Experience design and design thinking

Experience Design & Design
Thinking
Vinay & Anshuman

Friday, 24 September 2010

1

Table of Contents
• Design Thinking and Experience Design
– Emergence of Experience Economy
– Changing nature of business
– Traits of Design Thinking and it’s implication

• Designing Experiences
– Staging, Back-staging, ...
– Aspects of Experience Design

• Experience Design at MindTree
–
–
–
–
–

Staging: Front Staging and Back Staging
Users vs. People
Tasks vs. Activities
Context
Thinking vs. Offering


2

What are experts/ leaders saying about Experience Design

POINT OF VIEWS


3

Emergence of Experience Economy


4

Experience Economy
Offering

Commodities

Goods

Services

Experiences

Economy

Agrarian

Industrial

Service

Experience

Function

Extract

Make

Deliver

Stage

Nature

Fungible

Tangible

Intangible

Memorable

Key Attribute

Natural

Standardised

Customised

Personal

Method of
Supply

Stored in bulk

Inventoried after Delivered on
production
demand

Revealed over
a duration

Seller

Trader

Manufacturer

Provider

Stager

Buyer

Market

User

Client

Guest

Factors of
demand

Characteristics

Features

Benefits

Sensations


5

The Empathy Economy
• Quality-management programs can't give you the kind
of empathetic connection to consumers that
increasingly is the key to opening up new business
opportunities. All the B-school-educated managers you
hire won't automatically get you the outside-the-box
thinking you need to build new brands – or create new
experiences for old brands.
The truth is we're moving from a knowledge economy
that was dominated by technology into an experience
economy controlled by consumers and the
corporations who empathize with them. More »
– Bruce Nussbaum, Business Week

6

Investing in Design Pays: Design Index
Share prices of companies using design effectively have outperformed
the FTSE All-Share index by 200 per cent over ten year.

Only one can be the cheapest
• Others compete on Design
– There is one philosophy that businesses only turn
to design when they're desperate. After they've
competed on price, delivery, systems, etc., and
they find their business is totally commoditized
and they have no other choice, THEN they turn to
design.
– Some suggest that's true of Apple.
• David Burney, VP, Red Hat


8

Design Thinking
http://designthinking.ideo.com


9

Another Form…


10

Finally, Design Thinking guides you to
• Understanding users’ desires, needs,
motivations, and contexts
• Understanding business, technical, and
domain opportunities, requirements, and
constraints
• Using this knowledge as a foundation for plans
to create products whose form, content, and
behavior is useful, usable, and desirable, as
well as economically viable and technically
feasible

11

Have a sense of Play
• Play is important in design thinking. Critical
even. Having fun is often the objective. Giving
up ownership. Listening, humbly. Forming
teams from people who come from very
different disciplines and cultures; not keeping
them compartmentalized. Getting into the
world and testing things out. Prototyping and
failing. These are all good things in design
thinking cultures.

12

Design Thinking Companies
• Companies like OXO, Target, VW, Progressive Insurance.
These are great examples of design thinking –
companies that really involve their customers in cocreation of their products/service – companies that
build great systems.
• “Design is treated like a religion at BMW.”
– Fortune Magazine

• “Fifteen years ago, companies competed on price.
Today it’s quality. Tomorrow it’s design.”
– Bob Hayes, Professor Emeritus, Harvard Business School

13

It’s beyond the Product
• "Today, when we think about designing, say, a
new MRI system, we don't just think about
designing the product, we think about designing
the whole radiology suite. Design in the next 10
years will move beyond the product. It will
move beyond workflow. Hospitals in the
future...will have different ways of interacting
with the patient. We have to think about setting
the course for how design can affect the whole
health-care experience."
– GE Healthcare Technologies CEO Joseph M. Hogan

14

What is Design Thinking, How is it different and how does it help

DESIGN THINKING


15

Traits of Design Thinking
• Focus on People: It's not about the company,
how you segment your products or how your
business is organised.

• People don’t care about it. They care about
doing their tasks and achieving their goals that
are within their limits.
– What it means for us: Stop thinking about ‘Users
or Customers’ and think ‘People’

16

• Finding Alternatives. Designing isn't about
choosing between multiple options, it's about
creating those options.
• It's this finding of multiple solutions to
problems that sets designers apart.
– What it means for us: train our folks to think
laterally, generate alternatives, use systematic
innovation techniques (remember De Bono’s
‘divide a square in four’ exercise)

17

• Ideation and Prototyping: Prototype,
prototype, prototype
• Use it to refine your thinking, generate
alternatives, combine and create a third
option
– What it means for us: Change the way project
teams are structured – ideate in groups before
you set out to create solutions
– Invest in tools & trainings
– Ideate before you begin work

18

• Wicked Problems. The problems designers are
used to taking on are those without a clear
solution, with multiple stakeholders, fuzzy
boundaries, and where the outcome is never
known and usually unexpected. Being able to
deal with the complexity of these "wicked"
problems is one of the hallmarks of design
thinking.
– What it means for us: Hire thinkers who can
analyse, visualise, build consensus, prototype and
validate

19

• A Wide Range of Influences. Because design
touches on so many subject areas (psychology,
ergonomics, economics, engineering,
architecture, art, etc.), designers should bring
to the table a broad, multi-disciplinary
spectrum of ideas from which to draw
inspiration and solutions.
– What it means for us: Change our team
compositions and create a wider skill-base (more)

20

• Emotion. In analytical thinking, emotion is
seen as an impediment to logic and making
the right choices. In design, decisions without
an emotional component are lifeless and do
not connect with people.
– What it means for us: Focus on what someone
/something stands for than what they/it does
– Take the focus away from ‘ROI type’ thinking.
Remember Google! (Focus on the user and all else
will follow.)

21

How do we design experiences, what to look for

DESIGNING EXPERIENCES


22

Experience Design
• Experience design is the practice of designing products,
processes, services, events, and environments:- each of
which is a human experience:- based on the
consideration of an individual's or group's needs,
desires, beliefs, knowledge, skills, experiences, and
perceptions.
• We define experience as a mental journey that leaves
the customer with memories of having performed
something special, engaging, having learned something
or just having fun and entertainment.


23

Experience Production
• Experiences are designed, produced and
delivered
• Experience production system encompasses
– Marketing and experience strategy
– Organization structure – Producers and directors
– HR and capability management – Performers
– Technology and Innovation – Just like in
manufacturing and service economies
– Customer orientation (experience delivery) –
Audiences, participants, consumers

24

Experience Design
• Back Staging and Front Staging are two aspects of
experience production system
– Concept of an experience is created Backstage along with
general business principles to improve competitive
advantage by focusing on increasing productivity, meet
price competition (optimization), organizing innovation
activities
– Front Staging can be artistic in nature where services are
used as platform and products as props
•
•
•
•
•
•

Participation
Personality
Experience ‘logistics’
Sensuous input
Physical experience
Material ‘supp


25

Why Back-staging?
• Front staging increases opportunities and this in turn
increases competition.
• The focus will then shift to delivering customized and
variety of experiences.
• Here Back-staging will help in improving competitive
advantage by:
–
–
–
–

Thinking strategically
Shorter time to market
Focusing on meeting productivity and keeping low price
Crafting packaged experiences (a bundle of experience,
added services and so on.)

• Organizing innovation activities systematically

26

Anatomy of Experience Design
Peripheral Experience

A part of the overall experience and customer
provide a lot of emphasis to it initially (visually)

Core experience

The core experience to the customer. Cannot be
appreciated without a good theme

Core
Activity
The Concept
Peripheral/Support
Service


The core experience (the music, the theatre play,
the TV broadcast) is created on the stage or
performed on the stage

The concept or theme is created backstage to be
experienced front stage by the audience. It is the
story telling approach what customer finally
admire
Other material and service support

27

Anatomy of an Experience
Concept
What customer
‘feels’

Core Experience
What customer
experiences

Experience
Solution

Peripheral
experience What
customer use
technical in nature

Happiness is in
small moments of
life and must be
shared

Eating Frozen ice
cream

Unilever ice cream
vending machine
(More)

Machine serving ice
cream through face
recognition (Smile)

Multisensory
experience of
sending online
messages

Drop Dead Easy
Gold Mail
way of creating and messaging service
sending multimedia (More)
messaged online

Adding video,
audio, photo to
personal messages

Long term thinking
of environmental
impact of making
sustainable choices

Quick and Easy
evaluation of
energy consuming
products and
compare with
neighbors

Smart meters and a
web service
keeping track of
contribution to
power usage


Economozier
(More)

28

Taxonomy of Experience Production
System
•

Type of experience the firms produce
– Distant experience – customer is away from the place of production. in the distant
experiences, Backstaging is extremely important: what is experienced ‘on the stage’ is wholly
dependent on the ability of the producer to design the staging.
– Close experience – customer is present at the place of production

•

The value chain
– Lighting and sound system used on a TV program -> TV program - > TV -> TV Designer
Technological

Personal

Distant Experiences

TV
Radio Broadcast
Facebook

NA

Close Experiences

Iphone
Nintendo Wii
Hotel
3D/4D Cinema

Theatre
Barber
Concert
Museum


29

Dimensions of Experience Design
• Duration (Initiation, Immersion, Conclusion, and
Continuation)
• Intensity (Reflex, Habit, Engagement)
• Breadth (Products, Services, Brands, Nomenclatures,
Channels/Environment/Promotion, and Price)
• Interaction (Passive < > Active < >Interactive)
• Triggers (All Human Senses, Concepts, and Symbols)
• Significance (Meaning, Status, Emotion, Price, and
Function)
– Making Meaning: How Successful Businesses Deliver
Meaningful Customer Experiences.

30

Corporate Experience Design
• 80% of companies believe they deliver a
superior customer experience, but only 8% of
their customers agree


31

Experience Design can’t be piecemeal
• In designing propositions for specific segments, leaders
focus on the entire customer experience. They
recognize that customers interact with different parts
of the organization across a number of touch-points,
including purchase, service and support, upgrades,
billing, and so on. A company can't turn its customers
into satisfied, loyal advocates unless it takes their
experiences at all these touch-points into account.
Design is thus closely tied to the delivery from the very
beginning. Planning focuses not only on the value
propositions themselves but on all the steps that will
be required to deliver the propositions to the
appropriate segments.

32

3 D of Customer Experience
• Companies that produce great customer experiences
– They design the right offers and experiences for the right
customers.
– They deliver these propositions by focusing the entire
company on them with an emphasis on cross-functional
collaboration.
– They develop their capabilities to please customers again
and again—by such means as revamping the planning
process, training people in how to create new customer
propositions, and establishing direct accountability for the
customer experience.

33

Where to look
• Data mining and customer relationship
management (CRM) systems can be valuable
for creating hypotheses, but the ultimate test
of any company's delivery lies in what
customers tell others. The best companies find
ways to tune in to customers' voices every
day.
– Analysing word-of-mouth is an intrinsic part of
Experience Design

34

What does this mean for us?

EXPERIENCE DESIGN


35

Design
• Challenges in designing a differentiated Customer
Experience at MindTree
– It can’t be piecemeal or limited to the front-end. It
needs to cut across all functions & touch points
– Structural challenges: It requires cross-functional
teams and not compartmentalisation – probably the
onus is on us
– Change in Mindset: Get the product out fast vs. Get
the right product out
– Designing better experiences will also require us to
engage upstream or redefine problem statements

36

Designing Better Customer Experience
• In Experience Design, there’s no Customer – only a Guests or Participants
• Structural Aspects
– So far, we have been focussed on the Front Stage. We need to build Back Stage
capabilities

• Approach to Thinking
–
–
–
–

Focus on Ideation, Refining through Prototyping, Ideate, Research, Observe
Think of People and not Users
Focus on Activities and not on Tasks
Remember the context!

• Sell Thinking and not Offerings
– Take an Idea to the Customer and not a PPT(X)
– People relate to what you stand for and not what you can do


37

Back Stage & Front Stage – version 1
Backstage

Frontstage

Planners

Executers

Leaders
Managers
Strategist
Product Managers

Researchers
Presenters
Designers
Design Advocates
Modellers
Brand Guys
Business Analysts
Product Managers
Activities

Proposal
management
Project
management

Primary research
Secondary research
Brainstorming
Ideation
Concept
Development
Prototyping
Specification
Development
Usability Testing etc.


Actors

Audiences
Customers
Consumers
Users

Visioning – Inspire a Guest and
shared vision,
participants
Problem
identification,
Roadmap
development Model the way,
Challenge the
processes – status
quo, Enable others
to act, Solution
walkthru, Encourage

38

Changes in Thinking
• Think People & not Users
– People have behaviours & desires that are effected by
Beliefs, Attitudes, Expectations, Personality, Experiences,
Emotions, Prior knowledge
– Have Contexts that are relational, historical, or emotional

• Think Activities & not Tasks
– Activities are driven by motivations that can be social,
monitory, ideological, emotional

• Think Context
– Make the experience more meaningful by making it
relevant to the context

39

Users vs. People
• Vodafone offers a good example. The U.K.-based
mobile phone company grew rapidly through
acquisitions in the 1990s, becoming one of the leading
mobile providers in the world.
• To ensure that its offerings could be effectively
delivered to target customers in any country, it stopped
categorizing its customers simply according to where
they live, as most cellular providers do.

• Instead, it divided its immense marketplace into just a
few, high-priority global segments: "young, active, fun"
users, occasional users, and a handful of others.

40

Intangibles make the Experience
Kevin Kelly argues that in the modern economy consumer products
cost nothing to reproduce. Intangibles are that can’t be reproduced at
any cost
1.
2.
3.
4.
5.
6.
7.
8.

Immediacy: priority access, immediate delivery
Personalization: tailored just for you
Interpretation: support and guidance
Authenticity: how can you be sure it is the real thing?
Accessibility: wherever, whenever
Embodiment: books, live music
Patronage: "paying simply because it feels good", e.g. Radiohead
Findability: "When there are millions of books, millions of songs,
millions of films, millions of applications, millions of everything
requesting our attention — and most of it free — being found is
valuable.“


41

It requires multiple skills
• cognitive
•
psychology and percept
ual psychology,
•
• linguistics,
•
• cognitive science,
•
• architecture and enviro •
nmental design,
•
• haptics,
•
• product design,
•
• information design,

information
architecture,
ethnography,
brand management,
interaction design,
service design,
storytelling,
heuristics,
design thinking
42

Thinking & not Offering
• Develop ideas into functional prototypes which
are backed by research and take it to relevant
customers.
• Just add water: When on an assignment, take a
near complete prototype to the customer for
further ideation and not a blank slate
• Take a film for their iPod, or a story-book that sits
on their book-shelf, a prototype on their desk
that they can play with. Remember experiences
need to be multi-sensory & memorable.

43

As-is vs. To-be
“Business” Approach
Problem Solving Approach

“Design” Approach

Definitive. Relies on equations for “proof”.

Iterative. Relies on a “build to think” process
dependent on trial and error.

Validation through

What customers say: often a combination of
qualitative (focus groups) and quantitative
(surveys) research.

What customers do: often direct observation and
usability testing.

Informed by

Market analysis and aggregate consumer
behavior.

Direct consumer observation and abductive
reasoning (“what might be”).

Completed

Completion of strategy phase marks the start of
product development phase.

Never: continually evolving with customers.

Focused on

An understanding of the results of customer
activities.

An understanding of customer activities.

Tools used to communicate
strategic vision

Spreadsheets and PowerPoint decks

Prototypes, films, and scenarios.

Described through

Words (often open to interpretation).

Pictorial representations and direct experiences
with prototypes.

Team members

Vertical expertise and individual responsibilities.

“T-shaped” expertise: a principal vertical skill and a
horizontal set of secondary skills. Collaborative
(team) responsibilities.

Work patterns

Permanent jobs, on-going tasks, and fixed hours.

Temporary projects with associated tasks and
flexible hours.

Reward structure

Corporate recognition based on the bottom line.

Peer recognition based on the quality of solutions.


44

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