Create the world, the interface will follow
by Paula Wellings
August 26, 2008
In user experience design, there is a growing emphasis on starting
projects by creating robust descriptions of the prospective users.
Through contextual inquiry and persona development we gain insight
into people’s needs; ascertain their desires; and illuminate
their behavior, wishes, hopes and dreams. But in an attempt to
create archetypal descriptions of people, the specificity of the
environments people inhabit are often times
diminished—research is conducted across broad cross-sections
of markets to ensure that common experiences are identified and
explored.
At its best, people-focused research leads to innovative products
and new approaches to supporting people’s accomplishments. At its
not-so-best, these descriptions lead to long lists of problems
people have and long lists of ways to solve these problems, often
manifested as features and requirements.
An interesting disruption to this process is to pull back for a
moment to consider what tenable and creative role the environments
occupied by people might bring to the experience design process.
How can we move from a purely descriptive representation of the
people themselves to an approach that explicitly recognizes design
as facilitating participation in particular worlds?
My own design career began at a company that created imaginary
worlds in which people learned, worked and played. The origins of
the company were in play, initially focusing on creating video
games and then extending game design approaches to learning and
business applications as well.
Core to the beginning of each project was a focus on defining
the world of the game. What kind of
environment empowers people to participate in the experiences they
yearn for, such as conquering, collaborating, nurturing,
collecting, competing and questing? Questions we would ask about
the imagined world included:
- What are the reoccurring themes of the world?
- What does the world look and sound like?
- What does it feel like to be in the world?
- What tools and artifacts can be found in the world?
- What creatures/characters live in the world?
- What is the culture and history of the world?
Answering these questions in words and pictures was the first step
in defining the possibility space of the game world and giving
depth and meaning to every subsequent interaction. World
descriptions gave us a method to tell the story of places that
people implicitly seek to inhabit. See the world description
for
Viva Piñata to see an example of complete
game world description.
Like the worlds of video games, our real world is a possibility
space that gives depth and context to our interactions. For the
most part, people live their lives in environments that provide
structure to activities, relationships and opportunities. Changes
of environment reveal the power of the world to enable and diminish
our possibilities. Both dramatic environment changes such as living
in a foreign country, going to jail, and surviving a natural
disaster as well as small changes such as moving from a sunny
climate to a rainy one can affect people in powerful ways.
As part of our experience design practice, what might happen when
we take time to consider both the specificity of existing
environments and to imagine, invent, and describe future real
worlds that people yearn to inhabit?
Recently, I conducted contextual research with people in public
spaces. We learned a great deal about what people found valuable
and challenging in their current world and we were able to advise
our clients accordingly as to approaches for particular
technologies within existing physical environments. This was good
and meaningful work, for both our client and for ourselves, but we
also left something quite interesting on the table—the
opportunity to go beyond the real and bring imaginative substance
to an entire world that people more implicitly yearning for, beyond
particular service or technology experiences.
As a post-hoc exercise, what might a world be like for people
yearning to connect, learn, and make decisions in shared public
spaces? Maybe like this:
The World of TogetherSpace
- What are the reoccurring themes of the world?
- Optimism, connection, delight, empowerment
- What does the world look and sound like?
- The world is a mixture of old style bookstore, neighborhood
cafe and children’s museum—the look is both modern and
cozy with natural materials and high tech materials side by side.
Contained within a large dome-like building, the world is bright
and airy, with high pale blue ceilings specked with clusters of
star-shaped skylights. The sound of slow moving water can be heard
throughout the world and it is surprisingly quiet even when filled
with people.
- What does it feel like to be in the world?
- The air of the world is cool and fresh. It is easy to
breath and to relax in this world. The open design enables people
to see their loved ones at a distance and the floors give extra
bounce to the step.
- What tools and artifacts can be found in areas of the
world?
- Exhibit areas: Interactive exhibits supporting exploration
and learning. Large tables at varying heights provide surfaces for
adults and children to combine materials and create their own
inventions.
- Café: At the center of the environment, a cafe with
healthy foods, drinks and digital table surfaces. People come here
to talk, rest, and collaboratively explore ideas on digital table
surfaces.
- Exploration areas: Studious spaces where people browse
unique components of the exhibits in greater detail and talk with
guides.
- Quiet alcoves: At the perimeter of the building a series of
alcoves surfaced with hardwood floors and Persian rugs. The alcoves
are filled with mismatched armchairs and digital tables arranged
for shared conversation. Here people sit, discussing, planning, and
negotiating.
- Personal technologies: Mobile devices used by people in the
world to capture and share experiences with other people and across
exhibits.
- What creatures/characters live in the world?
- Explorers: New visitors to TogetherSpace who have not yet
developed additional identities as connectors and guides.
- Connectors: Repeat visitors and staff that help people
connect to each other and to the areas and features of the
environment.
- Guides: Repeat visitors and staff that help people develop
personal, meaningful, and relevant connections to the content of
the exhibits.
- What is the culture and history of the world?
- In TogetherSpace all people are seen as creative
participants. Failure in this world is celebrated as an opportunity
to invent new solutions and share current understandings. This
world came into being when people realized that past approaches of
competing for knowledge and obscuring understanding left many
people alone and isolated.
While the world of TogetherSpace is not real and may never be
created by a single client, the act of imagining and describing
worlds for people does impact what we create.
Inventing a world creates a possibility space aligned with the
kinds of environments people want to inhabit, as opposed to the
worlds they currently live in. The world description brings value
to designers and clients as a method and as a metric for
considering if our isolated designs for interfaces, products,
services, and devices have a coherent, integrated part to play in
an optimal environment for desired experiences.
Inventing worlds for people is not a familiar or easy task.
Expertise in world making is found in disparate creative fields
such as architecture, set design, game design, comic book and
fiction writing, and, historically, imagineering.
The practice is quite subjective and certainly not definitive.
Imagining places for real world experiences is harder than
imagining fantasy worlds because many of the constraints of culture
and history are already determined. But as we seek to design richer
experiences and multi-channel products and services, we are
inherently moving in this direction. As we extend our focus and
skill sets from usability and validation-type research practices to
more culturally-oriented ethnographic practices, we are attending
to the desire to describe the world that our designs are part of.
The opportunity before us is to move from a purely descriptive
representation of the people we design for to an approach that
explicitly recognizes design as the world-creating and
world-changing activity that it is.
Paula Wellings is an experience designer at Adaptive Path. She is a strong believer that our designs define who we are and who we will become; she is passionate about designs that illuminate our best human qualities: Kindness, respect, honesty, courage, humor, charm, integrity. One of her strengths as a designer is showing her clients the worlds they can create and the people they have the opportunity to influence when they make great ideas become great products and experiences.
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