The document outlines a schedule for three tracks of student groups meeting with industry partners over the course of a day. Track 1 focuses on experience design and will meet on the 11th floor. Track 2 focuses on interactive media and will also meet on the 11th floor. Track 3 will meet on the 10th floor and involve 24 student groups engaging with 7 different industry partners, with each meeting lasting 20 minutes. The schedule details the timing of introductions, breaks and lunch for the three tracks.
The document discusses using animation to facilitate consensus in the fuzzy front-end phase of digital design projects. It describes how animation can serve as an extended form of sketching to help stakeholders express design alternatives and frame discussions to reach decisions. The document presents a case study where animation-based sketches were used to help a group reach consensus on key decisions in transitioning an augmented reality concept into a core design for a children's oceanarium exhibit.
The document appears to be notes from a class on design fiction and sketching. It discusses using design fiction to explore possible future scenarios and how that can inform design. It provides examples of how fictional depictions of future technologies in films can influence perceptions and acceptance of those technologies. The notes also discuss different tools and techniques for sketching ideas, including using storyboards to visually map out design spaces and scenarios in a way that adds depth. Issues with static sketches are noted, as the experience is often in the transitions, so more dynamic sketching methods may be preferable.
This document discusses customer experiences with services and the importance of understanding the customer journey and touchpoints. It makes three key points:
1) Value is now co-created with customers through interactions and experiences, rather than being embedded in tangible products. Understanding the customer experience is important.
2) The customer journey and touchpoints are two important concepts for designing experience-centric services. Touchpoints are interactions between the customer and service provider across multiple channels.
3) Service design provides insights into how customers experience a service by visualizing customer journeys and processes to help address complexity and variety in customer experiences.
The document provides guidance for designers working on interdisciplinary challenges. It discusses that designers address problems by challenging problem definitions and working simultaneously to develop solutions and understand problems. The design process is iterative, exploring divergent and convergent thinking. Main focus is on understanding user needs. Interdisciplinary teamwork is difficult due to different backgrounds, but can be improved through patience, listening, and proactive contributions. The document advises designers to embrace being outside their comfort zone and enjoy the process.
The document outlines a schedule for three tracks of student groups meeting with industry partners over the course of a day. Track 1 focuses on experience design and will meet on the 11th floor. Track 2 focuses on interactive media and will also meet on the 11th floor. Track 3 will meet on the 10th floor and involve 24 student groups engaging with 7 different industry partners, with each meeting lasting 20 minutes. The schedule details the timing of introductions, breaks and lunch for the three tracks.
The document discusses using animation to facilitate consensus in the fuzzy front-end phase of digital design projects. It describes how animation can serve as an extended form of sketching to help stakeholders express design alternatives and frame discussions to reach decisions. The document presents a case study where animation-based sketches were used to help a group reach consensus on key decisions in transitioning an augmented reality concept into a core design for a children's oceanarium exhibit.
The document appears to be notes from a class on design fiction and sketching. It discusses using design fiction to explore possible future scenarios and how that can inform design. It provides examples of how fictional depictions of future technologies in films can influence perceptions and acceptance of those technologies. The notes also discuss different tools and techniques for sketching ideas, including using storyboards to visually map out design spaces and scenarios in a way that adds depth. Issues with static sketches are noted, as the experience is often in the transitions, so more dynamic sketching methods may be preferable.
This document discusses customer experiences with services and the importance of understanding the customer journey and touchpoints. It makes three key points:
1) Value is now co-created with customers through interactions and experiences, rather than being embedded in tangible products. Understanding the customer experience is important.
2) The customer journey and touchpoints are two important concepts for designing experience-centric services. Touchpoints are interactions between the customer and service provider across multiple channels.
3) Service design provides insights into how customers experience a service by visualizing customer journeys and processes to help address complexity and variety in customer experiences.
The document provides guidance for designers working on interdisciplinary challenges. It discusses that designers address problems by challenging problem definitions and working simultaneously to develop solutions and understand problems. The design process is iterative, exploring divergent and convergent thinking. Main focus is on understanding user needs. Interdisciplinary teamwork is difficult due to different backgrounds, but can be improved through patience, listening, and proactive contributions. The document advises designers to embrace being outside their comfort zone and enjoy the process.
The document discusses a study conducted by the Copenhagen Living Lab to analyze the concert experience. They interviewed 27 people after they attended 6 different concerts. The interviews and observations were used to identify 15 key steps in the concert experience, from the pre-show planning to exiting afterwards. They analyzed different types of concertgoers and their needs/motivations at different stages of the experience. They developed an innovation model and proposed prototype concepts to enhance aspects of the experience based on their findings. The overall goal was to better understand user behaviors and identify opportunities to improve the concert experience.
This document discusses the use of video in ethnographic research. It provides three key benefits of using video:
1) Video allows researchers to capture nuances of process, emotion, and subtle behaviors that would be difficult to record through other means like notes or memory.
2) Video provides an opportunity for empathetic interpretation in addition to rational interpretation by allowing the recording of sensory, emotional, and experiential details.
3) Video recordings can be reviewed multiple times to reveal nuances and allow for collaborative interpretation of situations, providing a common frame of reference for researchers.
The document then discusses different approaches to analyzing video data collected during ethnographic fieldwork, including creating a coherent video portrait or using short
This document provides an overview of the U-CrAc program, which brings together students' creativity and industry challenges. It outlines the schedule for the first day, including an introduction to U-CrAc, a session on user-centered design and interdisciplinary work, and time for students to get to know their assigned teams and case partners. The program aims to apply students' skills and perspectives to real-world problems presented by industry partners.
This document summarizes the zones and equipment in a media lab, including procedures for using the equipment in each zone. The 5 zones are for 3D printing and gaming, tool tinkering, workshop space, user testing, and a green screen studio. Each zone summary lists the needed equipment and procedures for using that equipment safely and returning it to its proper place afterwards.
Bodystorming is a technique where participants physically act out a scenario to experience it firsthand and generate new ideas. It involves setting up a realistic situation with props and others, and testing interactions by physically moving through and changing the space. The goal is to understand how people interact with environments and make decisions from an embodied perspective to derive insights.
The document describes a tool called the Service Ouroboros that is used to support innovation processes through co-designing service cycles. The Service Ouroboros involves sketching customer journeys and service blueprints to map out a service over time and space. It uses techniques like bodystorming, storyboarding, and reframing layers to jointly explore future service possibilities and create early sketches. The goal is to reach mutual understanding between the group and case owner by making services tangible through visualization, drawing, building, and games with rules around touchpoints, narratives, and reframing different aspects of a service.
This document discusses ethnographic methods for user research in design, including fieldwork techniques like shadowing, interviews, and video observation. It emphasizes the importance of understanding user practices in context rather than through abstract categories. Ethnography allows designers to see opportunities for innovation by capturing realities of time, motion, and human interaction. When conducting fieldwork, designers should aim to be surprised, ask open-ended questions, and focus on users' experiences rather than making early judgments. Video observation is highlighted as a way to document nuances of behavior in a direct, accessible format. The document concludes by outlining preparations needed for an upcoming student project involving video portraits.
The document discusses a study conducted by the Copenhagen Living Lab to analyze the concert experience. They interviewed 27 people after they attended 6 different concerts. The interviews and observations were used to identify 15 key steps in the concert experience, from the pre-show planning to exiting afterwards. They analyzed different types of concertgoers and their needs/motivations at different stages of the experience. They developed an innovation model and proposed prototype concepts to enhance aspects of the experience based on their findings. The overall goal was to better understand user behaviors and identify opportunities to improve the concert experience.
This document discusses the use of video in ethnographic research. It provides three key benefits of using video:
1) Video allows researchers to capture nuances of process, emotion, and subtle behaviors that would be difficult to record through other means like notes or memory.
2) Video provides an opportunity for empathetic interpretation in addition to rational interpretation by allowing the recording of sensory, emotional, and experiential details.
3) Video recordings can be reviewed multiple times to reveal nuances and allow for collaborative interpretation of situations, providing a common frame of reference for researchers.
The document then discusses different approaches to analyzing video data collected during ethnographic fieldwork, including creating a coherent video portrait or using short
This document provides an overview of the U-CrAc program, which brings together students' creativity and industry challenges. It outlines the schedule for the first day, including an introduction to U-CrAc, a session on user-centered design and interdisciplinary work, and time for students to get to know their assigned teams and case partners. The program aims to apply students' skills and perspectives to real-world problems presented by industry partners.
This document summarizes the zones and equipment in a media lab, including procedures for using the equipment in each zone. The 5 zones are for 3D printing and gaming, tool tinkering, workshop space, user testing, and a green screen studio. Each zone summary lists the needed equipment and procedures for using that equipment safely and returning it to its proper place afterwards.
Bodystorming is a technique where participants physically act out a scenario to experience it firsthand and generate new ideas. It involves setting up a realistic situation with props and others, and testing interactions by physically moving through and changing the space. The goal is to understand how people interact with environments and make decisions from an embodied perspective to derive insights.
The document describes a tool called the Service Ouroboros that is used to support innovation processes through co-designing service cycles. The Service Ouroboros involves sketching customer journeys and service blueprints to map out a service over time and space. It uses techniques like bodystorming, storyboarding, and reframing layers to jointly explore future service possibilities and create early sketches. The goal is to reach mutual understanding between the group and case owner by making services tangible through visualization, drawing, building, and games with rules around touchpoints, narratives, and reframing different aspects of a service.
This document discusses ethnographic methods for user research in design, including fieldwork techniques like shadowing, interviews, and video observation. It emphasizes the importance of understanding user practices in context rather than through abstract categories. Ethnography allows designers to see opportunities for innovation by capturing realities of time, motion, and human interaction. When conducting fieldwork, designers should aim to be surprised, ask open-ended questions, and focus on users' experiences rather than making early judgments. Video observation is highlighted as a way to document nuances of behavior in a direct, accessible format. The document concludes by outlining preparations needed for an upcoming student project involving video portraits.