Design games as a tool, a mindset and a structure Kirsikka Vaajakallio

More documents

Recommendations

Info

As was illustrated, the development of the design games was guided by the particular needs found in the case studies, but this was also due to the observations from the earlier cases and experiments, as reported in the previous chapters. Therefore the earlier experiments can also be considered as prototypes, which gradually prepared my skills as a design game designer to consider play-qualities and game materials in co-design gatherings, as will be elaborated further on the next chapter. Furthermore, the Extreme Design project with three case studies facilitated through design games showed that design games may also be a process to drive the collaboration in longer-term case studies. Differences between a short term collaboration focused on in the first part of the dissertation and a full-scale design research project with external partners are reflected in Chapter 6. The case studies also demonstrated different ways of considering user insights in the early service design project. They completed the empirical examples discussed in Chapters 1 to 3 by introducing new play- qualities in indirect and direct user involvement. A narrative structure where participants are creating scenarios in the storytelling mode and in roleplaying was explored as a base for binding together different perspectives from researchers, designers and users to interpret user insights and generate design ideas. While games generally differ in form, amount of players, playground, game pieces, and dominance between skills and chance etc., design games differ in the amount and variety of play-qualities and game material they employ. The main qualities of the three games are summarised below (Table 5) and further discussed in the next chapters. In this chapter so far I have given an overview of the unfolding of the Extreme Design project with the three case studies. Next I will present three design games in more detail to give a background for the following chapter, where I will discuss some of their play-qualities in more detail. 161
Objectives Focus / approach Players Material Outcomes Project Planning Game (case 1 & case 2) Establish a vision for a collaborative project. Develop initial ideas for extreme design games. Provide hands-on experience on design games. Utilize the play framework for bidirectional learning, supported by tangible game-elements illustrating UCD process and methods. Case study partners as main performers, the researcher as the facilitator and equal player. Two papers; one for the partners’ development process and second as game board. Resource figure paper dolls, post-its, two sets of playing cards: 1) labels that describes the phases of the design process, and 2) method cards. Visual representation (or a couple of alternatives) for the project plan with a proposition of timetable, methods, recourses, and responsibilities. Character Game (case 1) Promote new perspectives. Co-construct design opportunities. Explore user group as base for strategic B2B partnerships. Process the field data in an empathic and inspirational way through roleplaying. Development team members from the companies as main performers; the researcher as the facilitator. Photos and quotations from the user study, paper for game world description, post-its, character templates, photos to illustrate the role characters, weekly timetable, the first scenario. Filled character templates as descriptions of the role characters, several scenarios, reframed design tasks, possible design drivers, and themes of interests. Storytelling Game (case2 & case 3) Gain insights about the topics and incidents found meaningful by the users in regard to the design context. Co-construct design opportunities about improved or novel services. Bring potential users, service developers (both from service providers’ side and consultants) together to allow mutual learning through collaborative storytelling. Users as main performers, the researcher as the facilitator, and the service developer/designer as the creative secretary. Paper with a timeline and symbols that illustrate possible touch-points, post-its, and fixed elements: 1) titles to give the overall theme for the story, 2) the context, and 3) the objective of creating a story from a defined character’s point of view. Story about a fictitious character in relation to a long-term customer journey about a specified context (e.g. bank or social media). Three Extreme Design games discussed in this dissertation and the variables in them. Table 5 162
Page 1 and 2:
5mm Design games as a tool, a minds
Page 3 and 4:
Aalto University publication series
Page 5 and 6:
Chapter 3: Diving into games, play
Page 7 and 8:
This thesis has been made possible
Page 10:
Chapter 1 Setting the stage for co-
Page 13 and 14:
When I started my research, my view
Page 15 and 16:
three terms throughout the disserta
Page 17 and 18:
claring my preconceptions and the w
Page 19 and 20:
Setting the stage for co-design: Th
Page 21 and 22:
The observational part aimed at est
Page 23 and 24:
Creative interplay between current
Page 25 and 26:
My research approach follows the
Page 27 and 28:
The methods developed for sharing k
Page 29 and 30:
Based on our experiences, we propos
Page 31 and 32:
As for sharing experiences during t
Page 33 and 34:
All three gatherings aimed at ident
Page 35 and 36:
the core spirits and values of Desi
Page 37 and 38:
The cases introduced above followed
Page 39 and 40:
Creative interplay between current
Page 41 and 42:
Johnston (1998/2005, p 69) has poin
Page 44:
Chapter 2 Direct and indirect user
Page 47 and 48:
see user experience as a complex se
Page 49 and 50:
By considering users’ creative in
Page 51 and 52:
material”, I continue from that b
Page 53 and 54:
part of collaborative design) is, s
Page 55 and 56:
the UK, and there are more market-o
Page 57 and 58:
What I find worth of further studie
Page 59 and 60:
According to Wright and McCarthy (2
Page 61 and 62:
in its aims of eliciting inspiratio
Page 63 and 64:
Contextual approaches in performing
Page 65 and 66:
Above I pointed out some of the ben
Page 67 and 68:
Sensitising in empathic design ofte
Page 69 and 70:
example through the performance. Ma
Page 71 and 72:
are intertwined: since the stage is
Page 73 and 74:
ative was a story about an archaeol
Page 75 and 76:
sign partners are not professional
Page 77 and 78:
as inspiration and empathic underst
Page 79 and 80:
Fig.17 In this dissertation, when I
Page 81 and 82:
The selection of props is relevant
Page 83 and 84:
enhancing the creativity of ordinar
Page 86:
Chapter 3 Diving into games, play a
Page 89 and 90:
Design games: As a research tool. F
Page 91 and 92:
Like concept design games organizat
Page 93 and 94:
(2000) have proposed a technique ca
Page 95 and 96:
96 methods for this category typica
Page 97 and 98:
designing involves agreement-making
Page 99 and 100:
about qualities, but instead focus
Page 101 and 102:
utilized card based approaches in s
Page 103 and 104:
with someone who is employed by the
Page 105 and 106:
size and amount of video-cards can
Page 107 and 108:
ut not be overwhelming, and so fort
Page 109 and 110: Common qualities for all design gam
Page 111 and 112: or revelations may emerge. These in
Page 113 and 114: ing the introduction speech, consid
Page 115 and 116: “In one case games are systematic
Page 117 and 118: ut it still has all the essential c
Page 119 and 120: According to Caillois (1961, p 5),
Page 121 and 122: as artistic events, many of them sh
Page 123 and 124: e-invention: betwixt and between. I
Page 125 and 126: It could be claimed that the notion
Page 127 and 128: The critique that Ehn and Sjögren
Page 129 and 130: emained the same, the players have
Page 131 and 132: materials. As such, design game is
Page 134 and 135: This chapter discusses how the Play
Page 136 and 137: (discussed in pages 94-96); in that
Page 138 and 139: Fig. 31 The phases are partly overl
Page 140 and 141: Since the approach emphasis on desi
Page 142 and 143: 4.3 The three cases: Seeking for ne
Page 144 and 145: methods as well. In the Project Pla
Page 146 and 147: The methods placed under different
Page 148 and 149: The difficulties in encouraging par
Page 150 and 151: Some of the personal discoveries ma
Page 152 and 153: whereas in the first time the metho
Page 154 and 155: out-of-box thinking in co-design. I
Page 156 and 157: services. The Extreme Design case s
Page 158 and 159: 3 Experiences that the participants
Page 162 and 163: 4.4 The fun of playing Fig. 43 Desi
Page 164 and 165: Fig. 45 A sequence of the game: Nin
Page 166 and 167: which the turn to introduce a scena
Page 168 and 169: a radio play by taking the characte
Page 170: 4.5 Between a process overview and
Page 174 and 175: This chapter discards the chronolog
Page 176 and 177: the places of the cards, and throug
Page 178 and 179: 5.2 Leaving visual traces: material
Page 180 and 181: happen in the magic circle that is
Page 182 and 183: action in the Character Game, a spe
Page 184 and 185: presented earlier, we may analyse t
Page 186 and 187: words, everyone had mixed roles as
Page 188 and 189: simultaneously. The emphasis given
Page 190 and 191: During the design games, the discus
Page 192 and 193: The notion that people are easily c
Page 194 and 195: Fig. 58 Participants started to go
Page 196 and 197: and one from YIT, referred as Playe
Page 198 and 199: 5.3.8 Insights through role-play On
Page 200 and 201: Player 4: “I have my mobile phone
Page 202 and 203: As has been mentioned previously, r
Page 204 and 205: Like Hannu and Nina, who began joki
Page 206 and 207: Planning Game, mainly utilised desi
Page 208 and 209: dependent from the overall applicat
Page 210 and 211:
ous people and what information is
Page 212:
epresentations such as co-construct
Page 216 and 217:
Whereas metaphors are useful in gui
Page 218 and 219:
framework, this theoretical backgro
Page 220 and 221:
6.1.1 Design games as a tool As Kei
Page 222 and 223:
ery design researcher designs an ap
Page 224 and 225:
printouts given to the participants
Page 226 and 227:
The purpose of role-immersion, for
Page 228 and 229:
6.2.1 Reflection on research aims I
Page 230 and 231:
1 2 3 The Project Planning Game str
Page 232 and 233:
the design purposes, but, since I w
Page 234:
As has been discussed in relation t
Page 237 and 238:
Fulton Suri, J. (2003). Empathic de
Page 239 and 240:
Sanders, E.B.-N. (2002). From User-
show all

Design games as a tool, a mindset and a structure Kirsikka Vaajakallio

Create successful ePaper yourself

Delete template?

Save as template?