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

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Correspondingly, it has been proposed that bodily engaging approaches, like implications of Forum Theatre 9 , can make otherwise hard-to-grasp tacit knowledge explicit (Brandt & Grunnet 2000). This notion was based on the experiences Brandt and Grunnet (ibid.) had from applying drama methods in product development projects, looking at future artefacts and technologies, first within the design team, and later with users. Based on their experiences, they propose that besides supporting imagination, the use context may create more equal setting for co-design among researchers and users (ibid.). This was also noticed in the “Situated Make Tools study” where ageing workers represented the experts on the context while researchers had knowledge on design; hence in contextual co-design both were experts and novices equally. Experience prototyping and bodystorming take advantage of physical environments and acting out to highlight bodily experiences and design empathy. They aim at personal discoveries rather than objective knowledge (Buchenau & Fulton Suri 2000). They do not typically engage users as in the previous examples but, instead, concentrate on providing users’ perspective to the designers. In its simplest form, experience prototyping might mean, for instance, adapting children’s perspective to a museum experience by walking through a museum at the height of the child (Holmlid & Evenson 2006, p 343). The example I gave in regard to “Co-design as embodied practice” in pages 24 and 25, illustrate a situation that has similarities with experience prototyping and bodystorming although there the enactment emphasises idea generation rather than gaining design empathy. 2 Moving away from contextual approaches: role-taking in scenario building Typically, when involving users as actors in a performance, they do not pretend being someone else but themselves; it is the situation and tools that are new. In other words, when users are invited to perform scenarios, they most often “play” themselves. Hence, the what if questions and tangible props that work as “things-to-act-with” (Brandt & Grunnet 2000) may be enough to tune the participants into a performing mode. However, since most people do not have previous experiences of enacting scenarios, there is typically a need to encourage the participants to play. This is especially the case when there is no direct user involvement, but, instead, the design team including relevant stakeholders are trying, by some sort of role-play, to gain empathic sensibility towards the users or phenomenon under study. 9 Forum Theatre is a type of theatre created by Augusto Boal as part of the Theatre of the Oppressed, where the audience becomes ‘spectators’ by intervening into the play verbally or going on stage to perform a part, hence blurring the boundary between spectators and actors (Schechner 2006, pp 104–105). 65
Above I pointed out some of the benefits that can be reached when placing the scenario creation into an actual application context. Besides the positive influence, there are some challenges as well. Particularly in service design, defining the use context may be hard since it typically covers several locations bound together as a customer journey (Figure 14), i.e. the experience consists of several activities and stages such as preparation, approach, arrival, actual service experience, and follow-up. Demonstrating a customer journey in-situ, through acting out the scenario, may hence not serve the purpose of envisioning new experiences, as it works with a more specific object-based design. Besides several places, service experience often involves many people. arriving to the shopping centre trying to find the pharmacy customer service in the pharmacy payment at the cashier Fig.14 Since services take place in many locations and environments, in-situ performances may not be appropriate. Especially acting out the whole service journey, like the one illustrated in the image, is challenging. (Image adapted from Johanna Nieminen’s MA thesis work she did as part of the Service Business Classification project at Aalto University, Service Factory. That particular customer journey is based on observations done in 2010 in Iso Omena shopping centre in Finland.) To avoid time consuming and complex settings, envisioning future scenarios are often performed in meeting rooms, where it is easy to invite several people such as users, designers, stakeholders at once; researchers typically do some preparatory fieldwork to get familiar with the practice context and draw from that when designing a co-design gathering. In addition, the artificial environment apart from peoples’ everyday practices may sometimes make it easier to change roles and gain fresh viewpoints. When we ask people to act scenarios, we should remember community drama facilitator Chris Johnston’s (1998/2005, p 63) point about performing in drama workshops 10 , namely, “for a participant there’s nothing worse than showing vulnerability and having it disrespected”. Therefore, 10 He defines a drama workshop in the following way: “[…] a collaborative event which might have one of the following objectives: recreation, learning, experimentation, debate, confidence-building, research into social conflict or even devising a play. […] it uses the drama medium and tends not to involve the presence of an audience.” (Johnston, 1998/2005, in the introduction) 66
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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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This thesis has been made possible
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Chapter 1 Setting the stage for co-
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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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