces you collect? </li></ul><ul><li>  </li></ul>
  8. 8. Assignment 2 | Observing & Understanding c. Observing People and Behaviors <ul><li>What do you see in terms of: </li></ul><ul><li>Who works at the bodega? </li></ul><ul><li>Who shops there? </li></ul><ul><li>*If you’re talking to people, how do they talk about themselves?, are people older, younger, coming in groups, by themselves? </li></ul><ul><li>How do people act in the bodega </li></ul><ul><li>What is done on a regular basis or occasionally </li></ul><ul><li>The motivations of the behaviors (e.g. why does someone shop or not shop in the bodega?) </li></ul><ul><li>People’s preferences </li></ul><ul><li>  </li></ul>
  9. 9. Assignment 2 | Observing & Understanding d. Understanding People’s Wishes <ul><li>What do people wish the bodega offered? </li></ul><ul><li>What service is lacking in the neighborhood? </li></ul><ul><li>How would the “dream bodega” look like? </li></ul>
  10. 10. Assignment 2 | Observing & Understanding 2 Outcomes and Deliverables <ul><li>A presentation of the stories and of what you have discovered through a minimum of 5 interviews or conversations with employees, owners, and customers in the bodegas: this should be a multimedia presentation, roughly 5 minutes long, and self-explanatory . It can be a slideshow, an assembly of movies, a mix of things (movies, images, notes and sketches taken during the observation…), with audio and text. </li></ul>
  11. 11. Assignment 2 | Observing & Understanding 2 Outcomes and Deliverables <ul><li>2. A presentation of the tool(s) and of method of working you have developed. This presentation shows the “backstage” of your work and should describe it clearly. It can be a slide show, detailed with texts, diagrams and images, explaining the what , how and why of your work . </li></ul>
  12. 12. Tools
  13. 13. Interviews (individual and collective) <ul><li>Interviews are tools of observation. Interviewing involves asking questions and getting answers from participants </li></ul><ul><li>face-to-face individual interviews </li></ul><ul><li>face-to-face group interviewing </li></ul><ul><li>Interviews can be </li></ul><ul><li>structured: a series of questions asked </li></ul><ul><li>semi-structured: an “interview guide” > a list of questions and topics that need to be covered, but allowing digressions </li></ul><ul><li>unstructured: there is a plan and an intention. </li></ul><ul><li>informal: informal talks in the field </li></ul><ul><li>focus groups: structured group interview processes moderated by a group leader </li></ul><ul><li>  </li></ul>
  14. 14. Interviews (individual and collective) <ul><li>Think about: </li></ul><ul><li>the focus of your inquiry (research question) </li></ul><ul><li>what you want to learn from the person you're speaking with </li></ul><ul><li>how much time you have and the kind of access you have </li></ul><ul><li>how much you already know about your question, and how to manage this knowledge </li></ul><ul><li>Tips: </li></ul><ul><li>ask one question at a time - avoid two-part questions </li></ul><ul><li>let people finish their thoughts, and then ask follow-up questions </li></ul><ul><li>try to listen rather than thinking about your next question - it’s easy to miss important points! </li></ul><ul><li>  </li></ul>
  15. 15. Questionnaire <ul><li>A questionnaire consists of a series of questions and other prompts for gathering information from respondents. Standardized questions and answers make it simple to compile data. </li></ul><ul><li>Your questionnaire needs to clearly articulate what problem is to be addressed. You can use two forms of questions: </li></ul><ul><li>open-ended: asks the respondent to formulate his own answer </li></ul><ul><li>closed-ended questions: the respondent pick an answer from a given number of options </li></ul>
  16. 17. Proust Questionnaire <ul><li>What do you regard as the lowest depth of misery ? Where would you like to live ? What is your idea of earthly happiness ? To what faults do you feel most indulgent ? Who are your favorite heroes of fiction ? Who are your favorite characters in history ? Who are your favorite heroines in real life ? Who are your favorite heroines of fiction ? Your favorite painter ? Your favorite musician ? The quality you most admire in a man ? The quality you most admire in a woman ? Your favorite virtue ? Your favorite occupation ? Who would you have liked to be ? Your most marked characteristic ? What do you most value in your friends ? What is your principle defect What to your mind would be the greatest of misfortunes ? What would you like to be ? What is your favorite color ? What is your favorite flower ? What is your favorite bird ? Who are your favorite prose writers ? Who are your favorite poets ? Who are your heroes in real life ? Who are your favorite heroines of history ? What are your favorite names ? What is it you most dislike ? What historical figures do you most despise ? What event in military history do you most admire ? What natural gift would you most like to possess ? How would you like to die ? What is your present state of mind ? What is your motto ? </li></ul>
  17. 19. Self Documentation: Cultural Probe, User Diary
  18. 20. Self Documentation | Cultural Probes <ul><li>Cultural probes are a way to collect probes and artifacts, based on the users’ self-reports. </li></ul><ul><li>This is one way to access environments that are difficult to observe directly and also to capture more of what people feel. </li></ul><ul><li>Selected volunteers are given probe packs, kits like the one below. The participants use the items in the pack over a period of a few weeks and then return the pack. The items in the pack depend on the circumstances, but are all designed to stimulate thought as well as capture experiences. </li></ul><ul><li> </li></ul>
  19. 21. Cultural probes kit: pack used by designers at the Royal College of Art, London, to study the way people see their own homes.
  20. 22. Sonic City cultural probes pack: how people interact musically with the city, documenting a single everyday path with a digital still camera, taking pictures of obstacles, resources and what would catch attention.
  21. 23. A cultural probe pack (Robert James Djaelani)
  22. 24. Self Documentation | User Diary <ul><li>User Diary is a self reporting tool, aiming to capture the subjective experience of a person in a specific situation or in his/her everyday life, by using traditional diaries, notebooks and camera. It is a design tool to gain insight into patterns of behaviour and to p robe matters of emotions that might be overlooked in the presence of a researcher. User Diaries can help to understand areas of unmet needs that can be covered by new services, or to capture the emotional impact in a person’s life of an interaction. </li></ul><ul><li>User Diary is normally obtained by supplying people/users with a diary and asking them to keep a written record of their impressions, circumstances and activities related to the relevant aspects of their lives. A simple guide is often supplied to help the person focus on specific activities. For doing this, a pre-printed notebook can facilitate the work. </li></ul>
  23. 25. User Diary, Your Experience Matters (thinkpublic)
  24. 26. Emotional Maps <ul><li>The Emotional Map is a tool to map and then describe emotional ‘touchpoints’ along people’s journies through the service. It helps all the subjects involved in a design process to understand the experiences of the users, their challenges and where priorities for improving the experience lay, giving everyone an opportunity to evaluate and decide on those priorities. </li></ul><ul><li>The Emotional Map is built directly by each subject involved in the service, with the support of the designer. Everybody is asked to map and describe the experience within the given context of the service, or/and extend their reflection beyond this, yet maintain a manageable scale while considering all environments she/he comes in contact with during the service journey. The result is a paper map evidencing the different touch-points and the related emotions. </li></ul>
  25. 27. Emotional Map: NHS (thinkpublic)
  26. 28. Guerrilla Ethnography <ul><li>Going in the context, living the experiences, questioning the reasons, discovering the behaviors. A vision from within. </li></ul>
  27. 30. Reporter’s book <ul><li>The Reporter’s book is a tool conceived to help researchers involved in a filed observation to focus their work and to do it effectively, overcoming difficulties without limiting their individual personalities. </li></ul><ul><li>It is special notebook with texts reminding the researcher the issue to raise and discuss, the kind of pictures to take and the information to capture. </li></ul>
  28. 31. Reporter’s Book (EMUDE)
  29. 32. Reporter’s Book (EMUDE)
  30. 33. Reporter’s Book (EMUDE)
  31. 34. Reporter’s Book (EMUDE)
  32. 35. Reporter’s Book (EMUDE)
  33. 36. Sketches <ul><li>Sketching is a powerful and inspiring way to look at the world. A slow way to look around. </li></ul>
  34. 37. In Viaggio col Taccuino
  35. 38. In Viaggio col Taccuino
  36. 39. In Viaggio col Taccuino
  37. 40. In Viaggio col Taccuino
  38. 41. http:// / Urban sketchers
  39. 42. Urban sketchers
  40. 43. Urban sketchers
  41. 44. Urban sketchers
  42. 45. Pictures <ul><li>Taking pictures has never been easier than today… apparently! </li></ul>
  43. 46. Philips Design: ethnographic pictures.
  44. 47. Philips Design: ethnographic pictures.
  45. 48. Philips Design: ethnographic pictures.
  46. 49. Philips Design: ethnographic pictures.
  47. 50. Martin Parr
  48. 51. Anne Testu in Arles rencontres 2004
  49. 52. Leo P. Polhuis in Arles rencontres 2004
  50. 53. Richard Billingham in Sensation 1997
  51. 54. Stephen Gill in Arles rencontres 2004
  52. 55. Viewpoint #13 Rainbow Youth
  53. 56. Color #19
  54. 57. Vivian Maier
  55. 58. Vivian Maier
  56. 59. Vivian Maier
  57. 60. Vivian Maier
  58. 61. Vivian Maier
  59. 62. Vivian Maier
  60. 63. Colors #28
  61. 68. Claudio Gianferro
  62. 69. Claudio Gianferro
  63. 70. Claudio Gianferro
  64. 71. Claudio Gianferro
  65. 72. Massimo Siragusa
  66. 73. Massimo Siragusa
  67. 74. Massimo Siragusa
  68. 75. Massimo Siragusa
  69. 76. Stefano Boeri / Multiplicity, USE in Mutations 2000
  70. 78. Stefano Boeri / Multiplicity, USE in Mutations 2000
  71. 79. Color #19
  72. 80. Rem Koolhaas, Alaba Lagos in Mutations 2000
  73. 81. Lara Baladi in Arles rencontres 2004
  74. 82. Gabriele Basilico in Eating as design
  75. 83. Gabriele Basilico in Eating as design
  76. 84. Gabriele Basilico in Eating as design
  77. 85. Gabriele Basilico in Eating as design
  78. 86. Moodboard <ul><li>The Moodboard is a photocomposition aiming to present the mood, the atmosphere of a place and its people. </li></ul>
  79. 87. MCS, MILANO CAR SHARING, Italy Moodboard (EMUDE)
  80. 88. OMAABI - SELF HELP COMMUNITY, Estonia Moodboard (EMUDE)
  81. 89. VEGETABLE BOX, Germany Moodboard (EMUDE)
  82. 90. LES JARDINS DES CÉRÉS, France Moodboard (EMUDE)
  84. 92. ORANSSI - HOUSING COMPANY, Finland Moodboard (EMUDE)
  85. 93. NIDI IN CASA - NURSERIES AT HOME, Italy Moodboard (EMUDE)
  86. 94. BICYCLE FLEA MARKET, Finland Moodboard (EMUDE)
  88. 96. PEDAGOGICAL SHOP, France Moodboard (EMUDE)
  89. 97. LIVING ROOM RESTAURANT, The Netherlands Moodboard (EMUDE)
  90. 98. SENIOR CLUB, Poland Moodboard (EMUDE)
  92. 100. BRACKA STREET FESTIVAL, Poland Moodboard (EMUDE)
  93. 101. Stop Motion <ul><li>The Stop Motion, or stop-action, or frame-by-frame motion, is a tool to visualize the development of a situation or a place, based on a technique of animation that creates dynamic sequences out of static pictures. </li></ul><ul><li>It is possible to make a physically manipulated object appear to move on its own, or to visualize a context and the people in it. </li></ul>
  94. 102. SMS Stop Motion Studies, David Crawford
  95. 103. Fallon, UK: Sony Bravia Advertisement
  96. 104. Design Documentaries <ul><li>The Design Documentary brings the techniques and ideas documentary filmmakers use to video ethnography for design. The aim of the tool is to tell stories about relevant practices and motives of people through a short film. </li></ul><ul><li>This allows the team to identify with the future users of their designs. The team can step into the shoes of the future users and think from their perspective about the services they are designing. </li></ul><ul><li>The films are mostly used to inform and inspire design teams in conceiving workshops as well as during later stages of the design process. </li></ul><ul><li>Design documentaries are empathic conversations between the researchers making the film and the people in the film. This can be literally a conversation, but also a constructed conversation, when the film observes people and has a voice-over from the filmmaker. </li></ul><ul><li>  </li></ul>
  97. 105.
  98. 106. > FILMS Debra: design documentary (STBY)
  99. 107. Video blog <ul><li>Video Blog is a tool to share video collected during research with the design team. By putting individual video clips online and tag them, designers can organize the clips anyway they prefer. At the same time a video blog has pages that bring a selection of the clips together in stories. Both stories and tagged clips help designers to explore issues around a certain question or topic they encounter while designing. </li></ul><ul><li>Video Blog uses any blogging tool. It is most easy to upload the video clips to sites such as Vimeo or YouTube and embed their reference code in the posts and the pages of the blog. Each post contains one video clip and is tagged with relevant keywords for the project. Next to this, the pages function of the blog is used to present stories about relevant topics for the design. Such stories can take several formats, for instance it can be a persona, a guided tour, or a day in the life of someone or something. </li></ul>
  100. 108. Video Blog: Heartlands (STBY)
  101. 109. LES: our context Bodegas in the Lower East Side.
  102. 110. 24 bodegas for 12 groups (possible to find other)
  103. 111. Groups <ul><li>1_ NANCY , KATIE , PAYAL </li></ul><ul><li>2_ AMANDA , JORDAN , JENNY , YILING </li></ul><ul><li>3_ ELLEN , JOYCE , SOOJIN , ROSTI , SAM </li></ul><ul><li>4_ MELIS , JENNIFER , NINA , ALYSSA </li></ul><ul><li>5_ ERIC , COLLEEN , SANDRA , TESS </li></ul><ul><li>6_ STEVEN , ERICA , KERRIE (CHANTELLE) </li></ul><ul><li>7_ CELIA , ISABELLA , ATHINA , MONICA </li></ul><ul><li>1 st SEMINAR, 17 Feb > groups 1 + 5 </li></ul><ul><li>2 nd SEMINAR, 24 Mar. > groups 6 + 7 + 4 </li></ul><ul><li>3 rd SEMINAR, 21 Apr. > groups 2 + 3 + 4 </li></ul>
  104. 112. Groups / Bodegas <ul><li>1_ NANCY , KATIE , PAYAL bodegas: 1-2 </li></ul><ul><li>2_ AMANDA , JORDAN , JENNY , YILING bodegas: 3-5 </li></ul><ul><li>3_ ELLEN , JOYCE , SOOJIN , ROSTI , SAM bodegas: 4-6 </li></ul><ul><li>4_ MELIS , JENNIFER , NINA , ALYSSA bodegas: 7-8 </li></ul><ul><li>5_ ERIC , COLLEEN , SANDRA , TESS bodegas: 9-10 </li></ul><ul><li>6_ STEVEN , ERICA , KERRIE bodegas : 11-12 </li></ul><ul><li>7_ CELIA , ISABELLA , ATHINA , MONICA bodegas: 13-14 </li></ul><ul><li> </li></ul>
  105. 113. Let’s do it.            