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Cross-channel ecosystems strategy
This document discusses cross-channel ecosystem design and mapping customer experiences across channels. It provides an example of mapping the ecosystem of an art gallery in Johannesburg to address organizational issues. The mapping involved identifying actors, goals, and paths within the ecosystem. This led to proposed interventions to spatialize the gallery's presence through placemaking, personalize its presence through people-focused efforts, and connect its presence through outreach programs in the local park and community. The overall goal was to make the gallery more relevant and establish a safe environment for visitors.
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Cross-channel ecosystems strategy
- 1. Cross-channel Ecosystems Strategy Andrea@Resmini UXSTRAT 2016 Amsterdam
- 2. information is allover the place
- 3. digitization has blurredthe distinction between products and services
- 4. people freely connectcompeting products and services in emergent choreographies
- 5. the idea wecan design a perfectly bounded artifact and simply drop it inside a dynamic environment has become an increasingly difficult proposition
- 6. still, the waywe frame and design services is the way we frame and design products
- 7. N.Fein, Cocktail barand restaurant at Hunts Point Market, the Bronx, NYC Black & White (http://www.nycbw.com/page/5/)
- 8. cross-channel ecosystem design introducesan actor-driven approach
- 9.
- 10. a shift fromthe idea of product and service to that of experience
- 11. an experience isanything an actor considers connected to achieving a desired future state
- 12. an experience isa complex construct
- 13. it is notcompany-controlled it is not company-bounded
- 14. it is notproduct- or service-bounded either
- 15. “I made somecoffee, filled my mug, grabbed a Stephenson novel a friend gave me, went out on the porch, sat on the couch, read for an hour”
- 16. “I went throughmy spreadsheet, collected all the receipts and invoices, logged in, checked what was there, added expenses, and filed my taxes”
- 17. we are sense-makersand we want stories
- 18. we describe experiencesas lines or paths
- 19. “my husband calledthe doctor for info, I visited the website, fixed an appointment, booked a cab for the day, got a reminder a day before, and had my tests”
- 20.
- 21. lots of streamlininghere: this is a complex experience. Let’s add a little more detail
- 22.
- 23. better, but stillnot showing some of the opportunities or distractions we discarded along the way
- 24. DOCTOR PHONE HUSBAND APPOINTMENTWEBSITE REMINDER TESTSCAB PHONE CABSMSMAIL TABLETMAIL WEBSITE NURSE BUS TICKET
- 25. what we havehere is the initial description of the blended space of a cross-channel ecosystem in which this experience takes place
- 26. cross-channel ecosystems aresemantic constructs that straddle digital and physical spaces, locations, devices, people, and contexts
- 27. cross-channel ecosystems identifya space of opportunity for intervention more than a finite artifact that can or should be fully managed
- 28. ecosystems are anythingbut linear
- 29. “I wanted togo to the movies, so I checked IMDB, DM’ed a friend, no Netflix, tried to book dinner, skated all the way, got tickets, enjoyed 3D kaijus”
- 31.
- 33.
- 35.
- 37.
- 39.
- 41.
- 43.
- 44.
- 45. fancy, but hardlyrepresentative of the many possible individual paths everyone else might decide to take
- 46. clarity only comesthrough compounding many individual paths into a larger, common map
- 47.
- 48.
- 49.
- 50. mapping an ecosysteminvolves identifying a number of primary elements and their relationships
- 51. actors, tasks, channels,touchpoints, and seams
- 52. an actor isany agent in the ecosystem trying to achieve a future desired state
- 53. a task isany activity an actor performs towards that state
- 54. a channel isa pervasive, ecosystem-wide information layer
- 55. a touchpoint isan individual point of interaction in a channel
- 56. touchpoints are vesselsfor information
- 57. touchpoints are medium-specific,but the information they convey is medium-aspecific
- 59.
- 60. channels are anabstract design construct
- 61. they might reflectthe formal sectioning of an enterprise architecture model, be the result of content analysis, or emerge from the project’s own goals
- 62.
- 63. movie social transportfood 3
- 64. touchpoints belonging tomore than one channel act as a seam between these
- 65. a seam isa threshold connecting touchpoints on the same or on different channels
- 66. while experiences shouldbe “seamless”, sometimes seams should be visible or perceptible
- 67. for example, whenmoving from a secure to an unsecure connection
- 68. also, elements inan ecosystem are polymorphous
- 69. an actor couldalso be a touchpoint
- 70. this mapping isthe beginning of a cross-channel design process
- 71. MAPPING TELLING DESIGNINGMAKING the four stages of a cross-channel experience design process
- 72. pragmatically, the startingpoint is the formulation of an individual, social, or organizational pain
- 73.
- 74. “are we meetingcommuters needs?”
- 75. conceptually, it’s theactors’ experience
- 76. THe Office ofthe Future THE OFFICE OF THE FUTURE
- 77. “what is andwhere is your workplace?”
- 78.
- 79. “let’s make ourcourses better”
- 80. “what is ahigher education course?”
- 81. interventions within anecosystem broker between the different instances presented by the ecosystem itself, the actors, and the designers’ own vision
- 82.
- 84. 1 ORGANIZATIONAL PAIN OR NEED 2 ROUGHMAP OF THE ECOSYSTEM 3 IDENTIFY ACTORS 4 IDENTIFY GOALS 5 MAP PATHS 6 MAP ECOSYSTEM 7 REFINED MAP OF THE ECOSYSTEM GOAL #1 GOAL #N PATH #1 PATH #N 8 START OF TELLING ECOSYSTEM #1 ECOSYSTEM #N mapping stage
- 85. “how do wemake the gallery relevant to the city of Johannesburg?”
- 86. the scarcity ofresources was a primary constraint
- 87. the gallery’s dysfunctional surroundingsa secondary one
- 89.
- 91. “how do weattract tourists and residents and establish a safe environment for them?”
- 92. 1 ORGANIZATIONAL PAIN OR NEED 2 ROUGHMAP OF THE ECOSYSTEM 3 IDENTIFY ACTORS 4 IDENTIFY GOALS 5 MAP PATHS 6 MAP ECOSYSTEM 7 REFINED MAP OF THE ECOSYSTEM GOAL #1 GOAL #N PATH #1 PATH #N 8 START OF TELLING ECOSYSTEM #1 ECOSYSTEM #N mapping stage
- 95. “how can arttouch the lives of the destitute crowds in and around Joubert Park?”
- 96. “how can webreak out of isolation and tear down the barriers?”
- 97. 1 ORGANIZATIONAL PAIN OR NEED 2 ROUGHMAP OF THE ECOSYSTEM 3 IDENTIFY ACTORS 4 IDENTIFY GOALS 5 MAP PATHS 6 MAP ECOSYSTEM 7 REFINED MAP OF THE ECOSYSTEM GOAL #1 GOAL #N PATH #1 PATH #N 8 START OF TELLING ECOSYSTEM #1 ECOSYSTEM #N mapping stage
- 99. 1 ORGANIZATIONAL PAIN OR NEED 2 ROUGHMAP OF THE ECOSYSTEM 3 IDENTIFY ACTORS 4 IDENTIFY GOALS 5 MAP PATHS 6 MAP ECOSYSTEM 7 REFINED MAP OF THE ECOSYSTEM GOAL #1 GOAL #N PATH #1 PATH #N 8 START OF TELLING ECOSYSTEM #1 ECOSYSTEM #N mapping stage
- 101.
- 102. 1 ORGANIZATIONAL PAIN OR NEED 2 ROUGHMAP OF THE ECOSYSTEM 3 IDENTIFY ACTORS 4 IDENTIFY GOALS 5 MAP PATHS 6 MAP ECOSYSTEM 7 REFINED MAP OF THE ECOSYSTEM GOAL #1 GOAL #N PATH #1 PATH #N 8 START OF TELLING ECOSYSTEM #1 ECOSYSTEM #N mapping stage
- 103.
- 104. environmental information social unofficial jag officialjag joburg PARKING MAPS JOBURG WEBSITE SIGNAGE NEWSLETTER JAG’S FACEBOOK WEBSITE BOOKSHOP EVENTS EXHIBITS DIRECTOR’S FACEBOOK TWITTER DIRECTOR’S FACEBOOK JAG’S FACEBOOK CAFETERIABOOKSHOP TWITTER EVENTSSTUDENTS HAWKERS JOUBERT PARK PUBLIC TRANSPORT SIGNAGE MAPS CITY MAPS CITY MAPS
- 105. this process wascondensed into 3 broad approaches and 3 proposed lines of intervention
- 106.
- 107. for example, organizeopen house events when artists are available for showing around visitors
- 108.
- 109.
- 110. for example, organizeart-based social events in Joubert Park or bring Joubert Park inside JAG
- 111. create flyers inthe style of the traditional witch- doctor flyers to virally distribute news to the relevant crowds
- 113. thank you @esmini -andrea.resmini@ju.se