MediaLAB Design Research introductory workshop

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MediaLAB Design Research introductory workshop

  1. 1. Design ResearchCreating valuable design concepts based on real insights and evidenceMarco van Hout
  2. 2. TodayOn design.Design research. What. When. How.Your research.
  3. 3. Design.
  4. 4. Why do we design?We love to design and redesign Photo credits: http://www.sxc.hu/profile/brittahaal
  5. 5. “Our current age sees everything as an object of manufacture,as something which can be got hold of and improved, oraltered, to produce better or more effective outcomes.” (Laurence Paul Hemming) Photo credits: Brankopopvicblog
  6. 6. To meet a need (in a new way, in a better way) To achieve a goal To make a statement. Purpose We don’t design for the sake of designing, we design for a purpose Photo credits: http://www.sxc.hu/profile/jeinny
  7. 7. To achieve a goalTo meet a need (in a new way, in a better way) To make a statement. PurposeWe don’t design for the sake of designing, we design for a purpose Photo credits: http://www.sxc.hu/profile/jeinny
  8. 8. Sensitivity to context, relationships andto consequences are key aspects to thetransition from mindless development todesign mindfulness.” (John Thackara)
  9. 9. It starts withquestioning
  10. 10. Deep EcologyLearn from other disciplines Photo credits: http://www.flickr.com/photos/emonxie/
  11. 11. Deep ecology seeks to develop ecological wisdom byfocusing on deep experience, deep questioning anddeep commitment. Arne Naess (1973) Photo credits: http://www.sxc.hu/profile/guitargoa
  12. 12. Design.Questions
  13. 13. Questions! Design
  14. 14. Research! Design
  15. 15. We used to know ‘mass markets’
  16. 16. We used to know ‘mass markets’
  17. 17. We used to know ‘mass markets’People used toAct in similar waysBuy similar thingsEtc.
  18. 18. We used to know ‘mass markets’If you knew and understood a small group of people, yourproduct could be relevant for millions of others
  19. 19. We used to know ‘mass markets’Obviously, this still accounts in some way...
  20. 20. However...There has never been more diversity...
  21. 21. PeopleWhat. Form Process > Design Research by Brenda Laurel (2003)
  22. 22. PeopleUnderstanding Formpeople. Process
  23. 23. ConcernsPeople.
  24. 24. Which two of these gentlemen princes have more in common?
  25. 25. Conflicting concerns...
  26. 26. ConcernsPeople. Behaviour
  27. 27. People behave differently than you would often expect
  28. 28. People behave differently than you would often expect
  29. 29. People behave differently than you would often expect
  30. 30. People behave differently than you would often expect
  31. 31. People behave differently than you would often expect
  32. 32. ConcernsPeople. Behaviour Emotions
  33. 33. Emotions guide our: Perceptions Feelings/thoughts Memories Behaviors
  34. 34. Emotionsare vital to the user experience and need to be understood by designers
  35. 35. PeopleDesign (as) FormResearch. Process
  36. 36. Design not as end goal, but also as research tool, for example exploratory design
  37. 37. PeopleResearch that Formfeeds the process. Process
  38. 38. The Fuzzy Front-End in the production process Research Concept/Prototype Design
  39. 39. BreakOut #1
  40. 40. Identify:Improve the Your needsairplane Your concerns Your emotionsexperience
  41. 41. When.
  42. 42. Design research is usedto encourage disruptiveinnovation BEFORE youdesign a new product
  43. 43. However, it can be used inany phase of the designprocess where there is agap in knowledge.
  44. 44. When you need a foundational1. understanding of things.
  45. 45. When you need to generate2. inspiration and ideas for design.
  46. 46. When you need to evaluate and3. inform design solutions.
  47. 47. BreakOut #2
  48. 48. What does thismean for ourairplane case?
  49. 49. Be criticalHow. Use tools Get outa here!
  50. 50. Be criticalHow. Use tools Get outa here!
  51. 51. Be criticalIt is not about the tools, it is about the thinking process that led to these tools. Stephen P Anderson.
  52. 52. H. FordIf I would have asked users what they wanted, they would have said ‘a faster horse’.
  53. 53. The end goal is not always the end goalIt’s something between you and the user.
  54. 54. Design a vase.
  55. 55. Design a vase.OR: Design a better way for people to enjoy flowers.
  56. 56. provokes me to start sketching right away provokes me to research and analyse!Design a vase.OR: Design a better way for people to enjoy flowers.
  57. 57. BreakOut #3
  58. 58. How would youformulate a question forour airplane case thatencourages research?
  59. 59. Which hypotheses/expectations of outcomesdo you have?
  60. 60. Be criticalHow. Use tools Get outa here!
  61. 61. Quantitative - Qualitative
  62. 62. What, where and whenQuantitative - Qualitative
  63. 63. What, where and whenQuantitative - Qualitative Why and how
  64. 64. What, where and whenQuantitative - Qualitative Why and howProblem identification
  65. 65. What, where and whenQuantitative - QualitativeSolution varification Why and howProblem identification
  66. 66. What, where and when Insights!Quantitative - QualitativeSolution varification Why and howProblem identification
  67. 67. BackgroundExploratoryConceptEvaluation
  68. 68. Background
  69. 69. Literature reviewBackground
  70. 70. Literature review BooksBackground
  71. 71. Literature review Books PapersBackground
  72. 72. Literature review Books Papers ArticlesBackground
  73. 73. Literature review Books Papers ArticlesBackground Conference proceedings
  74. 74. Literature review Books Papers ArticlesBackground Conference proceedings Workshop reports
  75. 75. Literature review Books Papers ArticlesBackground Conference proceedings Workshop reports Competitive analysis
  76. 76. Literature review Books Papers ArticlesBackground Conference proceedings Workshop reports Competitive analysis Demographics
  77. 77. Exploratory> Early
  78. 78. Expert interviewsExploratory> Early
  79. 79. Expert interviewsExploratory Wake-up interviews (initial conversations and interviews with potential users)> Early
  80. 80. Expert interviewsExploratory Wake-up interviews (initial conversations and interviews with potential users)> Early Self etnography
  81. 81. Exploratory> Mid
  82. 82. InterviewsExploratory> Mid
  83. 83. Interviews Personas (based on real people data)Exploratory> Mid
  84. 84. Interviews Personas (based on real people data) Field etnography (observation in context)Exploratory> Mid
  85. 85. Interviews Personas (based on real people data) Field etnography (observation in context) Digital etnography (observation doneExploratory digitally, cameras, microphones, etc.)> Mid
  86. 86. Interviews Personas (based on real people data) Field etnography (observation in context) Digital etnography (observation doneExploratory digitally, cameras, microphones, etc.) Photo etnography (cameras for participants to record life)> Mid
  87. 87. Interviews Personas (based on real people data) Field etnography (observation in context) Digital etnography (observation doneExploratory digitally, cameras, microphones, etc.) Photo etnography (cameras for participants to record life)> Mid Shadow studies (live in with families or groups)
  88. 88. Interviews Personas (based on real people data) Field etnography (observation in context) Digital etnography (observation doneExploratory digitally, cameras, microphones, etc.) Photo etnography (cameras for participants to record life)> Mid Shadow studies (live in with families or groups) Focus groups
  89. 89. Exploratory> Late
  90. 90. Experience clips (give users objects and ask to film with cameraphones)Exploratory> Late
  91. 91. Experience clips (give users objects and ask to film with cameraphones)Exploratory Longitudinal interviews (continue follow up contextual interviews)> Late
  92. 92. Experience clips (give users objects and ask to film with cameraphones)Exploratory Longitudinal interviews (continue follow up contextual interviews)> Late Bodystorming (physical brainstorming with acting and artefacts)
  93. 93. Concept
  94. 94. BrainstormingConcept
  95. 95. Brainstorming Performance and improvisationConcept
  96. 96. Brainstorming Performance and improvisation PrototypingConcept
  97. 97. Brainstorming Performance and improvisation Prototyping Paper prototypingConcept
  98. 98. Brainstorming Performance and improvisation Prototyping Paper prototypingConcept Cognitive walkthroughs
  99. 99. Brainstorming Performance and improvisation Prototyping Paper prototypingConcept Cognitive walkthroughs Storyboards/ scnearios
  100. 100. Brainstorming Performance and improvisation Prototyping Paper prototypingConcept Cognitive walkthroughs Storyboards/ scnearios Task analysis
  101. 101. Brainstorming Performance and improvisation Prototyping Paper prototypingConcept Cognitive walkthroughs Storyboards/ scnearios Task analysis Cultural probes/ Technology probes
  102. 102. Evaluation
  103. 103. Heuristic analysisEvaluation
  104. 104. Heuristic analysis Usability testingEvaluation
  105. 105. Heuristic analysis Usability testingEvaluation Emotion measurement
  106. 106. Heuristic analysis Usability testingEvaluation Emotion measurement Prototype trials
  107. 107. BreakOut #4
  108. 108. Choose fromLet’s apply some Personasto our airplane Bodystormingcase. Storyboards
  109. 109. Be criticalHow. Use tools Get outa here!
  110. 110. Take your project: Your research questionYou. Your hypotheses Research plan: who,when, what how
  111. 111. Take your project: Create 3 personasThem. Enrich them (handout) Think about a feature of a possible concept (handout)
  112. 112. thanksm.van.hout@hva.nl / @demadera

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