TOTAL EXPERIENCE explores designing for experience: its theory, its practice, and how designing for experiences affects us socially and in our personal lives.
BOB JACOBSON is fascinated by the experience of experience. A planner and technologist, Bob has a Ph.D. in Urban Planning & Design from UCLA. He's been a policy researcher, technology CEO, science writer, and consultant. As a Fulbright Scholar, he studied cellular telephony's impacts on transborder communities in the Nordic Arctic Circle. Bob edited Information Design (MIT Press 2000) and is now writing a book on the theory and practice of creating edifying, transformative experiences.
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PAULA THORNTON says, "Understanding human behavior (economics), optimizing interactions (design) and facilitating conversations (markets), are the means to achieve strategic differentiation. This is the focus of our discipline. It is not a 'nice to have'‚ and is not, like documentation once was, an afterthought. It is the means by which to start a strategic discussion and the means by which to drive a tactical initiative. All design should be evidence-based."
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Nathan Shedroff, experience design guru, author of the seminal Experience Design 1 and co-author of Making Meaning: How Successful Businesses Deliver Meaningful Customer Experiences, sits down with Steve Portigal in San Francisco to talk about the experience and design of experience design. Seriously.
Shedroff's definition gets things started: “Experience design is an approach to design, and you can use that approach in pretty much any discipline—graphic design or industrial design or interaction design, or retail design. It says the dimensions of experience are wider than what those disciplines normally take into account. And if you think wider—through time, multiple senses and other dimensions—then you can create a more meaningful experience.”
And he follows it up with the 5 levels of significance:
1. Function (“Does this do what I want it to do?”)
2. Price (“There are lots of cars out there to get me from point A to point B”)
3. Emotion (“That's where lifestyle is engaged. How does this make me feel?”)
4. Identity or Value (“This is subconscious: ”Would I be caught dead with this?; am I a Nike fan, or an Adidas fan?“)
5. Meaning (Not ”Is this me?“, but ”Does this fit my reality?“ ”Does this even fit inside the world as I perceive it?“)
Nathan addresses his talk mainly to commercial designers, but it has universal application to all design disciplines and practices. I understand from Nathan that he's contemplating republishing his book online, in an easier to read format. Nathan: please do!