Tools for Designing Experience: Repurposing Design Resources for the Emerging Experience Economy

The creative industries are following the trend exhibited in other fields of economic activity by increasingly focussing on selling ‘experiences’ rather than ‘objects’. Typically, this shift results in immersive products which include elements such as narrative, space, media and/or performance within an overall presentation characterised by audience agency and an aim of sense-making. Experience Design, the planning and production of these experience-centred, immersive productions, is a new and essentially interdisciplinary academic field meaning that almost all current practitioners originally trained in a different (albeit related) single area (e.g., architecture, theatre, UI design, etc.) and have developed their interdisciplinary expertise through a process of individual research, experience and reflection. This necessarily limits the availability of suitably skilled practitioners and there is a growing sense that appropriate training needs to be developed to support the continued expansion of the sector. This paper aims to support this pedagogical development process by examining a range of planning processes and tools used the disciplines which contribute to experience design together with recently developed tools from the experience economy. Suggestions of ways existing tools might be extended to accommodate the wider range of media and contexts typically encountered in an experience production are presented. An ‘experience model’ is proposed to support the analysis and identification of key elements of immersive experiences and the paper concludes with a provisional identification of a core set of key design tools and techniques which experience designers might employ across the range of current immersive practice.

Content

Author and article information

Contributors

Ian Willcock

Conference

Publication date: July 2017

Publication date (Print): July 2017

Pages: 219-226

Affiliations

[0001]University of Hertfordshire

UK

Article

DOI: 10.14236/ewic/EVA2017.48

SO-VID: 759ba969-7ef4-4b01-baeb-9d89ec92c95a

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Electronic Visualisation and the Arts (EVA 2017)

Conference acronym: EVA

Conference number:

Conference location: London, UK

Conference date: 11 – 13 July 2017

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2017.48

Self URI (journal page): https://ewic.bcs.org/

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Comments

Comment on this article

[1] C. Alexander 1964 Notes on the Synthesis of Form. Harvard University Press

[2] Creative & Cultural Skills 2017 Building a Creative Nation: The Next Decade. Research Report. Creative & Cultural Skills UK http://www.ccskills.org.uk/ten-years-ahead 7 May 2017

[3] R. CaddickS. Cable 2011 Communicating the User Experience a Practical Guide for Creating Useful UX Documentation. Chichester, West Sussex, U.K. Wiley

[4] Derby Museums 2014 Derby Museums HumanCentred Design Handbook. Derby Museums UK. https://www.derbymuseums.org/wp-content/uploads/2016/01/Derby-Museums-HCD-Handbook.pdf 25 March 2017

[5] Derby Museums Re:Make Museum [Online blog]. http://remakemuseum.tumblr.com/?og=1 26 March 2017

[6] Design Council 2015 The Design Process: What Is the Double Diamond? Design Council UK. http://www.designcouncil.org.uk/news-opinion/design-process-what-double-diamond 12 March 2017

[7] Experience UK International Business Directory for the UK Attractions Industry Experience UK http://www.experienceuk.org/pages/about/2 16 September 2016

[8] P. M. Fitts 1954 The Information Capacity of the Human Motor System in Controlling the Amplitude of Movement. Journal of Experimental Psychology 47 6 381 391

[9] E. FourmiJ. HonA. Nakamura 2016 Whist: Dance Theatre and Virtual Reality. J. P. BowenG. DiproseN. Lambert EVA London 2016: Electronic Visualisation and the Arts 195 196 Electronic Workshops in Computing, BCS ext-link-type="uri" xlink:href="DOI:10.14236/ewic/EVA2016.39">DOI:10.14236/ewic/EVA2016.39

[10] E. Friess 2012 Personas and Decision Making in the Design Process: An Ethnographic Case Study. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 2012 New York, NY, USA: ACM, 1209 1218

[11] G. Goldschmidt 1991 The Dialectics of Sketching. Creativity Research Journal 4 2 January 123 143

[12] S. A. Gregory 1966 Design and the Design Method. M.I. ChemES. A. G. B. S.C. Eng The Design Method Springer US 3 10

[13] T. J. HowardS. J. CulleyE. Dekoninck 2008 Describing the Creative Design Process by the Integration of Engineering Design and Cognitive Psychology Literature. Design Studies 29 2 March 160 180

[14] H. Jenkins 2004 Game Design as Narrative Architecture. Computer 44 53 60

[15] D. JingH. Yang 2015 Creative Computing for Bespoke Ideation. IEEE 39th Annual Computer Software and Applications Conference July 2015 1 34 43

[16] J. KalbachP. Kahn 2011 Locating Value with Alignment Diagrams. Parsons Journal of Information Mapping 3 2 1 11

[17] B. J. KnutsonJ. A. Beck 2004 Identifying the Dimensions of the Experience Construct. Journal of Quality Assurance in Hospitality & Tourism 4 3-4 February 23 35

[18] M. KouprieF. S. Visser 2009 A Framework for Empathy in Design: Stepping into and out of the User’s Life. Journal of Engineering Design 20 5 October 437 448

[19] J. M. LambM. J. Kallal 1992 A Conceptual Framework for Apparel Design. Clothing and Textiles Research Journal 10 2 January 42 47

[20] B. Lawson 2006 How Designers Think: The Design Process Demystified. Routledge

[21] L. van LeeuwenD. Westwood 2008 Adult Play, Psychology and Design. Digital Creativity 19 3 September 153 161

[22] E. B. L. Leung Digital Experience Design Intellect Books https://www.dawsonera.com/abstract/9781841502854 19 August 2016

[23] Lumion Lumion - Overview Lumion https://view.mylumion.com 7 April 2017

[24] J. R. LumpkinW. R. Darden 1982 Relating Television Preference Viewing to Shopping Orientations, Life Styles, and Demographics: The Examination of Perceptual and Preference Dimensions of Television Programming Journal of Advertising 11 4 December 56 67

[25] J. Mostow 1985 Toward Better Models of the Design Process AI Magazine 6 1 March 44

[26] M. W. NewmanJ. A. Landay 2000 Sitemaps, Storyboards, and Specifications: A Sketch of Web Site Design Practice. Proceedings of the 3rd Conference on Designing Interactive Systems: Processes, Practices, Methods, and Techniques, 2000 New York, NY, USA: ACM 263 274

[27] D. Norman 1988 The Design of Everyday Things. Basic Books

[28] A. Peacock 2017 The User Centred Storyboard. Unpublished teaching material

[29] B. J. PineJ. H. Gilmore 1999 The Experience Economy: Work Is Theatre & Every Business a Stage. Harvard Business Press

[30] S. Pugh 1990 Total Design: Integrated Methods for Successful Product Engineering. Wokingham, England; Reading, MA Prentice Hall

[31] A. J. ReaganL. MitchellD. KileyC. M. DanforthP. S. Dodds 2016 The Emotional Arcs of Stories Are Dominated by Six Basic Shapes. EPJ Data Science 5 1 December

[32] B. Richardson 2000 Recent Concepts of Narrative and the Narratives of Narrative Theory Style 34 2 168 175

[33] E. Sanders 2002 From User-Centered to Participatory Design Approaches Design and the Social Sciences CRC Press 1 8

[34] C. SchäferR. ZinkeL. KünzerG. HofingerR. Koch 2014 Applying Persona Method for Describing Users of Escape Routes. Transportation Research Procedía 2 January 636 641

[35] J. Schell 2008 The Art of Game Design: A Book of Lenses. Morgan Kaufmann Publishers Inc

[36] C. E. ShannonW. Weaver 1949 The Mathematical Theory of Communication. Urbana Univ. of Illinois Press

[37] A. SiebenJ. SchumannA. Seyfried 2017 Collective Phenomena in Crowds - Where Pedestrian Dynamics Need Social Psychology. arXiv:1702.07012 [physics] February http://arxiv.org/abs/1702.07012 7 April 2017

[38] J. StanleyM. Monta 2007 Directing for Stage and Screen. Springer

[39] H. TakedaP. VeerkampH. Yoshikawa 1990 Modeling Design Process AI Magazine 11 4 December 37

[40] The Audience Agency 2017 Audience Spectrum Pen Portraits. The Audience Agency. https://www.theaudienceagency.org/audience-spectrum/profiles 18 September 2016

[41] M. ThynneI. Willcock 2016 Ecologies of Experience: A Survey of Contemporary Immersive Practices. Presented at: Digital Research for the Humanities and Arts (DRHA) 5 September Brighton UK

[42] VisionXS 2015a Visitor Experience Modelling VisionXS http://www.visionxs.co.uk/services/visitor-experience-modelling/ 25 March 2017

[43] VisionXS 2015b Visitor Journey Analysis VisionXS http://www.visionxs.co.uk/services/visitor-iourney-analysis/ 7 April 2017

[44] J. Walters 2016 What IS a Customer Touchpoint? Customer Experience Consulting. http://360connext.com/customer-touchpoint/ 26 March 2017

[45] Xtensio 2015 How To: Create a User Persona. Xtensio. https://xtensio.com/how-to-create-a-user-persona/ 6 April 2017

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