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The Firma Model

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This presentation contains the argument for the need of a framework (the Firma Model developed with Terence Fenn) to assist the human centered design process when dealing with problems of great complexity and situated in society. This is a theoretical piece and explains the model in some detail. This presentation was delivered at the Spring UXSF in Tokyo, Japan 2015 hosted by Sociomedia

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The Firma Model

  1. 1. The Firma Model Sociomedia UXSF 2015 Summer by J Hobbs
  2. 2. eBoy (Shop.eboy.com)
  3. 3. http://robotechmacross.wikia.com/wiki/Robotech_(Macross)_Wiki
  4. 4. http://www.sarna.net/wik i/MechWarrior:_The_Battl eTech_Role_Playing_Gam e
  5. 5. http://www.mlit.go.jp/kankocho/cruise/detail/029/index.html
  6. 6. http://where-is-frank.blogspot.hk/2013/06/lost-in-translation.html
  7. 7. http://betterologist.net/departures-score-1-against-sappy-emotionalism
  8. 8. Studio Ghibli - http://www.superbwallpapers.com/anime/studio-ghibli-characters-36913/
  9. 9. Murakami - http://flavorwire.com/new swire/haruki-murakami-to- start-an-advice-column
  10. 10. http://www.roughguides.com/best-places/2015/top-10-cities/
  11. 11. http://travel.aarp.org/destinations/south-africa/johannesburg/
  12. 12. http://lonandsusan.blogspot.hk/2011/12/jacaranda-trees-are-beautiful-and-cover.html
  13. 13. http://mostbeautifulplacesintheworld.org/?p=3676
  14. 14. http://livemag.co.za/featured/style-diary-run-jhb/
  15. 15. http://anthonybila.tumblr.com/page/55
  16. 16. http://sartists.blogspot.hk/2012/09/johannesburg-street-style.html
  17. 17. Photo by Tegan Bristow
  18. 18. Photo by Tegan Bristow
  19. 19. Photo by Tegan Bristow
  20. 20. Photo by Tegan Bristow
  21. 21. Photo by Tegan Bristow
  22. 22. Photo by Tegan Bristow
  23. 23. Photo by Tegan Bristow
  24. 24. Photo by Tegan Bristow
  25. 25. The need for a new information architecture
  26. 26. Information is all around us, in both physical and digital domains.
  27. 27. However the entry into the information age, and more importantly the information economy, has meant that what was previously hidden or in the background has become foregrounded.
  28. 28. And the world in general (not just business) is struggling to come to terms with this.
  29. 29. This is how I try explain it:
  30. 30. Pierre Bourdieu Habitus …[the] lifestyle, the values, the dispositions and expectation of particular social groups that are acquired through the activities and experiences of everyday life…the habitus could be understood as a structure of the mind characterized by a set of acquired schemata, sensibilities, dispositions and taste. The particular contents of the habitus are a complex result of embodying social structures—such as the gender, race, and class discrimination […] - that are then reproduced through tastes, preferences, and actions for future embodiment…
  31. 31. Science, religion, history… all these contain the hidden information architectures of the Habitus.
  32. 32. Information architectures in the Habitus: • Emerge as self-organising systems • Orient around areas of knowledge (or topics) • Provide nodes for exchange and the interpretation of information • Develop identity over time and facilitate shared practice and collective learning • Develop bodies of knowledge and associated storage for this knowledge over time • Apply social means of validating new knowledge for inclusion • Contain values important to the community • Intersect with other adjacent information architectures
  33. 33. http://picshype.com/quantum-physics-background-images
  34. 34. http://www.thinglink.com/scene/507850277529845760
  35. 35. And perhaps most importantly, they present themselves, when well established, as ‘reality’.
  36. 36. Three important points relate to our discussion today: 1. We understand these information architectures semantically 2. We live in a time where these information architectures interlock with adjacent architectures 3. Such that we are presented by a world of fractured semantics
  37. 37. And businesses have their own information architectures that interlock with other architectures
  38. 38. Lastly, When change, driven from shifts in the use of information effect our world, we tend to be unprepared.
  39. 39. Owusu-Ankomah (http://www.theroot.com/photos/2011/07/london_african_art_scene_photos.html)
  40. 40. Unless you have a trained eye, its very hard to see this stuff.
  41. 41. And therefore it’s hard to understand what’s going on, how to respond to change and how to make choices.
  42. 42. What does this mean for design?
  43. 43. USER EXPERIENCE DESIGN OR USER CENTERED DESIGN
  44. 44. USER CENTERED DESIGN OR HUMAN CENTERED DESIGN
  45. 45. DT SD UX
  46. 46. WHY DOES THIS MATTER?
  47. 47. Susan Sontag (http://www.jameslomax.com/words/399/susan-sontag)
  48. 48. Annie Liebowitz (https://heseesfashion.wordpress.com/2015/05/30/annie-leibovitz/)
  49. 49. You will get the answers you want from the questions you ask.
  50. 50. DT SD UX How do people make payments online?
  51. 51. DT SD UX How do people make payments? How do people make payments online?
  52. 52. DT SD UX How (and why) do people bank? How do people make payments? How do people make payments online?
  53. 53. …because users don’t make the distinctions between digital and non (and many others things) in the way that we do.
  54. 54. ASSUMPTIVE DESIGN
  55. 55. The limits to HCD
  56. 56. Complexity arises when we adopt a humanistic approach (that situates design problems in society) and when we start to remove assumption. This complexity is an important challenge to address in contemporary design practice.
  57. 57. We lack …tools to assist in initial problem framing
  58. 58. We lack …tools to assist in initial problem framing …‘big picture’ models that appreciate unexpected stakeholders
  59. 59. We lack …tools to assist in initial problem framing …‘big picture’ models that appreciate unexpected stakeholders …tools for a broad critique of design
  60. 60. We lack …tools to assist in initial problem framing …‘big picture’ models that appreciate unexpected stakeholders …tools for a broad critique of design …and models to assist in tracing design solutions back to problem framing
  61. 61. Without models to assist us with this complexity we are at risk. 1. A faulty framing will result in a faulty solution 2. This can result in lengthy, and costly iteration, as we stumble blindly for the solution 3. HCD (and UCD) emphasise the user, the business and the context of use however other stakeholders exist that can impact framings and solutions 4. Critique without a broad view, suffers the same challenges as the previous points
  62. 62. RESEARCH IDEATION PROTOTYPING
  63. 63. RESEARCH IDEATION PROTOTYPING A MODEL FOR RESEARCH A MODEL FOR CHANGE A MODEL FOR CRITIQUE
  64. 64. The Firma Model: A meta-framework
  65. 65. Common areas of exploration: The user The business The marketplace The context of use (environment)
  66. 66. Foreground Middle ground Background
  67. 67. The user The business The marketplace Context of use (environment)
  68. 68. Areas of concern
  69. 69. Areas of concern Immediate areas of concern Contextual areas of concern Paradigmatic areas of concern
  70. 70. Areas of concern Immediate areas of concern The organisation, users, the marketplace and legacy Contextual areas of concern The environment (physical and technological) and society Paradigmatic areas of concern Economy, politics, culture and history
  71. 71. The user The business The marketplace Legacy Environment Society Politics Economics Culture History
  72. 72. IMMEDIATE AREAS OF CONCERN CONTEXTUAL AREAS OF CONCERN PARADIGMATIC AREAS OF CONCERN TOP DOWN INFLUENCE WHERE IMMEDIATE AND PARADIGMATIC FACTORS PLAY OUT I.E. IN THE SPACES WHERE SOCIETY EXISTS BOTTOM UP INFLUENCE
  73. 73. USERS, ORGANISATION, MARKETPLACE, LEGACY ENVIRONMENT & SOCIETY POLITICS, ECONOMICS, CULTURE & HISTORY
  74. 74. USERS, ORGANISATION, MARKETPLACE, LEGACY ENVIRONMENT & SOCIETY POLITICS, ECONOMICS, CULTURE & HISTORY IMMEDIATE CONCERNS CONTEXTUAL CONCERNS PARADIGMATIC CONCERNS }
  75. 75. USERS, ORGANISATION, MARKETPLACE, LEGACY ENVIRONMENT & SOCIETY POLITICS, ECONOMICS, CULTURE & HISTORY NARROW AND DEEP INFLUENCE MEDIUM INFLUENCE BROAD AND SHALLOW INFLUENCE
  76. 76. The model for research
  77. 77. The model for research This provides the information architecture of the problem-ecology: - Build a relational logic between factors to ‘tell the story’ of the problem - Acknowledges assumption - We look for paradox, conflict and contradiction
  78. 78. The model for strategy
  79. 79. The model for strategy This provides the information architecture of the solution-ecology: - Why is the problem a problem? And for whom? - It is the ‘theory for change’ - It is synthetic, not analytical in nature - It provides the framing for ideation
  80. 80. The model for critique
  81. 81. The model for critique - Knowing which areas are of concern focuses where we should look for impact - Conventional methods for assessing impact and measuring change can be used in conjunction - We seek UNINTENDED CONSEQUENCES
  82. 82. It provides traceability, sustainability and accountability
  83. 83. Thank you www.firma-design.com
  84. 84. Artist: Marc Erusmas

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