Plan International Project report by Che-Wei Hsu

Demonstrating the collective voice of Plan International supporters

MA Service Experience Design and Innovation London College of Communication University of the Arts London

July 2017

Demonstrating the collective voice of Plan International UK supporters Anna Focaroli Qican Dong Simeng Yin Yayun Rao Marietta Lewandowska Chunhui Yu Zihan Zhou

Demonstrating the collective voice of Plan International UK supporters Tutors Lara Salinas Silvia Grimaldi MA Service Experience Design and Innovation London College of Communication University of the Arts London July 2017

Acknowledgements We would like to thank Plan International UK for providing resources and feedback. We would like to thank London College of Communication and the University of the Arts London for providing venues for the workshops. Thank you to all the UAL students who have participated and contributed to the project. Thank you to the tutors Lara Salinas and Silvia Grimaldi for all the help and guidance. Thank you Matt Guy for organising and participating in the project. Lastly, thank you to our colleagues Che-Wei Hsu, Phakthima Patumraj, Tritrabhorn Pohsri, Shaika Al-Thani, Jie Tang, Minzhu Li, Anupa Dasgupta, Tianyu Wang, Signe Bek and James Henry for your contribution throughout different stages of the project.

Table of contents Introduction

Develop

Summary LCC and MASEDI About Plan UK About the Brief and Deliverables

Introduction and Aims Methodology

Discovery Design Process Overview Research Insights Problem area and opportunities Next Steps

Define Introduction and Two Workshops Ideation Workshop “How might we” Prototype Workshop

INITIAL CONCEPTS

Concept #1 THE LIFT STORY Introduction, prototyping, testing, and iteration direction Concept #2 THE BALLOON STATION Introduction, prototyping, testing, and iteration direction Concept #3 IF YOU LIKE THIS, YOU WILL LIKE PLAN UK Introduction, prototyping, testing, and iteration direction Concept #4 THE MOVING GARDEN Introduction, prototyping, testing, and iteration direction

Iteration results: scales of implementation FINAL CONCEPTS

Final concept #1 THE CORRIDOR STORY

Deliver Introduction and implementation scales Storyboard – scale 3 Blueprint Business Model Canvas Concept value and opportunities for PLAN UK Final concept #2 THE BALLOON STATION Introduction and implementation scales Storyboard – scale 2 Blueprint Business Model Canvas Concept value and opportunities for PLAN UK Final concept #3 IF YOU LIKE THIS, YOU WILL LIKE PLAN UK Introduction and implementation scales Storyboard – scale 3 Blueprint Business Model Canvas Concept value and opportunities for PLAN UK Final concept #4 THE MOVING GARDEN Introduction and implementation scales Storyboard – scale 2 Blueprint Business Model Canvas Concept value and opportunities for PLAN UK

Introduction and Aims Final concept #1 THE CORRIDOR STORY Introduction and description Visualisations Final concept #2 THE BALLOON STATION Introduction and description Visualisations Final concept #3 IF YOU LIKE THIS, YOU WILL LIKE PLAN UK Introduction and description Visualisations Final concept #4 THE MOVING GARDEN Introduction and description Visualisations

Conclusion

Summary This project takes a participatory approach to deliver service concepts to demonstrate the collective voice of Plan International supporters. Led by seven students from the MA Service Experience Design and Innovation programme, the project unfolds from May to July 2017, and involves students from across the University of the Arts London and members of Plan Internationalâ&#x20AC;&#x2122;s community in the UK and Tanzania. This report describes the participatory design process, including preliminary research, brainstorming and prototyping workshops, and the iteration and development of four service concepts.

About Plan International UK Plan UK is a charity organisation about 80 years old, established for providing aid to children during the Spanish Civil war. Their aim is to eradicate poverty and harmful traditions for young generations, especially for girls. Plan UK differs from other organisations because it is not political or religious, it works directly with the young people it supports to promote their causes, and it prefers to use a non-aggressive approach for supporting needy people around the world. They are truly global since they operate in over 70 countries where they have offices and collaborate with local members. This connection permits a mutual exchange of knowledge and experiences. Moreover, Plan UK works in partnership with governments in order to create meaningful impacts on changing policies to benefit children. This holistic method ensures those changes will be long-lasting.

About MA Service Experience Design and Innovation at the London College of Communication The MA Service Experience Design and Innovation (London College of Communication, University of the Arts London) is a practice-based professionally oriented course, which combines theory with practice in a project-led curriculum. Live projects with public, private and third sector organisations prepare students for their professional life, by developing service design solutions that tackle complex challenges. Typically, students on the MA carry out in-depth 10-week curriculum projects, as well as shorter projects, engaging stakeholders through exploratory design research methods, such as design ethnography, co-design workshops and service prototyping, and deliver research and service concepts to the client.

About the Brief and Deliverables Plan UK approached MA SEDI at LCC to think of ways in which their petition mechanism can be innovated. Petitions are a standard mechanism for people to show their support for a cause, and for the charity to collect a large amount of supporter names to deliver into the supported countries and influence their policy. This methodology could be made more effective by developing a new system that could gather supporters voices, like petition does, but also engage supporters and demonstrate a bigger impact around Plan UK causes. Since the current format is well known and trusted especially in the UK, the changes have to be based on its basic characteristics. Petition permits to collect supporter data and directly communicate with them at a low costs. Most importantly, this tool generates tangible outcomes as it shows a list of signatures of people from around the world that support the cause, to use for leveraging decision-makers in supported countries.

Petitions are the most widespread approach to engage supporters. Due to this saturation, new methods are needed as a way to future-proof the system, to prevent supporters to become detached or uninvolved with petitions. Petition mechanisms could be replaced with a newer and more powerful system to gather and demonstrate supporters voices, or this could be used alongside a traditional petition. It should be creative and engaging for new and current audiences. The solution has specific requests to follow. First of all, it must be scalable and enable a larger numbers of people to be involved into Plan UK campaigns. It is necessary to keep the focus on Plan UKâ&#x20AC;&#x2122;s current target audience but also include potential new supporters. Both of these groups of users should clearly understand their contribution to the cause. The new mechanism for the campaign process has to include the possibility to be promoted across social media channels where people could spread Plan UKâ&#x20AC;&#x2122;s voice. Furthermore, it should allow the organisation to create deep global impact and demonstrate it.

Discovery Design Process Overview The Discovery phase involved different discovery activities, including both primary and secondary research, in order to achieve a better understanding of the field and the related gaps where to start ideating solutions. By defining the potential areas of development, the project was prepared to be delivered in the next stages of ideation and prototype activities.

Brief

Research Activities

Insights Outcomes

Next steps Ideation and Prototype workshops

Problem area and opportunities

Design Process Overview First of all, more detailed information about Plan UKâ&#x20AC;&#x2122;s structure and data kept by the organisation was collected. The desk research was supported by questions forwarded to the company and brief competitors analysis for completing our context understanding. This discovery activity was necessary in order to identify the gaps observed that could be complemented with additional primary research. With the collaboration of Plan UK, we analysed and completed their current Service Blueprint and Stakeholders Map . This initial information collection has been integrated with interviews with potential supporters of Plan UK who have already participated in charity activities and potential supporters without this type of experience. These conversations generated useful insights to utilise in the next stages of the process. Background knowledge about a charity campaign journey and the stakeholders involved into it has been analysed and organised into different tools, such as personas and user journey maps. Then, those key insights from the all phases of research were clustered into key points that described potential advantages and barriers to examine.

Desk research

Stakeholders Map

Framed questions

Service Blueprint

Competitors Analysis Interviews Data analysis

Research Activities

Insights Outcomes

Case studies Personas Journey Map

Research

Competitors Analysis

Exploring the charity organisation field provided a useful and new perspective about the different approaches applied for supporting worldâ&#x20AC;&#x2122;s causes. The image above describes in a glance the current situation by comparing the main associations that aid children with social, economical or environmental difficulties. Plan UK focuses primarily on female childrenâ&#x20AC;&#x2122;s rights and uses different social media channels for promoting its campaigns. However, Plan is still less popular in social network communities and it might be related with its scope and audiences which do not include new potential segments of supporters. One of the oldest, Save the children, reaches huge numbers of followers mostly because of its more aggressive approach to gather attention. The aim of this project is to keep the Plan UK values of collecting and spreading the voices of its supporters by using a different method that also enables a closer collaboration with supported country governments.

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Facebook

YouTube

G+

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Potential Audience

Research

Audience

Stakeholders map

Government Local community

To complete our understanding about Plan UK, we produced a stakeholders map. The organisation is located in the centre of the graphic where the lines describe the connections with other key actors. Each circles refers to the audience area; the smallest one is for the current supporters of the organisation and the lightest and most external ring shows the potential zone of users to involve in the Plan UK network.

Supported young people Other Charity organisation

Advocate Volunteer Company and organisation Donator

Supporter

Research

Service blueprint Across our discovery phase, a service blueprint of Plan UKâ&#x20AC;&#x2122;s current situation has been generated for analysing the areas which require improvement in this project. This was verified with the support of the organisationâ&#x20AC;&#x2122;s staff members during an interview. The two phases highlighted refer to the main activities related to supporting their campaigns. From the supporter perspective the relationship begins with a first encounter and by being enticed about a cause to join. Consequently, the core action is simply signing the petition or donating money through Plan UK website. Different social media channels are used by the organisation in order to involve new and current voices on supporting their campaigns. Another key stage regards the delivery of the supportersâ&#x20AC;&#x2122; voices in the country where the campaign is operating. It is essential for the charity organisation to demonstrate their support in a strong and effective way for ensuring a greater impact of change.

Research

Current Target Audience Plan UK provided useful and detailed information about their target audience. Those supporters have been divided in two main categories: Global people and Equality people. These two groups’ members share similar characteristics but they differ in their background and lifestyle.

“Global people” have a particular sensible and adventurous lifestyle, they enjoy travelling and exploring new cultures. They are professionals with a high educational level and are often married with children. This type of supporter are also interested in quality content and news especially regarding global issues. For those reasons and their average incomes, global people supporters contribute to charities by donating, participating in events and attempting to influence others’ changes into this direction. “Equality people” are an older segment of audience. They are often over 50 with grandchildren and with traditional interests such as poetry and theatre. They believe in equality and justice, principles that they would like to ensure all around the world by donating and offering their support to charity organisations. Equality people’s lifestyles include practical choices for reducing the impact on the world and creating a better environment. Equality people are selfless and are the main donors for helping those in difficult situations.

Research Interviews

In order to discover deeply who could be a potential Plan UK supporter, we have conducted four main session of interviews with two potential type of users. This primary research filled the gaps opened in the first session of the discovery phase where most of the information analysed were based on quantitative data.

Potential supporters with charity experience: Two of the interviewed people have already had experiences in contributing

to charity organisation in different ways. They still have contacts with some of the most important ones and they have tried volunteering and organising or participating in social events offered by those associations. Based on their background knowledge and experience, this type of potential supporters have specific observations to share about how and why charity activities work; they have higher expectations and different requirements comparing to the other groups interviewed.

Potential supporters without charity experience: This group of potential supporters have different needs regarding the choice to join a charity campaign. They are more concerned about other superficial aspects, such as communication and channels for improving their access to this system. Although those inexperienced users are equal in age with the previous group interviewed, they have more difficulties to being involved into a charity organisations. This may depend to the kind of environment and networks into they are located.

Insights In this paragraph the findings from the discovery phase are briefly described in way of providing an useful foreword of the potential supporter personas and their journey later developed.

Social media platforms are the key informative channels especially for involving new young audiences. It creates the global presence of the charity organisation but at the same time it can disrupt relationships within its supporters and generate lack of trust.

Informal interactions are essential for improving the digital touchpoints and building confidence and loyalty in supporters. Communicating and providing clear goals about the charity organisationâ&#x20AC;&#x2122;s campaigns help further development Supporting a cause should not be a single action but a complete lifestyle in which every actions embody a sense of awareness about global

issues.

Embracing the values of a charity organisation is the first essential step into their campaigns. There is a common lack of involvement during the process of joining a campaign, for example through a petition, and it need improvement

regarding possible human interactions and feedback.

Reaching a wider audience would be easier by approaching them in

strategic locations and moments included in their daily journey.

Simplicity is also necessary in order to involve new supporters and it includes less frequency required to them into the system process.

Personas

The first persona developed is Nic, a young potential supporter of Plan UK without experience in the charity organisation sector. He has interests in technology and exploring new cultures and he looks for innovative and easy approaches for joining campaignâ&#x20AC;&#x2122;s process. Moreover, Nic would like to receive more direct communication and human interaction before giving his support to a cause.

Jessica is the second persona created and she synthesizes the experiences of an experienced supporter who could be interested to participate to Plan UK campaign. She is older than Nic and she has tried different kinds of supporting activities in her life. Jessica wants to improve other peopleâ&#x20AC;&#x2122;s lives and she always chooses the charity organisation according to its values. However, she feels frustrated whenever there is a lack of interactions and sense of community across the campaignâ&#x20AC;&#x2122;s process.

Journey map and scenarios

The journey map includes the four key moments in the supporter experience of joining a charity organisation campaign. It starts with the inform stage when he/she receives the news and details about a potential cause to pursue. Several touchpoints are listed in this area, such as social media and newspaper, both digital and physical. After, the core phase regards the moment of engaging this potential user into the campaign. It could happen through donation, petition or just registering into an organisation from their website and social platforms. Once this has been completed, the current official supporter receives updates about the campaign and its success. This feedback session is important for the supporter since it enhances trust, loyalty and establishes a closer relationship with the organisation. If those aspects are gained, supporters will be willing to share and spread his/her voice across personal networks and then involve new people inside the process.

Scenarios The potential supporter scenarios capture the potential experienced supporter lifestyle in more detail. The persona leads an active lifestyle and loves learning new best practices from other people. In order to better describe the main aspects of this supporter, his/her skills fall into four areas. The first area is a leadership role, he/she wants to learn more about new campaigns and interacting with campaigners his/herself in order to see what could be improved and where he/she could help the most. In this scenario, as a leader, he/ she takes the initiative to also bring his/her friends and new supporters to lead the campaign process. Secondly, there is the collaborative role of the supporter who cares about interacting with other people during conferences, exhibitions and social events. In these occasions, he/she could create connections with potential supporters that have similar interests in way of collectively organising helpful actions related to charity. Moreover, another key role related to this personaâ&#x20AC;&#x2122;s scenario is communication. It is really important to use social platforms for regularly informing the supporter, but it is also necessary to ensure a deeper connection with online users in order to improve their interests in charity campaigns. Lastly, the supporter lifestyle role is described in the scenarios. The way he/she works or even the products she consumes gather a unique perspective that could be compelling for a larger group of supporters.

Problem area and opportunities During this discovery phase it has already been identified that supporters have a genuine interest in social issues, are skilled and experienced. Moreover, they have the initiative to create a stronger voice for their campaigners, and support them in demonstrating it across their networks. However, there is still a lack of identity and human interactions that occur between the campaign and its supporters. This may be because it is commonly challenging for a multinational organisation to genuinely communicate with people who may have an interest to join its campaigns.

Next steps Before proceeding with the further stages of this project, we presented the research back to Plan UK, who outlined some useful feedback and directions. The two main insights were:

Creating stronger connections among supporters and/or between supporters and campaigners. These two essential categories of stakeholders might need to establish a closer relationship since this could enable them to feel more part of the cause/campaign. It could be organised by offering social event or a direct collaboration.

Enforcing the voice of young campaigners by connecting them better with their audience. Nowadays, campaigns are usually delivered through Plan UK videos or website which does not allow a powerful and direct impact to the listeners. It is about empowering both the audience and the young campaignersâ&#x20AC;&#x2122; voices and at once engaging the supporters.

Define We summarized our insights and problem areas in the discovery phase, the main task here is to scope the problem area we are going to look into and gain more inspirations from different perspectives which will contribute to generating more creative and quality concepts. We therefore organized two workshops: an ideation workshop and a prototyping workshop. In the ideation workshop, we invited employees from PLAN UK, and LCC students from different academic backgrounds, to participate in reframing the questions they are interested in and stimulate them to generate ideas related to their question. The participants were divided into different groups, making sure there was a mix of types of participants, to increase the diversity of groupâ&#x20AC;&#x2122;s thinking model and references. Participant involvement provided the opportunity to collect more visions and perspectives. We divided the first workshop into five parts, warming up, empathy preparation, briefing, brainstorming and story development, to give participants a step by step process from understanding to design. The aim of the prototyping workshop is to get high quality and completed concepts based on the ideas from the ideation workshop, and to develop them further. The raw ideas were evolved, selected, critically assessed, optimised and presented. Each group selected their ideas based on the evaluation from team members, and judged these ideas for gaps. Lastly, these ideas were prototyped and presented to get feedback from other groups. In this phase, our focus was iterating ideas and concept. The two participant workshops were a great opportunity to work with potential users and service providers as part of an iterative design process.

Ideation Workshop Aims in the ideation workshop

In the ideation workshop creative people from LCC and Plan International UK worked together to get a large number of ideas. Based on those ideas, quality service concepts could be selected to be developed. After a call for workshop, 18 participants came to the ideation workshop, they all come from different backgrounds. For the students, they came from majors such as graphic design, interactive design, photography etc. All the students and staff from Plan International UK collaborated here. The ideation workshop is divided into five parts, warming up, empathy preparation, briefing, brainstorming and story developing

Phase 1. Warming up

Warming up is to wake up participants physically and mentally to ensure every participant could be productive. We started with body warm-ups designed for all the participants to feel relaxed and active to join the workshop. Because most of the participants did not know each other, a group warm-up helps them to know the team members better. After this, an identity game was set for the team members to introduce their strengths and skills to the team members. After the two parts, participants were ready to start the workshop.

Ideation Workshop Phase 2. Empathy preparation

Empathy preparation uses storytelling to enable participants to image other’s lifestyle. It helps raise awareness of touchpoints of everyday life and design with empathy. Some participants were not familiar with human-centred design, so this exercise helps to work with empathy, an important method in service design, which means being able to think oneself as others, and design for the users based on real understanding. After this, we ran a sense game: each group got a box of stuff from one person. There were pictures, audios and objects of one person. Participants were asked to look at those materials, image the person’s life and tell this person’s story. The process asked team members think from daily physical touchpoints to the person’s lifestyle. The materials related to different human senses, and it involved people using their own senses to feel them, making participants more receptive and tuned into sense qualities for the ideation.

Phase 3. Briefing

Briefing to let each team member understand the Plan UK project. Each team decided their group direction with the “how might we” method. After first stage’s research, we prepared a presentation, including background information, aim of the project, personas and insights, for the participants to get a good sense of the project. After the briefing, the problem area of this project were still open. Hence, an in-group defining process was designed. Each group selected 3 keywords which they wrote down during the briefing presentation. The 3 key words and “How might we” sentence structure were used together to build a sentence, which could work as design brief and describe the direction of each group, in addition to the project aim “Develop a new way of demonstrating the collective voice of our supporters”.

Ideation Workshop “How might we”

The four design briefs were:

“How might we use storytelling to bring light to everyday installations to campaigning communities.” “How might we use digital to connect more people globally to Plan UK campaigns?” “How might we design new ways of communication to build trust in Plan UK’s wor?.” “How might we design a fresh way for people to voice and demonstrate their solidarity collectively?”

Since then, every group had their clear goal of what kind of ideas they were trying to come up with.

Phase 4. Brainstorming

Brainstorming lets participants, who come from different backgrounds with different thinking models, consider the design brief in various aspects, coming up with a large number of ideas in a short time.

Under the brainstorming principles, each group brainstormed with their own design brief and a specific persona for the first round. Second round of brainstorming asked team members change to another table, so they were working with another table’s persona and “How might we”. This process ensured the ideas from different people were communicated for each brief. More than 102 ideas were collected at this activity.

Ideation Workshop

Phase 5. Story developing

Selecting promising ideas by in-group voting and developing the ideas to a full story with the service journey as a guide. Each team was asked to vote their favourite ideas. Based on their selected ideas, each team was asked to develop them to 4 different stories. The storyline was based on the supportersâ&#x20AC;&#x2122; service journey, which covers inform, engage, feedback and share. The four groups presented the stories with their own skills and different materials. A total 16 quality stories which covered four service stages were built at the end.

Workshop outputs

At the end of the ideation workshop, there are 4 â&#x20AC;&#x153;how might weâ&#x20AC;? design briefs, around 102 initial ideas and 16 high quality stories.

Workshop outputs Five aims in the prototype workshop 1. Upgrade the ideas from previous workshop.

From the ideation workshop, we collected sixteen ideas. However, the quality of these ideas is not even, and all of them had not cover the whole service journey from informing to sharing. Therefore, the first aim of prototype workshop was finding out the ideas with potential and bringing them on the same board.

2. Review the project brief and research insights

We need to ensure the ideas with potential to be developed further, meet our design criteria. Therefore, in this stage, we have to guide participators to review the project brief, and research insights again. These documents would be the reference for helping participants judge the sixteen ideas.

3. Fill the gaps of each service journey

We gave a more detailed journey map detailing the process of taking part in social campaign into 5 phases: inform, engage, feedback, demonstrate, and share. During the workshop, we needed to guide participants to fill the gaps in each process phase in order to complete the whole service journey.

4. Prototype the ideas and map out touch-points of design concepts

In service design, 'making' is as important as 'thinking'. It helps people to experience through trial and error, and refine the ideas in a practical way. Therefore, it is extremely important to help people use their hands to prototype things during the workshop. When it comes to prototype, there are three key factors: scenarios, storytelling and touch-points. The prototype, which embeds these three elements, helps audiences imagine their service experience and makes the concept t more vivid.

5. Test the ideas and iterate in limit time.

In the testing section of the workshop, we focus on 'how to amplify the effect of prototyping and testing in a limited time'. Through showing prototype to users, we can gain valuable feedbacks from target users, however, finding the target users is not an easy mission. Therefore, we decided to arrange the internal testing sessions through the activities of role playing and debating.

Prototype workshop - phases Phase 1. Select ideas

We displayed 16 stories on a big wall, and demonstrate these concepts through visual ways: storyboard and user journey. By using this method, participants can overview whole concepts easily, just like reading a comic book story. In the next stage, people need to choose 4 stories for development. Therefore, at the same time, each group referred to the project brief and research insights and select the stories they would like to develop further.

Phase 2. Assess ideas

After selecting 4 stories, we encouraged participants to look into their choice by asking five whys and write down their opinions. They need to reflect what are the advantages and disadvantages of these concepts. Each group member gained the opportunities to share their opinions and understanding, as well as explore the potentials within these four stories. Based on their group internal communication about four selected stories, they narrowed down into two stories for further development in the next stage.

Prototype workshop - phases Phase 4. Prototype ideas

Workshop participants began by using their hands to prototype their two ideas. In the first workshop we displayed stories by storyboard or Lego, this time we exhibited each ideaâ&#x20AC;&#x2122;s interaction model, users behaviors, possible scenarios and users' fluctuation of emotion. This made the concepts more appealing and understandable. During the course of prototyping, we also iterated the ideas and learned from participants' feedback.

Phase 3. Develop selected ideas

Group members started to fill the gaps in the service journey of the two stories they choose. We introduced that a complete service concept for public engagement would lead users into a seamless experience of participation, from informing users, engaging campaigns, getting feedback from Plan UK, demonstrating the public's voice to the countries which need support, and helping supporters share the campaigns. With the support of hosts and facilitators in the workshops, we successfully helped workshop participants promote and refine the design concepts into more practical, sound ones.

Prototype workshop - phases

Phase 5. Test ideas

In the last part of workshop, we arranged a testing session for collecting feedback from different points of view: Plan UK, Campaign supporters, and the people who need support. People role played different characters in turn and put themselves into others' shoes. By the form of debating, every participant of the workshop could express their opinions. Design teams presented two ideas through their prototype work. Moreover, we collected people's feedback by SWOT analysis. It helps us easily understand the Strengths, Weaknesses, future Opportunities and potential Risks of each idea.

Workshop outputs

During this workshop, we guided participants to refine the stories from previous workshop, prototype their ideas and test their work through roleplaying. More importantly, we indeed implemented the discipline of user centred design and built up all of design concepts from the end users. Eventually, we got six high quality prototypes and valuable feedbacks from all of project participants. Undoubtedly, these were invaluable resources for the development of Plan UK project.

Develop Introduction and Aims

In the develop phase of the project, the team of MASEDI students had already a great number of potential concepts initiated at the Ideation and Prototype Workshops. The main purpose of this stage was to evaluate their potential to be implemented and meet the specific requirements and expectations of PLAN UK. Besides, the aim was also to choose four main concepts to develop further, and concentrate on more detailed prototyping, testing with potential supporters, to iterate according to the feedback provided by the testers and the PLAN UK representatives, and as the result, to present the iterated conceptsâ&#x20AC;&#x2122; specifications in detail.

Methodology

At this stage, it was necessary to prepare deliverables for the four chosen concepts. The prototyping sessions followed by testing activities with the potential supporters helped to fully understand the services provided within each of the concepts, as well as to identify the userâ&#x20AC;&#x2122;s values and opportunities for PLAN UK. Each of the concepts was presented to the PLAN UK representatives, and their feedback and evaluation were used to start the iteration process and final deliverables preparation, which are presented at the end of this stage. The deliverables needed to fully explain the final concepts are: storyboards to present the user journey, blueprints to map all the stages throughout the designed service including different stakeholders, and Business Model Canvas which include all the details about the implementation requirements. According to the feedback provided by PLAN UK representatives, every concept is presented at several scales of implementation. The first scale is always the minimum one requiring the minimum number of resources and reaching out to the biggest number of people (usually digitally), medium scale is engaging potential supporters, and the large scale is involving them the most.

INITIAL CONCEPTS Initial concept #1 THE LIFT STORY Introduction, prototyping, testing, and iteration direction The idea of The Lift Story was initiated at the workshop sessions. The initial concept concentrates on involving potential supporters at art exhibitions (in Art Galleries, Museums) using the elevator as the space to immerse into the real life of people from supported by PLAN UK country. The lift story should allow visitors to realise what could possibly be changed if they support the campaign, and build empathy through allowing them to get to know stories of people from supported countries, using an immersive environment that stimulates different senses. At the end of the experience the visitor has a chance to sign up to the campaign by giving a “high five” to show the support. The prototyping session was organized in the LCC with the MASEDI students involved in the project. We prepared paper prototypes presenting some of the problems of girls from supported countries, the signup form, and the high-five “screen” to show users how can they engage and join the campaign. We tested the idea in one of the universities’ lifts - engaging the staff and students who did not hear about the PLAN UK campaign before. Their feedback was positive; they all mentioned that engaging people in the exhibition space is a good idea, because usually visitors are open to new experiences and are willing to build empathy. The high-five part was the most personal and engaging part for the testers - and they all agreed that it is a good way to show support in a symbolic way. The concept was evaluated and commented on after the formative presentation for PLAN UK representatives. The feedback was mainly focused on two aspects of the concept: the sign-up forms which should be digital (for ease of storing and collection and data protection reasons) and the display (preparation) of the exhibition. The PLAN UK representatives underlined the importance of making the concept as digital as possible to make it scalable and easy to organize. Besides, they also mentioned about the future direction for iterations; to think about the immersion (which is the aim of the lift story) of the potential supporters (people experiencing the exhibition) but not necessarily in a lift. They gave us positive feedback about the general idea of building empathy through the personal stories of people from supported country and the high-five as a symbol of the support.

INITIAL CONCEPTS Initial concept #2 THE BALLOON STATION Introduction, prototyping, testing, and iteration direction

The idea of the balloon station was also initiated at the workshop sessions. The balloon station concept focuses on engaging with potential users in a more creative way - allowing them to draw and personalise the balloon which they get for free at the station (after being introduced to the purpose of the campaign by the PLAN UK volunteer and signing up to the campaign on the device provided at the station) and using their smiley balloons as a symbol of their support to the people from the supported by PLAN UK country. The concept also assumes that new supporters will allow the volunteer to take picture of them with the personalized balloon - which will be send to their email address given at the sign-up (they can share it on social media) and used for demonstrating the collective voice of supporters in the supported country. The prototype used a table as the station, laptop with the online connection opened at the PLAN UK sign-up site, balloons to draw on, markers, simple leaflets promoting the PLAN UK campaign, smartphone to take pictures with, and the very positive attitude of the “volunteers” (MASEDI students). The testing was organized in the university hallway engaging passing students who did not hear about the PLAN UK’s campaign before. Testers mostly came to the station because they were curious what the idea is about. All of them wanted to join the campaign and receive the personalized balloon, which was an engaging part for them. They were also positive about taking pictures - and they wanted to share them on social media. The feedback was positive; most of the testers mentioned that it was a fun and surprisingly easy way for them to support a charity organisation campaign. The concept was evaluated and commented after the formative presentation organised for PLAN UK representatives. The general feedback was positive since the engagement of the supporters is presented as fun activity that they might enjoy. The idea of signing up to join the campaign was also accepted but with the indication that having the device with the Wi-Fi connection might be problematic - so there might be a need to rethink this aspect. The PLAN UK representatives also gave suggestions about making the concept more digital; they emphasized that the first step in the implementation scale should be the digital version of the concept to reach the global audience quickly and easily, and then, the next steps could involve more physical stations to engage with local communities and build the relationship with them. The feedback opened a lot of potential to iterate and improve the concept.

INITIAL CONCEPTS Initial concept #3 IF YOU LIKE THIS, YOU WILL LIKE PLAN UK Introduction, prototyping, testing, and iteration direction The concept “If you like this, you will like PLAN UK” is the only completely digital one. The concept is based on cooperation with Spotify - which is a music online App. Users who use Spotify to listen to their favourite music would receive notifications about the campaign in the form of pop-up advertisements saying that “your friend also likes this song” and “he/she also likes the PLAN UK campaign”. The users could enter the campaign description using the Spotify App and they can join the campaign using their already existing Spotify account. As a reward, they would receive a charity playlist (for example the top ten songs listened in UK) and the puzzle - which is a symbol that the new supporter now is the piece of puzzles in the whole global campaign. The prototypes that we created for this project were based on the prototyping app platform: www.marvelapp.com. We prepared the sequence of six screens introducing to the future testers how would this system work in the real-life situation. We used one of our smartphones to display the whole story to our testers who were the students not involved in the project for PLAN UK and were spending their lunch break in the university Typo Cafe. The testing was easy to conduct because all testers were using the Spotify App and they knew about its interface. The feedback from them was very positive; they like the fact that joining the campaign is quick, easy, and does not require them to use a different website. They also liked the playlist idea, the puzzle was for them an interesting part, because it made them feel like a piece of a bigger picture, which was our purpose. The concept was evaluated and commented after the formative presentation organised for PLAN UK representatives. Their feedback was positive about the general concept, they appreciated the digital and global way of engaging supporters, they also liked the idea of charity playlist (however, they mentioned that this is a quite popular way of engaging supporters used by other charity organisations), and the puzzles filling the picture. Their biggest concern was the cooperation with the Spotify; they

INITIAL CONCEPTS underlined the fact that they cannot completely rely on their partners and that this aspect needs more consideration. They mentioned that the PLAN UK is open to start cooperation with different organisations or even start-ups - because the fact that they cannot do something by themselves does not mean that they cannot do this at all. That opened our possibilities for future iteration, which is described further in the next phase.

INITIAL CONCEPTS Initial concept #4 THE MOVING GARDEN Introduction, prototyping, testing, and iteration direction The idea of the moving garden came from the participants of the workshop sessions but the initial concept was “the moving house” - which was originally partly digital and partly physical moving house (space) where supporters could add their parts to make it bigger. The moving garden concept is the adapted version of it to avoid assumptions that the place of a women is at home (since the campaign is #Because I am a girl and focuses on women’s rights in the supported country). The idea of the moving garden focuses on giving the new supporters the opportunity to either choose or create their flower to add to the moving garden which might symbolise the beautiful and safe environment created for people from a supported country. Besides the flower, supporters can write personal messages which could be delivered to the demonstration in the supported country at the end of the campaign. As the outcome of the prototyping session for this concept, we prepared the imitation of the real stand (using colourful table), we prepared the leaflets informing the audience about the PLAN UK campaign, paper flowers, board with the sticky-notes to imitate the garden, and we provided the laptop with the online connection to show our tester how does the sign-up for on PLAN UK website look like. The testing happened outside of the LCC (but close enough to have the online connection) and engaged mostly high-school students on their way home (late afternoon). The colourful stand was eye-catching, many students asked us about the campaign first, and then they used the prepared flowers and sticky-notes to write their personal messages to the girls from supported country, which was the testers’ favourite part. We were also able to talk to a mother of a five-year old girl, who let the girl play with the flowers and she herself was engaged in the deep conversation about the problems in the supported by PLAN UK country. She ended up joining the campaign (she knew it is a prototype) using the form provided at the PLAN UK website.

INITIAL CONCEPTS The concept was evaluated and commented after the formative presentation organised for PLAN UK representatives. Their feedback was very useful and gave us directions for future iterations of the concept. They liked the idea of the personal messages written by the new supporters, However, they emphasized the fact that the target users need to be adults. Moreover, they mentioned that the idea of the flower standing for the beautiful environment might suggest thoughts that girls are â&#x20AC;&#x153;pretty, beautifulâ&#x20AC;? and there are not the values that they would like to promote. Additionally, they underlined that the scalability is important and there is a need to create some digital version of this concept to engage people from across the whole world - not only people from local communities or theme park visitors in UK cities. The feedback was very specific and gave us clear direction for future changes which will be presented in the next part of the develop phase section.

Iteration results: scales of implementation

To provide the PLAN UK with the widest range of options to choose from while considering implementation of the concepts, MASEDI students created the scale of implementation for each of the four chosen concepts. The first scale is the minimum scale, which is digital, involves large number of potential supporters online, and does not need much resources to implement. The second scale is the medium one, which could also engage the supporters in a more physical way. In this case, the experience of the supporters is deeper and more creative, but the resources needed to implement this scale are also bigger. The third scale is the large one, and it shows the more developed version of the second scale, including extra elements engaging the supporters even more. Because of the specifications of individual final concepts, not all of them have three scales of the implementation; two of them are presented in two scales, and the remaining two are presented in three scales.

FINAL CONCEPTS Final concept #1 THE CORRIDOR STORY Introduction and implementation scales

An exhibition introducing the campaign would be in the corridors of Art Galleries/Museums/Art Exhibitions, in the transitory spaces, or even completely digital. The concept focuses on potential supporters who find out about the campaign through digital advertisements, who are visiting the art exhibitions, or who are passing through the transitory spaces. Different scales of implementation present the supporter journey which differs according to their digital or physical engagement. The Corridor Story is an iterated version of the Lift Story concept, but instead of using the lifts because of their limited access, and the necessity to spend a certain amount of time inside to understand the campaign which might be not practical, it was changed to a corridor.

Scale 1: the concept is an online "web exhibition" which is displayed at the PLAN UK website and advertised online. After potential supporters see the digital version of personal stories of young people from the supported country (Lisa in our example), they can decide to join the campaign and sign the petition. The demonstration in the supported country can be displayed digitally (the story of Lisa), presenting the number of the supporters and their location. Scale 2: a physical exhibition placed in the Art Gallery, Museum, Art Exhibition, or transitory spaces. The elements needed to prepare the exhibition would be paper posters placed on the walls around the corridor. The posters would tell the story of Lisa, the girl from the supported country. The potential supporters visiting the Gallery or walking through the transitory spaces would see the exhibition and find out about the problems of the supported country and the PLAN UK campaign. At the end of the exhibition (moving along the corridor) they would be encouraged to take “selfie” while high-fiving a poster of Lisa with her hand up, and post it on social media with a specific hashtag to show their support – that would allow PLAN UK to monitor the number of new potential supporters and contact them to join the campaign. The demonstration could include a corridor with walls of selfies taken by people from around the world.

Scale 3: the concept is the extended version of the second scale; it is a physical, immersive installation placed in the Art Gallery, Museum, Art Exhibition, or transitory spaces, using more interactive technology to attract potential supporters (sounds, video and audio). After potential supporters walk through the immersive exhibition allowing them to get to know Lisa and her life and wishes, they would build a lot of empathy and understanding, they have the chance to high-five Lisa (on a poster) to show their support. The high fiving would activate the camera which takes a picture of the new supporter and Lisa. At the end of the installation, there would be a small iPad or similar device enabling new supporters to sign up the petition, and give the email address – giving the email address allows them to receive the picture by email. The demonstration could include big wall of the pictures of high fives from people from around the world.

Storyboard â&#x20AC;&#x201C; scale 3

The storyboard presents the story of Jessica, our persona, stumbling across the installation at the Art Gallery. She goes through the immersive sound and video exhibition in a corridor which tells the story of Lisa (the girl who need supports in a country) and introduces Jessica to some of Lisaâ&#x20AC;&#x2122;s life. Jessica decides to support Lisa and gives a "high-five" to the poster of Lisa as a symbol of the support which activates the camera and the picture is taken. Jessica is also signing up using the device available next to Lisa, and the picture is emailed to her email address. Jessica is proud to be part of the campaign and share her picture on social media. The final part is the demonstration in the supported country where supported young people can see all the pictures of their supporters from the whole world on a big picture wall or corridor.

Blueprint

Key Partners • young people from supported country to create the content for the exhibition (scale, 1, scale 2, scale 3) • web designer needed to adapt the PLAN UK website to the digital exhibition • graphic designer and curation for posters in the corridor • immersive installation company to prepare the exhibition in a physical space • Art Galleries, Museums, Exhibitions, (scale 2, and scale 3) • transitory space owners / managers: airports, tube stations (scale 2, and scale 3)

Key Activities • potential supporters go to the PLAN UK website and view the "web-exhibition" - they show the support by signing the online petition • potential supporters go to the exhibition (posters in a corridor) and at the end, they take a selfie with the poster of Lisa high-fiving, and share it with a hashtag on social media to show the support (PLAN UK check the social media for • potential supporters go to an immersive sound/video exhibition in a corridor, and at the end they give "high-five" to the poster of Lisa as a symbol of the support • the high-fiving activates a camera, which takes a picture of a visitor, who afterwards signs up using the provided device and receives the picture on the email address • receiving updates from the PLAN UK about the campaign (scale, 1, scale 2, scale 3) • demonstration: petition signatures • demonstration: event with the picture wall to demonstrate the collective voice of supporters (scale 2, and scale 3)

Value Propositions • PLAN UK is able to reach out to the potential supporters digitally at the same time • The concept is easy to set up and keep going till the end of the campaign • The concept allows to join the campaign in an easy and quick way • The concept builds the empathy to the people from supported country (scale, 1, scale 2, scale 3) • There is a value in presenting the exhibition as a story of people form the supported country - which makes it much more personal (scale, 1, scale 2, scale 3) • The concept reaches out to people who are already interested in emphatic experiences (Art Galleries, Museums) (scale 2, and scale 3) • The concept reaches out to people who are in the transitory spaces and are waiting or walking by an exhibition (scale 2, and scale 3) • The concept allows to join the campaign in an engaging and creative way • The concept allows the potential supporters to experience the exhibition using their different senses

Customer Relationships • The concept builds the empathy to the people from the supported country by getting to know their personal stories (scale, 1, scale 2, scale 3) • The concept allows the potential supporter to create a memorable experience (picture in the physical space) (scale 2, and scale 3) • There is a value in the immersive experience while visiting the physical exhibition which builds the connection between supporters and the people from the supported country (scale 2, and scale 3)

Customer Segments • Young people from the supported country (scale, 1, scale 2, scale 3) • People using social media (to find out about the campaign) (scale, 1, scale 2, scale 3) • Already existing supporter of the previous PLAN UK campaigns (they will get notifications) • People visiting the Art Galleries/Museums who can be both: local residents and international tourists (scale 2, and scale 3) • People using the transitory spaces in the public spaces (scale 2, and scale 3) • Museums and Art Galleries managers (scale 2, and scale 3) • Transitory spaces owners / managers (scale 2, and scale 3)

Channels Key Resources

• social media, PLAN UK website (scale, 1, scale 2, scale 3) • word of mouth (scale, 1, scale 2, scale 3) • physical advertisement (posters, maps, brochures) of the campaign or the space where the exhibition takes place (scale 2, and scale 3) • social media when friends post the picture symbolizing joining to the campaign (scale 2, and scale 3)

• materials to prepare the exhibition (scale, 1, scale 2, scale 3) • web designer • spaces to place the physical exhibition (scale 2, and scale 3) • physical posters • devices to make the exhibition interactive for supporters

Cost Structure

Revenue Streams

• cooperation with young people from the supported country (scale, 1, scale 2, scale 3) • hiring web designer to prepare the online exhibition • hiring graphic designer to prepare the physical exhibition (scale 2, and scale 3) • organizing the physical exhibition in Art Gallery/Museum/transitory spaces (scale 2, and scale 3) • printing posters for the physical exhibition • providing the electronic devices to display the exhibition and attract the supporters by allowing them to immerse in the experience (and use the device to sign up afterwards) • organising the demonstration event in the supported country (scale, 1, scale 2 with the picture wall, scale 3 with the picture wall)

• N/A (scale, 1, scale 2, scale 3)

Business Model Canvas

Concept value and opportunities for PLAN UK

The biggest value of the concept lies in different ways to interact with potential supporters. Each of the scales presents a different way of building empathy and informing the audience about the problems of young people from the supported country. The idea focuses on both: reaching out to the wide target audience, and on engaging potential supporters in a unique way, which they have never experienced before during the Art Gallery (Museum/Art Exhibition) visit, or while using the transitory spaces. The concept also allows to increase the awareness about supported countriesâ&#x20AC;&#x2122; campaigns - in a very personal way, which is enabled by using Lisa and her personal life story to introduce the campaign. There is also a potential for PLAN UK in engaging local artists to create the exhibition/ installation (which might bring wider audience to the physical exhibition; the local communities of the artists) and in building recognition and appreciation in local communities, tourists and by people visiting Museums/Galleries/airports (or other spaces in which the Corridor Story could be installed). After setting up the digital version of the exhibition â&#x20AC;&#x201C; the campaign can be easily run and monitored without further resources, and after setting up the first physical exhibition or installation, new places can be easily adapted to create more immersive spaces to promote the campaign and the need to support the young people from the supported country.

FINAL CONCEPTS Final concept #2 THE BALLOON STATION Introduction and implementation scales

The Balloon Station is focused on engaging with potential supporters in a fun and personal way, allowing them to join the campaign and show the support to the people supported by PLAN UK using a digital or physical balloon. The concept can be implemented in two scales; the first scale engages a wide international audience, the second scale is physical and can be focused on interaction with local people, families with children, or people attending local events. The Balloon Station is an iterated version of the initial balloon station concept, according to the feedback received by the PLAN UK representatives.

Scale 1: the concept starts with the online introduction to the campaign aims and the balloon symbol on the PLAN UK website. Potential supporters will be given the

opportunity to create their own digital balloons (with a stamp on it showing the name of the supporter, the location and time of joining the campaign) and add it to other supporters' balloons (after signing up). The new balloon will be animated and join the animation showing all the balloons collected so far, waiting to be released in the air (at the demonstration event - countdown clock on the website). The animation would give the supporters the ability to click on other balloons and see who (name) and from which country added that particular balloon. The digital version of the concept is easy and simple for users to follow, and engages them using the gamification elements (digital balloon creation, tracking own balloon amongst others, seeing the support of other supporters, countdown clock creating the feeling of excitement).

Scale 2: in addition to scale 1, the balloon station is a physical station that needs to be run by PLAN UK volunteers to inform potential supporters about the campaign, help them sign up the petition (using the provided device at the station), and engage them in more fun way: by creating their own balloons, and taking pictures of the new supporters (with their personalised balloons) and sending them to their email addresses. The balloon station would be run in the public spaces during already existing events (theme parks, food markets, weekend events) and could become a great way to attract parents with children (children could enjoy the balloon activities which they get for free, while their parents could talk about the campaign and potentially join by signing up at the station). The physical station addresses public's attention and increases awareness of campaign, which encourages potential supporters to be part of the PLAN UK campaign.

Storyboard â&#x20AC;&#x201C; scale 2

The storyboard presents the story of Jessica, our persona, and her son Tim. They both walk by one of the local weekend events and suddenly see a very colorful balloon station. Jessicaâ&#x20AC;&#x2122;s son wants to see why there are so many other people holding balloons, so they decide to go to the station and ask about it. At the station, there is a PLAN UK volunteer who explains the campaign aims and the balloon activity: getting a balloon, drawing on it, and taking a picture which can be emailed to new supporter after signing up to the campaign. Jessica wants to support the young people from the supported country, so she signs up, and Tim is happy to get a balloon and picture with it and his mom. Jessica is sharing the picture on her social media channels. The final part of the story is the demonstration in the supported country; young people are hosting a balloon event where there are many balloons (either physical or displayed digitally) released in the air as a symbol of a huge number of supporter from across the world.

Blueprint

Key Partners

Key Activities

Value Propositions

Customer Relationships

Customer Segments

• IT support to prepare the PLAN UK website and the animation (UX designer) • Graphic designer to prepare the visualizations for the physical station and advertisement posters • Street markets organisators • On-going events organisators • Organizations in relevant field • Balloon providers (collaboration) • Volunteers for advertising this live campaign in the supported country •Volunteers for advertising this live campaign in the supporting country

• setting up the animation on the PLAN UK website enabling supporters to add their balloon • potential supporters receive advertisements through social media about the balloon campaign • the supporters sign up using the PLAN UK website, and see the animation that the digital balloon of the new supporter is added to the other balloons waiting till the end of campaign to be released (count down at the website) • the supporters can click on the balloon of other supporters and see what is their name and where do they come from – creating the map of the world with the supporters • choosing the right places for the balloon station (in both: the supported country and in the supporting country) • potential supporters participate in an outdoor event where the PLAN UK has the balloon station • the volunteer at the balloon station explains the campaign • potential supporters at the balloon station get a free balloon on which they can draw their smiley face and the volunteer takes the picture of them with the balloon • they get information at the station about campaign • supporters receive emails with updates about the campaign (for scale 1 and scale 2) • supporters receive the email saying thank you for the participation and they get the picture taken at the station • demonstration: Ball0on Event (with the real balloons being released into the air at the demonstration - like in the animation on the website) + the number of signatures • demonstration: Balloon Event (with the real balloons being released into the air at the demonstration) + picture wall of the supporters • pictures and videos from the demonstration are being send to the supporters and posted on social media channels (for scale 1 and scale 2)

• the concept is easy to access by the potential (or current) supporters because is available online at the PLAN UK website for the wide audience • the animation displayed at the PLAN UK website allows the supporter to see the growth in the campaign and see where the other supporters are from • the concept builds the empathy and the feeling that each supporter is a part of something bigger • the concept engages the supporters in a fun and creative was (creating the balloon can be also the option for kids, while their parents talk to the volunteer about the campaign) • there is an easy access to the sign-up forms which are provided at the balloon station • places where the balloon station is standing are engaging young people and are easy to access • the supporters receive the picture – reminding them about the positive experience and the campaign

• the concept increases the awareness about the PLAN UK campaign and problems of people from the supported country (for scale 1 and scale 2) • the concept builds a relationship between the supporters and PLAN UK – the email notifications and updates (for scale 1 and scale 2) • the concept uses gamification elements (count down, balloon animation, building the supporters community across the world) which is engaging for supporters • the concept allows the potential supporter to create a fun and memorable experience and allows to remember about it by taking the picture which can be then shared on social media • the concept allows to concentrate on families – the parents can get engaged with the campaign while their kids are being entertained

• people using social media (to find out about the campaign) (scale, 1, scale 2) • already existing supporter of the previous PLAN UK campaigns (they will get notifications) • young people in the supported country who would be willing to become volunteers and run the balloon station • young people in the supporting country who would be willing to become volunteers and run the balloon station • theme parks/ local events/ street markets organisators • organizations in relevant field to support the station • families visiting the theme parks/local events/ street markets • young people visiting the theme parks/local events/ street markets

Channels Key Resources

• advertisements about the campaign on social media, internet, PLAN UK website (for scale 1, and scale 2) • posters of the physical station on the streets/ local community spaces etc. • the physical balloon station to interact with people • digital advertisements through the event organisators’ channels

• IT support for setting up the PLAN UK website • notification system to keep the supporters updated (for scale 1 and scale 2) • graphic designer to prepare promotional materials and the balloon station • spaces to place the physical balloon station • volunteers (and possibly their training) to run the balloon station • physical posters (advertisements) • device to allow supporters to sign up at the balloon station

Cost Structure

Revenue Streams

• hiring IT support / web designer to prepare the online animation and setting up the notification system • training the young people from the supported and supporting country to become volunteers • hiring graphic designer to prepare the physical station and the physical advertisement (posters, leaflets) • organizing the physical balloon station in the local areas (theme parks, local events, street markets) • printing posters for the physical station • providing the materials needed at the station (balloons, markers, device to take picture with) • providing the electronic device to allow the supporters to sign up at the station • organizing the demonstration event in the supported country

• N/A (scale, 1, scale 2)

Business Model Canvas

Concept value and opportunities for PLAN UK The biggest value of the concept lies in different ways to interact with potential supporters; either digital or physical. Both of the ways to engage users are fun and personal. The digital version allows the supporters to join the campaign in a quick and easy way, and engages them through the animation â&#x20AC;&#x201C; which makes this internationally adapted way to reach out to a wide target audience. The physical version of the Balloon Station allows the potential supporters to hear about the campaign from the volunteer (who can answer all the additional questions, and explain the campaign in a more personal way than just reading about it in the leaflet or website). In this scale, there is a big potential to involve both: local communities, and the visitors of different events during which the balloon station could be organised and set up. The concept is also aiming to build positive memories of supporters (taking pictures) and enable the new supporters to share their support on social media (picture) which automatically extends the range of audience who knows about the campaign. The idea is also giving the opportunity to engage kids for free â&#x20AC;&#x201C; which might be a potential value for their parents â&#x20AC;&#x201C; who might become the new target audience and open new opportunities for PLAN UK.

FINAL CONCEPTS Final concept #3 IF YOU LIKE THIS, YOU WILL LIKE PLAN UK Introduction and implementation scales

The service, which is completely digital, can be run independently using the SoundCloud platform online (or in the cooperation with other potential partners like start-ups). The concept is presented in three scales (the first one is the minimum and the most basic one, the second scale is medium and engages the young people from the supported country, the third scale engages also the supporters who can record personal audio messages) is focused on enabling the potential supporters to hear about the campaign through listening the local music from the supported country. The concept If You Like This, You Will Like PLAN UK is an iterated version of the initial concept, according to the feedback received by the PLAN UK representatives.

Scale 1: the concept starts with the potential supporters using SoundCloud. PLAN UK curates a playlist of local music of the country that the campaign is focused at.

The playlist is interspersed with short spoken pieces by young people, but the focus is on the music to enable the potential supporters to build empathy and understanding of the culture of the supported country. The campaign displayed at the SoundCloud platform brings the supporters to the PLAN UK website to sign up, and allow them to come back and continue listening to the music.

Scale 2: the concept extends by enabling the young people from supported countries to create/curate the content in a radio station style â&#x20AC;&#x201C; for example girls like Lisa (used as an example young woman from the supported country) could say why the song resonates with her life (in the style of a DJ on the radio). That could create a much more personal relationship between the young people from the supported country and the international supporters signing up to support the campaign. Scale 3: the concept is a replication of the concept described above in the second scale, but here the supporters could also be engaged by adding (recording) their personal message to the young people from the supported country. Those messages could be played during the final demonstration (music event) at the end of the campaign alongside with the most listened local music.

Storyboard â&#x20AC;&#x201C; scale 3

The storyboard presents the story of Nic, the second persona created in this project, who uses the SoundCloud platform to stay updated with the latest music coming from different parts of the world. He is aware that there are many interesting playlists available at this platform. He notices the new playlist managed by Plan UK, which includes the local music from the supported by PLAN UK countries. He enjoys the music and the radio station explanations provided by the young people from the supported country, and he decides to find out more about the campaign. He is redirected to the PLAN UK website where he can join the campaign by signing up and he goes back to the SoundCloud platform to record a personal message to the young people from the supported country to show his support. After the online participation, Nic receives updates about new music, playlist, and the current situation of the campaign. The last scene presents the demonstration in the supported country; there is a local music event and the personal messages of the supporters are played to the young people from the supported country who are happy to hear so many supporting voices.

Blueprint

Key Partners • SoundCloud (no need to partner - just use the service) (for scale 1, scale 2, scale 3) • Young people from supported country who can contribute to the content of the "radio station package" • Other possible partnerships: Earbits (startup like Pandora), Bandcamp, etc. (for scale 1, scale 2, scale 3) • PLAN UK employee to curate the music from Malawi "radio station package" and set up the SoundCloud playlist (for scale 1, scale 2, scale 3) • PLAN UK moderator of the content provided by the supporters (for scale 2 - the playlists, scale 3 – the audio messages)

Key Activities • PLAN UK curates music from Malawi "radio station package" and sets up the SoundCloud playlist (for scale 1, scale 2, scale 3) • Potential supporter find out about the campaign through SoundCloud, or social media, advertisement online or through signing the petition on the PLAN UK website (for scale 1, scale 2, scale 3) • Potential supporters listen to the “radio station packages” available at the SoundCloud and provided by the PLAN UK (existing videos) • Potential supporters listen to the “radio station packages” available at the SoundCloud and provided by the PLAN UK (local music from the supported country with the records from young people from the supported country) • after listening to the radio packages the potential supporters are linked to PLAN UK petition and sign up, then they are linked back to the SoundCloud (for scale 1, scale 2, scale 3) • supporters can record a 30 second message for the young people in the supported country • existing supporters receive a new "radio station package" whenever new campaigns are launched (for scale 1, scale 2, scale 3) • supporters receive updates about newly added music/playlist (for scale 1, scale 2, scale 3) • demonstration: music event with local music organized by the PLAN UK (for scale 1, scale 2, scale 3 with playing the audio messages recorded by the supporters)

Value Propositions

Customer Relationships

Customer Segments

• the concept is easy to access by the potential (or current) supporters because is available online for the wide audience (for scale 1, scale 2, scale 3) • the concept builds the empathy by listening to the local music from the supported country and getting closer to the culture of people living there (for scale 1, scale 2, scale 3) • the concept allows the supporters to get to know more personal people (by their stories) from the supported country which builds the understanding and empathy (for scale 1, scale 2, scale 3) • the concept allows potential supported to create relationship with the young people from the supported country by recording a personal message for them

• the concept increases the awareness about the PLAN UK campaign and problems of people from the supported country (for scale 1, scale 2, scale 3) • the concept builds a relationship between the supporters and PLAN UK – the email notifications and updates (for scale 1, scale 2, scale 3) • the concept builds the relationship between the supporters and the young people from the supported country by listening to their voice (which is very personal) (for scale 1, scale 2, scale 3) • the concept allows to express the supporters their feelings through the personal messages

• young people using social media (to find out about the campaign) (for scale 1, scale 2, scale 3) • young people using SoundCloud or other music platform (to find out about the campaign by listening the music) (for scale 1, scale 2, scale 3) • already existing supporters of the previous PLAN UK campaigns (they will get notifications) (for scale 1, scale 2, scale 3) • young people from the supported country to help create the audios • potentially local musicians from the supported country to add new playlists to the SoundCloud (for scale 2, and scale 3) • already existing supporters to record the message to the young people from the supported country

Channels Key Resources

• social media to promote the “radio packages” online (for scale 1, scale 2, scale 3) • PLAN UK website with the information about the campaign (for scale 1, scale 2, scale 3) • SoundCloud promotional channels (social media, advertisements online etc.) (for scale 1, scale 2, scale 3)

• PLAN UK to prepare the first playlist (from existing resources) and information about the campaign on the PLAN UK website (for scale 1 and scale 2) • PLAN UK to cooperate with the young people form the supported country to prepare the audio for the “radio packages” • some simple UX design for the sound recording platform

Cost Structure • hiring IT support to moderate and set up the radio packages on SoundCloud (for scale 1, scale 2, scale 3) • cooperating with young people from the supported country to record their stories or personal explanation why do they like the music on the playlist (coming from their country) (for scale 2, and scale 3) • cooperating with local musicians from the supported country (potentially) (for scale 2, and scale 3) • hiring UX designer for the enabling the simple recording system on SoundCloud

Revenue Streams • N/A (scale, 1, scale 2, scale 3)

Business Model Canvas

Concept value and opportunities for PLAN UK The biggest value of this concept is that the PLAN UK could reach out to a very wide audience at the same time because it is run independently and completely digitally. The audience can also increase because of the friend circles on social media of the new supporters and the word of mouth. After setting up the whole interface â&#x20AC;&#x201C; it is free to use and continue for both sides: the users and PLAN UK. Moreover, the concept is enabling the potential supporters to join the campaign in a quick, easy way which they might appreciate (according to the testersâ&#x20AC;&#x2122; feedback) and following the different scales, engage not only the supporters but also the young people from the supported country which might build a unique relationship between them and increase the level of empathy and understanding the situation of both sides.

FINAL CONCEPTS Final concept #4 THE MOVING GARDEN Introduction and implementation scales

The Moving Garden is the idea of engaging potential supporters by allowing them to add plants to the garden created for the people from the supported country. The moving garden is a symbol of the community space, to which everyone from the whole world can add something to make it bigger, grow, and show the collective voice of the supporters. The Moving Garden concept can be implemented in two scales; the first scale is only digital, enabling the potential supporters (wide, international audience) to access the virtual moving garden through the PLAN UK website, create the plant there, and add a personal note to the people from the supported country. The second scale is a physical Moving Garden station operating during local events and engaging local communities (also families with children) to learning crafting techniques to create handmade plants.

Scale 1: the concept in the first scale operates only digitally. On the PLAN UK website would be an introduction to the aims of the campaign and the idea standing behind creating the virtual moving garden, as well as the signup forms to allow the potential supporters join the campaign. Besides, there is a virtual garden dashboard, where the supporters could add a plant (customize shapes, colors and patterns using the digital interface) and write a personal message (typed and/or handwritten, e.g. on touchscreen), and then add it to the moving garden. Each plant could show the messages of supporters from around the world, including their name and the country of supporter who "planted" the plant. Scale 2: the concept in the second scale is the extension of the first scale, because it adds the opportunity to participate in the physical version of the Moving Garden concept. In collaboration with local communities around the world, PLAN UK would organize the little events enabling the potential supporters to learn crafting techniques to make physical plants to the moving garden. The concept in the second scale includes cooperation with local craft makers, the need to provide the materials to physically make the plants, to engage PLAN UK volunteers to inform about the campaign at the Moving Garden station, and to provide the devices to allow the potential supporters to sign up and join the campaign.

Storyboard â&#x20AC;&#x201C; scale 2

The storyboard presents the story of Nic, our second persona, who walks in the neighborhood and sees the advertisement about the upcoming creative event happening soon in the local area. He is interested and decides to join the event to find out more about it. When he comes to the event, he meets a local craft maker who teaches him and other participants how to create the handmade plant, and the PLAN UK volunteer who explains the purpose of the PLAN UK campaign. Nic likes the Moving Garden metaphor and he decides to join the campaign and write a personal message to the people from the supported country. After the event, Nic sees that he received the email from the PLAN UK confirming his participation in the campaign and inviting him to the digital version of the Moving Garden. The final scene presents the demonstration event being hosted in the supported country â&#x20AC;&#x201C; when all young people are reading the messages written by the supporters from around the world and are happy to see so many positive words.

Blueprint

Key Partners

Key Activities

• PLAN UK / IT support to set up the website to find out about the campaign (for scale 1 and scale 2)

• setting up the campaign on the PLAN UK website enabling supporters to add their flower to the moving garden and leave a comment • potential supporters receive advertisements through social media about the moving garden campaign • the supporters sign up using the PLAN UK website, and add their plant to the shared moving garden • the supporters add a personal message to the young people from the supported country

• Web / interaction designer to prepare the animation allowing to create a flower online and add a comment • PLAN UK employee to moderate the contend provided by the supporters (comments/notes) • graphic designer to prepare promotional materials and the moving garden station • local partners to organize the workshop and show to the potential supporters the handcraft technique • local cultural spaces and community centers around the world – to cooperate and co-organize the physical garden activities (craft) • craft maker communities • local event organisators to set up the moving garden station • volunteers for advertising this live campaign in the supporting country

• PLAN UK choses the right places for the moving garden station • potential supporters participate in an outdoor craft event where the PLAN UK has the moving garden station • the volunteer at the moving garden station explains the purpose of the campaign • potentially the craft makers help the supporters to craft a plant • supporters can sign up at the station to support the PLAN UK campaign and they leave the personal message (handwritten) to the young people from the supported country • supporters can take picture of their crafted plan to share it on social media • supporters receive emails with updates about the campaign (for scale 1 - online garden is always updated at the PLAN UK website and scale 2 - supporters can get pictures and information about other drop-inn craft activities seeing new inspiration for the handmade plant craft) • demonstration: event in the supported country replicating (in a smaller scale) the community garden created by the supporters from across the world (for scale 1 – poster from the online garden and scale 2 – posters from pictures of the supporters’ plants) • demonstration: PLAN UK prepares the message wall to demonstrate the collective voice of the supporters (for scale 1 and scale 2) • pictures and videos from the demonstration are being send to the supporters and posted on social media channels (for scale 1 and scale 2)

Key Resources

Value Propositions

Customer Relationships

Customer Segments

• the concept is easy to access by the potential (or current) supporters because is available online at the PLAN UK website for the wide audience • the ability provided by the PLAN UK website to create the digital plant and add to the moving garden (community space) creates the feeling of participation in a metaphorical way • the concept builds the empathy and the feeling that each supporter is a part of something bigger (shared community space = moving garden) (for scale 1 and scale 2)

• people using social media (to find out about the campaign) (scale, 1, scale 2)

• the concept engages the supporters in a fun and creative was (creating the handmade crafted plants and learning about craft techniques) • the concept can be also the option for kids, while their parents talk to the volunteer about the campaign • there is an easy access to the online sign-up forms which are provided at the moving garden station • the personal contact with the volunteer allows to ask questions and get into a deeper conversation about the problems of the supported country • places where the moving garden station is standing are engaging local communities • the supporters can take the picture – reminding them about the positive experience and the campaign • supporters can share their handmade plants on social media

• notification system to keep the supporters updated (for scale 1 and scale 2) • graphic designer to prepare promotional materials and the moving garden station • spaces to place the physical moving garden station •volunteers (and possibly their training) to run the station and engage potential supporters • physical posters (advertisements) • device to allow supporters to sign up at the moving garden station • materials for making craft plants • materials to leave a personal message by the supporters

• hiring IT support / web designer to prepare the online campaign allowing to create a digital flower, leave a comment (personal message) and setting up the notification system • training the young people from the supporting country to become volunteers • hiring graphic designer to prepare the physical station and the physical advertisement (posters, leaflets) • organizing the physical moving garden station in the local areas (community spaces, local events, street markets) • printing posters for the physical station • providing the materials needed at the station to make the crafted plant • providing the electronic device to allow the supporters to sign up at the station

• young people in the supporting country who would be willing to become volunteers and run the moving garden station • local craft makers • local craft communities • community spaces/ local events/ street markets organisators • organizations in relevant field to support the station • families visiting the community spaces/local events/ street markets • young people visiting the community spaces/local events/ street markets • potentially art students

Channels • advertisements about the campaign on social media, internet, PLAN UK website (for scale 1, and scale 2) • posters of the physical station on the streets/ local community spaces etc. • the physical moving garden station to interact with people • digital advertisements through the community’ channels (websites, social media, private accounts) • word of mouth (within the local community or craft communities) • digital advertisements through the craft makers’ channels

• IT support for setting up the PLAN UK website • digital garden dashboard: digital plants & messages

Cost Structure

• the concept allows the potential supporter to create a fun and memorable experience • the concept allows potential supporters to learn not only about the campaign, but also about craft activities and techniques • the concept allows to concentrate on families – the parents can get engaged with the campaign while their kids are being entertained • the concept has a potential to build strong relationships within the communities (between supporters)

• already existing supporter of the previous PLAN UK campaigns (they will get notifications)

Revenue Streams • N/A (scale, 1, scale 2)

Business Model Canvas

Concept value and opportunities for PLAN UK

The concept can be differently implemented according to the two presented scales. However, in both cases, there is a great value in building the personal relationships between the supporters and people from the supported country (through personal messages), and building community feeling using the Moving Garden metaphor. The virtual garden is a great opportunity to reach out to the new potential supporters from across the world, and can be an extension of the physical Moving Garden event experience to continue being updated with the campaign. At both scales, the concept allows the potential supporters to experience the empathy and engage them in a creative and fun way to show their support. The physical Moving Garden event opens the opportunity to engage whole families with children, which could be a new target audience for the PLAN UK (parents can find out more about the campaign from the PLAN UK volunteer and sign up at the event, while their kids are distracted learning the crafting techniques and enjoy the entertainment). There is also a great opportunity for PLAN UK to engage local communities and local artists to create the plants (promoting their work at the local community â&#x20AC;&#x201C; which creates more relationships and enables the word of mouth marketing) and engage with the youngest audience by giving them the opportunity to spend their time creatively and have a lot of fun.

Deliver

Introduction and Aims

In the deliver phase of the project, the team of MASEDI students had a full and comprehensive version of each of the four final concepts and their scales of implementation. The deliver phase is focused on the visual presentation of the chosen and developed concepts to introduce them better and allow to fully understand the ideology standing behind them. In this last part of the service design process, it is important to show (visually) how each of the concepts potentially could look like when implemented. At this final stage, it was necessary to use variety of different methods to present the visual aspect of each of the concepts. We used graphic design tools (Illustrator, Photoshop, InDesign), LEGO blocks and paper prototypes, SoundCloud interface, and others; to make sure that the concepts are clearly explained through their visual prototypes.

FINAL CONCEPT 1. Final concept #1 THE CORRIDOR STORY Introduction and description

The final version of the Corridor Story concept has been prototyped once more using the LEGO blocks to present the whole user journey (scale 3, like in the storyboard presented in the previous section) and the touchpoints of the potential supporter. Additionally, the visualizations of this scale of the concept show the high-five moment of the new supporters, who decided to support Lisa after experiencing the exhibition.

FINAL CONCEPT 2. Final concept #2 THE BALLOON STATION Introduction and description

The final version of the Balloon Station concept has been prototyped in two ways: physical and digital. The physical prototype is the LEGO blocks story (scale 2, the physical Balloon Station engaging people at the station) which presents the user journey. Then, the additional digital prototype is the visualisation of the interface available at the PLAN UK website to give the supporters the opportunity to join the campaign online and still add their balloon to the animation.

FINAL CONCEPT 3. Final concept #3 IF YOU LIKE THIS, YOU WILL LIKE PLAN UK Introduction and description

The final version of the If You Like This, You Will Like PLAN UK concept has been prototyped completely digitally, because all three of the scales of implementation for this specific concept are being proposed to be digital. The prototypes (of the scale 3, which is the one allowing the supporters to record their personal supportive message to the young people from the supported country) were prepared using the existing interface available on the SoundCloud platform to make them as realistic as possible and to show, what would the user see while entering the PLAN UK SoundCloud playlist.

FINAL CONCEPT 4.

Final concept #4 THE MOVING GARDEN Introduction and description

The final version of the Moving Garden concept has been prototyped in two ways: physical and digital. The physical prototype is the LEGO blocks story (scale 2, the physical Moving Garden craft activity engaging people at the station to create physical plants and handwritten messages) which presents the user journey. Then, the additional digital prototype is the visualisation of the interface available at the PLAN UK website to give the supporters the opportunity to join the campaign online and create their plants online to add it to the digital version of the Moving Garden.

Conclusion The project structure was a very intense experience for all of the MASEDI students engaged in it. The collaboration with the PLAN UK representatives was the key to fully understand their expectations, their methods of approaching young people in the campaign, and to develop concepts answering their initial brief: to demonstrate the collective voice of their supporters. The four final concepts presented in detail in the two previous sections were our answer to the brief according to the co-designing sessions, workshops, service design methods and our own understanding of the real problem spaces around the given brief. In order to receive additional feedback which could be useful for PLAN UK to consider while evaluating the proposed concepts, we organised a Skype conversation with the young people from the supported by PLAN UK country (Tanzania). We introduced the four concepts using the storyboards and we asked them to comment on the most important aspects, which include their engagement in the campaign: their role to help preparing the campaign, and the demonstration event which takes place in their home country. Their feedback was really positive and they gave suggestions to consider before implementation:

#1 The Corridor Story - they like the idea of giving the potential supporter the opportunity to experience the exhibition in an immersive way. They notices

that it is an unusual way to approach new supporters, and they appreciated the fact that it is attractive, and at the same time, the concept does not pressure the supporters throughout their journey. The scalability for the concept was highly appreciated, and the feedback in this area focused on underlining the fact that once the exhibition is set, it is easy and quick to replicate. However, they mentioned that whenever there is a picture taken (scale 3) there should be an opportunity to choose the country - and have it on the picture as well. Besides, they mentioned that people could have the possibility to sign up anonymously which means they can choose to not have their names displayed during the demonstration event, and that it is really important to ensure that the data collected will not be published outside Plan UK. One of the future ideas of the young people from the supported country was that the concept may involve also famous people to sign up with this system and share their pictures on social media. And because of this potential and the positive aspects of this concept - they chose this concept as their favourite one to engage with.

Conclusion #2 The Balloon Station - the feedback of the young people we were able to talk to was very positive. They liked the first scale of the concept - the digital one, working on the PLAN UK website, because it is the quickest way to get to the very wide audience without the need to prepare much content. It was a valuable aspect for them, and they emphasized that there is a need to show supporters from across the globe. A digital concept was something that could enable that. Besides that, they appreciated the demonstration part when people (young people from the supported country) could see the balloons â&#x20AC;&#x153;collectedâ&#x20AC;? with different colours for each country, released in the air, because it shows the international support. #3 If You Like This, You Will Like PLAN UK - this concept was taken very positively by the young people we were able to talk to, however they

mentioned a few important things worth considering before implementation. They underlined that the playlist preparation will require more time and details as we predicted, and that it might be challenging for certain countries to ensure the internet connection required for this system (both: for preparing the playlist and the demonstration event). Besides that, they mentioned that the concept may include possible privacy risk and barriers related to the message recorded by the new supporters. Despite their comments on potential improvements, they really enjoyed that idea and were really keen on cooperating with PLAN UK to make it really happen.

#4 The Moving Garden - the feedback on this concept was quite similar to the Balloon Station. Young people from the supported country really like the idea, they mentioned that is is definitely original and has a lot of potential, however, the physical preparation (scale 2) could be really time consuming and expensive in terms of providing all the necessary materials to create handmade plants. Besides, they underlined the fact that this is a quite intensive work to collect the signatures over the craft events - and the number of signed up supporters might not be as high as using the online version of the concept. But all in all, they enjoyed the idea very much and were impressed with the details of every concept.

Conclusion The ability to talk to the young people from the supported country was a great opportunity to check whether the concepts that we have worked on for the past weeks are valuable for them and have a potential to become implemented and help to collect the supportersâ&#x20AC;&#x2122; signatures - which is the aim of everybody: the young people from the supported country, PLAN UK, and ours. It was a great pleasure to work for and with PLAN UK, and their engagement and constant feedback allowed us to adapt and iterate, to create the final outcome. We hope that the information provided in this final report will be useful to clearly track the development of each of the concepts, and that the descriptions, tools, and visualisations will become a full and comprehensive picture of how do we see the new services working in the PLAN UK during their next campaign supporting the situation of young people in the supported by PLAN UK countries.