Re-designing the gig concert service & experience
KU GA EUN MDes Design Innovation (Service Design) SEMESTER 2 / 2018
PROJECT ORGANISATIONAL
CONTEXT O2 ABC Glasgow
BUSINESS
Address : 300 Sauchiehall Street, Glasgow G2 3JA The reasons for our choice are based on factors such as its ideal location in the city centre, diversity in providing different kinds of events and performances, and popularity amongst locals and tourists in Glasgow.
Our first step was to see how a typical user experience is shaped by the O2 service, and this intrigued us to probe further into the understanding of different stakeholders who are involved in the O2 experience.
Leeds
Leicester
Liverpool
O2
O2
O2
O2 Kentish Town
Islington O2
O2 Sheffield
Brixton O2
O2 Oxford
Bristol O2
O2 Newcastle
Bournemouth O2
O2 Birmingham
In addition, the nature of O2 ABC Glasgow is a venue where visitors are able to “buy� experiences rather than goods. For O2 users, they are constantly searching and checking into what O2 has to offer to provide them with that memories, and these memories are more than just simply watching a O2 performance and walk away. Most often, O2 is not just a music venue, but it is a place where people hang out, have fun and get inspired.
PERSONAL
PERSONAL
STAKEHOLDER
AUDIENCES TICKET DISTRIBUTORS BOUNCERS/SECURITY BACKSTAGE CREW CLOACKROOM ATTENDANTS
MAP
TOP-DRAWER BAR STAFF
BUSINESS
PERFORMERS
Outlining and understanding stakeholders in the O2 experience
BEVERAGE PARTNERS TICKETING PLATFORMS ENTERTAINMENT AGENCIES THE GARAGE VENUE TICKETMASTER
In Chapter 3 of Service Design, From Insight to Implementation,1 it is stated that a service is not only present for consumption, but it also should be seen as a network of relationships that a user sub-consciously enters with the frontline staff (external) and the back-end system (internal).
ORGANISATIONAL O2 MARKETING DEPARTMENT O2 PUBLIC RELATIONS O2 SOCIAL MEDIA ALCOHOL LISCENSING BOARD
Stakeholders, such as social enterprises, get affected from a user’s purchasing decision rather than one’s experience from a performance.
Our design focus is on O2 ABC Glasgow, but we realised that it also needs to be versatile across the other O2 franchises to fully be functional and practical. By producing a stakeholder map that not only highlights the different stakeholders involved in the O2 experience, it also became the synthesizing force towards the study of interactions between the users and the O2 service, that led to the creation of O2 ABC Glasgow service ecology.
TEENAGE CANCER TRUST MUSIC THERAPY SCOTLAND
It was interesting to note that social enterprises , such as the Teenage Cancer Trust and Music Therapy Scotland are also engaged as internal stakeholders, which means that a purchasing decision will resonate across the stakeholder spectrum and make an impact for a social benefit. This accentuates how a typical O2 service consists of a chain of events that occur not from one’s experience in a performace, but initially from one’s purchasing decision.
1 Service Design: From Insight to Implementation, by Andy Polaine, Lavrans Lovlie, and Ben Reason
UNDERSTANDING O2 GLASGOW SERVICE ECOLOGY What is service ecology and how can we apply it to service design practice? According to Mager in Introduction to Service design, service ecology is defined as a holistic visualisation of a service system. The service ecology is thereby rendered, along with the different stakeholders; its attendant agents, processes, and relations. 2 To define the service ecology of the O2 ABC Glasgow, we interviewed and observed various stakeholders- the O2 regulars, the O2 first-timers, the O2 performance artists and the backstage crew. To get geunine user data, we interviewed O2 users and engaged them with questionnaires to understand the types of people visiting the O2. We made use of the queuing process as it is a time phase where people become easily distracted from their wait and so we were able to approach as many users as possible.
2 Designing Services with Innovative Methods, by Satu Miettinen and Mikko Koivisto (EDS.)
We managed to use our big board of questionnaire to attract the three siblings. Some visitors like them come from the highlands just to watch a concert at O2 Glasgow.
Birds of the same feather flock together! Fans we met at those times are introverted but we can feel the passion that they had for the band.
We made selective choices of the dates we wanted to conduct our interviews and questionnaires. For example, there were two concerts held at one night. This made us plan ahead and conduct user research on two pools of visitors.
An efficient and convinient way to get user data is through stickers and fast fingers !
PRELIMINARY USER JOURNEY From the quantitative data gathered, we outlined the service ecology by adopting a macro to micro approach. We mapped out the steps of the O2 service touchpoints and proceeded to outline the different stages of the O2 service that a typical user will be engaged with. These touchpoints became the fundamental enablers to develop the O2 ABC Glasgow user journey.
Log-In page
Option to either print at home or have it sent to your address
to make a donation for social cause
Selecting type of tickets
Accepting Terms and Conditions
Payment Verification
EMOTIONS FELT BY USERS BEFORE,DURING AND AFTER THE PERFORMANCE AT O2 ARE HIGHLY INFLUENTIAL ON ONE ANOTHER. For example, an uncomfortable ticketing experience results in how users view efficiency of the O2 organising and running the performance.
UTOPIC EXHILARATION
Sense of excitement when the user is anticipating to buy tickets to the performance will be held at O2 Glasgow
Feels annoyed at the inconvinent steps to ticket purchase, but still expectant
Feels most satisfied when the purchase is made and confirmed
Feels draggy during the waiting time, but is hyped up upon entering the O2 venue in anticipation
User Journey Analysis We asked ourselves two primary questions while analysing our first user journey : Where are the stages of the O2 service that the users feel satisfied or neglected? What makes users feel positive/negative at that particular stages of the service?
Feels a sense of indifference before being excited about a next gig or performance
Users have a sense of indifference and a lack of awareness towards the performance they have signed up for while waiting. Most often, users purchase tickets 1 day to 3 months before the performance. As time passes, they are unaware of the upcoming event until some form of reminder informs them : it can range from symbolic objects such as a band’s merchandise to sub-conscious prompts such as a song in Spotify. Sometimes, the gig is convinently forgotten and some users only remember it a few days prior. How can we incorporate “nudges� to not only remind them of their upcoming performance, but also ignite a sense of anticipation during the waiting time gap?
The ticketing system has unnecessary and inconvenient steps that provide repetitive frusturation for the user.
Users feel most content from the purchase when they get acknowledged by their peers or social media that they are having fun in a performance.
The technicality and mechanism of the ticket purchase service is dominantly driven by Ticketmaster, which supports the UI/UX design of O2. Some of these steps provided to the users produce inconsequential actions that make users confused, which affects their decision of purchase. In addition, users have to go through these steps every time they want to purchase the ticket.
Peformances are meant to be exhilarating ; and it becomes utopic when shared with people whom you enjoy going out with. With the rise of social media, these events have evolved into a form of social experience where people feel the most satisfying phases to be making friends, share their photos on social media, and celebrate these moments together.
How can we re-design the current steps to be more user-friendly for an efficient and comfortable ticket purchase experience?
How can we provide opportunities or mediums to spark meaningful social interactions to not only celebrate the state of utopia together on social media, but also make tangible friendships in real life?
PRELIMINARY BLUEPRINT Who shapes the users’ emotions in addition to the service that they are presented with? How is the O2 service being shaped for their current users? What can we learn from the actions of users and interactions between users and the stakeholders? Referenced from the lecture and the book Designing 3 Services with Innovative Methods , we gained a better understanding on how different stakeholders inter-play and co-depend with regards to the line of interaction and visibility. Through further ethnographic research, we mapped out this intangibility with relevance to the front-stage and back-stage of the O2 service delivery system. Our first blueprint illustrates the time, place, modes of encounters and the functioning supports of the O2 service. Through this mapping, we are able to sieve out details that we have missed, or unexpected insights which are not visible from our user journey.
Designing Services with Innovative Methods, by Satu Miettinen and Mikko Koivisto (EDS.)
OFF- O2 VENUE BLUEPRINT
PAPER TICKET
PAPER TICKET
PAPER TICKETS ARE STILL OF IMPORTANT VALUE AND PRIMARY MODE OF ENCOUNTER FOR USERS A paper ticket is meant to be used to gain access into the venue, and presently, it has become more of a souvenir for users. In the context of an individual, a ticket has an important symbolic value to users. For example, a local user may percieve the ticket as an access pass, while a fan may percieve the ticket as a form of dedication to his or her favourite band.
OFF- O2 VENUE BLUEPRINT
IN- O2 VENUE BLUEPRINT
Despite subjectivity in perceptions, the ticket can provide effective impact if our design directions are to build around this mandatory mode of encounter .
CREATING
While I love hanging out with my friends, it will be better if we share more new and exciting moments together !
PERSONAS By talking to people ranging from first-time visitors to regular users of the O2 service, we collated the ethnographic data and presented these information by categorising them into 3 primary personas.
Emma AGE
These personas help to distinguish similar aspects of what users experience and desire in the O2 service. They also act as useful information that help us infer back to our previous user journey and blueprint to reaffirm whether our research is authentic and geunine. In addition, we are able to get a clearer picture of what is happening during the performance at O2 due to the 3 distinct characters and their proceeding actions in the venue. This led to a progressive analysis that helped develop our design directions.
OCCUPATION LOCATION
25 Student Glasgow
#Peer_Dependent #Updating_Moments #Searching_For_New
Mike AGE OCCUPATION LOCATION
19 Student Glasgow
#Cost_Driven #Easily_Inspired #Searching_For_LikeMinded
While I love to pursue my own interests, it will be more meaningful if I am able to share my experience with similar minds.
While I love exploring the most hot venues, it will be more enjoyable if I befriend locals for a full immersive Glasgow experience.
Personas have distinct characters, but they have common contact points. Joseph AGE OCCUPATION LOCATION
34 Working adult outside Glasgow
#People_Driven
Even though their motivations to go to O2 is different, they have overlapping expectations and interests towards O2. Not only do they want new ways to share their memorable events, they also desire to use a platform to reach out to those around them during the performance. They are not just looking out for goods like merchandises or services like the cloakroom or an additional bar table, they want to explore new alternatives to sweeten what they feel during the performance.
#Highly_Adaptive #Searching_For_Multiples
To find a platform for them to socialise during the performance means we had to sieve out commonalities. By re-establishing the stakeholder map, the 3 personas have overlapped interactions with multiple stakeholders who deliver the service in the O2 venue, which means that there are periods of time during the performance where they cross paths.
DEFINING PHYSICAL ENCOUNTERS
We adopted the fly-on-the-wall approach and observed people’s movement. We then proceeded to map them out with accordance to the stages as stated on the blueprint ( In-O2 Venue phase ).
M
SMOKING AREA
SMOKING AREA 3
6 3
TOILET
BAR
3
5
M
STAGE 5
4 2
6 3 CLOAK ROOM
4
1 7
EXIT
TOILET
BAR
4 SMOKING AREA
M
3
TOILET
BAR
12
STAGE
CLOAK ROOM
2
CLOAK ROOM
STAGE 5
2
2 1
4
17
4
EXIT
1
EXIT
SMOKING AREA 3
5
Being aware of human flow is crucial towards understanding users’ interaction
M
4
TOILET
BAR
STAGE
1
2
CLOAK ROOM
By observing people from a total of 5 site visits, we were able to map out the overall human flow and solid concentration points within the O2 venue that have a substantial level of intra-human interaction. Two primary concentration points are : the bar during intermission and the front of the stage during the performance.
EXIT
The two primary contact points will later became platforms for people to initiate conversation, and this temporary-induced relationship will later become a part of memory that is fresh, exciting and permanent. The merchandise point (M) is also interesting to look at as it is a point of convergence for people of opposite personalities (The Passionate Individual and The Muse Nomad).
PROGRESSION AND DIRECTION A “research-prototype-evaluate� cycle was conducted to progress to our final outcome. Through user feedbacks , group site visits and more in-depth research, we have produced improved iterations of the O2 user journey and blueprints, and have evaluated them to make sure they are the most correct and up-to-date. Due to the nature of O2 venue being noisy and too much of a crowd, we were not able to do a co-design workshop with the people whom we contacted from our questionnaire. However, we suggested our design directions during meetings over the queuing process and their feedbacks were helpful in getting the details of our final design direction user-centric.
By printing out different iterations of our user journey and blueprints, we were able to fully utilise service design methodologies into the practical context of O2 Glasgow.
The performer from the Great Gatsby Annual performance was sharing her stories with me about her experience with O2 !
SERVICE DESIGN PREPOSITION
Current usage lifespan of ticket Re-designed usage lifespan of ticket
By evaluating the different affordances in the O2 tickets, we strive to augment users’ experiences by re-designing the O2 service with the main mode of medium as the O2 ticket.
DESIGN PROPOSAL According to the current blueprint, we realise that the ticket is the most valuable yet essential mode of encounter towards the performance, but its usefulness is short-lived because it is solely used for entry into the O2 venue, with regards to the O2 service. Our proposal is to increase the relevance of the O2 ticket towards the users by combining their wants & expectations, and provide a common platform for people to start dialogue and socialise. We also have come up with add-on services such as a more streamlined ticketing system and providing an option for users to purchase merchandise with their ticket such that users will be at the state of anticipation during the waiting time, with the hopes to receive their goods and with the aim to use them during the performance.
4
7 5 8
Storyboard
1
2
3 6 On the day of performance, Stella went early with her friend and queued outside O2.
On the day of performance, Stella went early with her friend and queued outside O2.
9
INTERACT
INTERACT
An O2 staff checked Stella始s ticket at the entrance.
An O2 staff checked Stella始s ticket at the entrance.
10
CIDER
RUM
GIN
VODKA
CIDER
SOFT DRINK
RUM
WANT A MIXED DRINK ?
GIN
VODKA
SOFT DRINK
WANT A MIXED DRINK ?
BUY ANY COMBINATION WITH YOUR COLOUR BANDS AND GET 20% OFF!
BUY ANY COMBINATION WITH YOUR COLOUR BANDS AND GET 20% OFF!
11 And she got a red wristband, which is theAnd same colour she got a red wristband, which is the same colour as she chose for her ticket. as she chose for her ticket.
She went to the bar as usual and foundShe went to the there始s a new discount for mixed drink. there始s But a new disc she needs to find someone with anothershe needs to find colour on their bands. colour
Re-designed usage Re-designed lifespan of ticket usage lifespan of ticket
RE-DESIGNED USER JOURNEY
Ticket band as a medium to socialise.
Instagram and Social media as ways to promote the active participation of using the ticket service. Easy-to-follow instructions are delivered together with the ticket.
Advertisements to promote mixing of people
17
FINAL FRAMEWORK
16 The bands and tickets becoms Stellaʼs precious The bands and tickets becoms Stellaʼs precious memories. memories.
14
After the performance, they exchanged the stick After the performance, they exchanged the stick ers on their bands to remember this new friend ers on their bands to remember this new friend ship. ship.
12
at the bar Then she noticed a ʻTravelerʼ sitting at the bar e to talk to alone, and she thought it would be nice to talk to him.
They had a lovely talk and by showing the bar tender their bands, they both got a discount drink.
15 13
And They had a lovely talk and by showing the bar tender their bands, they both got a discount drink.
The main mode of medium towards re-designing the O2 service is the ticket band. According to the new storyboard, each colour signifies a statement that the user feels best represents him or her. This is delivered with the ticket to the user’s address before the performance. Upon entry into the O2 venue, the ticket band is wrapped around the user’s wrist and during intermission or after the performance, the colour stickers on the bands are exchanged between users to materialise their friendship and provide a reminder of how temporary yet gratifying those short moments were.
of course they watched the show together. And of course they watched the show together.
FURTHER AHEAD... If we had more time we would have curated these bands and tried it on real-life scenarios for user testing. However, we have asked O2 users on their general feedbacks and they are positive towards this new socialising idea.
The ticket becomes a “colour palette” that shows the variety of people you have met during your visits to the O2 Glasgow. Users are able to use the band to show support for the performer.
A B
SMS (VERIFICATION)
PHYSICAL EVIDENCE
CUSTOMER ACTION
PREVIOUS PERFORMANCE INFORMATION / REVIEW ONLINE
WEB SITE / SOCIAL MEDIA / APP
OFFLINE
LOCATION
POSTER ( ONLINE )
EMAIL (CONFIRMATION) TICKETMASTER PLATFORM
PAPER TICKET
APPROACH
ENQUIRE / TRYING
PURCHASING
ONLINE
FRONT STAGE
BACK STAGE
SUPPORTS
FRIENDS
WEB SITE APP
ONLINE TICKETING SYSTEM [ LINKING TO TICKETMASTER ] PROVIDING BASIC INFORMATION ABOUT VANUE AND ANNUAL PLAN
BOX OFFICE
BOX OFFICE UPDATING PERFORMANCE PLAN ON THE WEBSITE
ORGANIZE PERFORMANCE SCHEDULE ( ANNUAL )
WAITING
SELECTING THE NUMBER OF PEOPLE
SHOWING ORDER DETAILS
SIGN IN
LINKING TO PAYPAL AMEX / VISA
QUEUING
NOTICE FURTHER INFORMATION ABOUT THE VENUE / PROMOTION
OFFLINE
RELEASING FURTHER INFORMATION
ADVERTISING THROUGH DIFFERENT CHANNELS
COORDINATING SUPPORT
MARKETING SUPPORT
OTHER CUSTOMERS
BUYING OPTIONAL THINGS THROUGH THE APP
SELLING THE TICKET BEFORE STARTING THE PERFORMANCE
PREPARING PERFORMANCE
STAFFS
PREPARING PERFORMANCE BACKSTAGE CREW SETTING ALL OF THE EQUIPMENT
TICKETMASTER ( OFFICIAL PARTNER )
LEAVE
GETTING FURTHER INFORMATION PROMOTIONS /
FRIENDS
SEARCH ENGINE
SOCIAL MEDIA OFFLINE
PAPER TICKET
PAYING THROUGH PAYPAL OBTAINING THE TICKET
ENQUIRING OBSERVING THE BASIC INFORMATION ( TIME / DATE / VANUE / PERFORMER )
FRIENDS
APPLICATION : O2 ABC ACADEMY
WEB SITE / SOCIAL MEDIA / APP
BUILDING / POSTER ( PAPER )
AWARE / DISCOVER
OTHER USERS INTERACTION
ONLINE PRINTABLE TICKET DIGITAL TICKET (QR CODE)
PERFORMANCE
C
CUSTOMER ACTION
CHOOSE THE PRICE AND LOCATION
ONLINE INFORMATION
FRONT STAGE
BACK STAGE
SUPPORTS
SELECT THE NUMBER OF PEOPLE
LOG IN
CHOOSE THE COLOUR OF BANDS
LOG IN PAGE
PRIORITY SUPPORT ( APP / WEB SITE )
TICKETMASTER ( OFFICIAL PARTNER )
CHOOSE THE MERCHANDIES
CHOOSE DELIVERY AND DONATE
ONLINE INFORMATION
O2 WEBSITE SHOWS HISTORICAL OPTION
O2 WEBSITE AND SYSTEM STAFF
SOCIAL MEDIA
MAINTAIN
CUSTOMER SUPPORT ( E-MAIL / PHONE LINE )
WEB SITE / SOCIAL MEDIA / APP
GET THE INFORMATION OF PERFORMANCE
WEB SITE APP
PERFORMERS TUNNING THEIR INSTRUMENT
RE-DESIGNED BLUEPRINT PHYSICAL EVIDENCE
UPLOADING PHOTO OR REVIEW THRUGH ONLINE CHANNELS
PAY
PAYMENT PAGE
O2 WEBSITE AND SYSTEM STAFF
BANK
WAIT
TICKET AND MERCHANDIES
GET THE TICKET AND MERCHANDIES
COMFIRM E-MAIL
TICKET WITH OTHER MATERIALS AND MERCHANDIES
O2 SYSTEM SEND COMFIRM E-MAIL AND PROCESS ORDERS
POST OFFICER DELIVER THEM
O2 STAFFS AND BANDS
POST SYSTEM
USER-CENTRIC UI / UX DESIGN According to the blueprint, the ticketing sytem and it steps are of paramount importance as it acts as a common platform of ticket purchase across multiple modes of encounter that a user may utilise to be directed to the O2 ticketing page. The improved UI / UX design of the the O2 ticketing system does not only make the system more streamlined and efficient, it also provides seamless and intuitive steps to making users’ experience easier and more convinent.
OLD UI/UX STEPS
Choose ticket
Opt to donate
Choose self-print or home delivery of ticket
Log In
Payment Verification and Confirmation
Opt to donate
Choose self-print or home delivery of ticket
Payment Verification and Confirmation
NEW UI/UX STEPS
Log In
Choose ticket
Choosing type of representation (colour of the band)
Opt for merchandise purchase
IN SUMMARY...
At the heart of it, what we are trying to achieve through re-designing the O2 service is better user experiences. We looked at the emotional lows and highs of the off-store and in-store experience phases, and pushed our service to diminish the lows and celebrate the highs, by supplementing on to what O2 Glasgow does best, using shared moments and magical performances to create enhanced experiences for the many people.