Page 0: Page 1: 2009 Summer LAB MEETING 논문발표 Experience Prototyping Marion Buchenau, Jane Fulton Suri 양윤석 1 / 14 Page 2: 1. Introduction  What is “Experience Prototyping”  Experience  Very dynamic , complex , and subjective phenomenon  Relating to multiple Contextual factors  with respect to Prototyping  “Look and feel” (Houde and Hill 1997) of a product or system - concrete sensory experience of using an artifact  Contextual factors - circumstances , time pressure , environment conditions  Experience Prototype  Any kind of representation, in any medium - 디자인하려는 제품, 공갂, 시스템과 연관되어 이해하고, 탐험하고, 커뮤니케이션 하기 위해 고안  Focus on the methods and techniques which support active participation  Allow designer, clients or user to “experience it themselves” 2 / 14 Page 3: 1. Introduction  Why is Experience Important? Why Now?  the resulting hybrid artifacts require new expressions of their original qualities The design of integrated and holistic experiences set in context  램프의 물리적인 형태 자체가 아닌 빛과 관련된 경험 -> Focus on “exploring by doing” and actively experiencin   To solve the design problems of today  Develop a common vision of what the team is trying to bring into being  Experience Prototyping in practice  Understanding existing user experiences and context Exploring and evaluating design ideas Communicating ideas to an audience   3 / 14 Page 4: 2.1 Understanding existing user experiences and context  demonstrate context and to identify issues and design opportunities  The patient Experience  people's own imaginations and the use of proxy devices to recreate the essential elements of a personal experience that would not otherwise be available  The project was to design product and service related elements for an Internet enabled cardiac telemetry system  distributed pagers to all other team members  Experience Prototype so that it can simulate important aspects of the real user experience, unveiling the previously not-fully-appreciated design issues. 4 / 14 Page 5: 2.1 Understanding existing user experiences and context  The ROV Pilot Experience  Use a proxy device to provide the team with specific insight into an experience that was not readily available to them Pilot’s interact for an underwater remotely operated vehicle(ROV) and its cameras  사용상 생기는 인지적 혼란 발견이 중요 ( steering with six degree of freedom, multiple camera with limited visibility)   인지적 기능적인 이슈 추출을 위해 게임 고안     장소: 몇 개의 의자가 놓여 있는 방 A : video camera를 통해 TV와 연결하여 B에게 화면을 보여줌 B: A에게 이동방향 및 카메라 방향 각각지시 Target: 초코릿 바를 들고 있는 사람 -> 실수를 통해 다양한 중요 이슈 추출 ( 차량과 카메라 컨트롤의 명확한 구분, 명확한 피드백 등)  은퇴 조종사에게 추가적인 정보 획득  주로 contextual factors와 연관이 된 ( 경험차, 물의 상태, 지도 -> 실제 경험을 더 풍부하게 해줌 5 / 14 Page 6: 2.1 Understanding existing user experiences and context  Role Playing a Train Journey Experience  An investigation into passenger needs for an new rail service  Used acting techniques such as role playing, bodystorming and improvisation  1)다양한 승객 타입, 니즈, 돌발상황,      즉흥연기 전문가가 supervising moderator “ 승차권 구매 지시” 다른 디자이너 티켓판매기 역할, 다른 지시사항은 여러 상태를 포함 ( 글러브 , 날씨 및 홖경 , 코인만 , 특성) 각 장면 후 토론 실제 참여 및 관찰을 통해 아이디어 도출 실제 행동 중에 도출되는 경우도 있음  2) 스스로 기차여행 (실제 상황에서 역할극)    의외의 상황 도출을 위해 카드 (영어를 못하는 척, 배고픈 척, 스텝과 친한 척) 수행과 연기의 사이 6 / 14 Page 7: 2.2 Exploring and Evaluating Design Ideas  facilitating the exploration of possible solutions and directing the design team towards a more informed development of the user experience and the tangible components which create it  Controller for an immersive environment   designing a control device with six-degrees of freedom for a video game Ad hoc use of analogous objects as props can quickly guide decisions about which kind of experience is most appropriate. • A tactile immersive experience — represented by a palm-sized pebble • A shared experience, where the control functions could be split between two hands or two players — represented by two different-sized joysticks mounted on suction pads • A full-body physical experience— represented by the surface of a customized skateboard.  Simply "playing" with these relatively crude props was a powerful method, enabling the designers to unveil the nuances and implications of each particular direction. 7 / 14 Page 8: 2.2 Exploring and Evaluating Design Ideas  Experiencing an Airplane Interior  early exploration of ideas for the interior layout and components of an airplane  conducted a variety of bodystorming explorations within a full-scale foam-core environment simulating the inside of an airplane  many ideas for physical configurations could be tested in a time and money efficient manner.  Additionally, the involvement of the whole design team created a common focus and a shared ownership of the design directions chosen for further development 8 / 14 Page 9: 2.2 Exploring and Evaluating Design Ideas  TV Channel Changing Experience  explore the specific experience of switching channels, while ignoring other aspects of functionality or look and feel  "behavioral sketches“  The two experience prototypes were controlled by a tilting gesture, switching channels up or down. The two prototypes differed however, in their feedback, one being visual — through moving light bands, the other being tactile using vibrations  The low resolution and fidelity of the prototypes proved to be vital for successfully sharing the insights of this conceptual approach with other designers and the client 9 / 14 Page 10: 2.2 Exploring and Evaluating Design Ideas  Children's picture communicator  early exploration of ideas for the interior layout and components of an airplane  These prototypes required a power pack and transceiver unit that the children had to carry around in a backpack,  yet the experience of being able to take pictures and send and receive them to and from friends proved so compelling that the users almost forget about that inconvenience.  if the designed experience is a good one. If it is, people get so involved in the experience that they forget about the limitations of the prototype  (e.g. 컴퓨터의 한계점 , 무게 , 크기 프로토 타입의 제한적인 요소로 인한) 10 / 14 Page 11: 2.3 Communicating Ideas  To let a client, a design colleague or a user understand the subjective value of a design idea by directly experiencing it  Digital Camera Interaction Experience  Traditional communication techniques ->client not completely understand the intended user experience and camera behavior  Response time이 사용자 경험의 결정적 요소 -> Had a live video feed , still photos with audio annotations in real time  PC를 통해 response time를 미세조정이 쉬움 -> 디자이너와 client가 사용자 경험에 미치는 효과를 느낄 수 있게 함  Used “ living specification” maintain a perspective and verify new design concepts  the prototype enabled them to see, feel and resist the negative impact of resolution, or the speed of response, changes  the importance of motivating and exciting a decision-making audience by providing them with a stimulating, hands-on experience 11 / 14 Page 12: 2.3 Communicating Ideas  The Kiss Communicator  The "Kiss Communicator" was a concept prototype built to explore ways of using technology to communicate with another person in a subtle, sensual way  Designed to facilitate the exchange of emotional content between people separated by physical distance  important conditions necessary to really appreciate the experiencing of this prototype: an intimate relationship, two distant people, sending a gesture 12 / 14 Page 13: 3. CONCLUSIONS AND NEXT STEPS  How experience prototyping has contributed to real design projects in three key ways By understanding existing user experiences and context Experience Prototyping simulates important aspects of the whole or parts of the relationships between people, places and objects as they unfold over time. In exploration and evaluation of ideas Experience Prototyping can provide inspiration, confirmation or rejection of ideas based upon the quality of experience they engender. It produces answers and feedback to designers’ questions about proposed solutions in terms of "what would it feel like if...? In communication of issues and ideas by enabling others to engage directly in a proposed new experience it provides common ground for establishing a shared point of view. 13 / 14 Page 14: 3. CONCLUSIONS AND NEXT STEPS  Establishing an Attitude  offers an opportunity for all types of designers to supplement their traditional discipline skills in an effective and broadening way  understanding, exploring and evaluating design phases, there is great value in lowtech methods and improvisation with basic materials  Experience Prototyping also provide important value in physically representing the attitude they intend to promote  What we don’t know  appropriate representation ->low-fidelity and Higher levels of fidelity  active and passive prototyping methods ->a balance to be found in effectively combining active and passive ways of realizing experience.  Experience Prototyping as complementary to other design methods 14 / 14 Page 15: