Mapping Experiences Fluxible 2015
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Identifying the touchpoints between customer and businesses is the first step in creating products and services that provide true value. The use of systematic, visual representations expose previously unseen opportunities for improvement and for growth. There are many names for such diagrams: customer journey maps, experience maps, mental model diagrams, and more. The term “alignment diagrams” describes them all as a category of deliverable that shares a common fundamental principle: aligning the user experience with business processes. Accordingly, alignment diagrams have two parts: one capturing customer behavior and the other reflecting business processes. The overlap of these two parts reveals the interaction between them. By visually aligning the user’s experiences with the business offering, providers are better able to highlight the points where value is created.
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Mapping Experiences Fluxible 2015
- 3. UX = Good Business
- 4. “By pushing for a collaborative cross-functional process, UX designers are becoming grassroots strategic players... The organizational perception of the UX designer becomes more of a design facilitator, a UX leader, and ultimately a company leader.“ Jeff Gothelf. “Lean UX is Nothing New,” Johnny Holland (2012) Designer as Facilitator
- 6. Experience Maps Customer Journey Maps Service Blueprints Mental Model Diagrams … Alignment Diagrams
- 8. “Value-centered design starts a story about an ideal interaction between an individual and an organization and the benefits each realizes from that interaction.” Jess McMullin, “Searching For The Center of Design,“ Boxes and Arrows
- 13. Facilitation
- 14. Point of View Focus Scope Structure Frame the Effort
- 15. Point of View Focus Scope Structure Frame the Effort
- 18. Focus
- 20. Scope
- 21. by nForm (CA)
- 23. Structure
- 26. Network
- 27. Emirates Journey Mapping Case Study: http://www.kendeo.com/industry/airline/emirates-study
- 28. Table Wheel Timeline “Chutes and Ladders” Spider Circles Spatial Map Tower Structures
- 29. SKETCH A DIAGRAM (20 MINS) In groups, create a draft diagram for attending a conference (Fluxible), so the organizers can understand that experience Discuss: Point of view Scope Focus Structure
- 30. Align
- 32. Hold a Workshop
- 33. Create Artifacts
- 34. Test
- 35. Work Rapidly
- 36. The Ask
- 37. circa 1886 Scientific American Supplement, No. 530, February 27, 1886 “A NEW PHOTOGRAPHIC APPARATUS” This apparatus consists of a box containing a camera, A, and a frame, C, containing the desired number of plates, each held in a small frame of black Bristol board. The camera contains a mirror, M, which pivots upon an axis and is maneuvered by the extreme bottom, B. This mirror stops at an angle of 45°, and sends the image coming from the objective to the horizontal plate, D, at the upper part of the camera. The image thus reflected is righted upon this plate. As the objective is of short focus, every object situated beyond a distance of three yards from the apparatus is in focus. In exceptional cases, where the operator might be nearer the object to be photographed, the focusing would be done by means of the rack of the objective. The latter can also slide up and down, so that the apparatus need not be inclined when buildings or high trees are being photographed. The door, E, performs the role of a shade. When the apparatus has been fixed upon its tripod and properly directed, all the operator has to do is to close the door, P, and raise the mirror, M, by turning the button, B, and then expose the plate. The sensitized plates are introduced into the apparatus through the door, I, and are always brought automatically to the focus of the objective through the pressure of the springs, R. The shutter of the frame, B, opens through a hook, H, with in the pocket, N. After exposure, each plate is lifted by means of the extractor, K, into the pocket, whence it is taken by hand and introduced through a slit, S, behind the springs, R, and the other plates that the frame contains. All these operations are performed in the interior of the pocket, N, through the impermeable, triple fabric of which no light can enter. An automatic marker shows the number of plates exposed. When the operations are finished, the objective is put back in the interior of the camera, the doors, P and E, are closed, and the pocket is rolled up. The apparatus is thus hermetically closed, and, containing all the accessories, forms one of the most practical of systems for the itinerant photographer.—La Nature.
- 39. [EASTMAN] recognized that his roll film could lead to a revolution if he focused on the experience he wanted to deliver, an experience captured in his advertising slogan, “You press the button, we do the rest.”
- 40. Photographers
- 41. The Ask Solutions that merely please, serve, meet the needs/specs, or delight customers don’t go far enough. They represent yesterday’s marketing and design paradigms. They misunderstand innovation’s real impact – transforming customers.
- 43. Entrepreneurs
- 44. Who does Google ask us to become?
- 47. Wierdo
- 50. Using "The Ask" with Alignment Diagrams 1. At each phase ask: Who do we want our customers to become? 2. Use metaphors. These are often experts of some kind. 3. Reframe the solution space to transform users based on the transformations.
- 52. EXERCISE In groups, discuss who you want your customers to become
- 58. Strategy Myopia
- 59. You've got to start with the customer experience and work back toward the technology – not the other way around. 1997
- 60. An industry begins with the customer and his needs, not with a patent, a raw material, or a selling skill. Given the customer’s needs, the industry develops backwards, first concerning itself with the physical delivery of customer satisfaction. 1960
- 61. Growth slows not because industries stop growing, but because companies fail to continue to meet ever-expanding customer needs.
- 62. Why did Kodak fail?
- 63. • From the end of World War II until the late 1970s, a retain-and- reinvest approach to resource allocation prevailed at major U.S. corporations. • This pattern began to break down in the late 1970s, giving way to a downsize-and-distribute regime of reducing costs and then distributing the freed-up cash to shareholders. • By favoring value extraction over value creation, this approach has contributed to employment instability and income inequality. Profits Without Prosperity WILLIAM LAZONICK, “Profits without Prosperity,“ HBR Sept 2014
- 64. Companies … remain trapped in an outdated approach to value creation. They continue to view value creation narrowly, optimizing short-term financial performance in a bubble while missing the most important customer needs. Shared Value MICHAEL PORTER. “Creating Shared Value.” HBR (Jan 2011)
- 65. Figure out what your product is and what your value chain is. Understand where those things touch important social needs and problems. If you’re in financial services, let’s think about ‘saving’ or ‘buying a home’ - but in a way that actually works for the consumer. Shared Value MICHAEL PORTER. “Creating Shared Value.” HBR (Jan 2011) Story Interaction Individual Business
Editor's Notes
- It’s a pretty good time to be a UX Designer. More and more companies are seeing UX and Design as a source of differentiation. That not only provides opportunities for us individually, but also helps our field grow. But we need to step as a field, I believe. We complain that others don’t get it or we don’t have a seat at the table. But if we did would we really know what to do? It’s great we have IxD and IA and Content Strategy and such. And I’m glad there are talented people focused on those areas. But we also need to be able to contribute to broader conversations in organizations, around strategy and vision and creating value
- And that’s what Jeff was talking about in his 2012 article Lean UX is Nothing New. He writes: This doesn’t mean that you have to give up all the things you love about being a designer. I’m not saying to go get an MBA in business strategy. Rather we can use our design skills to become facilitators in organizations.
- Jeff sees things through the lens of Lean UX. Another way to convert design skills into facilitation is through visualizations. This is an experience map by Chris Risdon. It describes the experience of interacting with a service called rail Europe. On the top are phases of interaction. On the side are different facets of information that describe the experience. Aligned to that are actions the provider takes and even business opportunities. What are the skills involved in creating this picture? Research and empathy Organization and analysis of information Storytelling Visualization skills
- There are lots of approaches out there. Maybe you’ve heard of these things.
- Let me explain why I call these alignment diagrams People expect some benefit from a product or service On the other hand, organizations and business need to get something in return – profit, market share, brand recognition, more members. Where the two intersect is around the exchange of value. And that’s where our focus should be. Not on the distinctions between diagram types. Not on the distinctions between UX and CX and SD. But on creating, delivering, capturing and maintaining value.
- This is what Jess McMullin was talking about in his article from 2003, searching for the center of design.
- But visualizations don’t provide the answers, they foster conversations. They are platforms for change. I believe they are a one tool – along with Lean UX and Design thinking – that enable designers to become facilitators. Because you’re not going to make this visualization and put it as an email attached. You print them out and have workshops around them. They are catalysts for conversations. They are compelling artifacts that teams can rally around. They are cross functional – everyone can get something from understanding the user experience. They show a picture of value alignment.
- By describing alignment diagrams as a class of documents that reveals the value creation equation, you have many possibilities. This brings choice. Take a look at Harry Beck’s 1933 map of the London Underground. Here’s the original one. Who’s been on the Tube in London? Do they go in a straight line? Are the stops equidistant? Focus is on the different lines (in color) and stops Scope is to show the entire system. Can this be used by rain engineers to plan how much track they need for repairs? Who can use this? Travelers – that’s the point of view. As the mapmaker you have to make decisions about the story you want to tell.
- By describing alignment diagrams as a class of documents that reveals the value creation equation, you have many possibilities. This brings choice