SERVICE DESIGN & APPS CASE: SERVICE APPS IN EXPERIENCE THEME PARKS Oplæg og workshop ved Claus Østergaard, Rasmus Mortensen & Søren Bolvig

September 12, 2012 at 1:30 PM - 5:00 PM Nordkraft, Teglgaards Plads 1, 11. Floor, Aalborg

PROGRAM Kl. 13:30 – 14:00 Med udgangspunkt i service design thinking fokuserer Søren på, hvilken merværdi service apps tilfører før, under og efter besøget på attraktioner. Søren Bolvig, associated professor design thinking, PhD i brugerdreven innovation. Kl. 14:00 – 14:20 Workshop 1: Customer journeys - identificering af high og low peaks experiences. Kl. 14:20 – 14:30 Pause Kl. 14:30 – 15:00 Fårup Sommerland lancerede i 2011 en smartphone app, der bl.a. leverede ventetider og distance til de mest populære forlystelser i parken, og version 2 af app’en er netop lanceret. Rasmus fortæller om tankerne bag app’en og hele forløbet frem til nu. Rasmus Mortensen, marketing koordinator i Fårup Sommerland.

Kl. 14:45 – 15:15 Kort præsentation af resultater fra brugerundersøgelser af en række forskellige mobile løsninger og apps udviklet til attraktioner i Nordjylland. Endvidere gives en introduktion til et operativt værktøj til konceptudvikling af apps. Claus Østergaard, Ph.D-studerende i mobile brugeroplevelser. Kl. 15:15 – 16:30 Workshop 2: Konceptudvikling af egen eller andre attraktioners app. Søren Bolvig og Claus Østergaard Kl. 16:30 – 16:50 Opsamling og erfaringer fra workshop.

THEME PARKS

THEME PARKS LEGITIMACY

• Why

do we have theme parks?

What is their role? Who uses them and for what purpose?

EXPERIENCE GENERATION

fast experiences

calm experiences

In theme park experiences, the user-centered intensity,

authenticity, impulsive, ‘softto tourism’ viewpoint of service design is argued be of life-hype, trekking, mountain hiking, are action, particular importance because customers ocean cruising, or beach adrenalindeeply involved in the consumption relaxationprocess (Johns and Gyimothy, 2002) (Pikkemaat and Schuckert, 2006, 2007)

FRAMING THE EXPERIENCE Absorption (mind)

The experience “goes into” the guest. Guest absorping the experience

Passive participation

“while the experience Educational Entertainment itself lacks tangibility, people greatly value the offering because its value lies within them, where it remains Esthetic long afterwards” Escaptist

Active participation

(Pine & Gilmore 1999)

Immersion (body/physical)

(Pine & Gilmore 1999)

The guest “goes into” the experience. Guest immersed in the experience

THEME COHERENCY “An effective theme must be concise and compelling, as well as a driver of the experience’s design elements and staged events, working toward a unified storyline that entirely captivates the customer.”

Theme Imagescape Facilitating and supporting services/products Augmented service

(Trischler, J. & Zehrer, A. 2012)

TOUCHPOINT TYPES Func. cues

Humanic cues

Theme

Mechanic cues

Cocreation (Modification for Berry et al. 2006)

CO-CREATED EXPERIENCES

User

Theme park as a platform

User

EXPERIENCES IN THEME PARKS 1) user centricity due to service consumption (Battarbee et al., 2008) 2) experience are co-creation with other visitors (Lovelock et al., 2007) 3) different target groups with diverse motivations, behaviors, and expectations (Williams and Buswell, 2003); 4) cues during the service process enable immersion (Pine and Gilmore, 1999)

Can service apps capture, elevate or extend users experiences of theme parks?

DESIGN AND TEST OF EXPERIENCES

HOW DO WE GRASP IT? Service marketing and service quality literature has its limitations in relation to examining and evaluating customers’ experiences.

Gummesson (2005, 2006, 2007)

WORK VISUALLY Service design gives profound insights into how customers experience the service, and visualizes the processes that may be effective for handling the complexity and variety of service experiences.

(Segelström, 2009; Zomerdijk and Voss, 2010).

WORK VISUALLY Service and experience designers work visually, the transformation of ideas and processes into visible dimensions throughout all phases of the design process makes processes manageable and ideas comprehensible

Mager (2009)

CUSTOMER JOURNEYS Customer Journey Maps are about of visualising a service process from the perspective of a customer CJ can be used to test and analyse a customer experience process stage-by-stage CJ offer a platform for collaboration and evaluation CJ can be represented in many different ways -- narrative, video, interactive, slide presentation, etc

EXAMPLES OF CJ

Transit customer journey by Tanya Siadneva, CCA student. Via "New Ways of Visualizing the Customer Journey Map" - Kim Cullen, Adaptive Path

EXAMPLES OF CJ

EXAMPLES OF CJ

Transit customer journey by Kelly Fadem, CCA student. Via "New Ways of Visualizing the Customer Journey Map" - Kim Cullen, Adaptive Path

EXAMPLES OF CJ

P2P Carsharing Journey Map by Mark Simmons, master's student at Blekinge Institute of Technology, Sweden

EXAMPLES OF CJ

PEAK-END RULE People judge our experiences almost entirely on how they were at their peak and how they ended. People seem to perceive not the sum of an experience but its average

Kahneman, D. (1999). Objective Happiness. In Kahneman, D., Diener, E. and Schwarz, N. (eds.). Well-Being: The Foundations of Hedonic Psychology. New York: Russel Sage. pp. 3–25. Kahneman D, "Experienced utility and objective happiness: a moment-based approach", in Choices, Values and Frames, D. Kahneman and A. Tversky (eds), New York: Cambridge University Press.

EXAMPLES OF CJ

WORKSHOP 1

WORKSHOP 1 1. Describe an excisting customer journey in a theme park. Indicate high and low peaks.

Visit

Event

Before

During

After

Before

During

After

MEDIA MILIEU How mobile media affect or create new milieus

WHAT ARE MEDIA MILIEUS?

“...media as distinctive technologies that create distinctive or characteristic media milieus in form of the proporties of the hardware and because of their form of expression” (Meyrowitz 1997) “It is in the way the machine (technology) organize our bodies and senses, and in the way it organize our way of perceive...”

EXAMPLE: TV

Medium for receiving/transmitting images and audio Primarily one-way communication Mass medium; every viewer sees the same

EXAMPLE: TV

The body is most often passive Dual attention: - towards the TV (passive) - towards the space (passive and/or active)

SMARTPHONE

Multimedia One-way communication, two-way and “multi / cross”communication Customized mass media; every user perceive different content

SMARTPHONE The body is both passive and active Dual attention (mind and/or physical) - towards the device (passive) - towards the device (active) - towards the space (passive and/or active)

SMARTPHONE

Smartphones organize and activate the body, the brain and the senses both actively and passively. Smartphone structure our actions in new ways - and thereby creates new social interactions and social patterns - thus creating new media milieus

EXAMPLE: AT HOME Social tv

EKSEMPEL: AT THE CAFÉ Social gaming

TRADITIONAL VISIT AT ATTRACTIONS The users main focus - the rides and amusements - the family or people with you Two layers of space - Social layer (the users interactions and mutual influences on each other)

- Physical layer (supports or work against the users interactions with each or with their surroundings)

SMARTPHONE-MEDIATED VISIT AT ATTRACTIONS Combined milieu; virtual and physical milieu Three layers of space - Social layer (the users interactions and mutual influences on each other) - Physical layer (supports or work against the users interactions with each or with their surroundings) - Digital layer (structures, supports or work against the users interactions with each other and their surroundings)

EXAMPLE: ATTRACTIONS

MOBILE CO-EXPERIENCE

ica lc

on

te x

t

The mobile media squeezes in in-between the users and the physical context, creating a new milieu and new social interactions

Ph ys

User

Mobile phone

e p ex

o c e l i b o M

e c n rie

User

(Based on Batterbee & Forlizzi)

MOBILE CO-EXPERIENCE Often we don’t even think about using mobile media, when we do “...as we act through technology that has become ready-tohand, the technology itself disappears from our immediate concerns. We are caught up in the performance of the work...” (Dourish 2004)

MOBILE CO-EXPERIENCE

In obtaining a good user experience, the most important thing is that the smartphone/app gives meaning to the user in the given situation and context. The usage of the smartphone/app decides whether or not the smartphone/app gives meaning to the user.

Absorption (mind)

The experience “goes into” the guest. Guest absorping the experience

Entertainment

Passiv engagering af hjernen

Educational

Actively engage the mind

Passive participation

Esthetic

Escaptist

(entertainment) Guest immersed passively Guest becomes the actor in the experience

Immersion (body/physical)

Active participation

The guest “goes into” the experience. Guest immersed in the experience

MOBILE CO-EXPERIENCE Mobile media

Intentional role of mobile media

Perceived role of mobile media

Independent experience

Supplementary experience

Level of mobile co-experience

Level of mobile co-experience

1

Mobile media as primary co-experience

1

Mobile media as secondary co-experience

2

Mobile media as secondary co-experience

2

Mobile media as primary co-experience

MOBILE CO-EXPERIENCE Mobile media

Intentional role of mobile media

Independent experience e

Perceived role of mobile media

ial c So

t n co

Supplementary experience So cia lc

xt

Level of mobile co-experience

Level of mobile co-experience

1

Mobile media as primary co-experience

1

Mobile media as secondary co-experience

2

Mobile media as secondary co-experience

2

Mobile media as primary co-experience

Physical context

on t

ex

t

MOBILE CO-EXPERIENCE Mobile media

Intentional role of mobile media

Independent experience e

Perceived role of mobile media

ial c So

t n co

Mixed experience

Supplementary experience So cia lc

xt

Level of mobile co-experience

Level of mobile co-experience

Dynamic shifts

1

Mobile media as primary co-experience

1

Mobile media as secondary co-experience

2

Mobile media as secondary co-experience

2

Mobile media as primary co-experience

on t

ex

t

Physical context

(Østergaard, Gudiksen, Smed 2012)

EXAMPLES OF HOW MOBILE MEDIA AFFECTS SOCIAL INTERACTIONS AT ATTRACTIONS

MOBILE EDUCATIONAL COURSE

MOBILE EDUCATIONAL COURSE • It

supports group work and strengthen aspects of being together

• The

nature or characteristics of the traditional visit change to be a bit more competitive

• An

interactive way of learning about animals

• The

guests are more engaged in and motivated to learn about the animals

THE FORTIFICATIONS OF COPENHAGEN

SERVICE APPLICATION

SERVICE APPLICATION • The

app affect the guests’ prioritization of rides and thereby the route in the park • Overview

of wait times = finding the rides with the shortest wait time = less impatient children

• The

app had a unifying and dividing effect

MOBILE ALTERNATE REALITY

MOBILE ALTERNATE REALITY

• The

app affect the guests’ route in the park

• Cultural

universe • It

points of interest gets new meaning in the virtual

involves and engage the youngsters

ASSIGNMENT

3. consider how you, via modification on your cj, can test the app idea with users

FRAMEWORKS

(Østergaard 2012)

USER KNOWLEDGE • How

are the guests’ social behaviour?

• Characteristics • The

of the guests (alone, pairs, groups, families)

purpose of the visit

• The

guests’ feelings before, during and after the visit (happiness, anger, irritation, excitement etc.)

• Examples

of tools to get to know the user: Customer journeys, interviews, surveys, observation studies

MEANING FOR THE USER

• What

value or meaning should the app give to the users?

•

Before, during or after the visit

•

Does the app help structuring the visit, provide supplementary information, provide new information, function as a independent experience, etc.?

SOCIAL CONTEXT • People

affect and have influence on each other

• The

constellation of the people surrounding the user can affect whether the user finds the app a positive or negative experience

• How

does the app fit into the social context?

• Does

the social context support or work against the app and vice versa?

PHYSICAL CONTEXT

• How

does the app fit into the physical context?

• Does

the physical context support or work against the app and vice versa?

SMARTPHONE FEATURES

• What •

is technological possible?

Does it make sense to use the technological possibilities?

INTERACTION DESIGN • Interaction • “... can

design focus mainly on behavior but also on form

be thought of as a form of mediated communication between the end user and the system designer, who must structure the system so that it can be understood by the user, and so that the user can be led through a sequence of actions to achieve some end result” (Dourish 2004, 56)

INTERACTION DESIGN •

•

Focus on how to create coherence between the users’ expectations with their interaction with the app and the actual design of and (inter)actions in the app •

how the app responds to gestures

•

how visual elements correspond to real life elements (physics) (eg. wheels, torn paper etc.)

How do the design of interactions in the app support the meaning of the app to the users? •

Colours, sounds, icons, fonts, animations, gestures, etc.

LEVELS OF MOBILE CO-EXP. Mobile media

Intentional role of mobile media

Independent experience e

Perceived role of mobile media

ial c So

nt o c

Mixed experience

Supplementary experience So cia lc

xt

Level of mobile co-experience

Level of mobile co-experience

Dynamic shifts

1

Mobile media as primary co-experience

1

Mobile media as secondary co-experience

2

Mobile media as secondary co-experience

2

Mobile media as primary co-experience

on t

ex

t

Physical context

(Østergaard, Gudiksen, Smed 2012)

WORKSHOP 2 Konceptudvikling af app til attraktion