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

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Fig.12 Fig.13 User finding a place to sit Service personnel Backstage actions planning starting journey planner services and website navigation placefinding maps station staff brochure phone transportation networks service signs and communication station/entrance finding station architecture ordering reading a magazine receiving the meals eating paying to the cashier taking the order delivering receiving the payment receiving the order preparing meal 1 preparing meal 2 notification: ready for delivery payment registered entering boarding orienting ticketing waiting riding arriving doors elevators stairs direction signage guidance for disabled notifications on screens, monitors and displays sound guidance illumination public toilets air quality ticket office on-line phone ticket kiosks vending machine card reader instructions waiting environment soundscape signage free internet connection illumination art works and exhibition advertisement maps furniture notifications other people complimentary services doors sound and light signage storage space seats air quality emergency screens interior/exterior design seats arriving info direction info way finding doors elevators stairs escalators direction signage guidance for disabled notifications sound guidance illumination emergency exits soundscape public toilets exiting, continuing final destination finding maps connecting transportation bus bike taxi tram supplementary services 59
According to Wright and McCarthy (2008), there are two types of methods that are the drivers for empathic sensibility in human-computer interaction design: dialogue-based approach and narrative approach. The main difference is that while the first engages designers and users for direct dialogue, the latter may involve little or none direct contact between the two. In general, empathic design requires some sort of dialogue between the designer/design researcher and the user or stakeholder, as has been mentioned earlier. In co-design, dialogue may easily be understood only as face-to-face meetings between users, but in addition to that, there can also be indirect user involvement guided through narratives or roleplaying. Some of the methods used to organise different forms of dialogue are reviewed here in an attempt to understand the ways in which they elicit empathic responses. The aim is also to illustrate the type of knowledge related to empathic user research. What should be understood is that a designer or a researcher can be user-oriented but still stay in the role of an observer. This is typical of usability and ergonomic design, which does not provide means for role immersion that is needed, in some degree, to reach empathic understanding (Koskinen & Battarbee 2003). Role immersion does not mean to become the other but “to make sense of the other through oneself ” (Wright & Mc- Carthy 2008, p 641). The methods aiming at allowing the designers to see the worlds of the others through their own eyes are ambiguous and openended in order to invite subjective interpretations. Probe is one of the approaches geared to gather subjective views on people’s experiences and to organize dialogue between designers and users (Gaver et al. 1999; Mattelmäki 2006). Probes are based on self-documentation and often include open questions, diaries and photo assignments, for gathering contextual insights, opinions, and stories and to envision potential design ideas. According to Gaver et al. (2004, p 6), probes make the strange familiar and the familiar strange, thus providing constrains and openings for design. Probes combine observable facts and emotional responses: firstly, from the users who reflect on their life through them and, secondly, from the designers or researchers who initiate the study and interpret the returned probe packages (Mattelmäki 2006, pp 61–62). Unlike in cultural probes, in empathic probes the process is typically complemented with interviews for gathering further details (ibid.). Mattelmäki (ibid., p 58) proposes four main reasons for probing: inspiration, information, participation, and dialogue. I am especially interested in how probes may work as agents of dialogue in three ways: firstly, indirectly through probes, in which designers give something from themselves to the users, the filled probes in return telling something about the users; secondly, where direct involvement during interviews “strengthen their [designers] motivation to empathise the user perspective and apply it to product design” (ibid., p 61); thirdly, probe study is typically interpreted 2.2 Dialoguebased and narrative approaches in co–design 60
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5mm Design games as a tool, a minds
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Aalto University publication series
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Chapter 3: Diving into games, play
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Page 10: Chapter 1 Setting the stage for co-
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Page 49 and 50: By considering users’ creative in
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Common qualities for all design gam
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or revelations may emerge. These in
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ing the introduction speech, consid
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“In one case games are systematic
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ut it still has all the essential c
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According to Caillois (1961, p 5),
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as artistic events, many of them sh
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e-invention: betwixt and between. I
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It could be claimed that the notion
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The critique that Ehn and Sjögren
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emained the same, the players have
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materials. As such, design game is
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This chapter discusses how the Play
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(discussed in pages 94-96); in that
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Fig. 31 The phases are partly overl
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Since the approach emphasis on desi
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4.3 The three cases: Seeking for ne
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methods as well. In the Project Pla
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The methods placed under different
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The difficulties in encouraging par
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Some of the personal discoveries ma
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whereas in the first time the metho
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out-of-box thinking in co-design. I
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services. The Extreme Design case s
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3 Experiences that the participants
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As was illustrated, the development
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4.4 The fun of playing Fig. 43 Desi
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Fig. 45 A sequence of the game: Nin
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which the turn to introduce a scena
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a radio play by taking the characte
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4.5 Between a process overview and
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This chapter discards the chronolog
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the places of the cards, and throug
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5.2 Leaving visual traces: material
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happen in the magic circle that is
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action in the Character Game, a spe
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presented earlier, we may analyse t
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words, everyone had mixed roles as
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simultaneously. The emphasis given
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During the design games, the discus
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The notion that people are easily c
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Fig. 58 Participants started to go
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and one from YIT, referred as Playe
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5.3.8 Insights through role-play On
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Player 4: “I have my mobile phone
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As has been mentioned previously, r
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Like Hannu and Nina, who began joki
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Planning Game, mainly utilised desi
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dependent from the overall applicat
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ous people and what information is
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epresentations such as co-construct
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Whereas metaphors are useful in gui
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framework, this theoretical backgro
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6.1.1 Design games as a tool As Kei
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ery design researcher designs an ap
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printouts given to the participants
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The purpose of role-immersion, for
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6.2.1 Reflection on research aims I
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1 2 3 The Project Planning Game str
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the design purposes, but, since I w
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As has been discussed in relation t
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Fulton Suri, J. (2003). Empathic de
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Sanders, E.B.-N. (2002). From User-
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Design games as a tool, a mindset and a structure Kirsikka Vaajakallio

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