JIM/CHIN FU CHEN
MA Service Design
S DERVICE D DESIGN by Jim Chen
Aging, Culture & Interface. 2012-2013
What is Service Design? According to Oxford Dictionary, the definition of service is “a series of actions of helping or doing work for people.” For me, the most important thing about this definition is “people” and that’s why I consider “human-centric” as one of the most important values that service design should deliver to its users.
Ser vice: a series of actions of helping or doing work for people. De sign: purpose or planning that exists behind an action, fact, or object.
Another important thing from this definition is “a series of actions”. A service is an experience made of a series of interactions between the users and various touch-points over time. Thus service design should be holistic and systematic in order to optimize all these interactions the users have during the experience. Since service design is holistic and systematic, it is also co-created. A good service experience is often achieved when everyone, both the stakeholder and the users are involved in the process of design. Lastly and perhaps the most importantly, service design needs to be sustainable and cultural. For me, the most unique thing about service design is to sustain the value of creative ideas and solution through human-centric and holistic approaches. And, to do so, service design must take the cultural aspect into account because it enables perceptional and behavioral changes which help the value of the solution to sustain.
HUMAN -CENTRIC SYSTEMATIC
HOLISTIC COLLABORATIVE CO-CREATED CROSS-DISCIPLINARY SUSTAINABLE CREATIVE &
CULTURAL For me, these words may describe service design the most appropriately, there is an obvious thing they have in common: they are all adjectives. Thus, the question facing every service designer today is simple but challenging:
How do we make the intangibles tangible?
JIM/CHIN FU CHEN
MA Service Design
C CULTURE DNTERFACE I vol. 1
MARCH. 2013
Introduction The emergence of personal digital devices, such as smartphones, has made digital interfaces a increasingly important part of our everyday activities. With millions of applications available for these smart devices, chances are that whatever you do, from recreation to productivity, from personal to social activities, there is an app for it. However, while some people believe that the emergence of smart devices and mobile applications has made digital interface more personalized than ever, some also argue that the user experience has actually become more homogenous, as most digital interfaces
This project sets to explore an opportunity for design intervention and provocation in response to the question: “How might digital interface address different cultural activities, aspirations and attitudes?� The design team was given the opportunity to work with a senior group at a local computer center in Hackney, London. The concepts of cultural and interface were explored in the broadest sense. The goal of the project is to design a holistic solution that combines digital interfaces, physical interfaces and social interfaces based on the specific cultural characteristics of the community.
“How might we harness the power of music and story-telling to empower the senior citizens of Hackney to achieve technological, social and cultural inclusion?� Culture: tthe arts and other manifestations of human intellectual
achievement regarded collectively
Interface: a point where two or more things interact
Our Community The People The community consists of a group of senior citizens from age 55 to 75, who come to the computer centre to learn and use computers on a regular basis. This particular age group is referred as the “citizens of pre-digital era� - people who were born before computer was invented and are not yet adapted to digital technologies. Another distinctive characteristic about the community is the highly diversified demographic. The majority of the community are immigrants from Caribbean and West African countries with a small group of native English citizens. The community has a strong interests in different food and music cultures due to its unique cultural mix. The rich and diversified cultural heritage encourages the members to share their knowledges and creates a highly vibrant social dynamic
Rick Rick is the founder of Hackney Stream and our coordinator at the community. For almost a decade, Rick has been running the local computer centre and supporting Hackney’s senior citizens. Through his work at the computer centre and his engagement with Age UK Hackney, Rick devotes most of his efforts promoting technological inclusion, which aims to introduce technology to older people and social inclusion.
The Place The computer centre is an Agewell facility owned by Age UK Hackney. The facility is a typical classroom-like environment. As shown in the pictures, the design of the space is clearly driven by functionalities rather than by the intention of creating a senior-friendly environment However, other than usability issues, the more pressing challenge of the center actually comes from the operation side. According to Rick, the center is under a significant pressure of limited capacity and funding. The situation has forced Rick to seek for alternative sources for funding. However, if these attempts failed, the centre will soon e in danger of closing in the near future.
Above: the people at Hackney Stream
The local computer centre is a place for technological and social inclusion
Hackney Stream With almost a decade of experience in running the computer center, Rick had recognised that the “pre-digital era citizens” are digitally marginalised because they do not take naturally to mice and keyboards. He also realised that the easiest way for these citizens to engage with technologies is by talking and listening. He then began to record and stream their conversations online and created Hackney Stream. As a new service initiative based on the computer centre, the goal of Hackney Stream is the same - to promote technological inclusion through social inclusion. Unlike conventional radio, which emphasises the learning experience, the emphasis of Hackney Stream is to create social activities and encourage the citizens to actively participate and contribute to the conversation
Hackney Stream is an internet radio led by citizens of the pre-digital era
Focus on Music and Story Hackney is well known for its rich and unique music culture due to its diversified demographic. The immigrants in Hackney in particular are important contributors to Hackney’s music culture. For instance, Reggae, which was brought to Hackney by Jamaican immigrants in the late 60s, is generally considered as one of symbolic music of Hackney. To the people of Hackney, especially the immigrants, music is a symbol of their identity, as well as a connection to their cultural root. The community at Hackney Stream is no exception. With the majority of the people coming from Caribbean and West African countries, the senior citizens at the computer centre also have a strong interests and connection to music. In fact, music is a very important and special thing to them because it brings back memories and cheers them up. Inspired by the citizens’ memories and stories associated with music, Rick began to incorporate older music from their time and music from their countries into Hackney Stream as a way to encourage conversations led by music and story-telling.
From top to bottom: - Hackey Stream’s SoundCloud page - People at a live streaming session - Sign inside the computer centre
Research Framework The research framework is like a “painting canvas�, which outlines the borders and helps us to focus the research. Based on what we learned from the first phase, the research framework covers four fundamental subject areas: 1. Individuals (senior citizens) 2. Community (Hackney Stream) 3. Technology (music streaming interface) 4. Culture (music and story-telling). Unlike the discover phase research, which aimed to gather some raw user-centric insights through observations, the define phase research focused on getting more in-depth and relevant insights responding to a more specific context. Tools like provocation and co-creation workshop were used during the process. The goal of the research was to gather insights on the following relationships:
DISCOVER
1. Individual vs. Technology 2. Individual vs. Culture 3. Individual vs. Community By focusing on these relationships, the research allowed us to identify the missing ingredient for the solution and the opportunities for our proposition.
Phase I. Discover
culture
The discover phase is a research-driven phase. The primary goal of this phase is to establish an in-depth understanding of the context and to identify potential directions for development. The specific focuses of the research during this phase include: 1. To identify the issues regarding the users and digital technology. 2. To identify the social and cultural activi ties that matter the most to the users. This phase The research tools and activities that were applied during this phase include: field research, in-situ observation/interview and research workshop.
user
community
technology
In-situ Observation: People at the research workshop
Research Workshop The research activity lasted for about three weeks. Through out the period, the design team visited the community 7 times and each visit lasted for at least 3 to 4 hours. Numerous research tools were applied during the research. For instance, the research workshop helped us to immerse ourselves in one of the internet radio (Spotify) seesions for in-situ observation. A total of 16 people joined the Spotify session and the design team successfully conducted 7 in-situ interviews. The session lasted for about 4 hours. The goal of the interviews is to gather insights include the following three areas: 1. How older people deal with technology? 2. How do they interact with each other? 3. Does music really work for them? The interviews and observations were documented in videos, pictures and audios. The outcome was made into an enthonograph-styled video.
IN-SITU INTERVIEWS REASEARCH WORKSHOP COMMUNITY VISIT PEOPLE
7
1
7
25 40 HOURS
User Insights Evidence of engagement keep people going. Social activity comes first, technology comes second. Before the research workshop began, we met Clement, who was then invited by Rick to join the workshop. “No, thanks. I’m just here for a cup of tea.” He responded. It was only a brief exchange of words but the team was amazed by the fact that the people in the community are using the facility in such a casual and social way. During our interviews, most people also expressed the same opinion when we asked why they came the centre at the first place. The opportunity to meet new people and to get involved in the social activities is clearly the main motivation that encourages people to come at the first place. We also noticed that most people learn about the centre through their friends.
Above: Clement, 68. Enjoying his tea and social with others
Before the workshop started, we noticed that some of the older people were “practicing” how to use computers using a program called “LearnMyWay.” The program is a learning aid, which literally guides the users through the fundamentals of using a computer and the internet step by step. Once they complete the program, they get awarded with a certificate as an encouragement. To our amazement, most people work fairly hard to get to get the certificate, although the program is generally considered being dry and boring. However, the certificate, as an evidence of achievement, is an encouragement as well as a motivator to many of the people. Even more importantly, it creates a rule to the game and encourages people to earn the certificate in order to “join the club.”
Above: Paulina, 57. Proudly holding her certificate
The “Notebook Culture� Besides the lack of knowledge about the norms and language of the digital world, another significant reason that makes the digital experience so difficult is to memorize the information needed for loging-in. During the workshop, we noticed that almost every older people keeps a notebook or pieces of papers with their log-in information such as email address, usernames, passwords, etc for every account they have. One of the ladies even keeps a file holder to organize her log-in information. For them, writing with pen and paper is how they used to deal with things and it is also the only way to remember these information.
Above: Abosede, 62. Writing down her log-in information
Music is a trigger, enabler and motivator. Although most of time during the workshop people struggled to understand how to use Spotify, when we started to play the music for them, the entire experience changed dramatically. Suddenly, technology makes sense to them because what it does becomes becomes a tangible experience. People were much more engaged to learn about technology when the music is playing. Especially, when the songs they recognise plays, conversations start simultaneously and people strat to share their memories. Overall, it was evident to us that music indeed plays a significant role in terms of enabling social interactions, as well as the engagements with technology.
Above: People dancing during the workshop
Co-creation Workshop The first research workshop had identified some initial users insights for us. Based on these findings, the aim of the co-creation workshop focused on exploring the specific connections between people, music, memories and stories from both the individual’s and the community’s point of view. We wanted to stimulate as much conversation as possible by presenting provocations including both visuals, audios and objects. We specifically chose provocations that the older people could easily associate with objects like cassettes, vinyls, and vintage radio. To make the conversation more relevant to the participants, we also asked people to bring their own music collections and instruments to the workshop for discussion.
DEFINE Phase II: Define The discover phase had helped us to identify the initial challenges and insights around users and technology. It also helped us to validate that music indeed plays an important role in the context of social interactions and engagements with technology. Based on these discoveries, the define phase aims to draw more in-depth insights on the relationships between users and technology, community and culture in order to define the problem statement for development. The tools and activities that were practiced included visual and physical provocations and a co-creation workshop. Above: We asked people to write down their favorite songs and the memories associated with the songs. We then played the songs to them and recorded the conversations.
User Insights Music used to be tangible and physical
Music should be communal and participatory
The pre-digital era music experience and the digital era music experience are two very different ones. To the citizens of pre-digital era, music was stored in physical mediums like vinyls and cassettes and the experience of listening to music always involve the physicality of music. During the discussion some described that the process of taking the object out, putting it in a machine and playing the music is like a ritual of listening to music. There is something personal about the physicality and tangibility of music. It is an experience that digital music could never capture.
Another important insight from examples like the “Pound Stone” music and the “Talking Drum” is the communal and participatory aspects of the experience. In both examples, the music experience involves the members of the community to participate and share the music together. The participation and sharing are the norms in both music cultures and these norms are still kept by the immigrants in Hackney as they help to keep the immigrant community together.
Besides the form of medium, the unique cultural background of this particular group also plays a significant part to the importance of the physicality of music. For instance, in Nigeria, every village has a thing called the “Talking Drum,” which “talks” in music (beats) and sends messages from one village to another. In West India, there is a traditional type of music called the “Pound Stone” music, which is made by people playing a “stone” (drum) together during events or festivals. In these particular examples, the objects are the focal point of both the experiences making and listening to music.
The participatory aspect also highlights the importance of the physical experience of music. During the workshop, people were always dancing or making beats by tapping on the table whenever there was music. The physicality, whether it is an object or their own bodies, is like a medium that involves the people in the music experience as well as the community.
Above: Josh, 68. Showing people the “Palm Stone” Music from West India.
Key Challenge Music used to be tangible and physical
The experience only live at the computer centre
The workshop began with helping people to get a new Spotify account and it only took us a short time to recognize that the challenge between was truly significant. “Do you know how to log-in?” “Do you know your email address?” “Left click, not right click.” “Click twice, if you want to play the track.” “What is a track?” Questions after questions were bouncing back and forth through out the entire session. To most older people, all the language and norms of the digital world are simply an alien experience to them. In fact, it was almost excruciating to watch some of them staring at the screen for more than 15 minutes trying to understand the instructions to set up an account.
While everyone at the workshop clearly expressed the importance of music in their lives, they also expressed a great sorrow for not having the same music experience anymore. With the radios and TVs stuffing up with musics of the younger generations, listening to the music from their time has become a luxury.
Other than frustration, people also felt panic when they were told that they made a “mistake”. For instance, most people had issues setting up their accounts with the “correct” username because they often choose something that is short and easy for memory. As a result, a lot of the usernames were taken on Spotify. However, they simply couldn’t comprehend the situation as many of them use the same username for every account and consider it exclusive to them, like their real names. It is like walking on a minefield of anxiety whenever they get on the Internet.
Right: People feel insecure and uncomfortable using technology outside the computer centre.
“It’s been fifteen years since the last time I had people signing in my house”, Beatrice, an older lady from Nigeria said. Although technologies and services like Spottily provide access to almost all kinds of music, once they are outside of the computer centre, they no longer feel secured using these services, including the Hackney Stream radio. Even if they managed to use these services on their own, the social aspect of the experience is still missing. In fact, the computer centre is almost the only place where they could have the same music experience.
Problem Statement “A generation robbed of its past.” The senior citizens of Hackney are from a “generation robbed of its past”. The music and the memories and the stories that are associated with the music are “robbed” because of barriers of all sorts: cultural changes, aging, technology, etc. and our goal is to help our users to cross these barriers. Through the research workshops, we had witnessed how strong music and stories could be in terms of supporting the people to socialize with people and engage with technology. However, these supports do not yet exist outside of the computer centre. Therefore, we added the concept of empowering the older people into the problem statement. On top of technological inclusion and social inclusion, which are the current goals of Rick’s organization, we added cultural inclusion because through our research, we had witnesses how powerful cultural elements such as music and story can be. We believed that people are more engaged and enabled to be involved technologically and socially when they are culturally included.
How might we harness the power of music and story-telling to empower the senior citizens of Hackney to achieve technological, social and cultural inclusion?
User Persona We began the develop stage by identifying different types of users that we are designing for. From our previous research, we had recognized that the types of persona could be differentiated by 5 key characteristics: 1. Technology Proficiency - the ability to use technology 2. Cultural Sensibility - the degree of responsiveness to cultural activities 3. Active Level - the frequency of participating in social/communal activities 4. Motivation Level - the willingness of participating in social/communal activities 5. Social Network - the degree of engagement with the others in the community.
DEVELOP
We also noticed that there is an interesting difference between male and female in terms of the “reasons” needed for their engagement with the community. The variety of “reasons” or “motivations” of the male participants was much greater that those of the female participants. In other words, the difference between the male persona were greater than the female persona.
Phase III: Develop
Josh, 68
The develop phase is the stage when insights are turned into design solutions. We started with breaking down the insights into keywords and playing with different combinations of these concepts for ideation.
Former Preacher from West India
We then observed the patterns between different ideas and established the final proposition.
4
Cultural Sensibility
5
Active Level
4
Motivation Level
5
Social Network
4
Technology Proficiency
Strategic Framework Cultural, social, and technological inclusion One of the most powerful learning from the previous researches for us was witnessing how music changes the older people’s experience at the computer centre. It was evident to us that when music started to play, people felt much relaxed and joyful. Music also took away people’s frustrations from trying to understand how Spotify actually works. In a way, technology is more meaningful and relevant when the outcome of technology is evident and obvious.
We also noticed that people were more willing to social and to talk when music is playing. In fact, some were highly motivated to share their knowledge and stories about the particular songs they like. Inspired these insights, we decided to approach social and technological inclusion through cultural inclusion. We built our strategy on the foundation of music and story and searched for a solution that is effective and sustainable.
Below: Strategic Framework
cultural inclusion
? social inclusion
technological inclusion
Creative Goals Based on the strategic framework and the insights form previous researches, we developed a set of creative goals as guidelines and principles for ideation. We developed these goals by synthesizing the user insights we collected from the previous research and reflecting the challenges within the context. In a way, the creative goals came from a process of matching the user insights to certain challenges and defined the values that we’d like to achieve through our solution. Below are the five creative goals:
2. Make music physical The physicality of music is very important for two reasons: 1. it is what music used to be like for the senior citizens, a generation growing up with vinyls and cassettes. 2. It has a strong connection some of their cultural backgrounds. For instance, physical objects play significant roles in both the “Pound Stone” music from West India and the “Talking Drum” from Nigeria. In these cases, physicality is important because sharing the physical object is a significant part of the social and communal aspects of the music experience.
1. Easily Achievable The “LearnMyWay” certificate example is the inspiration behind this creative goal. The evidence of engagement stands for a sense of achievement and motivates the users to continue their engagement. Our aim is to design a solution that constantly makes the progress and outcome visible to the users while being easy to use.
3. Enable (Re-)discovery of music There is a great joy at the moment of (re-)discovering the music from the past. The music brings the memories back and even more importantly, it also creates an emotional connection between the users and technology as well as the connections between the members of the community. Our aim is create these moments both inside and outside of the computer centre.
4. A conversation starter Creating more social interactions through music and stories is an essential part of our proposition. However, simply listening to the music is not enough to generate relevant social interactions because it is only a one way relationship. Instead, the music experience should encourage people to share their stories about the music and actively participate the conversation, so it forms a two way interaction. In other words, the experience should involve both listening to music and talking to each others in the community.
4. Personal vs. Communal The sharing and the communal aspect of the music experience is a very important part of the community’s unique music culture. However, the personal side of the experience is also very important as there are always memories and stories that are considered private. In other words, we need to find the recognize the different relationship people may have with music in different scenarios and find the balance within our solution.
Three types of conversation After exploring different ideas for creating the music-led conversations, we realized that there are different types of conversation. There are conversations, which are triggered individual-specific music and memories. They are personal conversations with the inner-self.
conversation with memory (inner-self)
There are also conversations between individual and specific people such as families and friend. These conversations are led by people-specific music and memories
conversation with families & friends
Finally, there are conversations that involve the community. These conversations are led by community-specific music and memories. For instance, the history of Reggae in Hackney are shared by everyone in the community.
conversation with the rest of Hackney
Three Playlists & The Cube The strategy of creating three different types of conversation led us to the development of three customizable playlists and eventually to the concept of a cubical speaker. We chose the cubical shape because each side of the cube can easily represent a playlist. The physicality of the cube also matches the our creative goal of making music tangible.
playlist
playlist
B
A
playlist
C
Prototyping As soon as we landed on the concept of a cubical speaker, we began making the prototype. We chose wood for the body because we like the warmth and retro feeling of the material. The rounded corner design is for both aesthetic and safety reasons. We painted the cube using the strong primary colours so it’s easier to distinguish the different play-lists that each side is linked to. We also added a recording button for recording personal messages.
What is TUMBLE?
DELIVER Phase IV. Deliver The deliver phase is when the ides and prototypes are being tested for deployment. We organized another workshop to test people’s reaction to the product and collect feedback. We also took the opportunity to act out the service proposition in order to simulate the interactions between the users. .
Inspired by the unique music culture of a senior immigrant group in Hackney and their own online radio station - “Hackney Stream”, we created TUMBLE - an innovative service, which aims to achieve technological and social inclusion for senior citizens through music and story-telling. TUMBLE is designed based on two components: 1. A wooden music player that also records voices of the users and 2. An online music and story streaming platform. Our goals were simple. We wanted to make technology a social and cultural experience through music and story-telling. With the product, we wanted minimize the barriers of technology, such as keyboards, mouses, etc., which are not taken naturally by many seniors and restore music back into their lives in a way that is social and participatory. With the digital platform, we wanted to create a tool that supports streaming services like the “Hackney Stream” and make the experience more accessible and sustainable.
The Product TUMBLE is a wooden speaker that plays both music and stories that are contributed and co-curated by the members of the community. The coloured surfaces of the cube represent different playlists. They are also where the speakers are located. The music/story slide button allows the user the adjust to the right balance between hearing music and stories.
There is also a recording button, which allows the user to record messages/stories at the moment they hear a song they like. They can share the recorded message later with the community. The customizable surface is coated with materials that allow “semi-permanent” drawings. This is for enhancing ownership and engagement of the users.
Record button Press once, red light Blinks. When And the light Stops blinking
Customizable surface A “blank canvas” coated with A unique material that allows Semi-permanent writing
Story/music slide The right balance between hearing Music and stories
Inclusive Design We noticed that when people have the cube in their hands, they natually tumble it in several ways. We adapted these behavior into the design of the control: - On a flat surface, turning the cube clockwise/counter-clockwise adjusts the volume. - Shaking the cube skips songs. - Shaking the cube twice or clicking it on a flat surface “likes� the song and sends the song into the playlist. - These controls are enabled by gravity sensors.:
controls volume
skips song
likes the song
We noticed that people naturally tumbles the cube when they hold it in their hands. We then developed the interactions based on these natural behaviors.
Personalized Playlists The playlist is the core of our design. In fact, it was the playlist feature that led us to the concept of a cubical speaker. Unlike conventional playlist, which is categorized by genre or artists, the TUMBLE playlists are categorized according to the degree of relevance to personal memories, families and friends and the rest of the community/all.
On the cube, each playlist is represented by one coloured surface. When playing the music, whichever colour is upright, the cube plays the songs from the designated playlist.
As a result, we created three types of playlist: 1. Songs that rekindle personal memories 2. Songs sent by families and friends 3. Songs recommended to Hackney Stream by people of Hackney
private
Plays playlist: “Hackney Stream�
communal
System Map The system that support TUMBLE is designed for both the users and the facelitors like Rick. In other words, it is desgned to fit Hackney Stream. The system mainly support two features: 1. Synchorinizing the musics to the playlists 2. Adding the stories to the playlists Based on current user journey, when the user come to the centre to use Spotify and create their playlists, they can synchronize their music into TUMBLE and enjoy musics outside of the center. The “like” and “skip” functions of the cube allow the user to customize their playlist easily and interactively with the physical movements.
For adding stories to the playlists, the users can either use the recording button on the cube or come to the centre during the Hackney Stream session, where they share stories communally. It is very important to recognize that we deliberatedly incorporate Hackney Stream as a important part of the system/service because it is where social incteractions and the communal experience happen. What TUMBLE aims to acheive is to extend the experience beyond the centre and to provide reasons for people to come back. In other words, TUMBLE completes the current Hackney Stream user journey and acts as a catalyst to promote more interactions and conversations within the community.
son
gs
stories
songs gs
son
stories
Hackney Stream Radio Station
User Journey before The TUMBLE user journey is designed based on the existing Hackney Stream journey. We appreciate how important Hackney Stream and the computer centre are to the community and we aim to intergrate our proposition - a product and service system, into the existing system and journey.
User
The main issue with the current Hackney Stream user journey is that the experience does not extend beyond the computer centre. Thus, one of the main goals of TUMBLE is to create expereinces outside of the centre.
discover Hackney Stream
Now, with TUMBLE, the senior citizens of Hackney can enjoy music at anytime and anywhere they want.
come & book
User
discover Hackney Stream
come & book
during
Spotify
import/ export playlists
after
?
music & story stream
music & story stream
Listen
Record
Share
Hackney Weekly Top 10 The “LIKE” feature is designed to help the users organizing and filtering the music on their cube/playlist. Since the playlists needs to be synchronized at the computer centre, which means people are coming to the centre on a regular basis, we came up with an idea of creating the “Hackney Weekly Top 10.” Insipired by the “evidence of engagement” insight, the “Top 10” are songs that are generated by the numbers of “Likes” sent to the songs. We recognized that seeing the song the user likes up there can be rewarding and motivational.
Above: Hackney Weely Top 10 is generated by the number of “likes”. It ie revealed when the come to the centre.
Hackney Weekly Voice The recording button is another feature of TUMBLE. The idea is that people can record a story, a piece of message or even a song when they hear something that inspires them from the cube. Once the return to the computer centre, they can play their recording, the Hackney Weekly Voice, and start conversations with the others. This increases people’s engagments and improves the social dynamics.. Above: Users can record messages when they are listening to the music. These messages will be played back to them when they come to the centre and be shared and discussed.
after
during
Rick
user
playlists
import/ export playlists
music/ story stream
“Likes”
“Hackney Weekly Top 10”
after
during
Rick
user
generate more relevant topics
“Hackney Weekly Voice”
import/ export playlists
music/ story stream
“Record”
User Feedback
When the prototype was finished, we took them to the community to gather people’s feedback. Before we actually presented the prototype, we first spent our time to test run the new streaming process. We asked people to choose three songs for each playlist. We then played the songs and it stimulated way more stories and conversations than the first Spotify workshop.
When we present the prototype, there were some initial confusions but the physical movement was clearly much easier to understand and remember. People liked the wood, the size and the weight. They danced with the cubes in their hands and made noise with it. People got so excited when they were told that they could draw on the cube and everyone left their own mark on every cube we brought.
Service Blueprint
Discover and Engage
+ Emotional Journey
User Scenario
1. Discover Hackney Stream with TUMBLE
User Action
Learn from friends or families with TUMBLE
See ads on local newspaper
See ads at churches, gyms, etc.
Learn from Age UK Hackney
2. Book and Come to a Session Come to the computer center
Sign-Up
Book a learning session
3. Get on Spotify Come to the learning session
Learn the basics
Line of Interaction
Front-Stage Action
Respond to Inquiries
Take name and Contacts
Consultation and Take Booking
Take Attendance
Lecture (Learn My Way)
Track Attendance
Buy and Set-up the programme
Line of Visibility
Back-Stage Action
Form Partnerships
Distribute Promotional Materials
Create User Profile
Crea emai acco
Learn and Use
Stay and Grow
y/TUMBLE & Receive THE CUBE Create a Spotify /TUMBLE account
ate an il ount
Guide and Support
Link Spotify to TUMBLE
5. Listen, Record & Share
4. Music/Story TUMBLING
Receive THE CUBE
Listen to Music
Bring THE CUBE to Hackney Stream
Choose songs from the “Weekly Top 10”
Distribute & Demonstrate THE CUBE
Activate THE CUBE
Connect THE TUBE to Computer
Play the “Weekly Top 10”
Export Spotify Playlist to TUMBLE
Synchronize Songs to THE CUBE
Automatically Sign-In Spotify /TUMBLE
Synchronize Data: Likes & Recorded audio
Listen to Music/Stories
Talk and Share Stories
Record music/story
Listen music/story
Share music/story
Collect the “LIKES” data
Upload the data
Upload Recorded Audio
Keep the Conversation Alive
Update THE CUBE (Playlist)
Talk and Share Stories
Be included, socially, digitall, cultually
The Team
Jim Chen (Research & Strategy Director)
Service Design David Gibson (Artist-in-Residence)
Visual Communication Melissa Kim (Creative Directior)
Information Experience Design Sotiris Tsakirakis (Videographer)
Visual Communication Savvas Zinonos (Visualpoet)
Visual Communication
HUMAN -CENTRIC SYSTEMATIC
HOLISTIC COLLABORATIVE CO-CREATED CROSS-DISCIPLINARY SUSTAINABLE CREATIVE &
CULTURAL In my point of view, these are the core values of SERVICE DESIGN and the question facing every service designer today is a straight-forward and challenging one:
How do we make these intangible values tangible?
Dana Centre 165 Queens Gate, London SW7 5HD www.rca.ac.uk
Service Design, Royal College of Art
Here’s how we do it at the first year Service Design program at RCA (Royal College of Art).