Metoderfor’ å’idenﬁsere ’behov’og’krav’ ·...

Metoder for å iden,fisere behov og krav

hva er egentlig behov og krav? og hvordan kan vi finne dem?

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bruks-‐orientert design

problem situasjon

testing & forstå praksis evaluering

konkretisering, identi8isere behov materialisering ønsker

kravspesi8ikasjon

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hva må designere forstå om bruk før bruk?

ar,fakt som del av en ak,vitet -‐  verktøy -‐  struktur -‐  ak,vitetens fokus / objekt -‐  ak,vitetens be,ngelse / forutsetning … kompetanse for bruk av ar,faktet -‐  forstå -‐  lære -‐  lage vane -‐  mestre ….

ak,vitetens mål & mening, praksis & teori:

-‐  iden,fisere ak,viteter -‐  gjenkjenne ak,viteter -‐  beskrive ak,viteter -‐  standard opera,ng procedure (SOP)

-‐  problem-‐situasjoner re-‐presentere ar,fakter fokus på funksjon & ny:e

-‐ oppstart (vik,g v. sjelden bruk) -‐ hverdagslig bruk -‐ snarveier -‐ fingerfølelse -‐ utvikle eksper,se -‐  mestre: kunnskap i & gjennom bruk

repe,sjon

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hva må designere forstå om bruk før bruk?

ar,fakt som del av en ak,vitet -‐  verktøy -‐  struktur -‐  ak,vitetens fokus / objekt -‐  ak,vitetens be,ngelse / forutsetning … kompetanse for bruk av ar,faktet -‐  forstå -‐  lære -‐  lage vane -‐  mestre ….


-‐  iden,fisere ak,viteter -‐  gjenkjenne ak,viteter -‐  beskrive ak,viteter -‐  standard opera,ng procedure (SOP)

-‐  problem-‐situasjoner representere ar,fakter fokus på funksjon & ny:e

-‐ oppstart (vik,g v. sjelden bruk) -‐ hverdagslig bruk -‐ snarveier -‐ fingerfølelse -‐ utvikle eksper,se -‐  mestre: kunnskap i & gjennom bruk

repe,sjon

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metoder for å forstå bruk før bruk

ar,fakt som del av en ak,vitet -‐  verktøy -‐  struktur -‐  ak,vitetens fokus / objekt -‐  ak,vitetens be,ngelse /

forutsetning … kompetanse for bruk av

ar,faktet -‐  forstå -‐  lære -‐  lage vane -‐  mestre ….

repe,sjon


-‐  iden,fisere ak,viteter -‐  gjenkjenne ak,viteter -‐  beskrive ak,viteter -‐  standard opera,ng

procedure (SOP) -‐  problem-‐situasjoner re-‐presentere ar,fakter fokus på funksjon & ny:e

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problem situasjon

testing & forstå praksis evaluering

konkretisering, identi8isere behov materialisering ønsker

kravspesi8ikasjon

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bruks- praksis

undersøke praksis identifisere behov, ønsker materialisering konkretisering testing & evaluering

PROBLEMATISK SITUASJON

FORSTÅ PRAKSIS

IDENTIFISERE BEHOV & KRAV

KONKRETISERE MATERIALISERE

TESTE & EVALUERE

TONE BR

ATTETEIG


FORSTÅ PRAKSIS



TESTE & EVALUERE

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ATTETEIG

PROBLEM-‐ LØSNING

PROBLEM-‐ DEFINERING

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hva er egentlig behov?

-‐  en følt, opplevd mangel -‐  opprinnelig: nødvendig for å leve dvs at mangel gir dysfunksjon eller død -‐  forskjellig fra ønske, drøm, forventning, krav

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å iden,fisere og forstå behov

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behov (2)

Maslow’s behovs-‐pyramide

selv-‐ realisering

ego-‐behov

sosiale behov

trygghetsbehov

fysiologiske behov

inneholder 5 trinn med basismål som må dekkes først

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behov (2)


fysiologiske behov

nødvendige for overlevelse: mat, vann, luf, varme, hvile, forplantning

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behov (2)


trygghetsbehov

fysiologiske behov

sikkerhet og besky:else, stabilitet, forutsigbarhet, orden, helse

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behov (2)


sosiale behov

trygghetsbehov

fysiologiske behov

å ha kontakt med andre, å gi og mo:a kjærlighet og vennskap fra andre: anerkjennelse, vennskap, ,lhørighet , fortrolighet

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behov (2)


ego-‐behov

sosiale behov

trygghetsbehov

fysiologiske behov

behov for status og “ego-‐drive”: respekt fra andre (pres,sje, suksess, rykte), mental styrke (kunne prestere, være dyk,g, være uavhengig og fri)

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behov (2)



ego-‐behov

sosiale behov

trygghetsbehov

fysiologiske behov

selvuioldelse: utvikle seg, autonomi, ivareta egne & andres interesser, føle at eget talent blir utny:est, utre:e ,ng i livet

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behov (2)



ego-‐behov

sosiale behov

trygghetsbehov

fysiologiske behov

inneholder 5 trinn med basismål men i virkeligheten -‐  må ikke de nederste dekkes før de øverste -‐  e: av behovene er all,d ,lstede -‐  folk har fler enn 5 hovedtemaer -‐ behovene varierer gjennom livssyklus

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behov (3)

-‐  en følt, opplevd mangel -‐  opprinnelig: nødvendig for å leve dvs at mangel gir dysfunksjon eller død -‐  forskjellig fra ønske, drøm, forventning, krav basert på ideer og viten om muligheter hva er egentlig behov? Når er noe et behov? video: Hans Rosling om den magiske vaskemaskinen h:p://www.youtube.com/watch?v=BZoKfap4g4w

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behov (3)

-‐  en følt, opplevd mangel -‐  opprinnelig: nødvendig for å leve dvs at mangel gir dysfunksjon eller død -‐  forskjellig fra ønske, drøm, forventning, krav basert på ideer og viten om muligheter hva er egentlig behov? Når er noe et behov? video: Hans Rosling om den magiske vaskemaskinen h:p://www.youtube.com/watch?v=BZoKfap4g4w

"lbud

e(erspørsel

muligheter skaper e(erspørsel

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behov (4)

“Needfinding”-‐metoden (McKim @ Stanford) -‐  behov varer lenger enn løsninger -‐  behov er muligheter som venter på å bli mø: – de er

ikke spådommer om frem,den -‐  behov gir retning for utvikling -‐  behov leder ,l handling -‐  behov synes best i e:er,d, ikke i forkant

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å iden,fisere behov

først av 4 grunnleggende ak,viteter iterasjon: iden,fisere behov og etablere krav

NEEDS

DESIGN

IMPLEMENT EVALUATE

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-  Click to edit Master text styles -  Second level - Third level - Fourth level - Fifh level

-  Click to edit Master text styles -  Second level - Third level - Fourth level - Fifh level

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≈ IDEO video

Focus on Human Values

Collaborate Across Boundaries

Get Experimental and Experiential

Show Don’t Tell

Be Mindful Of Process

Create Clarity From Complexity

Bias Toward Action

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å iden,fisere behov krever gode metoder og -‐  gode informanter -‐  gode omgivelser -‐  god ,ming -‐  fleksibilitet (følg informantene dit de leder deg)

Software Design Experiences Spring 2007

Need Finding Tools

Anatomy of a good need finding tool There are two basic kinds of need finding tools: observations and interviews. Successful tools often display some basic principles. Understanding the anatomy of a good need finding tool will help you use the tools to their full potential and even invent some of your own. At the highest level, good need finding tools need:

Good subjects (interesting, open, expert, unusual, observant, etc.) Good environments (in situ, friendly, “safe”, etc.) Structure and flexibility (have a plan and goals, but pursue new opportunities) Great stories (capture images, quotes, etc. that bring your interview to life) Iterative designs (iterate interview structure or observation techniques based

on results) Ways to drive past the explicit insights to implicit drivers Ways to avoid Hawthorne effect (distortion of behavior due to observation) Room for silence – if you listen, they will speak Respect for your subjects

Interviews Visually, the interview process might look like this:

(Thanks to Michael Barry for this model) Here are some extremely truncated examples of questions for each stage:

Introduction: “Hi, I’m a Stanford student studying coffee. I’m interested in hearing about your experience with coffee. There are no right or wrong answers, I just want to hear what you have to say.”

Kick-off: “Do you drink coffee?” Build rapport: “Did you have a coffee today? How was it? Do you have a favorite coffee?”

Grand Tour: “Can you describe your most memorable coffee experience? Why was it so unique? What happened?”

Reflection: “If you were designing the ultimate coffee shop based on your ideal experience. . .”

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Interview for Empathy METHOD

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We want to understand a person’s thoughts, emotions, and motivations, so that we can determine how to innovate for him or her. By understanding the choices that person makes and the behaviors that person engages in, we can identify their needs and design for those needs.

Ask why. Even when you think you know the answer, ask people why they do or say things. The answers will sometimes surprise you. A conversation started from one question should go on as long as it needs to. Never say “usually” when asking a question. Instead, ask about a specific instance or occurrence, such as “tell me about the last time you ______” Encourage stories. Whether or not the stories people tell are true, they reveal how they think about the world. Ask questions that get people telling stories. Look for inconsistencies. Sometimes what people say and what they do are different. These inconsistencies often hide interesting insights. Listen to nonverbal cues. Be aware of body language and emotions. Don’t be afraid of silence. Interviewers often feel the need to ask another question when there is a pause. If you allow for silence, a person can reflect on what they’ve just said and may reveal something deeper. Don’t suggest answers to your questions. Even if they pause before answering, don’t help them by suggesting an answer. This can unintentionally get people to say things that agree with your expectations. Ask questions neutrally. “What do you think about buying gifts for your spouse?” is a better question than “Don’t you think shopping is great?” because the first question doesn’t imply that there is a right answer. Don’t ask binary questions. Binary questions can be answered in a word; you want to host a conversation built upon stories. Only ten words to a question. Your user will get lost inside long questions. Only ask one question at a time, one person at a time. Resist the urge to ambush your user. Make sure you’re prepared to capture. Always interview in pairs. If this is not possible, you should use a voice recorder—it is impossible to engage a user and take detailed notes at the same time.

Visual adapted from Michael Barry, Point Forward

Intro Project Intro

Yourself

Build Rapport

Evoke Stories

Explore Emotions

Question Statements

Thank & Wrap-up

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33

finn ut hva brukerne er oppta: av

s,ll åpne spørsmål ,l brukerne kombiner observasjon og intervju -  sikre at du har forstå: det de gjør

-  spørre om det du ne:opp så, gjenta det du ne:opp hørte -  hvordan tenker de / føler de om …

-  spør om hvordan de liker xxx? -  hva er frustrerende og irriterende ved xxx?

-  si f.eks. ”det ser ut som at du prøver å gjøre noe som ikke går”? -  hvordan sammenlikner de måter å gjøre ,ng på?

-  spør om hvorfor noen gjør det slik og noen gjør det sånn? -  få forklaringer på hva de gjør og hvorfor (uten å si hvorfor)

-  si f.eks. “det så ut som du ne:opp gjorde X, hva var grunnen ,l det?”

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34

når du observerer:

-  legg ,l side dine antakelser og fordommer -  noter deg forskjeller mellom det de sier og det de gjør -  hør på dem når de forteller personlige historier -  se e:er omgåelser og snarveier -  skill mellom løsninger og behov (problemer) -  se lenger enn det som er synlig

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© Sara Kalantari

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© Jane Fulton SuriSara Kalantari

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A.E.I.O.U

Activities Interactions Objects UsersEnvironments

Sara Kalantari

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behov & krav = analyse av data

Analysis is the process of breaking a complex topic or substance into smaller parts to gain a better understanding of it (Wikipedia)

En analyse er en systematisk undersøkelse der et subjekt/objekt (en sak, en gjenstand, et begrep) betraktes som sammensatt av enkelte bestanddeler for å få avdekket et budskap eller en mening. Den enkelte bestanddel kan bli subjekt/objekt i en ny analyse osv. til ønsket nøyaktighet i betraktningen er nådd. Det motsatte prinsipp er en syntese. !…!Analyse er ikke beskrivelse. Analyse dreier seg om å få tak på mening som ikke ligger opp i dagen. Analyse er fortolkning.En analyse gir ingen endelige svar. (Wikipedia)!

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analyse av data & syntese

Syntese .. Benyttes om den prosessen hvor man sammensetter bruddstykker av viten og derved kommer frem til en ny erkjennelse, eller om resultatet av samme prosess. (Wikipedia)!

= lage mening -‐  dele opp problemet og se:e det sammen -‐  systema,sere for å trekke ut mening -‐  uiordre meningene (hva-‐hvis, tenk-‐om)

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iden,fiserte behov er resultat av analyse og syntese

lagde meninger -‐  fokus på vik,ge forutsetninger og problemer -‐  basert på “ak,vitetens logikk” (≈ essens, kjerne, rot)

-‐  hva forteller dataene om ak,viteten & brukerne? -‐  hva mener de er det vik,gste / vanskeligste? -‐  hva mener dere er det vik,gste / vanskeligste?

-‐  behov & ønske, drøm, forventning + krav (nødv. forutsetn.

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lag en fortelling om en ak,vitet lag et kart over en ak,vitet, over hva personene gjør, sier, tenker og føler

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Good design is grounded in a deep understanding of the person for whom you are designing. Designers have many techniques for developing this sort of empathy. An Empathy Map is one tool to help you synthesize your observations and draw out unexpected insights.

UNPACK: Create a four quadrant layout on paper or a whiteboard. Populate the map by taking note of the following four traits of your user as you review your notes, audio, and video from your fieldwork:

SAY: What are some quotes and defining words your user said? DO: What actions and behaviors did you notice? THINK: What might your user be thinking? What does this tell you about his or her beliefs? FEEL: What emotions might your subject be feeling?

Note that thoughts/beliefs and feelings/emotions cannot be observed directly. They must be inferred by paying careful attention to various clues. Pay attention to body language, tone, and choice of words.

IDENTIFY NEEDS: “Needs” are human emotional or physical necessities. Needs help define your design challenge. Remember: Needs are verbs (activities and desires with which your user could use help), not nouns (solutions). Identify needs directly out of the user traits you noted, or from contradictions between two traits – such as a disconnect between what she says and what she does. Write down needs on the side of your Empathy Map.

IDENTIFY INSIGHTS: An “Insight” is a remarkable realization that you could leverage to better respond to a design challenge. Insights often grow from contradictions between two user attributes (either within a quadrant or from two different quadrants) or from asking yourself “Why?” when you notice strange behavior. Write down potential insights on the side of your Empathy Map.

Empathy Map METHOD

Journey Map METHOD

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To gain empathy for a person or understand of one’s process through an experience, consider the details of that process to illuminate areas of potential insights. Creating a journey map is an excellent way to systematically think about the steps or milestones of a process. A journey map can be used for your own empathy work, or to communicate your findings to others.

Create diagrams that capture multiple observations, e.g. a map of a user’s day, a map of a user’s experience, or a map of how a product moves through space and time (from manufacturing to store shelf to user’s hands). Consider a process or journey that is relevant, or even tangential to, your problem space. For example, you could consider your user’s morning breakfast routine. You could capture every event of one person’s exercise in a month – and consider who she was with, where she came from, where she exercised, and where she went afterwards. Or perhaps you are developing a dating service website; you could document every communication between two people before the first date. One important concern is to be comprehensive within the variables you choose to capture. (Don’t overlook the opening of the window shades in the morning breakfast routine.) What seems meaningless, could actually be the nugget that develops into a stunning insight. You can create a journey map based on observation and interview – or you might ask a user to draw a journey map and then explain it to you.

Organize the data in a way that makes sense: a timeline of events, a number of parallel timelines that allows for easy comparison, a series of pictures, or a stack of cards. Then look for patterns and anomalies and question why those themes or events occurred. Push yourself to connect individual events to a larger context or framework. It is often the pairing of an observation with the designer’s knowledge and perspective that yields a meaningful insight.

si tenke gjøre føle

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Day in the Life

Sara Kalantari

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systema,ser og analyser

hva trekker dere ut av dataene om ak,viteten? -‐ beskriv personas: typiske personer -‐ lag “mål-‐tre” m. mål /delmål: hvorfor-‐tre og hvordan-‐tre -‐ uiordre ved å variere -‐ konteksten, f.eks. ved å skalere -‐ finn dimensjoner -‐ finn y:erpunkter

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Powers of 10

1m 10m 100m 1000m

Sara Kalantari

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jobb som gruppe -‐  del data slik at alle er

informert -‐  felles data gjør at dere

sammen kan trekke ut mer av dataene

(= start på syntesen!) -‐  få oversikt – lag et

fysisk og mentalt arbeidsrom

Saturate and Group METHOD

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You space saturate to help you unpack thoughts and experiences into tangible and visual pieces of information that you surround yourself with to inform and inspire the design team. You group these findings to explore what themes and patterns emerge, and strive to move toward identifying meaningful needs of people and insights that will inform your design solutions.

Saturate your wall space (or work boards) with post-its headlining interesting findings (see “Team Share-and-Capture”) plus pictures from the field of users you met and relevant products and situations.

In order to begin to synthesize the information, organize the post-its and pictures into groups of related parts. You likely have some ideas of the patterns within the data from the unpacking you did when producing the notes. For example, you may have see and heard many things related to feeling safe, and many things regarding desire for efficiency. Within the group of ‘safety’, go beyond the theme and try to see if there is a deeper connection that may lead to an insight such as “Feeling safe is more about who I am with than where I am”. Maybe there is a relation between groups that you realize as you place items in groups – that safety is often at odds with users’ desire for efficiency. Try one set of grouping, discuss (and write down) the findings, and then create a new set of groups.

The end goal is to synthesize data into interesting findings and create insights which will be useful to you in creating design solutions.

It is common to do the grouping with post-its headlining interesting stories from fieldwork. But grouping is also useful to think about similarities among a group of products, objects, or users.

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-‐ forby vurdering -‐ en samtale av gangen -‐ hold deg ,l temaet -‐ bygg på andres ideer -‐ gå for volum -‐ oppmuntre ville ideer -‐ vær visuell -‐ formuler overskrifer

Brainstorming METHOD

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Brainstorming is a great way to come up with a lot of ideas that you would not be able to generate by just sitting down with a pen and paper. The intention of brainstorming is to leverage the collective thinking of the group, by engaging with each other, listening, and building on other ideas. Conducting a brainstorm also creates a distinct segment of time when you intentionally turn up the generative part of your brain and turn down the evaluative part. Brainstorming can be used throughout a design process; of course to come up with design solutions, but also any time you are trying to come up with ideas, such as planning where to do empathy work, or thinking about product and services related to your project – as two examples.

Be intentional about setting aside a period of time when your team will be in “brainstorm mode” – when the sole goal is to come up with as many ideas as possible, and when judgment of those ideas will not come into the discussion. Invest energy into a short period of time, such as 15 or 30 minutes of high engagement. Get in front of a whiteboard or around a table, but take an active posture of standing or sitting upright. Get close together.

Write down clearly what you are brainstorming. Using a How-Might-We (HMW) question is a great way to frame a brainstorm (e.g. HMW give each shopper a personal checkout experience?). (See more on the “’How Might We’” Questions” method card.)

There are at least two ways to capture the ideas of a brainstorming: 1.! Scribe: the scribe legibly and visually captures on the board ideas that team members call out. It is very

important to capture every idea, regardless of your own feelings about each idea. 2.! All-in: Each person will write down each of his or her ideas as they come, and verbally share it with the

group. It is great to do this with post-it notes, so you can write your idea and then stick it on the board.

Follow and (nicely) enforce the brainstorming rules – they are intended to increase your creative output.


FORSTÅ PRAKSIS



TESTE & EVALUERE

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ATTETEIG

PROBLEM-‐ LØSNING

PROBLEM-‐ DEFINERING

behov handler om mennesker, krav er kny:et ,l løsningen

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oppgave 1. start etabler prosjekt

gå bredt ut: -‐ hva ved “smarte omgivelser” synes du er interessant?

-‐ hvilke (bruks-‐)ak,viteter vil du fokusere på? og hvorfor?

-‐ hvilke tekniske elementer ønsker du å uiorske? og hvorfor?

finn noen som deler dine interesser og snakk sammen … og se hvor dere havner …

-‐  øvelse1 denne uke: etabler prosjekt (mer om prosjektplan neste uke)

-‐ øvelse2: observasjon og intervju

NB: frist for prosjekiorslag = Oblig2 er mandag 12. mars kl 12

fra forrige uke:

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fortse: med oppgave 1. start etabler prosjekt

fortse: å diskuter arbeidsformene i prosjektet -‐ husk å bli enige om ambisjoner og ,dsbruk, finn møte,d

-‐  husk å diskutere”arbeidskontrakt” og sanksjoner mens dere er venner!

-‐ fortse: med øvelse1 fra forrige uke: etabler prosjekt -‐ øvelse denne uken: analyse av innsamlede data

NB: frist for prosjekiorslag = Oblig2 er mandag 12. mars kl 12

denne uken:

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bakgrunn: planlegge prosjekt

-‐  hvilke oppgaver skal gjøres? -‐  ,l når? (,dsfrister og milepeler) -‐  av hvem? (roller og ansvar) -‐  hvilke oppgaver er vik,gst? (kri,ske avhengigheter)

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hvilke oppgaver skal gjøres?

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hvilke elementer skal lages?

produ

ct breakdo

wn structure

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hvilke elementer skal leveres?

arbeidspakker som oppdragsgiver krever

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hva skal gjøres når?

milepæler Gan: diagram: oversikt over ,dsbruk

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hvilke oppgaver er avhengige av andre?

cri,cal path oppgaver eller deler som er kri,ske

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hvem gjør hva?

ansvarskart, evt. koblet ,l milepælplan

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